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Jack Torres
Jack Torres

TRUE LIFE STORY by Jeriq - Download MP3 from BILLION DOLLAR DREAM (DELUXE VERSION)



Ann from Colorado told us: "All of my kids love this story, especially my boys (10 and 8). They ask to listen to it over and over, and comment on how brave Jose was. I've been asked to keep driving after reaching our destination so they could hear the rest of it. One of those moment when you get to see that your kids really get the message."




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Everybody wanna back againMe back again in lifeThis one is a really true story in lifeTimaya don come to bring another story in lifeRemember the time I started the journey in lifeRelatives and friends all of them dey avoid me in lifeThinking of how I started before in lifeYou and you dey abuse me before in lifeNow I don dey make am small small in lifeRelatives and friends them don dey run come oh ohShebi na you dey call me olofofo oh ohTelling me say I done dey kolo oh ohTell family and friends say I smoke Igbo eh ehNow me done be the king I dey lead eh


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Dear St Sharbel,Thank you for your love of the Eucharist, for the hours of preparation and the hours of thanksgiving. Thank you for continuing to heal. I bring you a young man diagnosed with bipolar disorder: lay your hands on him and set him free. Bless L and J and their marriage: set them free into true love and deepest faith in Jesus. Bless Michael and his wife and their daughter: bring mending of hearts. Finally, on your feast, share your hunger for prayer with me: renovate my priestly life. Thank you, God, for such a man.


Dear St Sharbel,Thank you for your love of the Eucharist, for the hours of preparation and the hours of thanksgiving. Thank you for continuing to heal. I bring you a young man diagnosed with bipolar disorder: lay your hands on him and set him free. Bless L and J and their marriage: set them free into true love and deepest faith in Jesus. Bless Michael and his wife and their daughter: bring mending of hearts. Finally, on your feast, share your hunger for prayer with me: renovate my priestly life.


St. Charbel I have felt great trust in you since discovering your life story. This trust has been rewarded when praying your novena. Thank you St. Charbel for your continued support for the family whose well being I place in your care.


Dear Saint,I am UNI student I need to pass my clinical placements (hospital) the staffs where I am doing my placement, are very racist, making my life so difficult, and I need to obtain a good feedback from them and be able to pass my clinical assessments and pass this unit.One of them already made negative things against me.Please dear Charbel, wonder-worker help me with your prayers. Amen.Thank you so much


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"When I first started working on this book, I told my editor that I wanted to do three important things. The first was to make the case that hip-hop lyrics-not just my lyrics, but those of every great MC-are poetry if you look at them closely enough. The second was that I wanted the book to tell a little bit of the story of my generation, to show the context for the choices we made at a violent and chaotic crossroads in recent history. And the third piece was that I wanted the book to show how hip-hop created a way to take a very specific and powerful experience and turn it into a story that everyone in the world could feel and relate to."-JAY-Z, from DECODED


For JAY-Z, lyrics aren't just about songs, they're about life, and in DECODED he brings his own story to life, writing about his journey from Brooklyn's notorious Marcy Projects to becoming a world-class artist, cultural icon, entrepreneur, and philanthropist.


Monroe Anderson: That's your intro. Objectivity is a modern construct in journalism. When newspapers began, before the Revolutionary War, whoever could afford to buy a printing press printed their own propaganda, and that continued all the way up to the good old days of yellow journalism around the turn of this 19th century, to the 20th century. The 1800s[LAUGHS]. Anyway, when, when they had the, the penny rags at that time, and those were not objective because their audience was immigrants. And so, wherever you were from, they were sort of in favor of you and whatever you thought, they would sort of favor that and who you disliked are the next ethnic group, immigrant group that was coming in, that you didn't like, they were against that. For, for example, the Chinese were treated horribly, during their era of serious immigration. The Irish obviously, we know, no, no dogs or Irish allowed, that sort of thing. So, so this idea of objective journalism is a nice idea as such but it had a very brief life because now we have almost none of that.


Monroe Anderson: Exactly, right. We went into his hotel room and made a call from there. And during the process of this, I met all these famous people. Katherine Graham and I were tear-gassed together. We started there, you know. And it occurred to me that as a journalist, A, you got to, you got to meet all these famous people and, B, you watched history as it unfolded. And, so, the ink was in my blood from there on. And I, I still wanted to write a novel but journalism was just far too exciting. In fact, when I was in New York, and, and spoke before this audience, afterwards I was approached by this guy who told me that he was a Yale Law School alumni and that he wanted to sponsor me and get me into Yale Law School. And I, I didn't give it a second thought. I wanted to be a journalist [LAUGHS], you know, although now I look back on that, I could have been Clarence Thomas [LAUGHS].


Monroe Anderson: And so, if you had someone who blended in, then that would be a good thing. And so, there was this rush for blacks in media that had not existed before. For example, at the Tribune, the first reporter they hired was a Chicago policeman who became a journalist, Joseph Boyce, and Clarence Page was the second one they hire there. Du-- During my internship, I was assigned to do a story. News Week was-- did a story, headline was, "How The White Press Attempts To Reach The Black Community." And there were four newspapers in Chicago at that time, the Tribune, the Sun-Times, the Daily News and the Chicago's American. The Tribune u-- owned two of them. The Sun-Times owned the Sun-Times and, and the Daily News. They owned that.


Monroe Anderson: Yeah, right, exactly. But all these guys had this worship for Iceberg Slim. He had moved to LA and, and his life story was incredible and he was a g-- he was really an interesting writer. I mean, he, he basically invented street literature. But I, I interviewed Ossie Davis. I went to New York to interview him and that was a, a moment for learning in that I interviewed him, I had a tape recorder and I interviewed him, you know, and then he, he talked to me for an hour. I turn off the tape recorder and there's nothing there [LAUGHS]. Just nothing. And I've not taken notes because I'm taping it. And I just panicked and he said, "It's okay," and he gave me another interview. You know, he let me have another hour to interview.


Monroe Anderson: I was so crushed and heartbroken that I decided-- and, and during that two years, I was still their only black there. I mean, still no janitors, no secretaries, just me. So, I applied to Ebony, and so I go to Ebony and I worked there for a couple of years. The best experience out of Ebony is that it was so lightly staffed that you, that you had to do everything. You, you know, you had to write fashion, you had to edit stories that o-- that freelancers wrote, you, you had to write your own captions for the photographs. When I went out on assignment, I had to make sure that the photographer got the photographs that we'd need for the story. I mean, you, you-- I got this very broad experience in, in that sense. You know, I, I met Billy Dee Williams back then. I went on tour with Curtis Mayfield right after Super Fly had come out. I toured with him.


Monroe Anderson: Men, all men, and I go in and I confront the managing editor about that and he says to me, "Well, we don't make assignments according to race." You know, 'cause I said, I know that this-- the, the city better by far, Chicago better than any reporter on, on its face, on, on the beat, and the lead reporter on the coverage was this guy named David Axelrod who I had known as an intern. I remember when he came in as an intern. And so, anyway, after my prediction comes true, I'm assigned to cover the general election. I get to do that because I was right on everything. I cover it and it was very fiery. The, the day before, a, a-- the Monday before the Tuesday election, I'm on the di-- Day Show, interview by Jane Pauley, and she wants to know, "Well, what if Harold Washington doesn't win tomorrow? Will there be rioting in the streets?" And I knew enough about TV where if one way you want to think about something, what you do is pretend like you didn't hear the question, it didn't come through right.


Alex Chambers: You've been listening to Inner States. Do you have a story we need to hear? Have you recorded some really good sound? We want to hear them. Let us know. Go to wfiu.org/innerstates. Speaking of found sound, we've got your quick minute of slow radio coming up. But, first, the credits. Inner States is produced by me, Alex Chambers, with support from Eoban Binder, Mark Chilla, Michael Paskash and Kayte Young. Our executive producer is John Bailey. Special thanks this week to Monroe Anderson. Our theme music is by Amy O. We have additional music from the artists at Universal Production Music.


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