Another build is heading out to the Alpha ring, bringing some much needed fixes.
Additionally, the Beta ring and part of Preview Ring 3 will also see last Thursday’s Alpha ring build. Microsoft is rolling out the Creators Update to Ring 3 in a staggered manner, so don’t be confused if you haven’t seen the update in that segment just yet. Head over here for the Beta and Ring 3 patch notes.
See below for the latest Alpha ring fixes, as we rapidly head towards the public launch of this latest batch of fresh Xbox One features.
The first inductee to the Rock and Roll Hall of Fame, Berry was one of the influential early stars of the genre. With his guitar and a killer stage presence, he mixed country, blues and R&B to create a wholly unique sound.
In addition to his own impressive catalog of hits, musicians from Bob Dylan to John Lennon have called out Berry’s influence on their music. In 2016, Keith Richards told CBS’ “Sunday Morning” that he and Mick Jagger bonded in their school days over a love of Berry.
Richards inducted Berry into the Rock and Roll Hall of Fame, saying that “it’s very difficult for me to talk about Chuck Berry because I’ve lifted every lick he ever played. This is the gentleman who started it all.”
And John Lennon famously once said, “If you tried to give rock and roll another name – you might call it Chuck Berry.”
Charles Edward Anderson Berry was born Oct. 18, 1926 in St. Louis.
Berry was shaking things up even as a kid. During his first public performance at his high school, he played the blues — considered inappropriate for the time.
But even as a teen, Berry would also begin his lifelong trouble with the law — serving three years for armed robbery. Upon his release, Berry held factory jobs and received training in hairdressing and cosmetology before launching his musical career, according to his Rolling Stone Magazine biography.
Berry also began his musical career began his career at black jazz clubs in St. Louis, and on New Year’s Eve 1952 at The Cosmopolitan club in East St. Louis, Illinois, Johnson called Berry to fill in for an ailing saxophonist in his Sir John Trio.
“He gave me a break” and his first commercial gig, for $4, Berry later recalled. “I was excited. My best turned into a mess. I stole the group from Johnnie.”
The combo, led by Berry along with Johnson and drummer Ebby Hardy, went on to become a top St. Louis area band, according to Rolling Stone.
Berry met blues legend Muddy Waters in Chicago in 1955, and Waters in turn introduced him to Leonard Chess, owner of Chess Records, Rolling Stone recalled.
Berry played a demo for Chess of a song called “Ida Red,” which Chess renamed “Maybellene” and sent to disc jockey Alan Freed, the magazine recalled.
According to Berry, label owner Leonard Chess was taken by the novelty of a “hillbilly song sung by a black man,” an inversion of Elvis Presley’s covers of blues songs.
“Maybellene” went to the top of the R&B charts and No. 5 on the pop charts, and was followed up by a series of iconic hits throughout the rest of the 1950s. Berry’s style was influenced by bandleader Louis Jourdan, blues guitarist T-Bone Walker and jazz man Charlie Christian, but also hip to country music, novelty songs and the emerging teen audiences of the post-World War II era.
Berry followed up with legendary hits such as “Roll Over Beethoven,” “Too Much Monkey Business,” “Brown-Eyed Handsome Man,” “School Days,” “Rock and Roll Music,” “Johnny B. Goode,” “Sweet Little Sixteen,” “Reelin’ and Rockin,” and “Carol,” among others.
In the early 1960s, Berry was sentenced to prison on a conviction of transporting a woman across state lines for “immoral purposes.”
As Rolling Stone explained it in their biography of Berry: “He had brought a 14-year-old Spanish-speaking Apache waitress and prostitute from Texas to check hats in his St. Louis nightclub, and after he fired her she complained to the police. Following a blatantly racist first trial, he was found guilty at a second. Berry spent two years in federal prison in Indiana, leaving him embittered.”
Berry did crank out more hits in the 1960s, including “Nadine (Is It You?),” “No Particular Place to Go,” and “You Can Never Tell.”
He continued to perform throughout the late 1960s and 1970s, and topped the charts in 1972 with the novelty song “My Ding-a-Ling.” He released his last studio album, “Rock It,” in 1979.
“Johnny B. Goode” was the only rock and roll song included on the Voyager Golden Record – which was launched into space in 1977, according to Berry’s website.
In 1979, Berry performed for President Jimmy Carter at the White House.
Berry received a Grammy Lifetime Achievement in 1984, and was part of the first group of inductees to the Rock and Roll Hall of Fame in 1986, his website noted. He was also awarded a Kennedy Center honor in 2000.
But Berry also had more run-ins with the law. Tax charges came in 1979, and another three-year prison sentence, all but 120 days of which was suspended. Some former female employees later sued him for allegedly videotaping them in the bathroom of his restaurant. The cases were settled in 1994, after Berry paid $1.3 million.
“Every 15 years, in fact, it seems I make a big mistake,” Berry acknowledged in his memoir.
Still, echoing the lyrics of his 1959 song “Back in the U.S.A.,” Berry said: “There’s no other place I would rather live, including Africa, than America. I believe in the system.”
Berry influenced nearly every major recording artist, but some stars covered him too well. The Beach Boys borrowed the melody of “Sweet Little Sixteen” for their surf anthem “Surfin’ U.S.A.” without crediting Berry.
The Beatles had earlier recorded cover versions of “Rock and Roll Music” and “Roll Over Beethoven.” But their latter-day hit “Come Together,” written by John Lennon, was close enough to Berry’s “You Can’t Catch Me” to inspire a lawsuit by music publisher Morris Levy.
In an out of court settlement, Lennon agreed to record “You Can’t Catch Me” for his 1975 “Rock n’ Roll” album.
Berry himself was accused of theft. In 2000, Johnson sued Berry over royalties and credit he believed he was due for the songs they composed together over more than 20 years of collaboration.
The lawsuit was dismissed two years later, but Richards was among those who believed Johnson had been cheated, writing in his memoir “Life” that Johnson set up the arrangements for Berry and was so essential to the music that many of Berry’s songs were recorded in keys more suited for the piano.
Openly money-minded, Berry was an entrepreneur with a St. Louis nightclub and, in a small town west of there, property he dubbed Berry Park, which included a home, guitar-shaped swimming pool, restaurant, cottages and concert venue. He declined to have a regular band and instead used local musicians, willing to work cheap. Springsteen was among those who had an early gig backing Berry.
Burned by an industry that demanded a share of his songwriting credits, Berry was deeply suspicious of even his admirers, as anybody could tell from watching him give Richards the business in “Hail! Hail! Rock ‘n’ Roll.”
For the movie’s concerts, he confounded Richards by playing songs in different keys and tempos than they had been in rehearsal. Richards would recall turning to his fellow musicians and shrugging, “Wing it, boys.”
Richards organized the well-received 1987 documentary “Hail! Hail! Rock ‘n’ Roll,” which culminated in a concert at St. Louis’ Fox Theatre to celebrate Berry’s 60th birthday. The movie featured Eric Clapton, Little Richard and Jerry Lee Lewis, who recalled being told by his own mother that Berry, not he, was the true king of rock ‘n’ roll.
Berry’s passing drew tributes from around the music world and beyond.
The Rolling Stones’ Mick Jagger wrote in a multi-part tweet: “I am so sad to hear of Chuck Berry’s passing. I want to thank him for all the inspirational music he gave to us. He lit up our teenage years, and blew life into our dreams of being musicians and performers. His lyrics shone above others and threw a strange light on the American dream. Chuck you were amazing and your music is engraved inside us forever.”
I am so sad to hear of Chuck Berry's passing. I want to thank him for all the inspirational music he gave to us. 1/3 pic.twitter.com/9zQbH5bo9V
The endless parade of Hip Hop heavyweights at SXSW was at an all-time high, but no show shut it down like Mass Appeal’sLive at the BBQ SXSW Takeover at Stubb’s BBQ.
On Thursday (Mar 16) the Viceland sponsored event opened with sounds from DJ Green Lantern with DJ Statik Selectah as the emcee. A true east meets south event, festivities kicked off with Dreamville artist Omen dropping serious bars as he performed “48 Laws”, getting the crowd hype as the event streamed live on Tidal.
Omen wasn’t the only one dropping bars with a message, artists Denzel Curry, Dave East, A Boogie with a Hoodie, G Herbo and Aminé all took a moment to spit hot sixteens, some adding a political message to the event.
Next up, artists Trill Sammy got it jumping in a way only a Texan can in Texas dropping his hits “Uber Everywhere” and his Ugly God collaborated track “Let’s Do It.”
Jamla artist b hit the stage with super producer 9th Wonder on the ones and twos, shutting down the stage performing tracks off of her current project, Crown, before choosing a lucky fan out of the audience to showcase her softer side while still coming through with bars.
DJ Mustard & Friends definitely keep the crowd rocking between acts but ultimately it was Denzel Curry who came and got the crowd lit as he performed on stage, with only a DJ, he stalked the crowd before launching into a hyperactive masterclass in Hip Hop. High energy delivery, circle pits, non-stop jumping and a keen crowd served to create an atmosphere that felt magnetic as he performed tracks “Zone 3”, “ULT” and “N64.”
Dave East, MADEINTYO, A Boogie with a Hoodie, G Herbo, Aminé, SD, Saint JHN and LG all commandeered the stage, but no one shut it down like the headliner Lil Wayne.
The Young Money MC entered the stage with little fanfare, merely walking on and gleefully diving into his catalog just before midnight. “I’m Going In” was an early crowd-pleaser, with Wayne even doing some footwork as he flowed through his verses. He took a moment after the Drake collaboration to let the audience know, “We all ain’t shit without the man up above,” and that Wayne “ain’t shit without you.”
He burst into “A Milli” with the audience screaming back the loudest sing-along of the evening. Given his location, Wayne continuously shouted out Texas and Texas hip-hop, especially the scene from Houston. “I feel like a Houston native,” he commented at one point. His performance of “Lollipop,” the sexual, R&B-tinged electro-pop single, was dedicated the ladies in the audience.
The event wasn’t just about hits, Weezy also spoke on the situation with Birdman before officially launching his new radio channel, Young Money Radio distributed by Dash Radio.
The Turkish president’s bid to widen his powers by campaigning during the Dutch elections has sparked an all-out crisis
The ruthless drive by Recep Tayyip Erdoğan, Turkey’s pugnacious president, to expand his already considerable executive powers knows no bounds. Even cows are not safe. At the height of last week’s furious row with the Netherlands, Turkey’s red-meat producers’ association said it was expelling 40 Holstein Friesian cattle. Dutch cows, like Dutch diplomats, were no longer welcome in Turkey.
If the political backdrop were not so deadly serious, the bovine ban might be funny. But Erdoğan’s rude push to take partisan campaigning in Turkey’s fraught 16 April referendum on expanded presidential powers to the doorsteps of western Europe’s four-million-strong Turkish diaspora is no laughing matter. It has sparked an all-out crisis in Turkey-Europe relations that had been threatening to erupt for years.
If they wanted to, worship leaders in many churches could get away with a lot in the first song each Sunday. People are coming in late, trying to settle their kids, silencing their phones, checking their phones, wrapping up conversations, or just generally disoriented.
The truth is many of us walk into worship not quite ready to worship. We need a little time to center and focus ourselves. Some of us are frustrated with our kids. Some are disheartened about our work. Some are stressed about the demands of school or the deadlines of our jobs. Others are depressed or apathetic about life. Yet others are fearful, distraught, or mourning. Weekly worship calls us back into a story with the emotional highs and lows of sin and salvation, so we all need to recalibrate.
The beginning of worship is a critical moment when we release everything else demanding our attention into the capable hands of the very One we are preparing to encounter.
Tune My Heart
Some historic hymns seem to run on an endless tank of fuel. No matter how many times we sing them, they speak to us, stir us, and lead us to worship. “Come Thou Fount of Every Blessing” is one of those hymns for me.
Come, thou fount of every blessing, Tune my heart to sing thy grace.
Tune my heart. As a guitarist, that speaks to me. If I place my guitar in its case, or leave it out on a stand, it’s not the same guitar. When I pick it up a few days later and strum it, it’s out of tune. Because of forces inside (wood, tension, aging strings) and forces outside (temperature, humidity), a guitar left alone will always fall out of tune.
The same phenomenon happens in our hearts. Between Sundays, we get knocked around, and the forces inside and outside of us — our sin, others’ sin, and the fallenness of the world — send our hearts in all kinds of directions. When we come back to worship together, and the Holy Spirit begins to strum the strings of our hearts, we hear dissonance. Hearts always require retuning.
Because this kind of calibration is critical, but can be difficult, consider a few tips for how to prepare your hearts well for worship.
1. Worship starts before you enter.
As many have said before, we don’t enter into corporate worship and begin to worship. We come into the space already worshiping. Our hearts have been loving and desiring in all kinds of directions this week. The first step is to simply recognize and confess that fact, praying that the Holy Spirit would increasingly narrow the gap between the worship offered on Sundays and the worship offered Mondays through Saturdays. The worshiper who grows in orienting her heart toward God Monday through Saturday (whole-life worship) will find herself more calibrated for Sundays (gathered worship).
2. Center your heart before worship.
Before a worship service, all of us can do things that make entrance into worship easier. We can meditate on a verse or two in Scripture or pray through a psalm. We can listen to music that stirs and orients our hearts. Perhaps just ten minutes of quiet is what we need. Certainly turning our phone to “do not disturb” (or even off) can be a helpful, intentional practice to calm our frayed, distracted minds.
3. Arrive early.
Few things make it harder to fully engage in worship than arriving just on time or late. Arriving early gives us plenty of time to find a place to sit, and then center our hearts through the word and prayer.
We’ll also have a chance to prepare for worship by greeting others. Some people think the only way to prepare for worship is to quietly pray and ignore everyone else. That’s a one-dimensional way to approach worship. Because worship is both vertical (us and God) and horizontal (one another), greeting the people worshiping next to you is a wonderful way to calibrate your heart for corporate worship.
4. Make the most of the first moments.
Jump into the deep end. Let the call to worship and the opening hymns or songs flood your mind and heart. Sing loudly, breathe deeply, feel passionately. Sometimes, participating physically actually leads our affections to engage spiritually. Recognize that the opening of worship is meant for our calibration, and let it prepare your heart to worship.
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Letting The Freedom Of Truth Uncover The Value Of Life