In this touching two-hour remembrance, Kevin Allen welcomes three friends who knew Fr. Thomas Hopko as a friend, a colleague, and a priest. You'll also hear tributes from his listeners from all around the world. Our thanks to Dr. Al Rossi, Dr. Peter Bouteneff, and Mother Christophora for sharing on the program.

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Why A Children's Book? The author of several books on identity and purpose, Tim takes a clear detour in writing a storybook for kids, but with clear intention. As the youngest of the five Tebow siblings, he was born and spent his first three years in the Philippines, where his parents served as Baptist missionaries. Tim vividly remembers their reading to him as a boy, how much he enjoyed it, and the difference it made in his growth and development. Believing that every person is unique,...

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For a Tax-Free Green New Deal

In the early 90s, teenagers LeAlan Jones and Lloyd Newman recorded a week of their lives on Chicago's South Side. Working with StoryCorps founder Dave Isay, LeAlan and Lloyd produced a documentary they called Ghetto Life 101, one of the most acclaimed programs in public radio history. In remembrance of Lloyd, who died this week, we bring you a special presentation of Ghetto Life 101.

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In this hour, the people we've loved and lost, their memories preserved in these stories. Mothers, partners, and the colorful residents of a nursing home, with special excerpts from the Moth's new audio book. This episode is hosted by Moth Artistic Director, Catherine Burns. The Moth Radio Hour is produced by The Moth and Jay Allison of Atlantic Public Media.

Hosted by: Catherine Burns

Storytellers:

Sharon D'Orsie goes on adventures with her aging mother. 

Adrienne Lotson worries she's not cut out to be a chaplain.

Writer Elizabeth Gilbert shares her struggle in dealing with her partner’s terminal illness and what it taught her about living.

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Beat the clock as you test yourself with our quiz to celebrate the end of the Olympics!

The spy genre has lost a Great today. The Guardian reports that Honor Blackman has passed away at the age of 94, "of natural causes unrelated to coronavirus." It's crushing to lose two of the key Bond Girls in a matter of months, Blackman's death coming on the heels of Thunderball's Claudine Auger in December. And while she will probably be best remembered for her definitive portrayal of Pussy Galore opposite Sean Connery in Goldfinger, Blackman's mark on the spy genre is far greater. For me, she'll first and foremost always be Cathy Gale, John Steed's first regular female partner on the UK TV classic The Avengers.

Cathy Gale was ultimately overshadowed by Steed's more famous subsequent partner, Emma Peel (played to perfection by another future Bond Girl, Diana Rigg), but Gale's and Blackman's place in television history cannot be overstated. Cathy Gale was television's original badass, leather-clad female spy, paving the way not only for Mrs. Peel, but for Honey West (producer Aaron Spelling was inspired to create the show by Avengers episodes he saw in England, and reportedly first offered the role to Blackman, who turned it down), The Bionic Woman, Alias's Sydney Bristow, and every other leading lady of espionage to throw an attacker over her shoulder, as well as non-spy heroines like Xena and Buffy the Vampire Slayer. Quite simply, there had never been an action-oriented female protagonist on television before Honor Blackman's groundbreaking performance. She changed the game. In part, this was due to Blackman inheriting scripts that had been originally written for another male partner for Steed (following his first season foil, Ian Hendry's Dr. David Keel), which were hastily rewritten for her, but kept the character involved in the action in a way women hadn't been previously on TV. But in a larger part, it was due to Blackman's undeniable and very physical presence: she played Cathy as a woman definitely not to be trifled with! And she learned judo for the role, impressively dispatching stuntmen twice her size on a regular basis on episodes that were at the time taped live. Her obvious talent even led to the publication of a book, Honor Blackman's Book of Self-Defense.

Prior to playing Cathy Gale, Blackman was known for glamour more than ass-kicking. But she'd already racked up a pretty impressive roster of spy roles. Foremost among them was a regular role on the 1959-60 ITC wheel show The 4 Just Men (review here), in which she played Nicole, secretary to Paris-based Just Man Tim Collier (Dan Dailey). That was a series very much of its time in all respects, so Nicole was no Cathy Gale, but Blackman nonetheless imbued her with the quick wit and spark that would later define her more famous character alongside her martial arts skills. She also made pre-Avengers appearances on other ITC series like The Saint, Danger Man,  and The Invisible Man, as well as U.K. spy and detective series like Top Secret (sadly lost), Ghost Squad, and The Vise, while also turning up in spy movies like Conspirator (with Elizabeth Taylor), Diplomatic Passport, and the original 1953 TV movie version of Little Red Monkey (penned by wartime BSC spy Eric Maschwitz and adapted two years later into a feature film version). Other notable film roles during this period include Jason and the Argonauts (1963), the Eric Ambler-penned Titanic drama A Night to Remember (1958), the Dirk Bogarde suspense drama So Long at the Fair (1950), and the Hammer noir The Glass Tomb (1955). Following the international success of Goldfinger, Blackman surprisingly didn't make many more spy appearances. The notable exceptions were the superior 1968 Goeffrey Jenkins adaptation A Twist of Sand (a movie in dire need of a Blu-ray or at least DVD release!), opposite Deadlier Than the Male's Richard Johnson, and a 1983 TV adaptation of Agatha Christie's Tommy and Tuppence mystery The Secret Adversary. In the late Nineties, Mike Meyers dreamed of getting Blackman and Connery to play Austin Powers' parents, but that didn't happen and Michael Caine ended up playing his dad. While not playing spies, though, Blackman continued to have a robust post-Bond career, including a re-teaming with Connery in the 1968 Western Shalako, a pair of 1970s cult horror movies, Fright ('71), and Hammer's final genre flick of that incarnation, To the Devil a Daughter ('76), opposite Christopher Lee, and, more recently, a very memorable comedic turn in Bridget Jones's Diary (2001). She also continued to make her mark in television, too, with recurring or starring roles on Doctor Who, The Upper Hand, and Coronation Street, and guest appearances in Columbo, Dr. Terrible's House of Horrible, Midsomer Murders, and New Tricks.

Her early fame from The Avengers brought her an unlikely career milestone in 1990 when an infectious novelty single she had recorded with Patrick Macnee in the early Sixties, "Kinky Boots," became a dubious Top 10 radio hit at Christmastime. Some have described it as "embarrassing," but as far as I'm concerned both of those stars had enough infectious charisma to pull it off even if they're not really singers! (I'm also partial to the B-side, "Let's Keep It Friendly," about the characters' platonic relationship on the show.)

Blackman has also had a successful theater career, including productions of "The Sound of Music," "My Fair Lady" and "Cabaret," and a couple of touring one-woman shows. It was one of these performances that brought her into my out-of-the-way neck of the woods when I was in high school in the mid-Nineties. I took in the show, which was amazing, and then managed to meet her backstage. Blackman was the first Bond celebrity I'd ever met, and she did not let me down. She seemed genuinely happy to meet with fans, and gladly signed a Goldfinger trading card for this starstruck teen while regaling me with stories from her days on The Avengers. She even weighed in with a decidedly non-PC answer on a debate I'd been having at the time with a friend about whether Bond and Pussy's roll in the hay was truly consensual. "Darling," she told me, eyes sparkling, "it was Sean Connery. Any woman would have wanted it!"

That sparkle remained ever-present as she remained a public figured right up to the end, always reliable for some media appearances whenever a new Bond movie came out. She never turned her back on the franchise, or publicly showed any resentment for the "Bond Girl" label that followed her throughout her career. She also continued to be a cheerleader for The Avengers, despite having left the series just before its transition to film and color... and the American broadcast that cemented its global fame.

In Blackman's final episode of The Avengers (after her Goldfinger casting was already public news), Steed bade farewell to Cathy Gale with a typical request of a favor, beginning, "And as you're going to be out there anyway, pussyfooting along those sun-soaked shores..."

"You thought I might do a little investigating," she finishes, knowing him all too well. She demurs, asserting her well-earned right to a vacation. "You see I'm not going to be pussy-footing along those sun-soaked shores," she corrects her partner, "I'm going to be lying on them." Pussyfooting or lounging, Honor Blackman has certainly earned her trip to those sun-soaked shores. While more terrestrially, the modern spy genre forever owes her an enormous debt. Blackman was a true trailblazer, who transformed the role of women in the spy genre from femme fatales who relied exclusively on their sexuality to equal participants in the action, undaunted by superior force and unmatched in combat skills.

Federal News Network asked a panel of current and former federal executives for their opinions about 2023 and what federal IT and acquisition storylines stood out over the last 12 months.

The post From AI to zero trust, how 2023 will be remembered by federal IT experts first appeared on Federal News Network.

Location: Electronic Resource- 

I Remember and Demand. Recognise! Do not Keep Silent!

Jones’s musical legacy—and devotion to his Seattle roots—carries on. by Alexa Peters

In 2017, during a performance from local garage-jazz quartet Industrial Revelation at Upstream Music Festival, I noticed a commotion near the stage as people huddled around the VIP seats. I stood on my toes and looked—Is that Quincy Jones?!

While Jones, the legendary musician, producer, and alumnus of Seattle’s Garfield High School, had given a keynote address earlier in the festival, I didn’t expect to see the mastermind behind Michael Jackson’s Thriller sitting amongst the crowd. But there he was, shaking hands, taking pictures with fans, and even sharing generously with a young musician who asked him about score orchestration. Then, it was my turn to thank him. He grasped my hand and grinned, wrapped in one of his iconic striped scarves.

On Sunday, Jones passed away at his home in Los Angeles. He was 91. Though it’s been many decades since he lived in Seattle, and he was only a resident from 1943 until 1951, Jones continuously nurtured his ties to the city over the course of his life and inspired generations of local musicians.

“Sometimes, in today's musical world, there can be a level of superficiality, and Quincy was the opposite of that,” says Riley Mulherkar, a graduate of Garfield High School and rising jazz trumpeter who released his acclaimed debut record earlier this year. “[He had] mastery of the form at a young age—and then he was able to take that into all sorts of musical situations, and literally change the world.” 

Jones was born on March 14, 1933, in Chicago. After a tumultuous early childhood with his mother, who had schizophrenia, Jones’s father, Quincy Jones Sr., moved Jones and his brother to Bremerton, Washington. When he was 12, Jones began playing trumpet at Bremerton’s Coontz Junior High. 

In 1947, after Jones’s father remarried, he moved his sons, his new wife, and her three children, to Seattle. Jones started at Garfield High School and quickly met fellow student Charlie Taylor, who played saxophone.

Taylor was one of the sons of Evelyn Bundy, a trailblazing Seattle jazzwoman who formed one of the city’s first jazz bands in the 1920s. At Garfield, Taylor was ready to put together his own group. He invited Jones to become a member of his band, and Jones agreed, joining a cast of elite musicians at Garfield including Oscar Holden Jr. and Grace Holden, two children of pianist and Seattle jazz scene patriarch Oscar Holden.

After their first few gigs as the Charlie Taylor Band, Bumps Blackwell, a bandleader, songwriter, arranger, and record producer (who would go on to mentor Ray Charles, Ernestine Anderson, and Sam Cooke, among others), offered to manage them as the Bumps Blackwell Junior Band.

As Paul de Barros notes in his book Jackson Street After Hours: The Roots of Jazz in Seattle, the Bumps Blackwell Junior Band was a “focal point” in people’s memories of Jackson Street, which was home to a bustling jazz scene in the years around World War II until 1960. 

The time in the band was influential for Jones, too. Jones got to perform frequently, including opening for Nat King Cole at Civic Auditorium, and the group allowed him to befriend other notable musicians who worked on Jackson Street at the time, like Ray Charles or “R.C.”, who first taught Jones about arranging.

Jones left Seattle in 1951 to attend Berklee School of Music. He soon dropped out to tour with Lionel Hampton’s orchestra and eventually form his own band. From there, Jones’s career is one milestone after another. 

Some highlights from Jones’s career include working as musical director, arranger, and trumpeter in trumpeter Dizzy Gillespie’s band, becoming the first African American vice president at Mercury Records in 1964, composing film scores for dozens of films, composing for iconic TV shows including Roots, and serving as producer and arranger for top-tier talent including, of course, Michael Jackson. 

Jones also founded Quincy Jones Productions, an all-encompassing media and artist management company that helped jumpstart the careers of artists like Jacob Collier.

With all his accomplishments and fame, Seattle organizations have bestowed Jones with various honors, including Lifetime Achievement Awards from both the Northwest African American Museum and the Seattle International Film Festival. Likewise, Jones kept up his connection to the Emerald City, often supporting the local music scene and returning home for visits. 

As far back as 1959, when Jones was hired to form his own band, he hired musicians from Seattle he admired, including pianist Patti Bown, trumpeter Floyd Standifer, and one of his lifelong friends, bassist Buddy Catlett. 

Upon Catlett’s death in 2014, Jones tributed his “brother and bandmate” on Facebook, calling him “one of the greatest bass players to ever take the stage. From Charlie Taylor's and Bumps Blackwell's bands when we were starting out in Seattle to my Free and Easy tour of Europe, we traveled the world playing the music we love.”

Jones has stayed especially linked with Garfield High School. In 2008, when Garfield High School decided to name their freshly renovated performing arts center after Jones, he flew in for the dedication ceremony. As recently as last year, Jones donated $50,000 to Seattle’s Washington Middle School, which feeds into Garfield High School, to help keep their jazz program alive. 

“Today, I had the pleasure of visiting my old school in Seattle, Garfield High, and man did it bring back some memories!!,” Jones wrote in a 2017 Facebook post. “I can't believe it’s been 70 years since I walked these halls as a student...Moving to Seattle forever changed me for the better...and finding music here showed me that I could be more than a statistic...”

Mulherkar, like Jones, found music at Garfield High School, where Jones is now embedded into the lore of the school.

In 2009, as a high school junior playing trumpet in Garfield’s jazz band, Mulherkar had the chance to meet and work with Jones when the legendary producer came into their rehearsal. He conducted the students in a couple songs, including a swingin’ Jones original and one of Mulherkar’s favorites called “Stockholm Sweetnin’.”

“It was hard to even wrap our minds around, because there's Quincy Jones, the celebrity,” said Mulherkar. “It felt so special to have this personal connection to the man, as a Garfield student, as a trumpet player, and [as] someone who wanted to make my life in the music.”

Mulherkar, who now lives in New York, still finds it special that the beginnings of his career were so touched by the icon.

“As a jazz musician from Seattle who went to Garfield… I love that he was able to make such a tremendous impact starting from a place that, for me, is so relatable,” said Mulherkar.

Through Garfield students like Mulherkar, and the countless other artists Jones mentored as a producer and music executive, Jones’s musical legacy—and devotion to his Seattle roots—carries on. 

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