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LEYLA Mccalla TRIO “An Exhilarating Thing, Hearing A
LEYLA McCALLA TRIO “An exhilarating thing, hearing a musical virtuoso explore her voice’s unanticipated potential in all of the ways that Leyla McCalla does” – NPR Music “Rich with big thoughts” – USA Today “An invigorating blend of Haitian folk songs and American old-time music” – Downbeat Leyla McCalla is a New York-born Haitian-American living in New Orleans, who sings in French, Haitian Creole and English, and plays cello, tenor banjo and guitar. Deeply influenced by traditional Creole, Cajun and Haitian music, as well as by American jazz and folk, her music is at once earthy, elegant, soulful and witty — it vibrates with three centuries of history, yet also feels strikingly fresh, distinctive and contemporary. Leyla’s debut album, Vari-Colored Songs: A Tribute to Langston Hughes, was named 2013’s Album of the Year by the London Sunday Times and Songlines magazine, and received additional raves from a number of other publications, including the New York Times, Boston Globe and Offbeat, for its haunting mixture of music and message. Now, having toured extensively in the U.S., Europe and Israel in support of Vari-Colored Songs, Leyla is focusing on her next album. Titled A Day For The Hunter, A Day For The Prey, the album will be released in the spring of 2016 by Jazz Village/Harmonia Mundi. A Day For The Hunter, A Day For The Prey will continue to explore the themes of social justice and pan-African consciousness that marked Vari-Colored Songs, and will once again feature songs sung in English, French and Haitian Creole. -
The Bible Vision
Taylor University Pillars at Taylor University TUFW Alumni Publications Publications for TUFW and Predecessors 10-1-1936 The iB ble Vision Fort Wayne Bible Institute Follow this and additional works at: https://pillars.taylor.edu/tufw-alumni-publications Part of the Higher Education Commons Recommended Citation Fort Wayne Bible Institute, "The iB ble Vision" (1936). TUFW Alumni Publications. 225. https://pillars.taylor.edu/tufw-alumni-publications/225 This Book is brought to you for free and open access by the Publications for TUFW and Predecessors at Pillars at Taylor University. It has been accepted for inclusion in TUFW Alumni Publications by an authorized administrator of Pillars at Taylor University. For more information, please contact [email protected]. 'WHERE THERE IS NO VISION, THE PEOPLE PERISH' THE BIBLE VISION '*Write the znsion and make it plain" THE HEAVENLY VISION Rev. J. E. Ramseyer THE THEOLOGY OF THE HYMNBOOK Dr. John Greenfield THE CROSS ANTICIPATED Mr. John Tuckey THE EPISTLE TO THE GALATIANS Rev. B. F. Leightner WHAT'S NEW AT THE BIBLE INSTITUTE WITH THE ALUMNI OCTOBER, 1936 Publication of the Fort Wayne Bible Institute Fort Wayne, Indiana 1 The Bible Vision Published monthly by THE FORT WAYNE BIBLE INSTITUTE S. A. WITMER, Editor B. F. LEIGHTNER, Associate Editor LOYAL RINGENBERG, Associate Editor HARVEY MITCHELL, Editor of Fellowship Circle Department Publisher Economy Printing Concehn, Berne, Indiana Yearly Subscription, Seventy- Five Cents; Sixteen Months for One Dollar; Three Years for Two Dollars; Single Copy for Ten Cents. Address all correspondence regarding subscriptions or subject-matter to the Fort Wayne Bible Institute, Fort Wayne, Indiana. -
Buffy & Angel Watching Order
Start with: End with: BtVS 11 Welcome to the Hellmouth Angel 41 Deep Down BtVS 11 The Harvest Angel 41 Ground State BtVS 11 Witch Angel 41 The House Always Wins BtVS 11 Teacher's Pet Angel 41 Slouching Toward Bethlehem BtVS 12 Never Kill a Boy on the First Date Angel 42 Supersymmetry BtVS 12 The Pack Angel 42 Spin the Bottle BtVS 12 Angel Angel 42 Apocalypse, Nowish BtVS 12 I, Robot... You, Jane Angel 42 Habeas Corpses BtVS 13 The Puppet Show Angel 43 Long Day's Journey BtVS 13 Nightmares Angel 43 Awakening BtVS 13 Out of Mind, Out of Sight Angel 43 Soulless BtVS 13 Prophecy Girl Angel 44 Calvary Angel 44 Salvage BtVS 21 When She Was Bad Angel 44 Release BtVS 21 Some Assembly Required Angel 44 Orpheus BtVS 21 School Hard Angel 45 Players BtVS 21 Inca Mummy Girl Angel 45 Inside Out BtVS 22 Reptile Boy Angel 45 Shiny Happy People BtVS 22 Halloween Angel 45 The Magic Bullet BtVS 22 Lie to Me Angel 46 Sacrifice BtVS 22 The Dark Age Angel 46 Peace Out BtVS 23 What's My Line, Part One Angel 46 Home BtVS 23 What's My Line, Part Two BtVS 23 Ted BtVS 71 Lessons BtVS 23 Bad Eggs BtVS 71 Beneath You BtVS 24 Surprise BtVS 71 Same Time, Same Place BtVS 24 Innocence BtVS 71 Help BtVS 24 Phases BtVS 72 Selfless BtVS 24 Bewitched, Bothered and Bewildered BtVS 72 Him BtVS 25 Passion BtVS 72 Conversations with Dead People BtVS 25 Killed by Death BtVS 72 Sleeper BtVS 25 I Only Have Eyes for You BtVS 73 Never Leave Me BtVS 25 Go Fish BtVS 73 Bring on the Night BtVS 26 Becoming, Part One BtVS 73 Showtime BtVS 26 Becoming, Part Two BtVS 74 Potential BtVS 74 -
Cécile Mclorin Salvant, Wycliffe Cécile Mclorin Salvant Gordon, and More
Wednesday Evening, February 24, 2016, at 8:30 m a r g Swimming in Dark Waters— o r Other Voices of the American P Experience e h T Featuring Rhiannon Giddens, Leyla McCalla & Bhi Bhiman This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Irwin B. Cohen, The G & A Foundation, Inc., Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts. Artist catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM: Thursday Evening, February 25, at 8:30 La Santa Cecilia Friday Evening, February 26, at 8:30 Charles Busch: The Lady at the Mic A cabaret tribute to Elaine Stritch, Polly Bergen, Mary Cleere Haran, Julie Wilson & Joan Rivers Saturday Evening, February 27, at 8:30 Terri Lyne Carrington’s Mosaic Project: Love & Soul featuring Valerie Simpson & Oleta Adams IN THE STANLEY H. KAPLAN PENTHOUSE: Wednesday Evening, March 16, at 8:00 Luluc Thursday Evening, March 17, at 8:00 Anaïs Mitchell Friday Evening, March 18, at 8:00 The Cooper Clan All Together The Appel Room is located in Jazz at Lincoln Center’s Frederick P. -
Jacob Collier with Metropole Orkest Djesse, Vol. 1
siasm and power during an uptempo version of “Exactly Like You.” Joined by organist Dan Chase, guitarist Kyle Asche and drummer Greg Artry, she’s very much in her element, featuring an impressive range while vocalizing in a con- versational style that’s sometimes way behind the beat. Allgood stretches her repertoire a bit here with the inclusion of two originals, a Michael Jackson hit (“Rock With You”) turned into soul jazz, and a tune by Stevie Wonder. But most rewarding are her renditions of jazz standards. Allgood sings her lyrics to Morgan’s “Hocus Pocus” (a song based on “Mean To Me”) that fnds her essaying the occasionally wide inter- vals efortlessly and scatting creatively for two Alyssa Allgood choruses. She interprets Telonious Monk’s “Ask Jacob Collier with Exactly Like You Me Now” with quiet emotion, sounds joyful on Metropole Orkest CELLAR MUSIC 050418 “Te More I See You,” interacts with drummer Artry on “Alone Together” and gives “Darn Tat Djesse, Vol. 1 HHH½ HAJANGA/DECCA/GEFFEN Dream” a medium-tempo treatment. An impressive bop-oriented singer based in While Allgood mostly sounds at her best on HHH½ Chicago, Alyssa Allgood won a 2014 Down Beat hotter material, her surprising version of Tough Jacob Collier describes Djesse—a mul- Student Music Award in the Undergraduate “Yardbird Suite,” here rendered as a medi- tidisc project—as a single album, but four indi- Vocal Jazz Soloist category. Two years later, she um-slow ballad, is convincing and ofers the vidual records, any sense of fragmentation at recorded her debut, Out Of Te Blue, which prospect of an interesting future. -
A Performer's Guide to Minoru Miki's Sohmon III for Soprano, Marimba and Piano (1988)
University of Cincinnati Date: 4/22/2011 I, Margaret T Ozaki-Graves , hereby submit this original work as part of the requirements for the degree of Doctor of Musical Arts in Voice. It is entitled: A Performer’s Guide to Minoru Miki’s _Sohmon III for Soprano, Marimba and Piano_ (1988) Student's name: Margaret T Ozaki-Graves This work and its defense approved by: Committee chair: Jeongwon Joe, PhD Committee member: William McGraw, MM Committee member: Barbara Paver, MM 1581 Last Printed:4/29/2011 Document Of Defense Form A Performer’s Guide to Minoru Miki’s Sohmon III for Soprano, Marimba and Piano (1988) A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by Margaret Ozaki-Graves B.M., Lawrence University, 2003 M.M., University of Cincinnati, 2007 April 22, 2011 Committee Chair: Jeongwon Joe, Ph.D. ABSTRACT Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle to promote cross- cultural awareness and world peace, while displaying a self-proclaimed preoccupation with ethnic mixture, which he calls konketsu. This document intends to be a performance guide to Miki’s Sohmon III: for Soprano, Marimba and Piano (1988). The first chapter provides an introduction to the composer and his work. It also introduces methods of intercultural and artistic borrowing in the Japanese arts, and it defines the four basic principles of Japanese aesthetics. The second chapter focuses on the interpretation and pronunciation of Sohmon III’s song text. -
Amythyst Kiah Bio
Amythyst Kiah Bio Born in Chattanooga and based in Johnson City, Amythyst Kiah’s commanding stage presence is matched by her raw and powerful vocals—a deeply moving, hypnotic sound that stirs echoes of a distant and restless past. Accompanied interchangeably with banjo, acoustic guitar, or a full band, her eclectic influences span decades, finding inspiration in old time music, alternative rock, folk, country, and blues. Our Native Daughters, her recent collaboration with Rhiannon Giddens, Leyla McCalla, and Allison Russell (Birds of Chicago), has delivered a full-length album produced by Rhiannon Giddens and Dirk Powell, Songs of Our Native Daughters (out now on Smithsonian Folkways). NPR described the opening track, Black Myself, written by Amythyst, as “the simmering defiance of self-respect in the face of racism.” The song was nominated for a Grammy for Best American Roots Song. The supergroup hit the road in July 2019 with a series of special dates that included performances at Washington D.C.’s Smithsonian Museum of African American History & Culture as well as Newport Folk Festival. The group was nominated for Duo/Group of the Year at the 2019 Americana Honors & Awards. Black Myself won 2019 Song of the Year at the Folk Alliance International Conference. Provocative and fierce, Amythyst’s ability to cross boundaries is groundbreaking and simply unforgettable. Her stylistic range will be on full display in her next full-length album expected in 2021. Amythyst regularly tours the United Kingdom and has performed at Celtic Connections, Southern Fried Festival, Cambridge Folk Festival, the Edinburgh Jazz & Blues Festival, and SummerTyne Americana Festival. -
Images of the Pregnant Body and the Unborn Child in England, 1540–C.1680 Rebecca Whiteley*
Social History of Medicine Vol. 32, No. 2 pp. 241–266 Roy Porter Student Prize Essay Figuring Pictures and Picturing Figures: Images of the Pregnant Body and the Unborn Child in England, 1540–c.1680 Rebecca Whiteley* Summary. Birth figures, or print images of the fetus in the uterus, were immensely popular in mid- wifery and surgical books in Europe in the sixteenth and seventeenth centuries. But despite their central role in the visual culture of pregnancy and childbirth during this period, very little critical attention has been paid to them. This article seeks to address this dearth by examining birth figures in their cultural context and exploring the various ways in which they may have been used and interpreted by early modern viewers. I argue that, through this process of exploring and contextual- ising early modern birth figures, we can gain a richer and more nuanced understanding of the early modern body, how it was visualised, understood and treated. Keywords: midwifery; childbirth; pregnancy; visual culture; print culture An earnest, cherubic toddler floats in what looks like an inverted glass flask. Accompanied by numerous fellows, each figure demonstrates a different acrobatic pos- ture (Figure 1). These images seem strange to a modern eye: while we might suppose they represent a fetus in utero (which indeed they do), we are troubled by their non- naturalistic style, and perhaps by a feeling that they are rich in a symbolism with which we are not familiar. Their first viewers, in England in the 1540s, might also have found them strange, but in a different way, as these images offered to them an entirely new picture of a bodily interior that was largely understood to be both visually inaccessible and inherently mysterious. -
A CONVERSATION with AMYTHYST KIAH by Andrea Cuevas
THE ARTIST SPEAKS A CONVERSATION WITH AMYTHYST KIAH By Andrea Cuevas AC: What are some things you are 5. Cooking–favorite things I’ve made so far enjoying (or learning to cope with) during are Coconut Chana Saag (made with kale quarantine? instead of spinach) and Ancho-Lentil Tacos! AMYTHYST KIAH AK: In no particular order: 6. Short hikes in the woods–due to where I Born in Chattanooga and based in Johnson 1. Gaming–Animal Crossing has been my live and the current socio-political climate, City, Amythyst Kiah’s commanding thing lately. I won’t say where. stage presence is matched by her raw 2. Reading nonfiction–Caffeine Blues and 7. Listening to music–re-listening to my and powerful vocals—a deeply moving, How Not to Die are current reads. favorite dance albums and digging into hypnotic sound that stirs echoes of a distant 3. Graphic novels–currently obsessed with new (and new to me) dance music, from and restless past. Saga. 90’s style house to Motown to industrial Accompanied interchangeably with banjo, acoustic guitar, or a full band, her eclectic 4. Training – building to up to running and nu metal, ie., Lady Gaga, the Marvelettes, Rhiannon Giddens, Amythyst Kiah, Allison Russell, and Leyla McCalla on the red carpet influences span decades, finding inspira- plan to start my first powerlifting program and Static-X are all in my music library. of the 2019 Americana Honors & Awards (photo by Erika Goldring) tion in old time music, alternative rock, soon. 8. Spending quality time with my partner folk, country, and blues. -
“Living the Dream”
George A. Mason Wilshire Baptist Church th A Season for Dreamers 4 Sunday of Advent 22 December 2019 Last“Living in series, the Dream” Dallas, Texas Luke 1:26-38, 46-55 It was the only thing that always This song is to the country of worked to quiet her. It is the Austria about what Kate Smith’s only thing that works to quiet version of “God Bless America” is him. to us—not a national anthem but a patriotic ballad. Edelweiss is a One of the pleasures of white flower that grows bravely grandparenting is seeing how in the highest altitudes. the children you parented Unfortunately, it’s also too often parent. Kim and I were in New a symbol of racist white power. York a few weeks ago, staying with our daughter, Jillian. It was Lullabies are powerful ways of her son River’s bedtime, and he calming children and putting wasn’t having it. Then I heard it. them to sleep. What I want to A song. A lullaby. Something I suggest to you today is that they hadn’t heard since she was a are also powerful ways of riling little girl that became an people and waking them up to earworm in my head night after act. Lullabies can set you to night—“Edelweiss.” dreaming and also to living the dream. lullaby Jillian grew up with stories. It’s no surprise she majored in The very word is curious. acting inThe college Sound and of isMusic our Some say—and for all the family drama queen, don’t you research I have done this week, I know?! was a still can’t confirmLilith, it—that be gone. -
Jacob Druckman
JACOB DRUCKMAN: LAMIA THAT QUICKENING PULSE | DELIZIE CONTENTE CHE L’ALME BEATE | NOR SPELL NOR CHARM | SUITE FROM MÉDÉE [1] THAT QUICKENING PUlsE (1988) 7:41 JACOB DRUCKMAN 1928–1996 Francesco Cavalli/Jacob Druckman: [2] DELIZIE CONTENTE CHE L’ALME BEATE (arr. 1985) 2:48 THAT QUICKENING PULSE [3] NOR SPELL NOR CHARM (1990) 11:37 DELIZIE CONTENTE CHE L’ALME BEATE Marc-Antoine Charpentier/Jacob Druckman: NOR SPELL NOR CHARM SUITE FROM MÉDÉE (arr. 1985) [4] I. Ouverture 2:14 SUITE FROM MÉDÉE [5] II. Prélude 2:45 [6] III. Rondeau pour les Corinthiens 1:50 LAMIA [7] IV. Loure 4:46 [8] V. Passepied & Choeur 3:24 LAMIA (1986) LUCY SHELTON soprano [9] I. Folk conjuration to make one courageous 2:09 [10] II. Metamorphoses, Book VII; BOSTON MODERN ORCHESTRA PROJECT Folk conjuration to dream of one’s future husband 7:01 [11] III. Folk conjuration against death or other absence GIL ROSE, CONDUCTOR of the soul 4:59 [12] IV. Stanza degli Incanti de Medea; Tristan und Isolde; Periapt against theeves 5:08 TOTAL 56:24 COMMENT By Jacob Druckman Lamia was the name of a sorceress of Greek mythology and has come to mean “sorcer- ess” in the generic sense. The concept of the work grew out of a particular performance of my Animus II by my dear friend and colleague, the great American mezzo-soprano Jan DeGaetani at the Aspen Colorado Music Festival in 1972. Ms. DeGaetani, who has magnificently performed and recorded several of my works, gave a particularly magical performance that night in which everything that sounded and befell seemed to be the direct result of her will and her powers. -
The Capitalist Blues Is Leyla Mccalla's Way of Processing the Current Political Environment, Where Many of the Issues Are Fina
The Capitalist Blues is Leyla McCalla’s way of processing the current political environment, where many of the issues are financial, but they’re rarely simply financial. “It feels like everyone’s in a pressure cooker in this country,” she says. The album is McCalla’s third, after Vari-Colored Songs: A Tribute to Langston Hughes (2013) and A Day for the Hunter, A Day for the Prey (2016). Those albums and her time as a member of the African- American string band The Carolina Chocolate Drops presented her vision in songs that revealed the realities that people lived, often expressed in metaphors. She explored Haitian Creole identity issues in songs with arrangements that focused on the song. She often sang and accompanied herself on cello, banjo, or guitar. The New York-born McCalla has lived in New Orleans since 2010, and A Day for the Hunter, A Day for the Prey broadened not only her examination of Creole identities but her sound as she brought in a number of musicians to add fiddle, clarinet, piano, electric guitar, and additional voices. Her growing relationship to the city’s musical community led her to consider her relationship to New Orleans on The Capitalist Blues, and for the first time, it led her to record with a band. It wasn’t by design. Producer Jimmy Horn asked her sing on a session with his acclaimed New Orleans R&B band, King James and the Special Men, at a time when she had new songs but was unsure what forms they should take.