Jul 21, 2015

What Al Sharpton learned from James Brown that Donald Trump hasn’t--from the WashPo

What Al Sharpton learned

from James Brown that

Donald Trump hasn’t

By Jonathan Capehart July 21 at 1:08 PM

The Rev. Al Sharpton perfectly assessed the character of Donald Trump’s death-defying campaign for the Republican presidential nomination. “What plays at Lincoln Center don’t play at the Apollo,” Sharpton said about Trump. “And I think that he is an Apollo act in Lincoln Center.”

I asked Sharpton for his view of what’s going on with The Donald and why he’s doing what he’s doing at a meeting with editors and reporters at The Post this morning. There was no better person to ask. Sharpton and Trump are both New Yorkers who have known each other and done battle with each other for years. And they are both targets of and survivors of the Big Apple tabloids that make sport of high-flying folks like them. That’s why Sharpton’s assessment of Trump’s campaign and its future is as vivid as it is correct.

“When you run for president, in my opinion, you run either to win or you run to further a cause,” Sharpton said. He said he believes that Jeb Bush (R) and Hillary Clinton “are running to win.” The candidate for the Democratic presidential nomination in 2004 pointed out that “I ran to further a cause.” While he said he knew he wasn’t going to beat President George W. Bush in the general election or then-senator John F. Kerry in the primary for that matter, he said he ran because he felt issues “we wanted to raise like criminal justice and all were not going to be in the center stage if we didn’t have a candidate.”

What followed was a lesson imparted to Sharpton by James Brown, the legendary singer who was a mentor to the preacher and now-MSNBC host, that was so rich in imagery that I dare not chop it up into quotes. In short, Trump is a lounge act who hasn’t realized that he is now performing on the main stage. The rules are different. The expectations are higher. And his failure to make the transition will doom him.

Donald Trump is not running to win or [for] a cause. HE was the cause that furthered the branding and popularity of him and his businesses. So when you have somebody that does not have to, in any way, monitor or tailor what he’s doing based on gauging a win or gauging does it hurt a cause, you end up with anything goes. And anything goes has worked for him because he’s been basically a business slash celebrity slash cultural figure. What he does not understand is that does not apply in the political mainstream.

What plays at Lincoln Center don’t play at the Apollo. And I think that he is an Apollo act in Lincoln Center. I think that what worked in his tabloid, playing the New York celebrity thing does not work when you’re on a serious thing.

First time, I went to Vegas … [James Brown] took me there. And [he] said to me, “Reverend, let me tell you something. … There’s a difference between the lounge act and the acts that play the main room.” We’re at Caesar’s Palace. I’m about 19 – 20 years old.

And I said, “What do you mean?” And he said, “When you’re in the lounge, you’re competing with the bars and the barmaids and the slot machines and people gambling. So you do whatever you can to get attention. But when you’re in the main room, they paid to see a show. You’ve got to be ready. You gotta have choreography. You gotta be rehearsed. You gotta have polish.” He says, “When you get on the main stage, Reverend, whatever you did to get out the lounge don’t do that on the main stage.”

Sharpton said he never forgot that when he prepared to take the debate stage in 2004 with Kerry and other Democrats. “I didn’t get up there and say, ‘No justice, no peace,’” he said. “I’m at the main stage now.” Sharpton said not recognizing the venue change is Trump’s problem.

Donald Trump never made that [transition]. So in the assessment of that, why not take a shot at McCain? He’s ad-libbin’, freelancin’, lounge-talking anyway. And he doesn’t understand you are now on center stage. You can’t talk about McCain like you’re talking about the real estate guy bidding against you for a building in downtown Brooklyn.

So, he was probably surprised at the reaction. Why was he surprised? Because nobody called him on all the outrageous stuff he said about President Obama. [That’s because] he was the guy in the lounge talking about the president. Nobody called him when he was talking all this immigration, [because] he was the lounge guy in the lounge. He sitting up there with a presidential candidate [Sarah Palin] eating pizza with a knife and fork. It was a big cultural joke. But now you’re talking about BEING president. You’re on center stage now. That ain’t cute no more. And I think that’s what happened.

The latest Post poll shows that Trump has surged to a big lead in the GOP pack with support from 24 percent of Republican primary voters. Given that standing, I asked Sharpton, is there a danger that folks like the lounge act? He highlighted another significant number from the poll. The one that shows 62 percent of Americans said they wouldn’t vote for Trump for president. “Folks like the lounge act … because they’re sittin’ around drinkin’ a beer and laughing,” Sharpton said. “But if you go upstairs to get your wife to go to dinner, she’s going to want to go to the main room.”

“They’re not saying they want him to be president,” he said. “They’re saying I like him giving them hell. I like him talking trash.” But Sharpton said the message from that 62 percent is clear: “Oh no, I don’t want him to run the country!”

Follow Jonathan on Twitter: @Capehartj

Jonathan Capehart is a member of the Post editorial board and writes about politics and social issues for the PostPartisan blog.

Art Bell: The Smooth Talker is Back

The smooth talker is back and it is great to hear his voice...........

He is real talented at late night talk--he does not carry anger which comes through in his voice.

Art does not have a political agenda and is unbiased and he has the unique ability to make every guest and caller seem as if they are the most interesting person in the world.

To me he is a real gift for the listener because he is easy going and that is perfect for that time of evening.

There are many ways to listen to Art's new show, Midnight in the Desert......

This blogger and long time news talk radio listener heard Art Bell on the Kern Radio station out of central California--tuning into the station on the computer.

The evening before on the test show I went directly to Art's website and listened on the player link.

Many people listen on their i-phone.

Art Bell is taking calls from all over the world.

I guess the thing I like the most about Art Bell is his gift of genuine interest in the caller and subject matter, his easy going style--the man can handle anything--and the fact that he just lets folks talk without yelling at them or injecting hostility into the conversation.

Well done and good job, Art Bell.

The show is free.

here is a link to his website:

http://artbell.com/

here is a list of the radio stations carrying his show--hoping one in San Diego picks it up:

Radio Stations

Here are some real terrestrial radio stations that will pick up our show from our Internet stream and broadcast it over the air.

Shortwave:

Tennessee – WTWW – 5,085 khz

Maine – WBCQ – 7,490 & 9,330 khz

Toronto – CFRX 6,070 khz

Alaska:

Anchorage – KOAN 1080 AM / 95.1 FM

California:

Bakersfield – KERN 1180 AM / 96.1 FM

Fresno – KGED 1680 AM (Starting 9/28)

Loma Linda – KCAA – 1050 AM

Needles – KTOX 1340 AM

Kansas:

Kiowa (South Central) – KPAK 97.5 FM

Illinois:

Bloomington-Normal – WRPW 92.9 FM

Maine:

Monticello – WXME 780 AM

Mississippi:

Jackson – WYAB 103.9 FM

Nevada:

Pahrump – KNYE 95.1 FM

New Mexico

Albuquerque – KXKS 1190 AM / 107.5 FM

New York:

Amsterdam – WCSS 1490 AM

Johnstown – WIZR 930 AM / 102.9 FM

St. Johnsville – WKAJ – 1120 AM

Oklahoma:

Alva, (Northwest) – KPAK 97.5 FM

Oregon:

Portland – KXL 101.1 FM

Utah:

Salt Lake City – KTKK 630 AM

Virgina:

Forest / Lynchburg – WIQO 100.9 FM

Shawsville / Roanoke / Blacksburg – WBZS 102.5 FM

Gretna / Danville / Smith Mountain Lake – WMNA 106.3 FM

Canada:

Toronto, ONT – CFRB 1010 AM / CFRX 6,070 khz

copied from streamingmedia.com........

StreamGuys to Deliver and Monetize Online Radio for Dark Matter Digital Network, Art Bell’s Midnight in the Desert

Combination of dynamic ad insertion, audience measurement and robust cloud-based streaming architecture carve path to monetizing radio on the web

Bayside, California(7/20/2015) -Dark Matter Digital Network, a burgeoning online radio network focused on science, paranormal and related topical radio shows, has selected StreamGuys to provide all content delivery network (CDN) and live streaming services for its programming, including dynamic ad insertion. The appointment of StreamGuys as the network’s exclusive CDN and streaming partner coincides with paranormal radio legend Art Bell’s return to broadcasting. Mr. Bell’s new Midnight in the Desert program premieres this week, airing weeknights on Dark Matter Digital Network at 12 midnight ET.
Keith Rowland, owner of Dark Matter Digital Network and a longtime webmaster and engineer for Art Bell, has gradually built a live talent roster since launching the network in 2013. With the return of Art Bell and the addition of The Other Side of Midnight, a new show from Richard C. Hoagland airing immediately after Midnight in the Desert, Rowland sought to offload the growing responsibilities that come with a busier live streaming schedule—and a quickly growing audience.
A recommendation from TuneIn, the popular stream aggregator that will carry Midnight in the Desert via its mobile app, brought StreamGuys into the picture. StreamGuys quickly established a robust, cloud-based streaming architecture that can quickly scale up or down to accommodate audience sizes from show to show, along with redundant mp3 and AAC+ streams to accommodate most media players. Rowland also signed on for StreamGuys’ dynamic ad insertion service, ensuring a simple path to stream monetization without the burden of managing ad schedules and delivery.
“StreamGuys developed a strong combination of hardware and streaming infrastructure that covered everything from dynamic user numbers to ad delivery,” said Rowland. “They built a redundant server backbone to handle thousands of connections seamlessly, with automatic failover to backup systems as needed. It’s an intelligent configuration that can determine which server and data center location is best equipped to handle each connection. And the ad insertion service happens entirely server-side, which means we simply have to send a tone down the audio chain to trigger ads. They do all the heavy lifting, which removes the headaches of manual ad management from the client side.”
The monetization angle is especially important for Dark Matter Digital Network as a quickly growing streaming network. While 22 over-the-air radio stations in North America have signed on to pick up Midnight in the Desert from a relay stream, Rowland emphasizes that his operation is primarily an internet streaming network—a vision that he sees quickly gaining momentum.
“Increasingly, broadcasters who leave the corporate market recognize independent internet streaming as the next logical step,” said Rowland. “Even when Art Bell was on terrestrial and later satellite radio, more listeners were switching to a concurrent internet stream with each passing week. This was the next natural step for Art, and it’s exactly where we want to be as Dark Matter Digital Network. We can control everything we do, and streaming is a more exacting technology when it comes to financials. We understand our demographics, we know our audience numbers and we can monetize everything easily compared to the surveys and averages of terrestrial radio. StreamGuys is helping us achieve our monetization goals.”
About StreamGuys, Inc.
In business since 2000, StreamGuys is an industry-leading service provider of live and on-demand streaming, podcasting delivery, and SaaS toolsets for enterprise-level broadcast media organizations. The company brings together the industry’s best price-to-performance ratio, a robust and reliable network, and an infinitely scalable cloud-based platform for clients of any size to process, deliver, monetize and playout professional streaming content. StreamGuys supports many of the world’s largest Podcasts, global TV and radio broadcasters, video and audio production companies, houses of worship, retail and hospitality businesses, government organizations, medical and healthcare services, and live venues for sports and entertainment. The company excels in developing and deploying technologies for business growth and revenue generation, including dynamic ad insertion, mobile streaming and detailed business and data analytics.

# # #

StreamGuys, Inc - info@streamguys.com - www.streamguys.com - 707.667.9479
P.O. Box 828 Arcata, California 95518 - fax 707.516.0009

StreamGuys
Editorial Contact:
Brian Galante
207-494-8428
brian@dimensionpronline.com

Scenes from The Grape Street Dog Park, San Diego, California

http://theronnierepublic.blogspot.com/2014/05/south-park-san-diego-coyotes-go-to-dog.html

Jul 17, 2015

Art Bell Returns to Broadcasting July 20th at 9 PM Pacific

Art BellJuly 14, 2015 5:45 PM

PAHRUMP, Nev., July 14, 2015 /PRNewswire-iReach/ -- Wanna Take a Ride? Art is returning to broadcasting his famous nightly paranormal talk show, starting July 20th. The new show entitled "Midnight in the Desert" will be LIVE from 9:00 PM to Midnight Pacific, Midnight to 3:00 AM Eastern and will be streaming out FREE over the Internet at http://www.ArtBell.com bringing you the same great topics, same great music, Monday thru Friday.

You can also listen to Art Bell on your smartphone or tablet using the great TuneIn Radio app. Download the FREE TuneIn Radio app and search for and follow the "Dark Matter Digital Network." The new home for Art Bell. If you can't stay up to listen LIVE for FREE, you can become a Time Traveler and listen the next day or weekend. Go to http://www.ArtBell.com, click on the "Join the Time Travelers" link, and subscribe for a low price of only $5 a month to access the past shows. New show name, New digital station, same great Art Bell! Check out ArtBell.com and join us for the best in overnight talk radio.

Please SHARE the good news to all your followers. #ArtBell.com

Media Contact: Keith Rowland, Dark Matter Digital Network, (480) 454-1020, press@artbell.com

News distributed by PR Newswire iReach: https://ireach.prnewswire.com

Photo - http://photos.prnewswire.com/prnh/20150714/236253

copied from yahoo news

John Le Carre and His Mother and Father: Trying to find the Who What When Where How and Why

BY J.D. PODOLSKY

UPDATED 09/13/1993 AT 01:00 AM EDT

•ORIGINALLY PUBLISHED 09/13/1993 AT 01:00 AM EDT

IN THE OLD PORT TOWN OF PENZANCE, TEETERING on the southwest lip of England, the local fishermen like to refer to their most celebrated neighbor as the Master. A few miles away, in the Cornish hills, the master himself is ruminating on a bench outside his rambling stone house overlooking the Atlantic. But he isn't feeling all that masterful. At 61, with the publication of The Night Manager (Knopf)—his 14th novel and a kind of oblique confessional—David Cornwell, the man who writes as John le Carré, has just come in from the cold. "I have had to handle two lies in my life—the first, that I had never been a spook; the other, my father, whom I kept out of discussion," he says. "So I had two causes for silence, two evasions."

Like the shadowy world of espionage that his characters inhabit, Corn-well has led a life of closely guarded secrets. Only recently has he finally admitted that he had indeed been a Cold War spy for MI6, the British equivalent of the CIA. For years he had denied it out of loyalty to his profession, he says, but felt "released from that after a chain of former spooks had written their memoirs and thrown my name around."

The phenomenally successful author of such books as Tinker, Tailor, Soldier, Spy (1974) and Smiley's People (1980) has in recent years felt compelled to speak openly about his long-repressed rage toward his father,a high-living con man who drove his wife to abandon her family when Corn-well was a child. "I think that my great villains have always had something of my father in them," Cornwell says. His 1986 novel, A Perfect Spy, was a not so thinly veiled story about a son who decides to come to terms with his father's flimflam life and, as a result, must own up to his own amoral persona. In The Night Manager, the battered hero, Jonathan Pine, confronts a charming arms smuggler in the hope, says Cornwell, "of extracting some confession—I am evil, I do wrong, I kill people.' I always had the desire to hear the truth from my father for once—'I sinned, I steal. That's what I do for a living.' That's what I wanted most."

Cornwell was born in Poole, Dorset, in the tranquil coastal countryside that was the setting for Thomas Hardy's grim novels. His father, Ronnie, engaged in all sorts of shady real estate ventures—that is, when he wasn't squandering his money in Monte Carlo casinos or playing the horses in Ireland. Constantly in debt, he was jailed for insurance fraud, which inspired the boys' mother, Olive, to run off with a business associate of her husband's when David was 5 and his brother, Tony, was 7. From then on, Ronnie shunted David and Tony (now a retired advertising executive living in Taos, N.Mex.) between relatives and boarding schools. Under Ronnie's casual direction, the family moved often. "Tony and I never kept our friends, and I still have few today," says Cornwell. During holidays, a succession of his father's women friends looked after the boys—"proxy mothers," Cornwell says disdainfully. "Many lovelies."

At 16, David also ran away—to Switzerland, where he lied about his age to get into Bern University. To support himself he worked at "ridiculous occupations," he says, such as washing elephants at a zoo. For a few weeks—once when he was 16 and again when he was 22—he entered an Anglican monastery in Dorset for "contemplation" and even thought of becoming a monk. After two years at Bern, he was called up for service by the British Army in 1950 and assigned to the intelligence corps because of his fluency in German. Based in several Austrian cities, including Vienna, Cornwell interviewed World War II refugees and ran low-level agents into Russian-occupied Austria.

But his mother's desertion never stopped haunting him. At 21, Cornwell set out to find her. After locating Olive through her brother and sending her a letter, he arranged to meet her on a train station platform in Ipswich. "I didn't recognize her until she stepped forward, suddenly and quite eerily resembling my brother," he recalls. Of their two days together, Cornwell says only that Olive left him and his brother behind because she feared that otherwise their father would follow her. That explanation left him bitter and unsatisfied. "How could she do such a thing and just walk away forever? Can you explain it?" he says. "I don't have the answer." Cornwell saw his mother only a few limes after this reunion, though he took care of her financially in the years before her death in 1989.

After the army, Cornwell attended Oxford, where he met his first wife, Ann Sharp, and graduated with a first-class-honors degree in modern languages in 1956. (A natural linguist, he is also a crack mimic whose characters include Truman Capote, Margaret Thatcher and Alec Guinness, whom he met while Guinness was playing Corn-well's most successful character, George Smiley, on television.) Corn-well says he "cannot confirm, deny or refute" rumors in the press that he worked for army intelligence while at Oxford. But after two years of leaching at Eton, he did enter Her Majesty's secret service in 1958. "I had had a taste of the secret world," he says, "and it drew me back."

Cornwell refuses to disclose just what he did for MI6 during his three years in West Germany, except to say that it was "terribly undramatic." Perhaps, but the work did provide the grist for his writing. His spy masters allowed him to publish his first novel, Call for the Dead (1960), provided he use a pseudonym. He chose John le Carre (in French, "the square") because it was "optically seductive" and "in the spirit of intrigue" to have a three-piece name with a Continental ring. A Murder of Quality came out two years later, but it wasn't until 1963's The Spy Who Came In from the Cold that Le Carre became a sensation. (Graham Greene, himself a master of the genre, called it "the best spy novel I have ever read.")

Spy earned Cornwell enough money to quit MI6 and write full-time. But while his career progressed, his marriage crumbled. He and Sharp divorced in 1971, and he married Jane Eustace, now 53, who worked at his publishing house, in 1972. In addition to three children from his first marriage—Simon, 36, a television entrepreneur in London; Stephen, 33, a film director in Los Angeles; and Timothy, 30, a freelance journalist in Washington—he and Jane have a son, Nick, 20, at Cambridge. "Having absolutely no example of parenthood, 1 was a raw father at first," says Cornwell. "So it was a kind of intellectual discovery. But we have all stuck together and are great buddies."

Writing hasn't been quite as arduous. Good plots come fairly easily to Cornwell, though he subjects himself to rigorous self-discipline. Manager consumed a year's worth of globe-trotting research into the international arms trade and one year of writing. He begins each day in his study at 6:30 a.m.—or 4:30 "if the bricks are laid and the characters are sitting up and behaving, ordering me about:" At lunch he has a couple of glasses of wine, then lakes a 90-minute hike along the Cornish cliffs near Land's End. Meantime, Jane types his morning's work into a computer, and Corn-well reads it after having a shower and a Scotch. "Often some small character is trying to be bigger than he is, and you'll think, 'Shut up and we'll find a way of giving you a bigger and better life in a new book.''

One character who would not shut up was his father. His roguish traits and Cornwall's unresolved rage drove the author to unleash Ronnie's dominating figure fully in A Perfect Spy. "I tried for a long time to write about him," he says. "Finally, I was able to address it. When it was over, I fell an altered person. I felt as if I'd taken myself through some kind of wonderful, refreshing therapy."

Cornwell describes The Night Manager as "a story of an attempted patricide," but in the end he let the evil Roper, who represents his father, survive. "I fought with myself, and may have put the wrong ending on," he says. "You can never make people own up to what they are. But that's the way I think life is." (That seems to have been the case with Ronnie, who, after David became famous, began asking for loans and even ran up bills pretending to be his son. Conwell refused to attend his father's funeral in 1975, but he did pay the expenses.)

In addition to his town house in London's fashionable Hampstead, Cornwell is thinking of buying a place in ("you'll swoon") Miami or, perhaps, Washington, D.C., to be nearer to his children. Other than some "uninformed" birdwatching along the cliffs and drawing caricatures while telling stories to his five grandchildren, he doesn't act like a man with retirement in mind. "I feel very bouncy. I'm not thinking, 'Oh, crikey, how do I get out of bed in the morning?' " he says. "I think much more of getting the books in while I've still got lime, while the yeast is still working."

Meantime, it seems the Master is finding some surcease from his furies. "This feeling that you can never dismantle monstrosities was bred in me from childhood," he says. "I began life as a pretty ruthless person, but now I feel more confident. I'm much more at ease with myself."

J.D. PODOLSKY
JOHN WRIGHT in Cornwall

copied from people.com

some other stories from the ronnie re:

The Debt...When terrible, abusive parents come crawling back, what do their grown children owe them?

Why I Want To Divorce My Mother and Marry My Cat

Jul 21, 2015