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Breakfast Club [Hindi] (1985) - Dubbed
Breakfast Club [Hindi] (in Dubbed Hollywood Movies)
Breakfast Club [Hindi] (1985) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Breakfast Club [Hindi] on your mobile, tablets and ipads
Plot: Beyond being in the same class at Shermer High School in Shermer, Illinois, Claire Standish, Andrew Clark, John Bender, Brian Johnson and Allison Reynolds have little in common, and with the exception of Claire and Andrew, do not associate with each other in school. In the simplest and in their own…
Starcast: Emilio Estevez, Paul Gleason, Anthony Michael Hall, John Kapelos, Judd Nelson
Director(s): John Hughes
Genre: Comedy, Drama,
BluRay (Uploaded on: 16 Aug 2019)
Breakfast Club [Hindi] BluRay 480p.mp4
The cream of the crop in 80's fare. (by RueMorgue)
This movie is one of the best, if not THE best, 80's film there is. The fact is, every teen character in this movie can be related to someone we knew in high-school. As a child of the 80's, I can honestly say that this is a representative cross-section of every high school in North America. The geek, the jock, the outcast, the rich pretty-girl snob, and the future criminal. They all exist, to some degree or another, in the classrooms of every high school on the continent.What makes this film rise above the rest is the character development. Every character in this film is <more>
three-dimensional. They all change, in one way or another, by the end of the film. Whether or not things remain the way they are long after this film ends is unknown, and that adds to the rama. The most important scene in this film is when the characters, as a group, all open up to one-another and describe the hell that their daily school routines are in a personal fashion. Nobody likes the role they must inevitably portray in the high-school scene, but the fact is, it is often inescapable. This film gives the viewer some insight into how the other people around them might have felt during that particular time in their lives.Each of the main characters in this film shines, but Judd Nelson John Bender and Emilio Estevez Andrew Clark rise above the rest. Simply put, these two actors each put their heart and soul into their respective characters, and it shows.At the end of the film, the viewer is left to make their own conclusions as to how things will carry forth. And I'm sure that most people will do that. This is one movie that left me feeling both happy and sad for each of the characters, and it isn't easy to make me care about a film in that way. Even if you aren't a fan of the 80's genre, this isn't one you would want to miss.My Rating: 10/10
One of the best movies ever (by brs5261)
After reading some of the negative comments made about this movie, i decided to make some of my own. Yes, to younger viewers,this movie will appear to be outdated. The only thing "outdated" is the clothing styles and the music. It doesnt matter what year you went to high school or what school you even went to, there will always be a "criminal", a "jock", a "princess", a "nerd", and a "basket case". This movie is the best teenage movie, no matter when you are a teenager!
One of my personal favorite comedies. John Hughes strikes again! (by MovieAddict2016)
Parents have never understood the youth of the world. Elvis used to be evil. Now he's too tame for modern music enthusiasts. Just imagine how tame Eminem will seem years from now. And as a scarier thought, who or what could be worse than some of the singers on today's market?John Hughes is locked in a time capsule, still bearing the mind of a teenager, and he is able to tap into these feelings of teenage angst. That is what separates "The Breakfast Club" from, say, "The New Guy," or one of those other stupid teen films of recent years.And the jerk, played by Judd <more>
Nelson, isn't meant to be cool. He is a jerk, and if older viewers took the time to pay attention to the film, they would perhaps realize that the point of the film, from the very beginning, is to establish that this so-called jerk is only acting like one to get attention. Because he is obviously shunned at home. He's an outcast. And unlike other films that refuse to establish their characters, "The Breakfast Club" introduces him as a jerk, and proceeds to explain why he is that way. This is what makes this movie tick.I knew a kid like Bender Nelson once when I was in school, and generations of kids continue to go through the exact same things. Once they reach a certain age, though, it seems as though all adults suddenly break away from the teenage emotions. John Hughes never did, I guess. Although he certainly tapped into adult behavior with his best film, "Planes, Trains and Automobiles" [1987], a welcome introduction to Hughes' adult comedy, hinted at in "Vacation" [1981], which he wrote. The film opens with a quote from David Bowie that just about sums the entire film up. We are introduced to five kids spending eight hours of detention at Shermer High School in Illinois. They are: Andrew the Jock Emilio Estevez , Brian the Nerd Anthony Michael Hall , Bender the Criminal Judd Nelson , Claire the Princess Molly Ringwald , and Allison the Basketcase Ally Sheedy . They are looked over by the school principal Paul Gleason , who assigns them the task of writing a report on why they are here in detention and what they did to get there.To say that the outcome is predictable is an understatement. We know who's going to get together with whom from the beginning, but getting there's all the fun. Watching the characters come to appreciate their differences and learn that they're more than just billboard examples of angry teenagers is more than half the fun.Teenagers are not as unaware of who they are as some people always think. John Hughes knew this, and deliberately tapped into this state of mind as no other director has done before -- or since, for that matter. Sure, they've tried. Hughes' "Ferris Bueller's Day Off" was just about the only other film that tried to show teenagers as something more than stupid hormone-crazy rambunctious adolescents, but as young adults who were trying to grow up fast -- the scene where Ferris and Sloane pretend their water is wine is good evidence of this. Hughes' teenage characters were not the clichés they are now when "The Breakfast Club" came out in 1985 -- this film has proved to be the steeple of teen clichés many of them poked fun at in "Not Another Teen Movie," which features a cameo by Ringwald . Think of "2001" or "Halloween" -- the drifting spaceships and psycho killers chasing sex-hungry teenagers is now routine, but it wasn't then. The Jock, The Nerd, The Criminal, The Princess, and The Basketcase weren't clichéd back then, either -- although Hughes purposely chose these references to the characters in order to let Brian, The Nerd, say that they were more than just that in the beginning of the film when he's reading his essay in voice-over narrative.I seriously doubt whether this film is any better than the work of Coppola, Cortiz, Kurosawa, Scorsese, Welles, et al. If I were assembling a list of "the greatest movies ever made," I'd never include this.But sometimes the greatest films aren't just the films that are technically perfect, but those that connect to you on one level or another. I know that my all-time favorite comedy "Planes, Trains and Automobiles" may not be considered better than something such as "Some Like it Hot," but that film doesn't affect me the same way. I either don't connect with the story, the characters, the feelings, or I just don't appreciate the film as a whole. I appreciate "The Breakfast Club" in many ways, and for that reason it will always be considered one of my favorite films. Even if it is kinda sappy.
The movie that made detention and high school a little cooler (by Smells_Like_Cheese)
I really did enjoy "The Breakfast Club", and I can truly agree with people that this is a classic. There is a main reason why I liked this movie and it's not because of the acting or the way it was made.I'm a high school graduate Class of 2003 , and after high school you really take a look at what your years were like. Were you a jock, cheerleader, nerd, weirdo, junkie, party girl/boy, pretty, ugly, skinny, fat...? It goes on and on. Either one of these roles we were in high school and we did get harassed at least once by someone and all you could think was "Why <more>
me?". This movie helps point out what the problems were, everyone has their own problems and pressures and take it out on other people. While the kid who pulled a knife on you might go home and have his father beat him almost to death. The nerd you knocked the books out of their hands, might go home to parents who are pressuring them to get the best grades they can and put their social life behind. It continues and high school is always going to be like that, sorry to those who are still in school."What will happen?" "You mean on Monday?" They whole time during that monologue between the kids at the end, I kept on thinking, and they'll go back to their regular lives afterwards.I will always recommend "The Breakfast Club", because you will have a true taste of what high school is like.9/10
Never judge a book by it's cover. (by aleavellx)
The main setting of "The Breakfast Club" is at Shermer High School, specifically in the library on a Saturday morning. The library is an important aspect in the setting of this movie, because it provides a parallel with the dialogue. The script of this movie is heavily laden with dialogue and the spoken story of each character, similar to the books, writing, and words that fill the library shelves. Another important aspect of the library is the quiet nature of the space, putting the focus entirely on the characters and their issues. With no other noise or distractions, the central <more>
focus of the film is clear.An important character to consider that is often overlooked is the assistant principal, Richard Vernon. Throughout the film he is portrayed as a villain of sorts, out to get the group of students being punished that particular Saturday. Completely unable to relate to his students or any of their situations, he only sees what is on the surface. It is pointed out by the janitor later on in the plot that while Vernon assumes the students are the problem in his lack of understanding the new generation, he never bothered to look closer and realize it was he who had changed. This plays a major role in the overall theme of the movie, which is the inability to see past the surface of a problem or character and judge solely by a look.A pivotal scene for the five students locked away in detention is the group discussion they have about why they came to Saturday detention. Although it is obvious that it is pivotal because they are opening up, but it is also pivotal in the mood of the film as well. Before this scene, many, if not all, of the interactions between the characters were cold and isolated, making the movie seem tense. As the characters begin to open up, the feel of the movie transitions to an easier, lighthearted feel that pulls the audience in to the escapades that begin to occur. Not only has it changed the relationship between the characters, but it changes the mood of the rest of the movie.The lunches that each character eats are representative of each of their respective parents. Claire eats a fancier meal than the rest, Andy's food is loaded with carbohydrates and calories, Brian's lunch consists of a crust-less peanut butter and jelly sandwich, Allison's bologna which she discards to replace with candy , and Bender, who has no lunch. Each meal represents the parenting style of each teenager, such as Allison's discarding of part of her sandwich signifies the way they ignore her, giving her the freedom to do whatever she wants. The writing in this movie is realistic and plausible, seeing as it is an everyday occurrence for us to judge others solely by what is on the outside. The slow reveal of the inner struggles and personal demons of each of the characters is realistic, coming slowly and in pieces, each filled with emotion. It is obvious that many of the characters do not wish to open up, which is very typical of someone dealing with their own issues. The inserted lines of dry and sarcastic humor lighten the mood when it is necessary, just as some situations require and easily remind us that they still are, in fact, teenagers. The writing is very symbolic of the things that can happen to every day high school students, although perhaps not as extreme, it serves as a guide for those moments that we all have had some sort of experience with.An aspect of grouping in this movie is shown by the colors of the characters. Red for Bender, blue for Andy, pink for Claire, green for Brian, and black for Allison. These colors play into the stereotypes that they are portraying, further signifying the outer appearance contradiction that the characters struggle with. A smaller grouping is the group of teenagers, and the adults. The stark contrast between the two age groups, both physically separated and emotionally, magnifies the generation gap and the lack of ability to understand one another.The aspect of judgment plays a large role, especially in the beginning where each character has made specific judgments against their peers. Applying that to the whole, judgment becomes the main theme that motivates them as characters, as well as how easily judgments can be changed. In watching this, I see media messages that have changed over the years. The message that this film delivers is one that can be forgotten easily, but this movie is a nostalgic reminder to never judge a book by its cover.John Hughes was the king of successful movies in the 1980's, with this movie being at the forefront of his laundry list of hit films. Seeing as how many movies were based off this movie and others like it, "The Breakfast Club" is a teen drama that has become the stereotypical teen drama. The storytelling techniques, such as the ability to show the progression of these characters in a single day, and revealing character complexity is something seen even recently, in shows like "Community."The storytelling technique used by this movie was a unique choice, one that is not often seen. It is easy to forget that sometimes and entire story can happen in just a matter of hours in your life, not over a long span of time. This technique is adding to my ability to comprehend the realistic nature of cinematic storytelling by proving that you do not need to show weeks or month of passing time to have a story with impact."The Breakfast Club" uses its title to emphasize the reason why it is so important not to judge something strictly by what you see.
I Love It! (by zyzyha)
*CONTAINS SPOILER* I've wanted to see this film for ages and when I watched it today I wasn't disapointed. It joins Pretty In Pink as one of my favourite ever movies. Being sixteen I was born in the year The Breakfast Club was released but I found it just as relevant to me now as it was to teenagers in the eighties. Sure, some of their problems seem a little pathetic but on the whole I think everyone can identify to someone in the film at some point. Judd Nelson and Anthony Michael Hall give especially good performances, I think, though all the acting is good. I thought Breakfast Club <more>
was really funny and I was really impressed by it. It's certainly better than most recent teen films such as She's All That. One thing I thought was a bit crap was Ally Sheedys makeover at the end. It seems a bit shallow and like in the end she decided not to be herself and conform. Aside from that though I loved it and gave it a 9/10.
You pay after you play. (by michaelRokeefe)
One of the best if not the best brat pack flick. John Hughes writes and directs this dramatic comedy about five Chicago high school kids that are from different circles and stations in life being forced to spend a Saturday together in detention. Before the day is over this group finds out that they have more in common than they thought and even some friendships are created. The very impressive cast includes:Emilio Estevez, Ally Sheedy, Judd Nelson, Anthony Michael Hall and Molly Ringwald. Paul Gleason plays the hapless teacher trying to contain the group and then there is John Kapelos as the <more>
custodian. This is a don't miss and is fun to watch over and over again. Spit that gum out and remember to ask for a hall pass.
Sweet! One of the best film of the time (by Quinoa1984)
The Breakfast Club fits it's generation like a glove. Today, it is a classic in teenage film-fare that shows a group of 6 who wind up in detention on Saturday and it changes they're lives. The group- Emilio Estevez: the jock, Judd Nelson: the punk, Molly Ringwald: the princess, Ally Sheedy: the basket case and Anthony Michael Hall: the brain . These 6 talented people bring the best out of John Hughes' script. This was their breakthrough, and so was it for 80's movies. A+
Five teenagers are forced to stay in a room together and we learn so much about them.... (by cleary-joshua)
Placing a small group of characters in a single setting for the entire running time of a movie is clever narrative technique – it forces them to talk to each other, and through this, we learn more about those people through their speech, mannerisms and interactions with each other. The concept of "The Breakfast Club" is exactly that. Five teenagers from all walks of society are forced to stay in a room together, and through this they bond and we learn so much about them. And it's also funny, nostalgic and a movie that only John Hughes could have pulled off well.The five <more>
characters are high school stereotypes, and I think there's one of them that each of us relate to. There's the jock, the rebel, the psycho, the prom-queen and the geek, and they all think they're so different from each other. At first, they argue and fight during their detention. Eventually, though, they realise that they're not so different, and actually have a shared hatred – the authority which is keeping them in detention. We see them rebel together, get high and reveal their darkest secrets. It manages to be charming and funny while never reaching cliché. Where Hughes is a master is character development, and he shows us how the characters are bonding and developing without being too preachy.The script and direction is very well managed, with John Hughes tapping into the teenage mentality perfectly. What's odd is how timeless the film is, with little having changed in school character-types over almost 30 years. The acting is also great, with Judd Nelson and Anthony Michael Hall giving especially strong performances. The film's focus on teenagers also gives a message about the problems of adults, and the one major adult character in the film, played by Paul Gleason, is also one of my favourites. He is written really well as the antagonistic vice- principal, and Hughes succeeds well in allowing the teens to usurp him, but not too easily.The one main flaw that the film has is in its single setting. It works for the majority, but there are definitely times where it lags and feels trapped by the confines that it has set itself. There is not much action in some parts, and the dialogue doesn't always carry it through. That said, it's funny and enjoyable, and an important piece of film for any adolescent to see. There's something for all of us to learn in the adventures of "The Breakfast Club".

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"Come on in." The look in his eye stirred something in my middle, as if he'd issued a challenge.
I dove in. Under water, my hazy mind cleared. My limbs felt alive. I broke the surface rejuvenated. "Oh my goodness. I feel amazing." I blinked salt water from my eyes.
"I'm glad." Liam treaded water, closing the space between us slowly.
My fingertips traced the white scars on his chest. "Do you mind?" I glanced into his eyes, barely able to break focus on the luminous lines over his chest. They called to me. Whether because their shape was so familiar or because it broke my heart to think someone had carved into him this way.
"No. I don't mind." His breath shuddered over the words. "How do you see the runes?" His fingers encircled my wrist, stopping my hand against his skin.
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IPS Istanbul takes place at Tüyap Fair and Congress Centre in Istanbul, in the heart of Turkey. Tüyap is located in Beylikdüzü/Büyükçekmece and it is easily accessible by bus or car. It takes nearly 25 minutes from the Istanbul International Atatürk Airport and is a 45 minute drive from Taksim Square, the city centre.
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Liberty Quay Studios is a modern student accommodation located on Stepney Lane in Newcastle. You will be extremely centrally located with the city centre only 10mins away and Newcastle University and Northumbria University less than 15mins walk from the property. Choose from a range of completely self-contained Studios or if you are looking for more space you will enjoy living in the Superior Apartment as well. The property boasts of great facilities as the Gym, Social Spaces, BBQ Area, Outdoor Spaces, Bike Storage and plenty more.
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City studios are perfectly designed for students who want all privacy and no sharing facilities. These studios facilitate a double bed, ensuite bathroom, study desk, fully equipped private kitchen and plenty of storage space. The studio measures approx 16sqm in size and are well to ensure comfortable stay for the students.
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Microsoft Corp. has picked up a new weapon in its Internet search duel with Google — full access to Twitter's communications hotbed. The partnership announced Wednesday represents a coup for Microsoft as it tries to spice up its Internet search engine, Bing, in its long-running attempts to lure traffic from Google. A test version of Bing's Twitter feature debuted Wednesday.
If the alliance pans out the way Microsoft envisions, Bing will become the best way outside of Twitter's own Web site to find out what people are saying in their Twitter messages, or "tweets." The messages, consisting of no more than 140 characters, can be posted from Internet-connected computers or mobile devices, enabling people to share mundane details about their lives or intriguing news and commentary from all over the world.
It's the kind of information that Google's search engine, far more popular than Bing, can't currently provide.
"We think this is one of the first times that a search engine will be differentiated through access to content," J.P. Morgan analyst Imran Khan wrote Wednesday in an analysis of the deal.
Just how much Microsoft is paying Twitter for the rights to the tweets wasn't disclosed.
"There is a revenue component to this deal but we've yet to see how significant that will be," Twitter Chief Executive Evan Williams wrote in a Wednesday e-mail to The Associated Press.
Microsoft shares gained 21 cents Wednesday to close at $26.58 while Google shares fell 62 cents to $551.10.
In a sign that it intends to offer other ways to probe into people's mindset, Microsoft also said it is working on a deal for Bing to index at least a portion of the updates posted on Facebook — an online hangout with more than 300 million active users around the world. That's about six times the size of Twitter's global audience, but more Facebook users restrict who can see their updates than Twitter users do.
Qu Li, the head of Microsoft's online division, mentioned the Facebook negotiations before making the Twitter announcement, but said further details won't be available for some time.
Facebook already has a business relationship with Microsoft, which provides Facebook's search results. Microsoft spent $240 million two years ago to acquire a 1.6 percent stake in Facebook.
The Microsoft deal may be a financial breakthrough for Twitter Inc., which hadn't generated significant revenue since its 2006 inception. Twitter is possibly under more pressure to start making money because a group of investors just poured $100 million into the company and will be looking for returns. The deal valued Twitter at about $1 billion.
The rights to index the millions of tweets posted on Twitter are considered to be among the San Francisco-based startup's most prized assets.
In a blog posting, Twitter co-founder Biz Stone indicated the Microsoft partnership isn't exclusive — a factor that might have limited the amount of money paid.
"We hope more working relationships with organizations in the search business will mean even more variety for users," Stone wrote.
Khan predicted Google eventually will pay Twitter to gain better access to tweets, too. Google didn't immediately respond to requests for comment.
Williams has previously acknowledged discussing a variety of possible deals with Google. Williams sold one of his previous startups, Blogger, to Google in 2003 for an undisclosed amount.


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Feast Your Ears on New Music: Our November Concert Guide
Posted on October 31, 2018 by maestrobeats
Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between!
Keep an eye out for our flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you'd like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and tag it with "new music."
November 2018 New Music Flyer
Wayward Music Series
Concerts of contemporary composition, free improvisation, electroacoustic music, and sonic experiments. This month: spatial explorations, dramatic incantations, sonic meditations, and a whole lot of drummers.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15
Creativity in Hard Times: The Federal Music Project of the 1930s
Pianist Leslie Amper presents a multimedia lecture-recital telling the story of President Roosevelt's Arts Initiative. The performance includes images, historic recordings, and piano performances of music by William Grant Still, Ernest Bloch, Henry Cowell, Roger Sessions, Ruth Crawford, and Aaron Copland.
Thurs, 11/1, 7:30pm, UW Brechemin Auditorium | FREE
Seattle Modern Orchestra: The Invisible
The depths of the unknown are explored in this program of sobering works ranging from George Crumb's Eleven Echoes of Autumn to Chinary Ung's Still Life After Death. Music by Yigit Kolat and Rebecca Saunders complete the program.
Thurs, 11/1, 8pm, Good Shepherd Chapel | $10-$25
Pacific Northwest Ballet: All Premiere
Haunting sounds from Dustin Hamman, King Creosote & Jon Hopkins, Ólafur Arnalds, and Nils Frahm form the basis of Silent Ghost, a new PNB premiere with choreography by Alejandro Cerrudo. It's presented alongside performances featuring the music of Michael Giacchino, Haydn, Beethoven, and Schubert.
11/2-11/11, Various times, McCaw Hall | $37-$189
Hanna Benn. Photo by Mallory Talty.
Seattle Collaborative Orchestra: Sankofa
In the Twi language of Ghana, 'Sankofa' translates to "Go back and get it." It's also the title of Hanna Benn's musical meditation on the ways in which our heritage shapes our future. Seattle Collaborative Orchestra performs the piece alongside world premieres by Northwest composers Julian Garvue and Makenna Carrico.
Fri, 11/2, 7:30pm, Roosevelt High School Theatre | $10-$20
Sæunn Thorsteinsdóttir with the UW Symphony
Schelomo (Hebraic Rhapsody) was the final work in Ernest Bloch's "Jewish Cycle," a series of compositions exploring his musical and religious identity. The fiercely lyrical cello solo, performed here by Sæunn Thorsteinsdóttir, was envisioned as the incarnation of King Solomon, with the orchestra representing the world around him. Music of Hindemith and Brahms complete the program.
Fri, 11/2, 7:30pm, Meany Theater | $10-$15
Cellist Sæunn Thorsteinsdóttir.
Music of Remembrance: 20th Birthday Celebration
For the past two decades, Music of Remembrance has honored victims of the Holocaust through music. In this special anniversary performance, they are joined by guests from Spectrum Dance Theater and the Northwest Boy Choir for an evening of opera, dance, choral, and chamber works.
Sun, 11/4, 4pm, Nordstrom Recital Hall | $55
Cornish Presents: Gamelan Pacifica
The sacred echoes of gongs, chimes, and wide-ranging percussion make up the traditional gamelan ensembles of Indonesia. Gamelan Pacifica honors and expands upon that history with a unique blend of traditional and contemporary musical forms.
Sun, 11/4, 7pm, PONCHO Concert Hall | FREE
Bremerton Symphony Orchestra: From the Silver Screen
Sci-fi fans rejoice! This concert of classical music from the movies features a triad of pieces from 2001: A Space Odyssey, including György Ligeti's haunting Lux Aeterna, Johann Strauss's The Blue Danube, and the opening of Richard Strauss's Thus Spoke Zarathustra. Plus, music from The Godfather, ET, and more!
Sat, 11/10, 7:30pm, Bremerton Performing Arts Center | $10-$28
Meany Center Presents: Brooklyn Rider
A string quartet for the 21st century, Brooklyn Rider explores the healing properties of music in this concert of brand commissions from four of today's top composers (all of whom happen to be women): Reena Esmail, Gabriela Lena Frank, Matana Roberts, and Caroline Shaw.
Tues, 11/13, 7:30pm, Meany Hall | $40-$48
Brooklyn Rider.
Black Violin.
STG Presents: Black Violin
It's not everyday you see a hip-hop duo playing classical instruments—but violinist Kev Marcus and violist Wil B. are redefining both genres. They bring their unique brand of "classical boom" to the Paramount Theatre.
Thurs, 11/15, 7:30pm, Paramount Theatre | $31-$61
Philharmonia Northwest: Seattle Sounds
The sounds of the Pacific Northwest take center stage in this concert of music by contemporary Seattle composers. Hear William Bolcom's jazzy Seattle Slew Suite, Ken Benshoof's lyrical Concerto for Cello and String Orchestra, and the world premiere of Sarah Bassingthwaighte's enchanting Sleeping in the Forest.
Sun, 11/18, 2:30pm, St. Stephen's Episcopal Church (Seattle) | $15-$20
UW Percussion Ensemble: Percussion Music as Revolution
The visceral energy and powerful sounds of percussion ensemble are on full display in the U.S. premiere of Yiheng Yvonne Wu's Violent Tender, performed alongside Edgard Varèse's groundbreaking Ionisation and Philip Schuessler's The Glass Abattoir for speaking percussion ensemble, among other works.
Fri, 11/30, 7:30pm, Meany Theater | $10
Emerald City Music: The Daedalus Quartet
Beethoven's infamous Kreutzer Sonata (and the dramatic tale behind it) form the basis of this concert exploring how the Kreutzer theme inspired future composers. String quartets by Leoš Janáček, Sergei Taneyev, and Tchaikovsky are performed alongside a quartet arrangement of Beethoven's original Kreutzer Sonata.
Fri, 11/30, 8pm, 415 Westlake | $45
Posted in Announcements, Concerts, Events, New Music Flyers, West Coast	| Tagged Black Violin, Bremerton Symphony Orchestra, brooklyn rider, concert flyer, daedalus quartet, Emerald City Music, gamelan pacifica, hanna benn, meany center, music of remembrance, new music, November, pacific northwest ballet, saeunn thorsteinsdottir, Sankofa, seattle modern orchestra, uw percussion ensemble, UW Symphony	| Leave a reply
Women in (New) Music: Celebrating the Treemonishas in Classical Music
Posted on February 16, 2017 by maestrobeats
Education as salvation is the major theme of Scott Joplin's 1912 opera Treemonisha, the powerful tale of a young African-American woman who protects her community against those who seek to take advantage of their systemic lack of education.
It's a theme that continues to influence art and music of today, as over a century later we find ourselves still grappling with the far-reaching effects of slavery and the oppression of the African-American race.
This Saturday and Sunday, the North Corner Chamber Orchestra (NOCCO) presents RESONANCE: a concert celebrating the voices of African-American composers who have, across history, given a musical voice to the strength, power, and perseverance of their communities.
The concert program features the overture from Joplin's Treemonisha alongside brand new works by two local artists: composer Hanna Benn and conceptual artist C. Davida Ingram.
Benn's new work for chamber orchestra, titled Sankofa, is a spiritual reflection on the music and influence of African-American women composers across history. Ingram's piece is an illuminating lyrical/visual essay about modern day Treemonishas: women of color who are powerful leaders of their communities. Also featured on the program are evocative works by Alvin Singleton and George Walker.
To find out more about what's in store, we spoke with Hanna Benn and C. Davida Ingram about music, race, today's Treemonishas, and the importance of education:
Second Inversion: What was the inspiration behind Sankofa, and what does it sound like?
Hanna Benn: "Sankofa" is a word in the Twi language of Ghana that translates to "Go back and get it," as in we must go back and understand our heritage in order to go forward.
This piece is very meditative and reflective. I imagine it sounds like the meditation I've been in for the past several months of musing, reflecting, and doing research on black American composers—really finding inspiration from them. It was like subconsciously asking for guidance from my ancestors.
SI: What story does your piece tell? What are the major themes and ideas at work behind the music?
HB: Sometimes for me, it feels like speaking is not my first language, and so when composing music or writing a piece, once I'm finished, I have a hard time articulating what it's about. It's almost like being in a trance—I have no memory of it anymore; it's gone. But this piece came from somewhere—it came from the inspiration, history, and music of these women.
The reason why I actually titled the piece "Sankofa" was that sentiment of asking my ancestors for help so that I might understand more about myself, looking inward. The piece sounds somewhat reflective and introverted in nature. I have six different movements, and there isn't a narrative to the piece but they are these six poems, almost—six states of being:
Mvt. I: Inward Gazes the Spirit
Mvt. II: May I Come Back to Me
Mvt. III: Divide
Mvt. IV: Walks with an Offering
Mvt. V: Joy Submits and It Repeats
Mvt. VI: My Beloved Speaks
"My beloved" we usually say when we're speaking of God or a higher being, but with this piece I'm speaking to my higher being. When I say "my beloved," it's like a love poem to myself. So Sankofa, you must go back and get it—it's this love, this loving of the self and truly understanding oneself.
In one of his poems, Rumi says, "You must be as wide as the air to learn a secret," and it's this gesture of knowledge and understanding in order to move forward.
SI: How did writing this piece stretch you as an artist and musician?
HB: I have written for orchestra before, however this ensemble is completely different because they do not have a conductor, and so they have this beautiful process of hyper-listening. If there's no conductor, they have to have more faith in each other, and it asks for more communication all around.
On a larger scale, it is such a crucial time for us to listen and to be present and open. I believe this concert is very special because of that—not only the material we will be performing, but the balance and the lack of hierarchy in this ensemble and the example it sets for others.
SI: In what ways (if any) do you feel that being a woman of color has shaped your experiences as an artist? What advice do you have for other female-identifying artists who face similar prejudices?
HB: One hundred percent, it shapes me. It is important, as a woman, to never forget that beautiful part of you. I am very proud and in love with the vessel that I carry and I think one hundred percent it shapes my experience and my outlook and what I write.
Me being a woman and me being a woman of color is my music, because that is who I am. I would encourage other women to not let go of that, because it is very precious.
SI: What do you find most inspiring about this NOCCO program?
C. Davida Ingram: The artists who I found most inspirational in RESONANCE were Hanna Benn and Scott Joplin. Their music speaks to me in different ways: Hanna because of her virtuosity and polyrhythmic cadence—she sort of feels like if you could listen to all of the those ways Our Lady of Theresa was having jouissance because of her ecstatic love affair with the divine—and Joplin because he gave me the gift of an intersectional feminist story that is set in the first Redemption as we go through the second Redemption that is delight to the ear.
I wrote that his overture in Treemonisha "explains why black joy matters. This opening melody sounds like rushing in of something that has the feel of dancing in sunshine with a blazingly open heart."
SI: Can you tell us a bit about the lyrical/visual essay you are sharing? What was the inspiration behind it?
CDI: I fell in love with Treemonisha after I learned about Joplin's piece for the NOCCO show. Heather Bentley sent me a book with discs of the music and I sort of went into the Matrix—complete with a very vivid dream of an ancestor who looks a lot like Scott Joplin walking me down a pink stair.
Because of the spiritual way that Joplin's piece moved me, the central figure of Treemonisha became in a way a muse for me, and also a way of giving a meditation on the black song book. James Baldwin's fictional gospel singer Arthur Montana cries: Look what you done to my song. I follow that directive.
Personally I took this project as an opportunity to reflect on how indebted I feel to black educators on one hand—that particular subject is close to my heart. My mother is an incredible teacher and finished her PhD on how black students and their families think about the opportunity gap they face.
And on the other I am considering what white people do not know about whiteness. I feel very historical, at this moment, when I think about race in America—not as something that must always define the present but as something that is simply good to know about human behavior, and as an aftereffect.
For example, did you know in Antebellum Virginia there was a law that white human traffickers could give 20 lashes of the whip to kidnapped Africans that they enslaved if the latter were found reading or writing? Think about that. It's the sort of thing that gives Treemonisha a resplendent repose and riposte. Black master teachers make maps to freedom—always have, always will.
So my mind's eye went looking for the "Treemonishas" in my life—the community-building educators, those who believe in restorative justice, the feminists who believe women of color can lead (these are all part of the story of Joplin's Treemonisha).
I was lucky to have a gifted educator as a mom. Sometimes I cringe when people call me 'articulate' after I speak. However, I also know a portion of what they are seeing is a partial blueprint of survival in white America—mastery of words and ideas that white people can recognize as their own. My mother loved me and the rest of my four siblings, so she taught as though our lives (and hers) depended on it; because in many respects it did. Both of my parents gave me that.
In terms of music, I think of blackness as an essential primer for understanding the American song book because all of our original American music comes directly from black culture—e.g. blues, jazz, hip hop, house music. America is very African, in that way. At the same time, I engage whiteness when I do my work here because it gets a bit tiresome if the expectation is that I am supposed to always be explaining blackness to assuage white curiosity. Our world has gotten mighty peculiar of late, and I think it is in large part due to not talking about whiteness.
CDI: In my lyrical essay for the piece (which still needs a title), I write:
Because of the constant context of white supremacy in all American art forms, I see this program as a meditation on black brilliance—underscore brilliance.
When I soften the emphasis on blackness it is not because I want to avoid footnoting the brutishness of white supremacy and institutional racism. If we did, it would still remain the elephant in the room. However, when we see that a group of predominantly white musicians can acknowledge how racism seeks to impoverish them, how it cuts off the air in the room in terms of what versions of excellence take space in the canon, then the light that shines brightest here is black brilliance and what also extrudes are the ways that whiteness is benighted, at times, because of the construction of racism and white supremacy.
And if I take things a step beyond that—it is not blackness that we are looking at but rather brilliance, which is to say that kaleidoscopic light that humans cast out and its incredible, inexorable beauty.
Performances of RESONANCE are this Saturday, Feb. 18 at 2pm at New Holly Gathering Hall and Sunday, Feb. 19 at 7:30pm at Langston Hughes Performing Arts Institute. For tickets and information, click here.
Posted in Concerts, Q & A, Women in New Music	| Tagged 21st Century Classical, African-American Composers, African-American History Month, African-American Women Composers, Black Composers, Black History Month, Black Women Composers, c. davida ingram, contemporary classical, hanna benn, heather bentley, interdisciplinary art, Langston Hughes Performing Arts Institute, New Holly Gathering Hall, new music, nocco, north corner chamber orchestra, resonance, Sankofa, scott joplin, Treemonisha	| Leave a reply
New Composed Music: February 2017 Seattle * Eastside * Tacoma
Posted on February 1, 2017 by maestrobeats
Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you'd like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and be sure to tag it with "new music."
Racer Sessions
A weekly showcase of original music with a jam session based on the concepts in the opening presentation.
Every Sunday, 8-10pm, Cafe Racer | FREE
Concerts of contemporary composition, free improvisation, electronic/electroacoustic music, & more.
waywardmusic.org (check website for complete listings)
Ancora presents Wild! With Skyros Quartet
Aimee Mell leads a program of works by Randall Thompson, Ola Gjeilo, Sarah Quartel, Joan Szymko, Dan Forrest, and Jackson Berkey.
Sat, 2/4, 7:30pm, Trinity Lutheran Church | $11-$16
Seattle Music Exchange
Pianist Angelo Rondello will perform works by Seattle composers Samuel Jones, Peter V. Stevens, Angelique Poteat, Adam Haws, & Benjamin Salman.
Sat, 2/4, 8pm, Nordstrom Recital Hall | $20-$42
Seattle Rock Orchestra performs The Police
SRO shakes out hits like 'Roxanne,' 'Message In A Bottle,' 'Don't Stand So Close To Me,' and 'Every Breath You Take.'
Sat, 2/4, 8pm, Kirkland Performance Center | $40
Solaris Vocal Ensemble with Seattle Modern Orchestra
SMO collaborates with UW's Solaris Vocal Ensemble in a unique performance of Julia Wolfe's Thirst and works by Dempster and Erickson.
Fri, 2/10, 7:30pm, Meany Studio Theater | $10-$20
Andrew Joslyn & the Passenger String Quartet
Violinist, composer, and arranger Andrew Joslyn presents an afternoon of music with The Passenger String Quartet.
Sun, 2/12, 4pm, Bainbridge Waterfront Community Center | $5-$20
Adagio: The Music of Arvo Pärt
An evening of music from Estonian composer Arvo Pärt where the spirit of early music meets ultra-spare modern minimalism in a meditative, intimate setting.
Sun, 2/12, 7pm, On the Boards | $20
Cornish Presents: Jesse Myers
Pianist Jesse Myers brings John Cage's prepared piano music to the stage on which the instrument was born.
Fri, 2/17, 8pm, PONCHO Concert Hall | $10-$20
Inverted Space: Composers Concert
Inverted Space presents a concert of new works featuring the music of Adrian Swan, Charles Corey, Anna Stachurska, & Jacob Sundstrom.
Fri, 2/17, 8pm, Good Shepherd Chapel | $5-$15
Lake Union Civic Orchestra: Temptation
Baritone Charles Robert Stephens performs music by Seattle composer and pianist Jeffrey Moidel. Works by Milhaud and Shostakovich round out the program.
Sat, 2/18, 7:30pm, Center for Spiritual Living | $15-$20
Wayward Music Series: Melanie Voytovich
Percussionist Melanie Voytovich and friends bring you a night of new work featuring Storm Benjamin, Scott Langdon, Maggie Brown, Brad Hawkins, and Ella Maher (dance).
Sat, 2/18, 7:30pm, Good Shepherd Chapel | $5-$15
NOCCO: Resonance: Celebrating Black American Composers
Hear a newly commissioned work by Hanna Benn & performance artist Davida Ingram and works by Scott Joplin & George Walker.
Sat, 2/18, 2pm, New Holly Gathering Hall | $15-$30 (under 18 FREE)
Sun, 2/19, 7:30pm, Langston Hughes Performing Arts Institute | $15-$30 (under 18 FREE)
Melia Watras: 26 Album Release
UW faculty violist Melia Watras performs selections from 26, her newly released CD on Sono Luminus, with a video presentation and commentary.
Fri, 2/24, 7:30pm, Brechemin Auditorium | FREE
Seattle Pro Musica: Chichester Psalms
Bernstein's Chichester Psalms is paired with James MacMillan's Cantos sagrados, both exploring the desire of humankind to seek social justice and peace.
Sat, 2/25, 8pm, St. James Cathedral | $12-$38
Posted in Concerts, New Music Flyers	| Tagged 26 album release, adagio, adam haws, adrian swan, ancora, andrew joslyn, angelique poteat, angelo rondello, anna stachurska, arvo part, benjamin salman, Charles Corey, charles robert stevens, chichester psalms, composers concert, cornish presents, dan forrest, davida ingram, hanna benn, inverted space, jackson berkey, jacob sundstorm, jeffrey moidel, Jesse Myers, joan szymko, lake union civic orchestra, Melanie Voytovich, melia watras, north corner chamber orchestra, ola gjeilo, on the boards, passenger string quartet, racer sessions, samuel jones, sarah quartel, seattle modern orchestra, seattle music exchange, seattle pro musica, seattle rock orchestra, skyros quartet, Solaris Vocal Ensemble, storm benjamin, temptation, the police, wayward music series	| Leave a reply
CONCERT SPOTLIGHT: June 11-13
Posted on June 9, 2015 by maestrobeats
This week's concert calendar spans the musical gamut from viola da gamba to Morton Feldman!
Morton Feldman's "For John Cage"
In true New York fashion, composer Morton Feldman first met John Cage at a New York Philharmonic performance of Anton Webern's Symphony, Op. 21. Disturbed by the audience's disrespectful reaction to Webern's work, the two had each individually stepped out into the lobby, where they began talking.
Both composers went on to become pioneers of indeterminate music—and perhaps more importantly, close friends. The two influenced each other over the course of their careers, and in 1997 Feldman wrote "For John Cage," a 75-minute piece for violin and piano.
This week the University of Washington's contemporary music ensemble, Inverted Space, is concluding its Long Piece Fest with a performance of this epic (and lengthy) work. Violinist Luke Fitzpatrick and pianist Brooks Tran will breathe life into this unique piece, which is meant to be performed at a barely audible volume. The piece combines Feldman's expansive harmonies with Cage's interest in silence and stasis, thus delicately exploring poetic dissonance in a state of prolonged stillness.
The performance is this Thursday, June 11 at 7:30 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford.
Joshua Roman Performs Gregg Kallor's Chamber Music
Cellist Joshua Roman is well-known in the Seattle classical music community—after all, he became the youngest principal player in Seattle Symphony history at just 22 years old. But his reputation as a gifted and innovative musician expands far beyond just his Seattle achievements. He has performed as a soloist around the world, and this week we have unique opportunity to hear him perform in one of the major classical music centers of America: New York City.
Roman will be performing a dazzlingly lyrical piece titled "Undercurrent" by composer and pianist Gregg Kallor, the inaugural composer-in-residence at SubCulture in NYC. The performance also features world premieres of two new pieces written by Kallor, performed by violinist Miranda Cuckson, mezzo-soprano Adriana Zabala, and baritone Matthew Worth.
Kallor's works blend classical and jazz traditions with a distinctly New York flavor. But since it's a long flight to NYC, we thought we'd bring the music to you: Second Inversion is going to record the live performance and broadcast it later on our website for your listening pleasure.
The performance is this Thursday, June 11 at 7:30 p.m. at SubCulture in New York. We'll keep you updated on the details for our Second Inversion broadcast!
Colleen and Hanna Benn
Violas da gamba may have been popular instruments during the Baroque period, but for the past several centuries the violin family has dominated the classical music scene—which is why one French musician is giving the age-old viola da gamba a new-age makeover.
Colleen is the alias of Cécile Schott, a French musician who reimagines the possibilities of acoustic instruments by taking them out of their usual contexts and pushing them into new musical territory. Over the course of her five albums, she has created a wide-ranging repertoire of compositions spanning from meditative and mysterious to playful and percussive. This weekend, she's coming to Seattle to present a performance which merges old and new music traditions: viola da gamba with live electronic processing and singing.
Seattle composer and vocalist Hanna Benn will open the show with a rare solo set.
The performance is this Saturday, June 13 at 8 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford. UPDATE: This concert is sold out! Please refer to Colleen's website and Hanna's SoundCloud for future performance info.
Posted in Concerts, Joshua Roman	| Tagged brooks tran, Cécile Schott, colleen, for john cage, greg kallor, hanna benn, inverted space, john cage, joshua roman, luke fitzpatrick, miranda cuckson, morton feldman, subculture nyc, university of washington, UW School of Music, viola da gamba, wayward music series	| Leave a reply
LIVE CONCERT SPOTLIGHT: March 6-9
Posted on March 5, 2015 by maestrobeats
This week's music calendar features a multitude of musical genres and artistic mediums!
Genre Bender 2015
This weekend Seattle musicians are bending the rules. They're bending the rules of functional harmony, they're bending the rules of performance—in fact, they're bending the very constructs of the music medium itself. City Arts Magazine's annual Genre Bender event pairs innovative artists working in different media, inviting them to collaborate with one another to create the ultimate genre-defying performance.
This year's artistic duos include conceptual artist C. Davida Ingram and composer/multi-instrumentalist Hanna Benn, rapper Raz Simone and multimedia artist Justin Roberts, photographer Steven Miller and actress/singer Sarah Rudinoff, vocalist/poet okanomodé and aerialist Lara Paxton, and last but not least, poet Sarah Galvin and musician/filmmaker/philosopher David Nixon.
Genre Bender 2015 is this Friday, March 6 and Saturday, March 7 at the Cornish Playhouse at Seattle Center. Doors open at 7 p.m. and the show begins at 8 p.m. A party in the lobby will follow the performance on Saturday evening.
Seattle Rock Orchestra Performs Beck
Beck shocked audiences around the world when he beat out Beyoncé for the Album of the Year at the Grammys last month. The lowly singer-songwriter who first made it big in 1994 with a song titled "Loser" (you know the one: "I'm a loser baby, so why don't you kill me?") proved that maybe, just maybe, he's not such a loser after all.
This weekend, Seattle Rock Orchestra is paying tribute to this musical underdog with a retrospective of Beck's lengthy career. With his 12 studio releases, they definitely have a lot to draw from. From the lo-fi folk releases of "One Foot in the Grave" to the funky party music of "Midnite Vultures" to the pensive ballads of "Sea Change," Beck has never written the same album twice.
The performance is this Saturday, March 7 at the Moore Theatre. Doors open at 7 p.m. and the show begins at 8 p.m.
Seattle Composers Alliance's 2015 Spring Fling
As the winter months melt away and the beautiful blossoms of spring begin to bloom, it's always nice to get out of the house and go celebrate the new season. And what better way to do it than with an evening of new music?
Next week Seattle Composers Alliance is presenting its 2015 Spring Fling, featuring live music by a wide range of local musicians. From the jazzy jams of Industrial Revolution Trio and the Tim Carey Quartet to the folksongs of Alchymeia and Aslan Rife, this concert has it all! The evening also includes a silent auction and generous door prizes.
The performance is this Monday, March 9 at the Royal Room at 7 p.m.
Posted in Concerts	| Tagged beck, c. davida ingram, city arts, cornish playhouse, david nixon, encore magazine, genre bender, hanna benn, industrial revolution, justin roberts, lara paxton, okanomodé, raz simone, royal room, sarah galvin, sarah rudinoff, seattle composers alliance, seattle rock orchestra, seattle theatre group, steven miller, the moore theatre, tim carey quartet	| Leave a reply


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The Surprising Sayings of Jesus Christ: Who Was Jesus Christ? - Part 1
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The Surprising Sayings of Jesus Christ
Who Was Jesus Christ? - Part 1
Posted on Feb 7, 2002 by Tom Robinson Estimated reading time: 10 minutes
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We know His name. But what does the title "Christ" mean? What did it signify to Jesus' contemporaries? What expectations did it invoke? Did Jesus of Nazareth meet them, and was He truly the Christ?
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Yes, the Christ—the Messiah, the Anointed One—is a central theme of the Bible. He has come. His name is Jesus. He lived as a human being and died by crucifixion.
In the north of the nation of Israel sits a lush location of springs and a waterfall called Banyas. Known in Roman times as Caesarea Philippi, it was here that Jesus of Nazareth asked His disciples, "Who do you say that I am?" (Matthew 16:15 Matthew 16:15He said to them, But whom say you that I am?
American King James Version×).
Just who was this man who had walked on water, calmed the storms, healed the sick, raised the dead and made such bold claims? "Simon Peter answered and said, 'You are the Christ, the Son of the living God'" (Matthew 16:16 Matthew 16:16And Simon Peter answered and said, You are the Christ, the Son of the living God.
American King James Version×). Jesus confirmed that Peter was correct (Matthew 16:17 Matthew 16:17And Jesus answered and said to him, Blessed are you, Simon Barjona: for flesh and blood has not revealed it to you, but my Father which is in heaven.
Jesus had previously revealed His identity to a Samaritan woman. "The woman said to Him, 'I know that Messiah is coming' (who is called Christ). 'When He comes, He will tell us all things.' Jesus said to her, 'I who speak to you am He'" (John 4:25-26 John 4:25-26 [25] The woman said to him, I know that Messias comes, which is called Christ: when he is come, he will tell us all things. [26] Jesus said to her, I that speak to you am he.
Later, when the Jewish authorities took Jesus into custody, the high priest ordered Him, "Tell us if You are the Christ, the Son of God" (Matthew 26:63 Matthew 26:63But Jesus held his peace, And the high priest answered and said to him, I adjure you by the living God, that you tell us whether you be the Christ, the Son of God.
American King James Version×). Jesus affirmed, "You said it" (Matthew 26:64 Matthew 26:64Jesus said to him, You have said: nevertheless I say to you, Hereafter shall you see the Son of man sitting on the right hand of power, and coming in the clouds of heaven.
American King James Version×, Green's Literal Translation).
How important is Jesus' identity as the Christ? The apostle John later wrote that "he who denies that Jesus is the Christ" is a liar and the enemy of God (1 John 2:22 1 John 2:22Who is a liar but he that denies that Jesus is the Christ? He is antichrist, that denies the Father and the Son.
American King James Version×). Of course, to meaningfully avoid denying that Jesus is the Christ requires knowing what the term means-and what being the Christ entails.
The Lord's Anointed
The term Christ is an English derivative of the New Testament Greek word christos, which means "anointed." The equivalent Hebrew word in the Old Testament is mashiach. This term is transliterated in the King James New Testament as messias (John 1:41 John 1:41He first finds his own brother Simon, and said to him, We have found the Messias, which is, being interpreted, the Christ.
American King James Version×; John 4:25), a word that has come down into modern English, including many Bible versions, as "messiah." Both Christ and Messiah mean "anointed" or "anointed one."
What was the significance of anointing? The Oxford Companion to the Bible states: "In the Hebrew Bible, the term is most often used of kings, whose investiture was marked especially by anointing with oil (Judges 9:8-15; 2 Samuel 5:3; 1 Kings 1:39 1 Kings 1:39And Zadok the priest took an horn of oil out of the tabernacle, and anointed Solomon. And they blew the trumpet; and all the people said, God save king Solomon.
American King James Version×; Psalm 89:20 ...), and who were given the title 'the Lord's anointed' (e.g., 1 Samuel 2:10; Samuel 12:3; 2 Samuel 23:1; Psalm 2:2; Psalm 20:6; Psalm 132:17; Lamentations 4:20)" (Bruce Metzger and Michael Coogan, editors, 1993, "Messiah," p. 513, emphasis added).
Anointing, this source tells us, "was widely practiced in the ancient Near East; the Amarna letters [on clay tablets found in central Egypt] suggest that anointing was a rite of kingship in Syria-Palestine in the fourteenth century BCE [B.C.], and ... [a story from the time of Judges] assumes its familiarity (Judges 9:8; Judges 9:15 Judges 9:15And the bramble said to the trees, If in truth you anoint me king over you, then come and put your trust in my shadow: and if not, let fire come out of the bramble, and devour the cedars of Lebanon.
American King James Version×)" ("Anoint," p. 30).
Yet, as this and other sources point out, it was not only kings who were anointed in Scripture. Israel's high priests were anointed (Exodus 29:7 Exodus 29:7Then shall you take the anointing oil, and pour it on his head, and anoint him.
American King James Version×; Leviticus 4:3-5 Leviticus 4:3-5 [3] If the priest that is anointed do sin according to the sin of the people; then let him bring for his sin, which he has sinned, a young bullock without blemish to the LORD for a sin offering. [4] And he shall bring the bullock to the door of the tabernacle of the congregation before the LORD; and shall lay his hand on the bullock's head, and kill the bullock before the LORD. [5] And the priest that is anointed shall take of the bullock's blood, and bring it to the tabernacle of the congregation:
American King James Version×; Leviticus 4:16 Leviticus 4:16And the priest that is anointed shall bring of the bullock's blood to the tabernacle of the congregation:
American King James Version×), as were some prophets (1 Kings 19:16 1 Kings 19:16And Jehu the son of Nimshi shall you anoint to be king over Israel: and Elisha the son of Shaphat of Abelmeholah shall you anoint to be prophet in your room.
In biblical usage, anointing is an act of consecration-setting one apart for the holy work of God. It was symbolic of the pouring out of God's Spirit onto someone (compare Isaiah 61:1 Isaiah 61:1The Spirit of the Lord GOD is on me; because the LORD has anointed me to preach good tidings to the meek; he has sent me to bind up the brokenhearted, to proclaim liberty to the captives, and the opening of the prison to them that are bound;
American King James Version×; Romans 5:5 Romans 5:5And hope makes not ashamed; because the love of God is shed abroad in our hearts by the Holy Ghost which is given to us.
American King James Version×)-representing God's power and intervention to, in the cases cited, perform the duties of the office one was anointed to. Jesus Himself was "anointed with the Holy Spirit and with power" (Acts 10:38 Acts 10:38How God anointed Jesus of Nazareth with the Holy Ghost and with power: who went about doing good, and healing all that were oppressed of the devil; for God was with him.
Messianic expectation
When Jesus came on the scene, the Jews were expecting the arrival of a leader called the Messiah (Luke 3:15 Luke 3:15And as the people were in expectation, and all men mused in their hearts of John, whether he were the Christ, or not;
American King James Version×). They understood that this was the very time indicated by a prophecy recorded in Daniel 9:25 Daniel 9:25Know therefore and understand, that from the going forth of the commandment to restore and to build Jerusalem to the Messiah the Prince shall be seven weeks, and three score and two weeks: the street shall be built again, and the wall, even in troublous times.
American King James Version×for the coming of "Messiah the Prince"-that is, the anointed ruler.
Yet confusion abounded over to whom this term applied. "In the intertestamental period, messianic speculation included three messianic figures (the righteous priest, the anointed king, and the prophet of the last days)" (John Bowker, editor, The Oxford Dictionary of World Religions, 1997, "Messiah," p. 637).
Scripture contained many prophecies of a coming king and deliverer. Jeremiah wrote: "'Behold, the days are coming,' says the LORD, 'that I will raise to David a Branch of righteousness; a King shall reign and prosper, and execute judgment and righteousness in the earth. In His days Judah will be saved, and Israel will dwell safely ...'" (Jeremiah 23:5-6 Jeremiah 23:5-6 [5] Behold, the days come, said the LORD, that I will raise to David a righteous Branch, and a King shall reign and prosper, and shall execute judgment and justice in the earth. [6] In his days Judah shall be saved, and Israel shall dwell safely: and this is his name whereby he shall be called, THE LORD OUR RIGHTEOUSNESS.
American King James Version×; see Isaiah 9:6-7 Isaiah 9:6-7 [6] For to us a child is born, to us a son is given: and the government shall be on his shoulder: and his name shall be called Wonderful, Counselor, The mighty God, The everlasting Father, The Prince of Peace. [7] Of the increase of his government and peace there shall be no end, on the throne of David, and on his kingdom, to order it, and to establish it with judgment and with justice from now on even for ever. The zeal of the LORD of hosts will perform this.
Jesus was this prophesied King (Luke 1:32-33 Luke 1:32-33 [32] He shall be great, and shall be called the Son of the Highest: and the Lord God shall give to him the throne of his father David: [33] And he shall reign over the house of Jacob for ever; and of his kingdom there shall be no end.
American King James Version×). When Pontius Pilate asked Him if He were a king, Jesus answered: "You say rightly that I am a king. For this cause I was born, and for this cause I have come into the world" (John 18:37 John 18:37Pilate therefore said to him, Are you a king then? Jesus answered, You say that I am a king. To this end was I born, and for this cause came I into the world, that I should bear witness to the truth. Every one that is of the truth hears my voice.
American King James Version×). Indeed, as explained in the previous article in this series, the good news-or gospel-that Jesus Himself proclaimed was the coming of the world-encompassing Kingdom of God to be ruled by Him under God the Father.
Prophet and priest
We see that God set Jesus apart to be king. But what about the biblical examples of anointing to the offices of prophet and priest? Does Jesus fulfill these roles too?
Concerning a messianic prophet, Moses, who had been the chief human prophet, lawgiver and judge over God's people, foretold the coming of a prophet to replace him (Deuteronomy 18:18 Deuteronomy 18:18I will raise them up a Prophet from among their brothers, like to you, and will put my words in his mouth; and he shall speak to them all that I shall command him.
American King James Version×). This prophet was thought to be the one mentioned in Isaiah 61:1 Isaiah 61:1The Spirit of the Lord GOD is on me; because the LORD has anointed me to preach good tidings to the meek; he has sent me to bind up the brokenhearted, to proclaim liberty to the captives, and the opening of the prison to them that are bound;
American King James Version×as being anointed by God "to preach good tidings to the poor ..."
Later Peter directly stated that Jesus was the expected prophet (Acts 3:20-23 Acts 3:20-23 [20] And he shall send Jesus Christ, which before was preached to you: [21] Whom the heaven must receive until the times of restitution of all things, which God has spoken by the mouth of all his holy prophets since the world began. [22] For Moses truly said to the fathers, A prophet shall the Lord your God raise up to you of your brothers, like to me; him shall you hear in all things whatever he shall say to you. [23] And it shall come to pass, that every soul, which will not hear that prophet, shall be destroyed from among the people.
American King James Version×). Jesus Himself explained that He was the anointed prophet of Isaiah 61, bringing good news-the gospel. He shocked listeners by announcing, "Today this scripture is fulfilled in your hearing" (Luke 4:17-21 Luke 4:17-21 [17] And there was delivered to him the book of the prophet Esaias. And when he had opened the book, he found the place where it was written, [18] The Spirit of the Lord is on me, because he has anointed me to preach the gospel to the poor; he has sent me to heal the brokenhearted, to preach deliverance to the captives, and recovering of sight to the blind, to set at liberty them that are bruised, [19] To preach the acceptable year of the Lord. [20] And he closed the book, and he gave it again to the minister, and sat down. And the eyes of all them that were in the synagogue were fastened on him. [21] And he began to say to them, This day is this scripture fulfilled in your ears.
Thus, contrary to a view of the time that the Prophet and kingly Messiah were two different individuals (compare John 1:20-21 John 1:20-21 [20] And he confessed, and denied not; but confessed, I am not the Christ. [21] And they asked him, What then? Are you Elias? And he said, I am not. Are you that prophet? And he answered, No.
American King James Version×), these two titles applied to the same person-Jesus of Nazareth.
Also, "belief in a priestly messiah, son of Aaron [that is, one assumed to be a descendant of Israel's first Levitical high priest], who would arise alongside the Davidic messiah to save Israel, appears in the Dead Sea Scrolls ... The mysterious figure of Melchizedek (Genesis 14:18) provides a title for one who is at the same time both king and priest (Psalm 110:4; Hebrews 7)" (Metzger and Coogan, p. 514).
This was apparently a confused interpretation of Psalm 110. David here wrote, "The LORD said to my Lord, 'Sit at My right hand ...'" (Psalms 110:1 Psalms 110:1The LORD said to my Lord, Sit you at my right hand, until I make your enemies your footstool.
American King James Version×) and "The LORD has sworn and will not relent, 'You are a priest forever according to the order of Melchizedek'" (Psalms 110:4 Psalms 110:4The LORD has sworn, and will not repent, You are a priest for ever after the order of Melchizedek.
American King James Version×). As shown in Jesus' exchange with the Pharisees regarding this Psalm, it was commonly understood that the "Lord" to whom God here speaks is the Messiah (Matthew 22:43-44 Matthew 22:43-44 [43] He said to them, How then does David in spirit call him Lord, saying, [44] The LORD said to my Lord, Sit you on my right hand, till I make your enemies your footstool?
American King James Version×). And Jesus made clear that the Messiah was to be a descendant of David, as the Pharisees knew (Matthew 22:41-46 Matthew 22:41-46 [41] While the Pharisees were gathered together, Jesus asked them, [42] Saying, What think you of Christ? whose son is he? They say to him, The son of David. [43] He said to them, How then does David in spirit call him Lord, saying, [44] The LORD said to my Lord, Sit you on my right hand, till I make your enemies your footstool? [45] If David then call him Lord, how is he his son? [46] And no man was able to answer him a word, neither dared any man from that day forth ask him any more questions.
This did not indicate a separate priestly messiah but that the prophesied Davidic king would also be a priest—not, as Hebrews 7 explains, a Levitical priest descended from Aaron, but a priest who was even higher, referring to Jesus (Hebrews 7:22 Hebrews 7:22By so much was Jesus made a surety of a better testament.
Contradictory roles?
The Messiah, then, was to be priest, prophet and king. Yet, as far as was physically apparent, Jesus did not serve as priest or king. He did not restore Israel. Nor did He reign forever. When people actually tried to "take Him by force to make Him king," Jesus slipped away into seclusion (John 6:15 John 6:15When Jesus therefore perceived that they would come and take him by force, to make him a king, he departed again into a mountain himself alone.
American King James Version×). He was later hailed as "King of the Jews," but this label was meant to mock Him while He was brutalized and crucified. Jesus then died, as we know. Many in His day failed to comprehend how He could have been the Messiah.
But rabbinic teachings of the time, at least those derived from Scripture, should actually have helped. Unger's Bible Dictionary states:
"Their interpretation ..., as [author Alfred] Edersheim shows ..., embraced 'such doctrines as the premundane existence of the Messiah; his elevation above Moses, and even above the angels; his representative character; his cruel sufferings and derision; his violent death, and that for his people; his work in behalf of the living and of the dead; his redemption and restoration of Israel; the opposition of the Gentiles, their partial judgment and conversion; the prevalence of his law; the universal blessings of the latter days; and his kingdom'" ("Messiah," 1966, p. 718).
Yet confusion reigned because some of the prophecies seemed to contradict other prophecies. The Jews did not understand how the Messiah could be a conquering king (Psalm 2) and yet, at the same time, a suffering, humble servant, despised by His people, who would die (Isaiah 52:13-15 Isaiah 52:13-15 [13] Behold, my servant shall deal prudently, he shall be exalted and extolled, and be very high. [14] As many were astonished at you; his visage was so marred more than any man, and his form more than the sons of men: [15] So shall he sprinkle many nations; the kings shall shut their mouths at him: for that which had not been told them shall they see; and that which they had not heard shall they consider.
American King James Version×; Isaiah 53:1-12). Therefore many rejected the prophecies of the suffering servant as applying to the Messiah, seeing this as figurative of Israel.
Others determined that two messiahs must come: "The Davidic messiah would be preceded by a secondary figure ... [who] would be killed" (Bowker). Yet we should note that even this figure was commonly thought to be a military leader to immediately precede the messianic age under the Messiah descended from David. The Jews did not understand that the Messiah would serve as a sacrifice for sin (Isaiah 53).
The anticipation of two messiahs in the first century perhaps explains a question posed by John the Baptist. Though he had announced Jesus as "the Lamb of God who takes away the sins of the world" (John 1:29 John 1:29The next day John sees Jesus coming to him, and said, Behold the Lamb of God, which takes away the sin of the world.
American King James Version×) and heard a voice from heaven stating that Jesus was the Son of God (Mark 1:11 Mark 1:11And there came a voice from heaven, saying, You are my beloved Son, in whom I am well pleased.
American King James Version×), John, while in prison, sent messengers to ask Jesus, "Are You the Coming One, or do we look for another?" (Matthew 11:3 Matthew 11:3And said to him, Are you he that should come, or do we look for another?
American King James Version×). Although this may have been mere frustration, it may also have been prompted by contemporary teachings about two messiahs.
Jesus answered: "Go and tell John the things which you hear and see: The blind see and the lame walk; the lepers are cleansed and the deaf hear; the dead are raised up and the poor have the gospel preached to them. And blessed is he who is not offended because of Me" (Matthew 11:4-6 Matthew 11:4-6 [4] Jesus answered and said to them, Go and show John again those things which you do hear and see: [5] The blind receive their sight, and the lame walk, the lepers are cleansed, and the deaf hear, the dead are raised up, and the poor have the gospel preached to them. [6] And blessed is he, whoever shall not be offended in me.
American King James Version×). These were all prophetic earmarks of the glorious King of the messianic age. Jesus thus assured John that He was the one destined to fulfill all the prophecies about the Messiah.
Proof of messiahship
In opposition to the Roman occupation of the land of Israel, various would-be messiahs emerged, such as Judas the Galilean and Theudas, a Jew from Egypt (Acts 5:36-37 Acts 5:36-37 [36] For before these days rose up Theudas, boasting himself to be somebody; to whom a number of men, about four hundred, joined themselves: who was slain; and all, as many as obeyed him, were scattered, and brought to nothing. [37] After this man rose up Judas of Galilee in the days of the taxing, and drew away much people after him: he also perished; and all, even as many as obeyed him, were dispersed.
American King James Version×). But they both fell. Even after the Romans later crushed Judea in A.D. 66, others arose but were likewise killed-not to rise again.
Jesus also died. But, unlike any other messianic claimant, He did rise again-three days later. He offered this fact as specific proof of His messiahship (Matthew 12:39-40 Matthew 12:39-40 [39] But he answered and said to them, An evil and adulterous generation seeks after a sign; and there shall no sign be given to it, but the sign of the prophet Jonas: [40] For as Jonas was three days and three nights in the whale's belly; so shall the Son of man be three days and three nights in the heart of the earth.
American King James Version×). It proved who He was because it was the only way all the prophecies of the Messiah could possibly be fulfilled. He had to die to be the suffering servant sacrificed for sin. He had to remain dead for as long as He said He would to prove Himself a genuine prophet. And He had to be resurrected to serve as high priest and come again to rule as king.
His own disciples had not understood this even after He explained it to them (Luke 9:22 Luke 9:22Saying, The Son of man must suffer many things, and be rejected of the elders and chief priests and scribes, and be slain, and be raised the third day.
American King James Version×, Luke 9:44-45 Luke 9:44-45 [44] Let these sayings sink down into your ears: for the Son of man shall be delivered into the hands of men. [45] But they understood not this saying, and it was hid from them, that they perceived it not: and they feared to ask him of that saying.
American King James Version×). But after His resurrection He appeared to two of them and said: "'O foolish ones, and slow of heart to believe in all that the prophets have spoken! Ought not the Christ to have suffered these things and to enter into His glory?' And beginning at Moses and all the Prophets, He expounded to them in all the Scriptures the things concerning Himself" (Luke 24:25-27 Luke 24:25-27 [25] Then he said to them, O fools, and slow of heart to believe all that the prophets have spoken: [26] Ought not Christ to have suffered these things, and to enter into his glory? [27] And beginning at Moses and all the prophets, he expounded to them in all the scriptures the things concerning himself.
Yes, the Christ-the Messiah, the Anointed One-is a central theme of the Bible. He has come. His name is Jesus. He lived as a human being and died by crucifixion. But God raised Him from the grave, and He will come again to rule the world, restore Israel, usher in everlasting peace and save all who will accept Him.
In the next article in this series, we will examine further claims Jesus made about His identity that were even more surprising to His listeners-and may be to you as well. In the meantime, please read our Bible study aid booklet Who Is God?.
Surprising Sayings of Jesus Christ Jesus Christ
Tom Robinson
Tom is an elder in the United Church of God who works from his home near St. Louis, Missouri, as a senior writer and editor for the Beyond Today magazine and church booklets. He is also the editor of the UCG Bible Commentary. He also served as a copy editor for Vertical Thought and managing editor for World News and Prophecy.
Good News Magazine: January - February 2002


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I thought about these words from the legendary baseball manager as the Keystone faculty and staff spent the last week and a half preparing for the beginning of the 2018-19 school year. Whether it was the maintenance crew beautifying the campus, the administration creating rosters and finalizing class lists, or teachers decorating their rooms or planning units with colleagues, there was a buzz of anticipation around the school. Together, we engaged in thought-provoking discussions as we considered how we wish the upcoming year to proceed.
So how do we as parents and as educators help our children navigate this potential messiness? Author and educator Dr. Amy Eva offers suggestions in a blog post in Greater Good magazine, "Tips for Helping Kids Develop a Growth Mindset." While Eva focuses on the social benefits of a growth mindset, versus a fixed mindset, this approach to living and learning for children and teens is just as applicable to their academic and extracurricular experiences.
As the adults in our children's lives, we have a crucial role to play in helping them see obstacles as opportunities. If we share with them new tasks we have taken on that were outside of our comfort zone, they will understand that this is natural and even exciting. If we explain to them that, at times, we experience difficulties but we persevere and grow, they will see that their current stress is an inevitable part of changing and growing.
Instead of saying when they get a low grade on a quiz, "I was bad in that subject also," we should explain that "I struggled in this area, but after a lot of hard work, I really improved." When they earn a good grade on a paper, rather than applauding their success by stating "You're really smart," we should commend their hard work as the reason they prevailed. While these may seem like small differences, the impact can be large as our children learn that their effort, instead of their innate ability, may be a deciding, or even the determining, factor in their doing well.
Growth mindset vice Fixed Mindset.
How one views problems: as challenges to resolve vice barriers --attitude.
I believe the "buzz phrase" about 20 yrs ago was "Fail Forward."
Thank you for excellent post. Will be sharing with our son Justin [Senior].


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This week has seen quite a bit of performance happening.
Thursday last week, Irving and I were out in the city, when we were the lucky recipients of some tickets to see "William the Great" at Fringeworld. So four of us headed out to their evening show, and it was fabulous! There was a good variety of circus, and an amusing storyline that flowed well throughout the show. Willow was pleasantly surprised to discover that Felix Pouliot, who taught her some chinese pole last year was in it.
Over the weekend Arden was invited to be a paperboy and busk harmonica in the Streetside festival in Northbridge. From about 12noon til 5pm Arden walked up and down William st waving papers (from 1924!) yelling "paper!paper!" and various other headlines from the 1924 news. Such as "Horse bolts down James St! Lands in Lorry!" We did a little bit of research to help him out,which involved watching some old footage of paper boys, and then he got dressed up for the day. He absolutely loved it and is apparently sorry that it's not possible to actually be a paper boy in this era.
Damien and Willow both auditioned for Gilbert and Sullivan's production of "Iolanthe" for this year, over the weekend. Whilst they were out doing that Irving and I went for a walk around Elizabeth Quay, which wasn't overly pleasant, as there is *very* little shade there, the water playground wasn't working and it was an extremely hot day (42C), so I think in future we'll avoid visiting there in the heat.
Irving working on his oil pastels, on a spare lantern.
This is the promo for the opening tomorrow night.


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The announced publication date of Colette was June 20, 1960; the first printing jacket has a spring 1960 list.
Subject: [ModLib] Six Novels by Colette -- shouldn't the first be 1960?
Uh --- YES!  I think there's a mistake on ModernLib.


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