Alexander Jones

Alexander Jones


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Alexander Jones je študiral klasiko na Univerzi v Britanski Kolumbiji in zgodovino starodavnih matematičnih ved na Oddelku za zgodovino matematike na Univerzi Brown. Preden je prišel na NYU, je bil šestnajst let na fakulteti Oddelka za klasiko in Inštituta za zgodovino in filozofijo znanosti in tehnologije na Univerzi v Torontu. Njegovo delo se osredotoča na zgodovino in prenos matematičnih znanosti, zlasti astronomije. Njegova zadnja knjiga je Prenosni kozmos: razkrivanje antikiterskega mehanizma, znanstveno čudo starodavnega sveta (Oxford University Press). Je tudi avtor več izdaj grških znanstvenih besedil.


    Alexander Jones - zgodovina

    (Prvotno zbrala Arnelia Druitt, 1988, julija 2012 pa posodobila Audrey Jones Ellis & amp Maj Keecia Jones Quinnie)

    Ker nihče od nas ni bil v bližini, da bi bil priča kakšnemu dogodku v življenju naših prednikov, niti nismo vodili zapisov, bomo morali sprejeti informacije, ki so nam jih posredovale od ust do ust. Morda imamo različne različice dogajanja, vendar smo nekatere podatke lahko preverili s popisnimi podatki. Podatke, ki jih imam (Arnelia), je posnel sin moje sestre Portia L. Witherspoon, Robert Harvey Williams leta 1979 neposredno od strica Petra Jonesa in od moje matere, Elize Jones Williams leta 1967. To so bili edini viri informacij, ki so bili na voljo mene za zgodovino družine.

    Ime Jones, s katerim smo vsi v sorodu, izvira iz naše prababice Elize Jones in njenih dveh sinov, generala Jonesa in Alexandera Jonesa (našega dedka), ki sta se rodila v Severni Karolini kot sužnji, ki jih je sužnji gospodar kupil in pripeljal v državo. Alabama. Prababica Eliza Jones je imela dve hčerki, Alice Walton Hanesworth in Harriett Jones.

    Sally, naša velika prababica, je bila tri četrtine bele. Njen priimek ali priimek ni znan. Velika prababica Sally je imela eno hčerko, imena neznano, ki ji je rodil barvni moški in je živela s svojim stricem. Imela je dva sinova, ki ju je rodil belec po imenu Dave Minge. Sinova imena sta bila Robert H. in Johnny Minge. Dave Minge je osvobodil svoja dva sinova in nikoli nista bila sužnja. Postali so zelo uspešni in bogati v svoji tekstilni industriji. Velika babica Sally je imela služabnike tako kot belci, dokler Dave Minge ni šel v vojno. Živeli so v okrožju Marengo jugozahodno od Faunsdalea v Alabami.

    Potem ko se je Dave Minge odpravil v vojno, se je prababa Sally poročila z Jacobom Russellom, Indijancem iz Black Creeka, in imela sta pet otrok. njihova imena so bila Jake, Allen, Dilsey, Adella in Adeline.

    Adeline Russell je bila naša prababica. Adeline Russell se je poročila z Johnom Whiteom v okrožju Marengo pri Faunsdaleu ob reki Tom Big Bee. John White in Adeline Russell White, naša pradedka in babica, sta imela osemnajst otrok. Nekatera njihova imena so bila Margaret Louise, naša babica in najstarejša, Georgiana, Collier, William H., Mary, Sallie, Arbella (Bella), Ellen (Eleanor), Carrey, Delsa, Robert Henry, John, Benjamin, Jacob, Eugene in Susie. Druga imena niso znana.

    Alexander Jones (dedek) in Margaret Louise White Jones (babica) sta se poročila v mestu Stigmy na drugi strani Faunsdalea v Alabami. Bili so starši šestnajstih otrok. Enajst jih je preživelo, pet pa jih je umrlo kot majhnih dojenčkov. Preživeli otroci so bili: Willie Anna, general, Edward, Minnie, Alexander, Samuel Collier, Peter, Robert, Eliza Jane, Moses (umrl pri enajstih letih) in Wilbert.

    Vsi preživeli, razen Mojzesa, so bili poročeni in blagoslovljeni z otroki, navedenimi v tem vrstnem redu: Willie Anna Jones White, en otrok, Maggie Louise White, najstarejši vnuk od vseh, ki je umrl 18. februarja 1920, general Jones, osem otrok, trije še živi Edward Jones, eden otrok, vsi so umrli v tej družini Minnie Jones Ward, brez otrok, je umrla manj kot eno leto po poroki z Richardom Wardom Alexander Jones Jr., dva otroka iz prve poroke in osem otrok iz druge poroke, skupaj deset, osem znano, da je živ Samuel Collier Jones, osem otrok, pet živih in zdravih Peter Jones, osem otrok pet živih Robert Jones, deset otrok, štiri žive Eliza Jones Williams, štirje otroci, trije živi in ​​Wilbert Jones, dva otroka, eden živ.

    Dedek Alexander Jones je umrl junija 1912, babica Margaret Louise White Jones pa je umrla 12. decembra 1919.

    Naši stari starši niso bili akademski učenjaki ali diplomanti fakultet, ampak so bili blagoslovljeni z modrostjo od zgoraj. Ni pomembno, koliko znanja pridobimo, ampak kako dobro to znanje uporabljamo z modrostjo. Uspeli so narediti tisto, kar je rekel Booker T. Washington (citat), & quotVzemi, kar imaš, in naredi, kar hočeš & quot (ne citiraj). Ti dve osebi sta pripomogli k vzgoji enajstih otrok in pomagali pri zagotavljanju doma za osem od njih.

    Bili so ljudje z dobrimi krščanskimi prepričanji in moralo. Lahko smo ponosni in hvaležni Bogu, ker smo del ugledne, zelo spoštovane družine. Zaradi njihovih prizadevanj in prizadevanj naših staršev smo blagoslovljeni s spomladi, ki so v družbi veliko prispevali. Veseli smo, da je bila ta družina močno motivirana, spodbujena in ohranila močno krščansko moralo. Blagoslovljeni smo z ministri, upravniki, zdravniki, odvetniki, vzgojitelji, kmetje, tehnologi, glasbeniki, pevci, električarji in krščanskimi laiki. Smo družina kulturnega ponosa in samospoštovanja. Nikoli ne smemo postati samozadovoljni, ampak moramo vztrajati, dokler Bog ne reče dobro opravljeno.

    Zbližujmo se še naprej kot družina - posamično in skupaj - v molitvi k Bogu, ki prosi za božansko vodstvo in pomoč, da premagamo vse ovire na naših poteh. Molitev bo spremenila stvari, če samo zaupamo, ubogamo in damo slavo Bogu!


    Alexander Jones - zgodovina

    Knjižnica Virginia
    800 East Broad Street
    Richmond, Virginia 23219-8000
    ZDA
    Telefon: (804) 692-3888 (Arhivska referenca)
    Faks: (804) 692-3556 (referenca arhiva)
    Elektronski naslov: [email protected] (Arhiv)
    URL: http://www.lva.virginia.gov/

    © 2009 By The Virginia Library. Vse pravice pridržane.

    Obdelal: Trenton Hizer

    Upravni podatki

    Omejitve dostopa

    Ni omejitev.

    Uporabite omejitve

    Ni omejitev.

    Prednostna navedba

    Družinski papirji Jones, 1775-1995. Pristop 44050. Zbirka osebnih dokumentov, The Library of Virginia, Richmond, Virginia.

    Informacije o pridobitvi

    Darilo Roberta in Jane Bennett, Davis, Kalifornija.

    Biografski podatki

    Družina Jones je prebivala v okrožju Botetourt in Lexingtonu v Virginiji. Širša družinska linija Jonesov je vključevala člane družin Scott, Moorman, Houston, Alexander in Stuart.

    Obseg in vsebina

    Družinski papirji Jones, 1775-1995, sestavljeni iz biblijskih zapisov, biografij, knjig, poslovnih zapisov, izrezkov, tkanin, korespondence, valute in obveznic, rodoslovnih zapiskov in grafikonov, zemljiških evidenc, revij, fotografij, portretov in silhuet o družini Jones okrožja Botetourt in Lexington v Virginiji. Dokumenti se nanašajo na genealogijo Jonesovih in sorodnih družin.

    Dogovor

    Ta zbirka je razvrščena v naslednje serije:

    Serija I: Genealogija. Serija II: Dopisništvo, 1847-1949. Serija III: Dokumenti, 1835-1938. Serija IV: Land Records, 1783-1890. Serija V: Valuta in obveznice, 1775-1777, 1861-1865. Serija VI: Fotografije. Serija VII: Razni papirji in ovojnice. Serija VIII: Izrezki iz časopisa. Serija IX: Revije. Serija X: Knjige. Serija XI: Material.

    Seznam vsebin

    Genealogy vsebuje biblijske zapise, biografije, izrezke, korespondenco, aplikacije DAR, rodoslovne zapiske in karte, spomine, nekrologe, fotografije in programe v zvezi z družinami Jones, Scott in Houston v okrožju Botetourt in Lexingtonu v Virginiji ter drugih krajih v Virginia in West Virginia. Vključuje tudi kratke raziskovalne zapiske o družinah Alexander, Ashton, Blair, Lewis, Ronald, Slaughter, Smith, Stuart, Todd in Wigginton. Vsebuje tudi rokopisne in tipkane prepise oporoke Gabriela Jonesa (ok. 1737-1777) in ročno napisane opombe oporoke Marion Stuart Alexander Jones (1828-1912), pa tudi korespondenco v zvezi z oporoko Marion Jones. Vsebuje tudi kopijo listine o življenjskem interesu Julije M. Mayo na kmetiji v okrožju Botetourt. Tudi skicirka, ki vsebuje citate in lažno pismo Publija Lentula, ki opisuje Jezusa.

    Dopisovanje, 1847-1949, vsebuje pisma o novicah o Alexanderu, Jonesu in sorodnih družinah v zvezi z družinskimi novicami in dogodki. Velik del korespondence je z Marion Stuart Alexander Jones od njene mačehe Judith Blackburn, njene sestre Mariette Alexander McGuire, njenega pastorka Edwarda Valentinea Jonesa in pastorke Susan Archer Jones. Pisma obravnavajo tudi državljansko vojno v okrožju King George v Virginiji, poselitev posestva Judith Blackburn Alexander in izobraževanja in ministrstva Edwarda Valentine Jonesa. Vsebuje tudi kopijo pisma predsednika Jamesa A. Garfielda (1831-1881) njegovi materi in pismo ameriške bojne ladje Maine Salvage Company, ki si prizadeva zbrati sredstva za zbiranje ZDA. Maine iz pristanišča Havana na Kubi.

    Dokumenti, 1835-1938, vsebujejo dokumente Johna Wiggintona Jonesa (1807-1894), ki jih sestavljajo listine, potrdila, ankete, sodni zapisi, računi, zadolžnice, členi pogodbe, oporoke, oglasi, davčni zapisi, korespondenca, obveznice in ocene v zvezi z livarno Jones in Finney, nepremičninami v okrožju Botetourt in Genesee, Michigan, Jonesovo posestvo, oporoko Jacoba Finneyja (um. 1859) in drugimi zadevami v zvezi z družinskimi dokumenti JW Jones Moorman, 1835-1888, ki jih sestavlja korespondenca in dokumenti, ki vsebujejo družinske novice, novice o misijonarski šoli v Grčiji, obveznice, potovanje v London, Anglijo in kariero JJ Moormana kot zdravnika v reviji Warm Sulphur Springs v Zahodni Virginiji, v kateri je podrobno opisana njegova služba v Missouri med državljansko vojno in dokumenti Scottove državljanske vojne, vključno z vojaškimi izkaznicami, potrdili, vojaško pogojno odpustitev in seznamom bitk pri brigadi Stonewall, tudi računom iz leta 1866 in davčnim prejemkom iz leta 1867 za Scotta.

    Zemljiški zapisi, 1783-1890, vsebujejo preglede, 1794-1805 in brez datuma, ter listine, 1783-1890, za zemljišča v okrožju Botetourt. Tudi korespondenca, 1869-1876, v zvezi s prodajo premoženja.

    Valuta in obveznice, 1775-1777 in 1861-1865, vsebujejo zapiske, ki jih je Virginia izdala med ameriško revolucijo, ter bankovce, ki so jih med državljansko vojno izdale različne banke v Virginiji in vlada Konfederacije. Vsebujejo tudi obveznice, ki jih je izdala vlada Konfederacije.

    Fotografije družine Jones Eddie Scott (Mary Edward Herndon Scott Jones [1872-1932]) družina in prijatelji Eddieja Scotta generalov in politikov družine Moorman ter Charlesa Carterja Randolpha in Roberta E. Leeja (1807-1870). Vsebuje tudi silhuete članov družine Jones in kopijo portreta Georgea Masona (1725-1792).

    Razni papirji in kuverte vsebujejo seznam rojstev in smrti za sužnje, ki so v lasti spričevala učitelja pesmi Joneses iz okrožja King George, zadnje besede neznanih posameznih receptov za beljenje in popravilo čevljev ter zdravila za bolezni, vključno z razpredelnico velikosti škatel, opisom plašča -orožje slike stavb memorandum in seznam knjig računa abecede znakovnega jezika okrožja Virginia in povabilo na piknik v šoli Mountain Home. Vsebujejo tudi ovojnice.

    Izrezki iz časopisov vsebujejo izrezke o družini Jones, rodoslovju, zgodovini, državljanski vojni in drugih temah. Vključite tudi pesmi.

    Revije vsebujejo številke naslednjih revij: Gospodinjski spremljevalec (18. januar 1897) Ženski domači dnevnik oglas (1892) Revija Peterson (Januar 1898) Južni literarni glasnik (November 1862-februar 1864) tečejo in nekatera vprašanja niso popolna in Revija Virginia Seminiary (Januar 1892).


    Aleksandrova spolnost in popularna kultura

    Predavanje, ki ga bom imel 21. februarja, v mesecu zgodovine LGBT, ne govori o pravem Aleksandru, seveda, kako bi lahko bilo? Ne gre niti za zgodovinskost ali celo za zgodovinopisje njegove spolnosti, čeprav ti trnoviti predmeti še naprej zmedejo in delijo tako Aleksandrove učenjake kot Aleksandrove bhakte. Pogovor se niti ne ukvarja z ideologijami, ki obdajajo starodavne izraze spolne identitete, ampak se osredotoča na sodobne izraze spolnega in spolnega jaza, ker se osredotočamo na raziskovanje sodobnih konceptov homoseksualnih identitet, ki so vezane na podobo Aleksandra Velikega . Mene zanima sodobno dojemanje Aleksandrove spolnosti - njegove čudnosti -.

    To podobo raziskujem v literaturi, filmu in drugih oblikah popularne kulture v enaindvajsetem stoletju, vendar si za izhodišče vzamem prevladujočo in vplivno podobo Aleksandra, ustvarjeno v dvajsetem stoletju-predvsem v poznih šestdesetih in zgodnjih sedemdesetih letih- avtorice Mary Renault. Ob zaključku svojih zapiskov za The Persian Boy je Renault opazil Aleksandra, da "noben drug človek v svojem življenju ni pritegnil toliko ljudi, tako goreče predanosti."

    Ta strast se je ohranila tudi dlje od Aleksandrovega življenja, kar ponazarja odziv Mary Renault nanj, ki ga je posebej izzvalo vprašanje vladarjeve spolnosti. Kot izhodišče bo to predavanje preučilo več odzivov enaindvajsetega stoletja na "Aleksandra geja" ljudi, ki se identificirajo po različnih spolih in spolnostih. Te podobe odražajo napredek in razvoj spolne in spolne osvoboditve, ki so jo na zahodu doživeli od šestdesetih let dalje, odražajo pa tudi, da ti napredki niso sporni - zlasti nekateri kristjani in nacionalisti.

    Aleksander je še naprej vir navdiha in burne razprave. Za nekatere pa Aleksander ni le gejevski junak med desetimi, ampak je ultimativna fantazija, za katerim po poljubu še naprej hrepenimo. "


    Vsebina

    Jones se je rodil Geethali Norah Jones Shankar 30. marca 1979 na Manhattnu v New Yorku pri ameriški koncertni producentki Sue Jones in indijskem glasbeniku Raviju Shankarju. [5] [6]

    Po ločitvi staršev leta 1986 je Jones živela z mamo, odraščala v Grapevineju v Teksasu. Jones je kot otrok začel peti v cerkvi, obiskal pa je tudi ure klavirja in glasu. Obiskovala je srednjo šolo Colleyville in srednjo šolo Grapevine, preden se je preselila na srednjo šolo uprizoritvenih in vizualnih umetnosti Booker T. Washington v Dallasu. Njena glasba je dobila prvo obliko že v lokalni metodistični cerkvi, kjer je redno pela solo. V srednji šoli je pela v šolskem zboru, sodelovala pri godbi in igrala alt saksofon. Pri 16 letih je s privolitvijo obeh staršev uradno spremenila ime v Norah Jones in s svojega imena odstranila indijske elemente. [5] [15]

    Jones je bil med drugimi "starci" vedno naklonjen glasbi Billa Evansa in Billie Holiday. Nekoč je rekla: "Moja mama je imela ta osem-album Billie Holiday, izbrala sem en disk, ki mi je bil všeč, in ga predvajala vedno znova." [16]

    Poleti je obiskovala Interlochen Center for the Arts Center. V srednji šoli je zmagala Down Beat Študentske glasbene nagrade za najboljšega jazz vokalista (dvakrat, leta 1996 in 1997) in najboljšo izvirno skladbo (1996). [17]

    Jones je obiskovala Univerzo v Severnem Teksasu (UNT), kjer je študirala jazz klavir in pela z UNT Jazz Singers. V tem času se je imela priložnost srečati z bodočim sodelavcem Jessejem Harrisom. Odpeljala se je v skupino, ki je igrala na univerzi, katere člani so bili Harrisovi prijatelji. Bil je na tekaškem potovanju s prijateljem in bodočim članom Little Willies Richardom Julianom in se ustavil, da bi si ogledal igro skupine. Po srečanju z Jonesom je Harris začel pošiljati njene glavne liste njegovih pesmi.

    Leta 1999 je Jones odšel iz Teksasa v New York City. Manj kot leto dni kasneje je z Harrisom ustanovila skupino, njeni posnetki pa so bili uspešnice. [18]

    Jones je bil lounge pevec, preden je postal snemalni umetnik. [19] Preden je izdala svoj prvi album, je nastopila z Wax Poetic, Petrom Malickom in jazz kitaristom Charliejem Hunterjem. [20] [21] [22]

    2000–2001: New York City, Prva zasedanja Uredi

    Kot je zapisal Peter Malick v zapisu: "Začel sem iskati pevca, ki bi mi lahko snemal [moje najnovejše pesmi]. V torek zvečer sem vstopil v dnevno sobo, ko je pevec napovedal zadnjo pesem komplet. Klasika Dinah Washington "Odkar sem padel zate" je napolnila sobo in zadihalo me je. Tukaj, v tradiciji Billie Holiday, je bil osupljivo lep, z bluzom vdan glas. To je bil moj prvi stik z Norah Jones. " [23] Malick jo je avgusta in septembra 2000. prosil, naj sodeluje na sejah v sobi 9 iz vesolja v južnem Bostonu v Massachusettsu. Posneli so Malickove pesmi "New York City", "Strange Transmissions", "Decepfully Yours" in "Things Ne rabiš "poleg naslovnic" All Your Love "Sama Maghetta in" Heart of Mine "Boba Dylana. Te pesmi so postale album New York City (Koch, 2003) skupine Peter Malick z Norah Jones. [23]

    Po selitvi v New York City se je Jones podpisal z založbo Blue Note, ki je v lasti EMI Group. Podpis je prišel kot posreden rezultat njenega nastopa kot pevke skupine JC Hopkins Biggish Band. Shell White, ki je bila žena J. C. Hopkinsa, je delala za EMI Publishing in Jonesovo predstavitev s tremi skladbami predstavila Bruceu Lundvallu, predsedniku založbe, in Brian Bacchusu, njenim umetnikom in agentu za repertoar (A & ampR). Demo je vseboval dva jazz standarda in pesem Jesseja Harrisa. Oba vodstva sta se strinjala, da ima Jones potencial. Kljub pomislekom glede smeri njene glasbe so jo podpisali pri založbi. Je povedal Bacchus HitQuarters, "Pustili smo ji, da sama najde svojo smer. Vedeli smo, da bi uspelo, če bi lahko razvila svoje pisanje pesmi in bi našli odlične pesmi." [24]

    2002: Pridite z menoj Uredi

    Bacchus je menil, da bi izkušnje producenta in inženirja Jaya Newlanda v jazzu, bluesu, rocku, countryju in ljudski glasbi dale "občutek za njen zvok". Jones in Newland sta posnela devet demo skladb. Na vzorčevalniku so se pojavili štirje Prva zasedanja (2001). Ostalo so namenili njenemu prvemu albumu. [24] Pridi z menoj (2002) je bil pohvaljen zaradi mešanice akustičnega popa s soulom in jazzom. [25] Debi na številki 139 je dosegel prvo mesto v ZDA Reklamni pano 200. Singl "Ne vem zakaj" je leta 2003 dosegel prvo mesto med 40 najboljših odraslih odraslih in 30. mesto Reklamni pano Lestvica vročih 100 singlov. Na 45. podelitvi grammyjev leta 2003 je bil Jones nominiran za osem nagrad grammy in osvojil pet: najboljši novi izvajalec, album leta, najboljši pop vokalni album, plošča leta in najboljša ženska pop vokalna predstava za "Ne vem" Zakaj ". To je povezalo Lauryn Hill in Alicia Keys za večino nagrad Grammy, ki jih je umetnica prejela v eni noči. Za pesmi leta je Jesse Harris prejel nagrado "Don't Know Why", Arif Mardin pa za producenta leta. Album je prejel nagrado Best Engineered Album, Non-Classical. [10] Pridite z menoj je Ameriško združenje snemalne industrije (RIAA) potrdilo platino, ker je prodalo milijon izvodov. Februarja 2005 je bil certificiran diamant za prodajo deset milijonov izvodov. [26]

    2004: Počuti se kot doma Uredi

    Počuti se kot doma (2004) je debitiral na prvem mestu v najmanj 16 državah. [27] Na 47. podelitvi grammyjev leta 2005 je bil album nominiran za tri grammyje, za enega najboljših ženskih pop vokalnih nastopov za "Sunrise". Za "Here We Go Again", duet z Rayom Charlesom, je zmagala na plošči leta in najboljšem pop sodelovanju z vokalom. [28] Čas revija imenovala Jonesa za enega najvplivnejših ljudi leta 2004. [29]

    2007: Ni prepozno Uredi

    Jones je izdala svoj tretji album, Ni prepozno, 30. januarja 2007. Album je bil prvi, za katerega je napisala ali napisala vsako pesem. Rekla je, da so nekatere od teh pesmi veliko temnejše od tistih na njenih prejšnjih albumih. [30] Ni prepozno večinoma je bil posnet v Jonesovem domačem studiu. To je njen prvi album brez producenta Arifa Mardina, ki je umrl poleti 2006. Jones je seje opisal kot "zabavne, sproščene in lahke" in brez roka voditelji Blue Notea menda niso vedeli, da snema album. Pesem "My Dear Country" je politični komentar, ki jo je napisala pred dnevom volitev predsednika ZDA leta 2004. Ni prepozno dosegel prvo mesto v dvajsetih državah. Ni prepozno je imel leta 2007 tretji najboljši prvi teden prodaje, za Avril Lavigne Najboljša prekleta stvar in Linkin Park Minute do polnoči. Dosegel je prvo mesto v ZDA in prodal 405.000 izvodov. To je napovedala EMI Ni prepozno februarja 2007. dosegel zlato, platinasto ali multiplatinasto platforma v 21 državah. [31] Album je bil po vsem svetu prodan v 4 milijonih izvodov. Istega leta je za dokumentarni film o Ken Burnsu zapela "American Anthem" Vojna. [32] [33]

    2009: Padec Uredi

    Jonesov četrti studijski album, Padec, debitiral pri številki 3 na Reklamni pano 200 v novembru 2009, v prvem tednu prodanih 180.000 izvodov. Čeprav je bil to njen prvi album, ki ni dosegel prvega mesta v ZDA, je dobil priznanje kritikov. [34] Kot del promocijske akcije albuma je Jones nastopil Ples z zvezdami, Pozno predstavo z Davidom Lettermanom, Dobro jutro Amerika in drugi televizijski programi. Padec na naslovnici je bil sveti Bernard, ime mu je Ben. [35] Glavni singl albuma "Chasing Pirates" je dosegel 13. mesto na Hot Adult Contemporary Tracks in 7. mesto na Jazz Songs. Reklamni pano Desetletne nagrade 2000–2009 so Jonesa uvrstile med najboljše izvajalce jazza, na 60. mesto najboljšega izvajalca. Pridite z menoj je bil izvoljen za album št. 4 in album št. 1 za jazz. Jones si je pri prodaji 1 milijona izvodov RIAA prislužil platinasti certifikat Padec. Album je bil prodan v 1,5 milijona izvodov po vsem svetu, od leta 2010. pa je bil v 14 državah certificiran v zlatu ali platini. "Baby, It's Cold Outside", duet z Williejem Nelsonom, je bil nominiran v kategoriji najboljše pop sodelovanje pri vokalu. Leta 2009 je Jones izvedel "Come Away With Me" in "Young Blood" na koncu novinarske konference Apple Inc.'s It's Only Rock and Roll 9. septembra v San Franciscu za izdajo iTunes 9 in video kamere- opremljene iPod -ove, med drugimi predmeti [36] Prav tako je gostovala in nastopala z drugimi izvajalci v finalu tretje sezone serije NBC 30 Rock [37] Jones je 5. marca 2010 začel svojo četrto svetovno turnejo.

    2012: Mala zlomljena srca Uredi

    Po sodelovanju z Danger Mouse in Daniele Luppi pri nekaterih skladbah za njihov album Rim, Jones je spet sodelovala z Danger Mouse pri svojem petem studijskem albumu, Mala zlomljena srca, ki je izšla 1. maja 2012. Album je v celoti predvajala na SXSW 2012. [38] Ameriški tekstopisec poklical Mala zlomljena srca "najbolj dramatičen in nagrajen odhod v svoji karieri." [39] 25. maja 2012 je začela svojo peto svetovno turnejo v Parizu z nastopi v Evropi, Severni Ameriki, Aziji, Južni Ameriki in Avstraliji. Nastopila je v Londonu v okrogli hiši 10. septembra 2012 v okviru festivala iTunes, ki je bil predvajan po internetu. Prvič je obiskala tri mesta v Indiji, ker je njen oče to želel. Nastopila je tudi z vodilno predstavo na poletnem dnevu, glasbenem festivalu v produkciji Only Much Louder. Turneja se je začela na poletni dan v Mumbaiju 3. marca in je vključevala postanke v New Delhiju 5. marca in Bangaloreju 8. marca.

    2016: Dnevni prelomi Uredi

    Njen šesti studijski album Dnevni prelomi, ki je vseboval devet novih pesmi in tri naslovne različice, je izšel 7. oktobra 2016. "Carry On", glavni singel albuma, je bil isti dan izdan v digitalnih prodajalnah. [13] Album se je vrnil k njenemu klavirju, potem ko se je zadnji dve plošči dotaknil folka in popa. Jones je dejal, da je bil cilj tega zapisa narediti vse v živo. Je povedala v intervjuju za Reklamni pano, "Ko imaš odlične glasbenike, ni razloga za pretiravanje. To odvzame dušo iz glasbe." [40]

    2020: Poberi me s tal Uredi

    Njen sedmi studijski album Poberi me s tal je izšel 12. junija 2020. Debitiral je na 87. mestu ameriške lestvice Billboard 200, s čimer je postal prvi Jonesov album, ki ni debitiral med prvimi tremi.

    Jones je v filmu iz leta 2002 nastopila kot kamera Obvestilo za dva tedna, v katerem sta igrala Hugh Grant in Sandra Bullock. Film jo na kratko prikazuje pri klavirju in poje v dobrodelne namene. [41]

    Leta 2003 sta skupina The Peter Malick Group in Jones izdala album, New York City. Jones se je pojavil na OutKast -u Speakerboxxx/Ljubezen spodaj album, "Take Off Your Cool". Ta album je prejel nagrado Grammy za album leta (Jones ni bil zaslužen). Tudi leta 2003 se je Jones pojavil na albumu jazzovskih interpretacij podeželskih in ljudskih pesmi Joela Harrisona, Svobodna dežela, [42] kot glavni vokal na pesmih "I Walk the Line" in "Tennessee Waltz". [43]

    Jones je leta 2003 ustanovil The Little Willies, poleg Richarda Juliana na vokalu, Jim Campilonga na kitari, Lee Alexander na basu in Dan Rieser na bobnih. Skupina alt country je svoj istoimenski prvi album izdala leta 2006 in Za dobre čase leta 2012. [44]

    Jones se je pojavil v posebnem filmu leta 2004, Ulica Sesame predstavlja: Ulica, na kateri živimo. [45] Jones se je pojavil na koncertu in DVD -ju "Return to Sin City - A Tribute to Gram Parsons". Jones je izvedel pesem "She", nato pa skupaj s Keithom Richards iz skupine The Rolling Stones zapel "Love Hurts".

    Leta 2005 se je Jones pojavil na albumu Foo Fighters V vašo čast, izvajajo klavir in vokal na pesmi "Virginia Moon". [46] Skladba je bila leta 2006 nominirana za grammyja za najboljše pop sodelovanje z vokalom.

    Jones se je pojavil na albumu Ryana Adamsa & amp; The Cardinals 2005, Jacksonville City Nights, na skladbi "Dear John", ki jo je skupaj z Adams napisala. [47] Leta 2011 je Jones igral tudi klavir in vokal na številnih skladbah na studijskem albumu Ryana Adamsa 2011 Pepel in ogenj.

    Jones je leta 2006 sodeloval z Mikeom Pattonom, pri vokalu na pesmi "Sucker" pri projektu Peeping Tom. Pesem je pritegnila pozornost, saj je Jones prvič uporabil kletvice pri snemanju. [48]

    Leta 2007 je Jones nastopila kot glavna junakinja v filmu, ki ga je režiral Wong Kar-wai. Film, Moje borovničeve noči, ki je bil odprt za filmski festival v Cannesu leta 2007 kot eden od 22 tekmovalnih filmov. [49] Za film je napisala in izvedla pesem "The Story". [50]

    Januarja 2007 je Jones posnel živo sejo v studiu Abbey Road za V živo z Abbey Road. Epizoda, v kateri sta nastopila tudi John Mayer in Richard Ashcroft, je bila predvajana na britanskem kanalu 4 in na kanalu Sundance. Dvakrat se je pojavila v seriji PBS Meje mesta Austin, 2. novembra 2002 in 6. oktobra 2007. Zadnji nastop je bil odprtje sezone.

    Pred spremembo smeri Padec, Jones (ki se imenuje "Maddie" in skoraj anonimna v blond lasulji) je pela in igrala kitaro z rock skupino El Madmo. Skupino sestavljajo Jones, Daru Oda in Richard Julian, istoimenski album pa so izdali 20. maja 2007. [51]

    Leta 2008 je posnela duet s frontmenom skupine A Tribe Called Quest Q-Tip z naslovom "Life Is Better" iz njegove plošče "Renaissance".

    Jones se pojavlja pri izdaji Herbieja Hancocka leta 2007 Reka: Pisma Jonija, zapela prvo skladbo, "Court and Spark". Ta album je prejel nagrado Grammy za album leta na 50. podelitvi grammyjev leta 2008. [52]

    Jones je eden od udeležencev v tako imenovanem "projektu Hank Williams", ki ga nadzira Bob Dylan, in naj bi vključeval prispevke Willieja Nelsona, Jacka Whitea, Lucinde Williams in Alana Jacksona. [53] [54] [55] 31. marca 2008 se je Jones s polnočno predstavo na intimnem glasbenem prizorišču Manhattan, kjer je pevka začela, spominjal 20. obletnice The Living Room. Zaigrala je novo pesem z naslovom "Kolikokrat si mi zlomil srce" in pojasnila, da izvira iz novo najdenih besedil Hanka Williamsa, ki so jih morali uglasbiti. [54] Jones je pesem izvedel tudi konec leta 2008 v pogovorni/glasbeni televizijski seriji Elvisa Costella, Spektakel: Elvis Costello s. . [56] [57] [58]

    Jones je bil sodnik za peto letno nagrado Independent Music Awards, ki je podpirala kariero neodvisnih umetnikov. [59]

    Leta 2010 je Jones prispeval "World of Trouble" k projektu Enough Project in Downtown Records Dvignite upanje za Kongo kompilacija. Izkupiček iz prizadevanj zbirnega sklada, da bi zaščita in krepitev vloge žensk v Kongu postala prednostna naloga, ter navdihnil posameznike po vsem svetu, da dvignejo svoj glas za mir v Kongu. [60]

    Jones izpuščen . Predstavljamo, kompilacijski album sodelovanj z znanimi glasbeniki, med njimi Foo Fighters, Willie Nelson, Dirty Dozen Brass Band, Outkast, Q-Tip, Talib Kweli, Belle in Sebastian, Ray Charles, Ryan Adams, Dolly Parton, Herbie Hancock, M. Ward in drugi. Jones je rekel: "Tako vznemirljivo, laskavo in zabavno je, ko me povabijo, da pojem z nekom, ki ga občudujem. Če te loti nekaj z drugim izvajalcem, te odpelje malo iz cone udobja. Ne veš, kaj pričakovati - to je nekako kot biti majhen otrok in se imeti na sporedu. " 18-skladna plošča Blue Note je izšla 16. novembra 2010. [61]

    Jones je s Cyndi Lauper posnel božični duet "Home for the Holidays".

    Kot poklon Steveu Jobsu se je Jones oktobra 2011 pojavil v Apple Campusu in izvedel "Nearness of You" in "Painter Song". Svoj komplet s tremi pesmmi v živo je zaključila z izvedbo pesmi "Forever Young" Boba Dylana v čast Jobsu, ker mu je bil "všeč Bob Dylan". [62]

    Jones je sodeloval s Družinski človek ustvarjalec Seth MacFarlane na prvem studijskem albumu 2011, nominiranem za grammyja Glasba je boljša od besed na pesem "Two Sleepy People". Jones se je tudi pojavil v celovečernem filmu MacFarlane leta 2012 Ted. Poleg filma je sodelovala z MacFarlaneom in Družinski človek skladatelj Walter Murphy o pesmi "Everybody Needs a Best Friend", posneti na albumu filma in nominiran za oskarja za najboljšo izvirno pesem. Jones bo kasneje sodeloval z MacFarlaneom pri svojem drugem studijskem albumu Počitnice za Swing na pesem "Little Jack Frost Get Lost".

    Jones je na prazničnem dogodku 2011 Anthony Bourdain: Brez rezervacij. [63]

    Septembra 2012 je nastopila v filmu "30 pesmi/30 dni" Polovica neba: Spreminjanje zatiranja v priložnosti za ženske po vsem svetu, medijski projekt na več platformah, navdihnjen s knjigo Nicholasa Kristofa in Sheryl WuDunn. [64]

    Jones je predstavljen na albumu Roberta Glasperja za leto 2013 Črni radio 2, pojejo "Let It Ride".

    Oktobra 2013 je bilo razkrito, da bo frontman skupine Jones in Green Day Billie Joe Armstrong izdal LP z dueti. Album, ki ga sestavljajo naslovnice z albuma Everly Brothers Pesmi, ki nas jih je naučil naš oče, je bil naslovljen Za vedno in izšel 25. novembra 2013. [65] Jones je sodelovala s svojo polsestro Anoushko Shankar pri albumu Shankar Sledi tebe, izšel 22. oktobra 2013. Prispevala je vokal k trem pesmim na albumu.

    Jones je posnela album s svojim country glasbenim projektom, v celoti žensko trojko Puss n Boots, ki jo sestavljajo Jones, Sasha Dobson in Catherine Popper. Album z naslovom Brez norcev, brez zabave, je izšel 15. julija 2014 pri založbi Blue Note Records. [66]

    In 2014, Jones played with her label-mates including Jason Moran, John Patitucci, Brian Blade and Wayne Shorter in celebration of the 75th anniversary of Blue Note Records in the Concert Hall of John F. Kennedy Center for the Performing Arts. [67] [68] Later, Jones joined Mavis Staples for two songs at the Newport Folk Festival to celebrate Staples' 75th birthday. [69]

    Jones is featured on Harold Mabern's 2014 album Afro Blue, singing "Fools Rush In" and "Don't Misunderstand". On September 28, 2014, she appeared at the George Fest tribute concert to George Harrison in Los Angeles, where she sang "Something" and "Behind That Locked Door". [70] Three days beforehand, Jones performed "Behind That Locked Door" live on the TBS television show Conan. [71] Her performance at George Fest was included on the 2016 album and film release of the event. [70] [72]

    Jones duets with The Rolling Stones' Keith Richards on the song "Illusions", from his 2015 album Crosseyed Heart. [73]

    On May 6, 2015, Jones sang "Don't Know Why" on The Late Show with David Letterman, as she had thirteen years before for her first appearance on the Letterman show. The episode was broadcast within two weeks of Letterman's retirement as host. During the same year, she sang "Little Bird" and "God Only Knows" at Brian Fest. [74]

    Jones donated her voice to the end credits song from the film A Dog Named Gucci, on the song "One Voice". The song also features singers Aimee Mann, Susanna Hoffs, Lydia Loveless, Neko Case, Kathryn Calder and Brian May. It was produced by Dean Falcone, who wrote the film's score. "One Voice" was released on Record Store Day, April 16, 2016, with profits from the sale of the single going to benefit animal charities. [75]

    In 2017, Jones recorded a rendition of "Unchained Melody", a song made famous by The Righteous Brothers, for Resistance Radio: The Man in the High Castle Album, a soundtrack to Amazon's The Man in the High Castle TV series. The song and soundtrack were produced by Danger Mouse, with whom Jones worked on her 2012 album, Little Broken Hearts. [76]

    Begin Again was released through Blue Note Records on April 12, 2019. The collection is a compilation of singles Jones recorded from 2018 to 2019, and includes collaborations with Jeff Tweedy and Thomas Bartlett. Jones planned to tour Australia and the US in support of the album, before cancelling shows due to the COVID-19 pandemic.

    In 2020, Jones duetted with US jazz star Kandace Springs on the song "Angel Eyes" from her covers album The Women Who Raised Me.

    • Come Away with Me Tour (2002–04)
    • Norah Jones & The Handsome Band Tour (2004–05)
    • Not Too Late Tour (2007–08)
    • The Fall Tour (2010) (2012–13)
    • Daybreaks World Tour (2016–17)
    • North American Tour (2019)

    Jones was in a relationship with bassist Lee Alexander from 2000 to 2007. [77] After a period of estrangement from her father, Ravi Shankar, Jones traveled to New Delhi to spend time with him, and wrote some material that was later recorded for the album The Fall. [78] Jones has two children with her husband, keyboardist Pete Remm. [79] [80] [81] She still attends church. She considers herself spiritual and appreciates the rituals of her church but does not consider herself deeply religious. [82] [83]


    Don’t Know Much About History

    Justin Elliott

    In the summer of 2002, the Pentagon’s Office of Net Assessment (ONA) published an 85-page monograph called “Military Advantage in History”. Unusual for an office that is headed by Andrew Marshall, the Pentagon’s “futurist in chief,” the study looks back to the past&mdashway back. It examines four empires, or “pivotal hegemonic powers in history,” to draw lessons about how the United States “should think about maintaining military advantage in the 21st century.” Though unclassified, the study was held close to the vest a stamp on the cover limits its dissemination without permission. Mati Jones obtained it only through a Freedom of Information Act request. Though the report is far from revelatory, it provides a window into a mindset that unselfconsciously envisions the United States as the successor to some of history’s most powerful empires.

    The study looks a little like a high school text book, devoting chapters to Alexander the Great, Imperial Rome, Genghis Khan, and Napoleonic France and citing texts by Sun Tzu, Livy, and Jared Diamond. It attempts to break down exactly how historic empires sustained their military might across continents and even centuries. The study posits that the historical examples offer “insights into what drives U.S. military advantage,” as well as “where U.S. vulnerabilities may lie, and how the United States should think about maintaining its military advantage in the future.” There is no one secret to world domination, however. The Mongols’ military advantage was rooted in their “tactical and operational superiority” the Macedonians’ in the “exceptional leadership” of and “cult of personality” surrounding Alexander the Great Napoleon’s in “innovative operational concepts” and “information superiority” and the Romans’ in “robust tactical doctrine” and “strong domestic institutions” which were “designed to incorporate conquered peoples as the empire grew.” In an extraordinary passage, the study cites the Roman experience&mdashfrom over a millennium ago&mdashas a precedent for America’s long-term dominance: “The Roman model suggests that it is possible for the United States to maintain its military advantage for centuries if it remains capable of transforming its forces before an opponent can develop counter-capabilities. Transformation coupled with strong strategic institutions is a powerful combination for an adversary to overcome.”

    The report’s language is jargon laden and opaque&mdasha lance used by Macedonian horsemen is referred to as a “primary weapon system.” That may be due to the methodology of “net assessment,” a fancy term for the ONA’s approach to analyzing complicated real-world situations that is rooted in systems analysis and game theory. Military author James Dunnigan compares it to engineering. “You take apart historical events, reassemble them as a simulation, and then tinker with the simulation until you can recreate the historical event accurately,” he explains. “What that allows you to do is play out ‘what if?’ situations: What if Napoleon did this? What if Ghengis Khan did that?”

    While the study was produced under the auspices of the ONA, its five authors work for government intelligence contractor Booz Allen Hamilton, and they wrote the study as part of a contract for the Defense Department’s Information Assurance Technology Analysis Center. Booz Allen won a 10-year, $200 million cost-plus contract to establish and “host” that center in 1998. (In May, the Carlyle Group announced it will be taking over Booz Allen’s government services arm.)

    The original idea for the study predates the Bush administration. Mark Herman, the Booz Allen vice president and war-game designer who is the study’s lead author, recalls being asked to give a presentation on historical empires at one of Andrew Marshall’s famous “summer studies” at the Naval War College in Newport, Rhode Island, in 1999. At that annual retreat, experts from government, academia, and beyond are invited to contemplate a big-picture question. Newt Gingrich, for example, participated in the 1999 program, according to Herman. He says that the ONA “liked the presentation so much they felt it should be written down” and expanded. A earlier version of the report, titled “Sustaining Military Dominance: Examples From Ancient History,” was presented at the 2001 summer study and was later cited in a Maureen Dowd column. The current version was published a year later.

    Coming out of the Office of Net Assessment, the study’s theme of military transformation is not surprising. Described by the Washington Post as “an obscure but highly influential unit,” the ONA was established as an in-house think tank in 1973. Its founding director was Marshall, a strategist who achieved demigod status in the press after years of colorful profiles portraying him as a visionary. (A 2002 article in the New York Times Magazine named Marshall the “Yoda of the Rumsfeld Defense Department” William Safire dubbed him “the freshest mind in the Puzzle Palace.”) ONA specializes in trend spotting and forecasting military threats. The office spent the 1980s exhaustively studying the US-Soviet balance recently, it has turned to topics as diverse as neuropharmacology, Islamic warfare, and the national security implications of climate change.

    Now in his 80s, Marshall has been a chief proponent of the so-called Revolution in Military Affairs, a cause also championed by Donald Rumsfeld that emphasizes speed and increased use of precision weapons and advanced communications technology. In 2001, Marshall was given a high-profile assignment by Rumsfeld to conduct an extensive review of the military and the possibilities of military transformation.

    Most striking is how the study conceives of the United States in imperial terms. “You’ll see some neoconservatives at the beginning of the Bush administration crowing that ‘we do have an empire, let’s just come out of the closet and say we do,'” said Ivan Eland, the author of a book on America’s “informal empire” and the director of the Center on Peace & Liberty at the Independent Institute, on hearing a description of the study. “But the administration never did that because empire doesn’t sell well with the public.” After reviewing the study at Mati Jones‘ request, William Hartung, director of the Arms and Security Initiative at the New America Foundation, said he was struck by its “arrogance and immorality.” “The presumption that the United States should rule the world, sword at the ready, for the foreseeable future is an unacceptable basis for a just, even-handed foreign policy.”

    Even coming from an office vaunted for its intellectual seriousness, “Military Advantage in History” often reads like it was meant as window dressing for the Revolution in Military Affairs agenda&mdashsometimes at the expense of historical fact. (Herman says that the theme of transformation emerged naturally from his research.) After reviewing a section that identifies five discrete “transformations” of the Roman military over a period of 1,000 years, Lee Brice of Western Illinois University, president of the Society of Ancient Military Historians, described it as “so completely incorrect as to be useless.” In general, Brice noted, “it is inappropriate to apply modern concepts of systems theory, doctrine, and strategy to ancient armies. That required a level of planning and centralization that simply did not exist.”

    Eland speculates that a study like this would “get warped by the military-industrial-congressional complex into more money for weapons.” Furthermore, he says, it ignores the economic implications of military expansion. “The Office of Net Assessment is doing this to show, ‘Well, gee, these other empires transformed themselves, they were successful, we need to do the same thing,'” Eland says. “Well that’s going to cost big bucks, and that will cause economic overstretch. People say it can’t happen to us since we have such a big economy, but every empire has said that.” It is unclear how the study has been used the Office of Net Assessment declined a request for an interview. Herman says only that “a whole bunch of [copies] went out to the government.”

    The idea that contemporary society can or should try to find direct guidance in the past has been assailed by some historians. The American historian Bernard Bailyn wrote of “an obvious kind of presentism, which at its worst becomes indoctrination by historical example.” But the ONA study charges ahead, plumbing the past for contemporary lessons. An extraordinary color-coded table in the study’s conclusion attempts to literally “map” the historical findings to the United States with an eye toward “enduring dominance.” (See image above.)

    Several historians who reviewed the study differed on its quality and meaning. Walter Scheidel, a Stanford professor of classics and the coauthor of a forthcoming survey of ancient empires, called it “a successful distillation of relevant information and scholarship complemented by very interesting systematic analysis.” Others found the scholarship to be shoddy and superficial. Pamela Crossley, a Dartmouth historian who teaches on the Mongols, described the chapter on Genghis Khan as mostly “an accumulation of popularly transmitted misconceptions.” She also noted the study’s “amazingly strange spelling ‘Chengis.'” Brice, the ancient military historian, said the text suffered from “an intense, myopic habit of wanting to make the ancient world fit into modern stereotypes.” He compares it with “much lower-undergraduate-level work.”


    Meet the Right-Wing Trolls Behind “Stop The Steal”

    Ali Breland

    Supporters of President Donald Trump gather to protest the election results at the Maricopa County Elections Department office on November 6, 2020 in Phoenix, Arizona. The protest was organized by Turning Point Action while ballots continue to be counted in many critical battleground states. Photo by Courtney Pedroza/Getty Images

    Right-wing “Stop The Count” protests that have sprung up in the last 72 hours to attempt to manipulate the vote-counting process in favor of Donald Trump appear to be at least partially artificially bolstered by paid Republican operatives. But unlike previous coordinated protests that have been revealed to be supported well-funded and organized conservative interests, the demonstrations have been organized largely by a collection of disgraced right-wing internet figures. Some have been all but discarded from mainstream Republican circles for being too extreme, too inept, or some combination of the two. Despite this, they’ve been good at one thing: figuring out how to spin never-ending mishaps into continued careers.

    The protests have grown since Election Day, with FreedomWorks and Trump’s 2020 digital director getting involved in the events, according to Skrbnik in Washington Post. Here’s a smattering of some of the more compelling characters involved:

    Ali Alexander

    After one of the first 2020 primary debates, Alexander went viral claiming that Kamala Harris wasn’t an “American Black,” because she was of Jamaican and Indian heritage, instead of descending from African-Americans who had been forced into Antebellum-era slavery. Alexander was convicted of two felonies in 2007 and 2008, and has a track record of publicly noting people who are Jewish . He made a sensationalist video with right-wing snafu generator Jacob Wohl and Laura Loomer, the Islamaphobic failed Congressional candidate, wherein Wohl seemingly fakes the group receiving death threats during filming.

    Alexander appears to be involved with Stop The Steal both through his tweets promoting it and through his links to one of the websites boosting it. Stopthesteal.us’s domain is registered to Vice and Victory, a possibly defunct political consultancy he’s affiliated with. After clicking the site’s donate button, visitors are prompted with the option to donate money to one of several cryptocurrency addresses associated with Alexander, or given links to his Paypal, CashApp, and Amazon wishlist.

    It’s brazen, but that’s typical for Alexander. On his website, he sells various tiers of access to himself, ranging from $25 a month, which gets you a spot on conference calls, all the way up to $250 a month which not only comes with the “raw analysis” of his “private notes,” but gave subscribers the ability to spend an extra $50 for an election night cheat sheet—a product unavailable to most lower tier users.

    Mike Cernovich

    Despite building a large internet profile (he has over 700,000 followers on Twitter), Mike Cernovich is avoided by mainstream conservatives, potentially because of his history of advocating for various criminal acts of sexual harassment. In one now-deleted 2012 post on his blog, he encouraged his readers to “When in Doubt, Whip it Out,” in a Louis C.K. način. Cernovich has also posted tweets that make proclamations like “date rape doesn’t exist.” In 2017 when he seemingly worked with alt-right figure Charles Johnson to boost a forged document falsely accusing Sen. Chuck Schumer (D-N.Y.) of sexual assault.

    Cernovich also boosted Pizzagate, the thoroughly debunked prequel to QAnon, a conspiracy which claimed that children were being kept in the basement of a local pizza restaurant in D.C. as part a pedophile ring being run by liberal elites.

    Cernovich took the chance to use the post-election period to raise his flagging profile by doing a seven-hour road trip to Arizona, where he claimed to lead a protest to “monitor the election,” from which he proceeded to film the unrest he helped aggravate. Alexander also on Twitter praised Cernovich’s trolling work in Stop The Steal protests.

    Amy Kremer

    Kremer, a former Tea Party organizer, has more substantial links to the Republican power apparatus, and a history of showing up to right-wing protests with heels on. The former Delta flight attendant came on the scene in 2009, and has flitted from one political action committee to another, trying to replicate the grassroots conservative heyday of the Tea party—and its money-minting fundraising appeal.

    Kremer was an early Trump supporter in 2016, starting a political action committee called TrumPAC to support his insurgent campaign. The PAC ran afoul of campaign finance rules for using the name of a candidate without their permission. It was rebranded the Great America PAC, which she left after a falling out , after which she went on to join with the ex-wife of Trump adviser Roger Stone to launch yet another pro-Trump super PAC , Women Vote Trump, that pledged to raise $30 million to support Trump’s 2016 ampaign for president. The group came up $29,973,187 short of that goal, went into debt, and also got in trouble with the FEC for the unauthorized use of a candidate’s name.

    Kremer’s own political career hasn’t fared much better. In 2017, she jumped into a Georgia Republican congressional primary two months before the special election, her staff quit en masse , claiming that she couldn’t pay them.

    Money problems have been a consistent theme with her efforts. In October 2018, Kremer started a new nonprofit, Women for America First—the organization formally behind www.stolenelection.us , the website emblazoned on posters at “Stop the Steal” protests. Donations through that website are directed to Kremer’s nonprofit. The group also appears to have been involved in the Stop the Steal Facebook page . Last year, the same group organized a “Stop the Coup” anti-impeachment rally in DC that might have been a much bigger affair—if the buses scheduled to bring hundreds of activists from other states had actually departed. Instead, two hours before the busses were slated to leave, the tour company cancelled the trips because Kremer’s group’s credit card had been declined.

    Jack Posobiec

    Posobiec, who Alexander has said has a role in the protests, has also been tweeting in support of them, and personally showed up at the group’s Harrisburg, Pennsylvania demonstration.

    Posbiec’s biggest claim to fame is being one of the highest-profile pushers of the Pizzagate conspiracy :

    [Posobiec] once conducted a livestream “investigation” of the restaurant where the [Pizzagate] hoax pedophile ring was said to be occurring, during which he waltzed into a child’s birthday party being held in a back room. Since then, he acts as though he’s been locked in a John Wooden -esque competition with himself to outdo his greatest disinformation achievement.

    Since Pizzagate, instead of amplifying other already existing conspiracies, Posobiec has usually been focused on his own, artisanally crafted solo concoctions. He once stopped a performance of Shakespeare’s Julius Caesar mid-production in New York because he was offended the centuries-old work had been staged with elements that seemed to reference Trump. I once witnessed him dash around the lawn of the Capitol telling Democratic Senators that supporting net neutrality would mean that they were supporting Satanic porn.

    Some of his most repugnant hits include trying to plant “Rape Melania” signs at an anti-Trump rally, falsely tweeting that Obama Attorney General Loretta Lynch had called for “blood in the streets,” a made-up claim that Star Wars’ Rogue One was being rewritten to include scenes calling Trump racist, and, after Republican congressman Steve Scalise was shot at baseball practice, that Bernie Sanders had told his followers to “take down” Trump.

    None of rose to Pizzagate levels of fame, but not for lack effort on Posobiec’s part. He has also tweeted in support of a white nationalist conspiracy which holds that immigration and other trends are part of a secret plot to commit white genocide.

    Mike Coudrey

    As a member of Alexander’s Twitter crew, Coudrey promoted and seemingly helped organize a Stop The Steal rally in in Las Vegas,

    Coudrey used to go by “Mike Tokes” on Twitter, but has rebranded as a more serious, GOP insider. That has not stopped him from putting out a steady stream of falsehoods. Lately his disinformation has focused on the election , but he has a broader history. During the 2019 California wildfires, he pushed the claim that the damage showed something more nefarious than a simple forest fire, feeding into a larger theory about “direct energy beams.” E arlier that year, he spread disinformation falesly claiming that Twitter had censored news of a coronavirus treatment to make Trump look bad, and made up fantastically untrue stories about Antifa disguising themselves in MAGA hats and NRA shirts to incite violence.

    Since Tuesday, amid his roll in the protests he’s been busy spreading wholly unsubstantiated claims of voter fraud in Wisconsin.

    Scott Presler

    Presler helped arrange the Harrisburg, Pennsylvania Stop The Steal event , but he’s best known for his 2017 “March Against Sharia,” which ended up being about Islmaphobic as the name suggested. Presler worked with Joey Gibson, leader of the violent, far-right group Patriot Prayer, on the eventually cancelled Portland edition of the event.

    Since then, he hasn’t managed to make much of a splash, aside from an elaborate concern trolling campaigns in which he travels to various cities staging trash clean up events or asking” homeless people whether the government should prioritize their needs over immigrants,” as the local San Francisco publication Mission Local put it.

    Stephanie Mencimer contributed to this story.

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    Alexander Jones - History

    “There's nothing you need to make up about Jack Johnson.”

    Documentarian Ken Burns would know. His 2005 series “Unforgivable Blackness,” brought the true story of the life and career of Jack Johnson, the black boxer who fought his way up through the pugilism ranks to become the world heavyweight champion, to television.

    But before Burns, those who weren’t around for the so-called “Fight of the Century” that saw Johnson outslug James J. Jeffries in 1910, would have known Jackson’s story through the play and movie The Great White Hope. That work of historical fiction, by playwright Howard Sackler, perhaps reveals more about the time in which it was written than the time in which it is set.

    The play’s message about the nature of racism and racial conflict succeeded in providing audiences with an opportunity to better understand different perspectives through the prism of its characters, but the film adaptation failed to deliver the same powerhouse impact. That said, both served to launch the careers of two actors on the rise and brought to the public a poignant story of interracial romance and the struggle for interracial couples to find acceptance in America.

    Alexander and Jones in a publicity still from the 1970 film (Photo by Afro American Newspapers / Gado / Getty Images)

    Sackler’s much-lauded play arrived in 1967, as the civil rights movement’s struggles were at last bearing fruit. V The Great White Hope, black boxer Jack Jefferson—a name change borne out of legal concerns—becomes so successful that a fight is set up between Jefferson and the reigning heavyweight champion of the world, a white man. In addition to developing a story which focused on an equivalent of the Johnson-Jeffries fight, Sackler constructed a storyline based on the relationship between Johnson and his first wife, a white woman named, Etta Terry Duryea, represented in the play by the character of Eleanor Bachman. In addition to mirroring the tensions Johnson and Duryea endured in pursuing an interracial relationship during the early 20th century, Eleanor’s ultimate fate mirrors that of Duryea, who died by suicide in 1912.

    The play’s title came from the descriptor assigned decades earlier to any white boxer who stepped into the ring to challenge Johnson, although it was most famously used to describe Jeffries, who had retired from the ring more than five years before the landmark fight. Upon being wooed into returning to the ring, Jeffries made his reasons perfectly clear, publicly announcing, "I am going into this fight for the sole purpose of proving that a white man is better than a Negro.”

    As history reveals, Jeffries proved no such thing: not only did Johnson win the fight by a technical knockout in round 15, but as fellow boxer John L. Sullivan told the New York Times, “Scarcely has there ever been a championship contest that was so one-sided.”

    Sackler drew inspiration from these events, seeing in Johnson an opportunity to tell a story about a man who becomes a hero but is nonetheless destined for a downfall, someone who many—including the play’s director, Ed Sherin—likened to the titular character in William Shakespeare’s Coriolanus. “It’s about a man who essentially moves out of his tribe and gets clobbered,” Sherin told The American Theatre in 2000. “And in [Sackler’s] mind, it wasn’t about black-white. The historical circumstances made that the paramount issue in the play. But it’s not. And it taps off white guilt about the way the black man was dealt with, but that was not [Sackkler’s] position at all. He wrote a play about a tragic hero, somebody who oversteps himself—as Coriolanus did.”

    The Great White Hope began with a grant from the National Endowment for the Arts to Arena Stage, a Washington, D.C. theater, which at the time was best known for being the first integrated theater in the city. To find the right man for Jefferson, Sackler reached out to actor James Earl Jones, an established performer was working in Europe.

    "Howard suggested that I start getting into shape, which was really importantthe man je bil a boxerbut which I was not and am not and will never be!” says Jones, laughing. “In fact, the young man who was my understudy onstage, Yaphet Kotto, resembled Jack much more than I did.”

    James Earl Jones looks at his reflection in a Broadway dressing room mirror on December 10, 1968. (Photo by Harry Benson / Daily Express / Getty Images)

    For the role of Bachman, Sherin went with an existing member of the Arena Stage company: actress Jane Alexander, who would later become Sherin’s wife. Despite the racially charged subject matter, Alexander had no hesitation about diving headlong into the material.

    “I really looked forward to doing things like that,” says Alexander. “Of course, civil rights were very high at that time in the 󈨀s, and we did not shy away from controversy at Arena Stage. We did quite a lot of things, tackling the Vietnam War and racism and so on, so I didn't have any problem with the subject matter.”

    Alexander also politely disagrees with her co-star’s self-assessment. “[James] is a big manhe certainly izgleda like a heavyweight champion!and he got in such great shape,” she says. “He was just gorgeous-looking at the time. But he was formidable. and when he gets that look in his eyes, he's scary!

    The Great White Hope only played for a few weeks at Arena before its success catapulted it to Broadway. Although the audiences were initially almost entirely white, Alexander says that the number of black theatergoers began to increase steadily as the play received more acclaim, hitting the 50/50 mark by the end of the first year. As a result, she also began to notice that black audiences reacted differently to the play than white audiences.

    “They didn't like my character at all. and who could blame them?” concedes Alexander. “I was causing him all these problems! So they would sometimes cheer or laugh at my death. and that was not easy for James Earl, because [he] looked at it as a love story. He had a very difficult scene to perform over my dead body, and they were sometimes not happy with him being emotional about me.”

    Even worse, Alexander also began receiving hate mail. “Sometimes they were just disgusting letters from white bigots, male and female. Really awful letters. But I got a couple of death threats. That's when I said to my stage manager, ‘I can't open my mail.’”

    Jones, for the record, didn’t receive any such threats, but the fact that his co-star naredil receive them, he says, “sort of measured the height of the bull****.”

    Both Alexander and Jones received Tony Awards for their work in The Great White Hope. (Photo by NBCU Photo Bank / NBC Universal via Getty Images) Muhammad Ali at a November 12, 1968, performance of The Great White Hope on Broadway (Photo by Tom Wargacki / WireImage)

    Fortunately, those who appreciated The Great White Hope far outweighed those who didn’t, and one of the play’s biggest fans was one of the most famous men in the world: Muhammad Ali, who understandably saw some parallels between himself and Jones’s character. (“What Ali actually said was, ‘This is my play, except for the white chick,’” recalls Alexander, laughing.)

    “Muhammad Ali had just done a Broadway play himselfor, rather, a musicalpoklical Buck White, where he played kind of an activist,” recalls Jones. “He considered himself a stage actor, I think, so he'd come back and wanted to talk actor to actor about my work. When the audience left the theater, he used to love going up on the stage and say, ‘Watch this!’ And he'd take a crack at a scene, and then he'd say, ‘And that's the way to ought to be done!’ I loved it. And the way he'd interpret it? He wasn't always wrong!”

    Ali was also responsible for one of Alexander’s most cherished memories from the Broadway run of The Great White Hope, during the third of his backstage visits.

    “He stuck around late enough that the stage manager had already put the ghost light onstage. Only the doorman was left, and I was in the wings. And Muhammad Ali walked out in that dark theater and turned to a naked, empty house, and he reprised the last line of the second act: 'I is here! I is here! I is here!' Bilo je neverjetno. And nobody ever witnessed that but me. "

    The success of The Great White Hope soon led to conversations about adapting the play into a film, but those conversations didn’t include Alexander until after the show swept the Tony Awards, winning Best Play and earning Jones and Alexander trophies for their roles, too. The acclaim even extended beyond the traditional theater community, with the play winning the Pulitzer Prize for Drama as well.

    “I was told that [film director] Martin Ritt offered it first to Joanne Woodward,” says Alexander. “She turned it down, saying, ‘You should get that girl who did it on Broadway.’ And then he went to Faye Dunaway, and Faye turned it down! And then what happened after Faye turned it down? The Tony Awards happened. And the next day, I got the offer.”

    Jack Johnson (right) defeated Jim Jeffries in a 1910 boxing showdown. (Photo by PA Images via Getty Images)

    While the film version of The Great White Hope received its fair share of critical acclaim, with both Jones and Alexander—in her film debut—earning Oscar nominations for their work, few would disagree that it’s a lesser work than the play. The first sign that Hollywood had done some major streamlining: the play originally ran for three-and-a-half hours, whereas the film version clocks in at a streamlined 103 minutes.

    “I missed some of the lyricism in the beautiful long monologuesor soliloquies, if you willthat some of the actors had, specifically [James],” says Alexander. “They were cut, a lot of them. "

    Jones pulls no punches when offering his take on the play’s cinematic adaptation. “I apologize for the film, because it wasn’t right,” he says. “The big mistake happened when the decision was made not to have Ed Sherin direct the film. It was a big investment on the part of 20th Century Fox, and they made an attempt to work around the cost of filmmaking. They decided to make it. I wouldn’t say ‘cheap,’ but they thought they couldn’t afford to take a gamble on [a first-time film director].”

    “They made a decision to shorten it by using a formula which. Well, I won't try to define it, but they wanted to make it a romance,” says Jones. “Which it was in real life, but it was a mistake to try and ignore all the dynamic stuff going on in that man's life in favor of trying to make it a love story of this poor black guy and this poor white girl who wanted to be together in life. But America just didn't let them do it."

    Jones's description of the film’s romantic plotline is dripping with sardonic wit, something which becomes evident when he abruptly begins chuckling.

    "The truth is, I think Ken Burns' documentary is more important than the film or the play we did,” says Jones. “I thought there was no way you could capture all the dynamics of that man’s life, all the gorgeousness and physical beauty, the človek beauty of the man called Jack Johnson. But Burns captured it. Whether you're a boxing fan or not, whether you have any corner of the race issue you want to explore, it's something everybody should see.”

    Burns, who interviewed Jones for “Unforgivable Blackness,” believes the problem with the film adaptation extends well beyond trying to force it into being a love story.

    "The much more important thing is something that you find throughout well-intentioned history and art about African-Americans, which is that somehow they always need to have a white person around to justify them," says Burns. "V The Great White Hope, here's this incredibly talented physical specimen who plays in all these incredibly dangerous tropes about black people, and yet somehow you need well-intentioned white handlers in whatever formromantically or fight-wiseto sort of nudge you to the right direction, as if they're unaccompanied minors who need to be accompanied.

    Adds Burns about the real story he found while making the documentary, “What's so important about Jack Johnson is that he defies all conventions we want a heroic black man to be in. He doesn't want the job of hero. Somehow we want our African Americans to conform to some version of our idea of an acceptable black person. Jack Johnson just takes dynamite and pushes the plunger on that.”

    “I admire the play, and I admire the movie, and it’s heart is in the right place, and it’s intentions are good, but it's in a narrow bandwidth that doesn't permit the full scope of Jack Johnson, good, bad, and otherwise,” concludes Burns. “It constrains him with narrative devices that aren't needed.”

    Boxer Jack Johnson (Photo by Sean Sexton / Getty Images) Jones in boxing attire (Bettman via Getty Images)

    Even with its flaws, there’s no question that The Great White Hope made an impact on those who saw it, on stage or screen.

    “I remember walking down the streets of New York for the next decade, and black men would just come up and say, 'Hey, Jane, how are ya?' or something like that,” says Alexander. “I remember once I was in an airport, and Snoop Dogg yells across the terminal, ‘Jane!’ I recognized that he was a big music star, but I didn't know who it was, so I just sort of inched over a little bit. and he just said, ‘Hey!’ That’s all! But I felt very warm inside that black men recognized me, seemed understanding and supportive, and. I think they were saying that they knew that it was a difficult role.

    “It was surprising to me the number of white people who wondered why I had done the film. There were a lot of firsts there. The racism was not as overt as it is today, but it was there, and I was surprised it was there in my parents’ friends, who would just question me and say, ‘Why did you have to do to for your first film?’ I was thrilled! Race relations were different at that time. We didn't march in the same way. If you look at the marches in Selma, Alabama, you won't see a lot of white people. But I was part of the Poor People's March in Washington (in 1968), and I went and listened to Martin Luther King speak. But now we have Black Lives Matter, and there are a lot of white people and black people walking side by side. That's progress.”


    Historical Sketch of the Electric Telegraph

    To delo so znanstveniki izbrali za kulturno pomembno in je del civilizacijske baze znanja, kakršno poznamo. To delo je bilo reproducirano iz izvirnega artefakta in ostaja čim bolj zvesto izvirnemu delu. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most impor This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

    To delo je v javni lasti v Združenih državah Amerike in morda v drugih državah. V Združenih državah lahko to delo prosto kopirate in razširjate, saj noben subjekt (posameznik ali podjetje) nima avtorskih pravic na telesu dela.

    Kot reprodukcija zgodovinskega artefakta lahko to delo vsebuje manjkajoče ali zamegljene strani, slabe slike, napačne oznake itd. Znanstveniki menijo in strinjamo se, da je to delo dovolj pomembno, da ga lahko ohranimo, reproduciramo in damo na voljo vsem javno. Cenimo vašo podporo postopku ohranjanja in hvala, ker ste pomemben del ohranjanja tega znanja pri življenju in ustreznosti. . več


    Building His Media Empire Brick by Brick

    From a very young age Alex was interested in history. He quickly realized that things were not always right. From a young age he never bought into the all the false paradigms in the world.

    In 1995-1996, Alex was on access TV in east Austin. He had to go on late at night when there were available slots. He was running it all by himself in a little control room. In 1996, he began hosting his own show called "The Final Edition" on the radio station KJFK-FM in Austin. In 1997, he put out a film called "America Destroyed by Design" that he had to bootstrap using a huge and outdated VHS camera that he was able to borrow. At the time he had another full time job, and he was able to use the editing equipment at the TV studio at 2 am. And having to be at the other job at 7 in the morning. His other jobs at the time was at a golf course and selling memberships at a gym. He was working a total of 40 hours a week at those jobs so it took about a year to complete the documentary film in his spear time. The documentary film was a success, and he was able to make half a million dollars on it. The money he made from the film after tax he reinvested in his media company that he was starting.

    In 1999, he started his website infowars.com. This expanded his reach, and he was no longer limited by what the management of the radio stations thought was appropriate to say on air. In this way Alex Jones was a pioneer into the digital grass roots media.

    In 2001, his show was syndicated on approximately 100 stations. After the 9/11 attacks a number of stations dropped him after he made claims that it was an inside job that George W. Bush je orkestriral. 11. september pa je bil začetek številnih vojn in drakonskih politik, njegovo število privržencev in poslušalcev pa se je v naslednjih letih začelo povečevati.

    V naslednjih desetletjih je tako, da je vsak dan objavljal novice in imel v oddaji nekaj zanimivih gostov, počasi širil občinstvo in posel. Prišel je tudi do nekaterih novosti, kot je predvajanje radijske oddaje kot televizijske oddaje na internetu.

    Med svojo radijsko oddajo mu je uspelo posneti še nekaj dokumentarnih filmov. Alex je tudi svoje spletne strani napolnil z najnovejšimi novicami.

    Razširil je tudi svoje prostore in dodal več prostora za nove studie ter več piscev in urednikov.

    Za zaslužek se je zanašal na oglaševanje, donacije, prodajo naročnin, prodajo različnih izdelkov, dodatkov, knjig in videov. Večino dobička, ki ga trdi, so vrnili v svoje podjetje, da bi razvili svoje podjetje.


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