Our Album is designed to to be played for all audiences, young and old. The songs are songs that just about everyone has heard in their lifetime. Some of our customers told us they love to listen to it while they are doing their housework, and it makes their day a little easier. Others have said they love to play it after a long day, while they are relaxing with their love one and sipping on a glass of wine. The smooth tones of the tenor sax, played by Jay Willis on "Misty"are incomparable as well as the muted solo by Roger Barbour on the trumpet on "You're my everything". Add in a few songs by the "Duke" , a blues tune, and a few latin tunes and the album is complete.


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ACDAEast
American Choral Directors Association – Eastern Region
Eastern Region History
Region Conferences
Past Region Conferences
Rochester 2020
Accepted Choirs
Pittsburgh 2018
Providence 2012
Hartford 2008
Repertoire & Resources
Life-Long Choirs Rep & Resources
College and University Choirs
Repertoire Specific
Youth Choirs
ChoralNet
ChorTeach
Author: Mark Boyle
The Sky's The Limit! Literacy Techniques to Inspire, Empower & Advance Your Choir
More than almost anything else, literacy is the key to freedom, possibility, and advancement. Those who are literate in a collective language are able to work better together, learn from and inspire each other, achieve higher, and discover a world of previously unknown possibilities.
Likewise, since music is a mode of understanding like a language, the means by which we understand, create, interpret, and perform at a higher level is by laying a common foundation of musical literacy
by Mark Boyle
General Choral Interest
Music Literacy
The Sound of Contribution
The first time I had a true aesthetic experience, I was 17.
Within the first 30 seconds of the choir opening their mouths, my life was changed.
That sound.
It was bright, vibrant, fully committed, and filled with life. The singers' faces and bodies completely engaged, their eyes in unison on the conductor.
I wept.
I wept, and I experienced that magic that we all have experienced a few times in our life when we
make music with others who are living with full hearts in the same place and time. The feeling that is so deep and overwhelming that you feel sick with wonder. One month later, I packed the car and moved to the middle of nowhere to go live in that sound for the next four years as an undergraduate.
I knew that my life's work was not only to figure out how to recreate that sound, and that fire for my students, but to know how to teach others to create and perpetuate that experience for THEIR students.
A peak experience like I had, and that so many musicians have had, is addicting. It's like a drug that we crave and constantly search for to get our next "fix." When I graduated and began to look for jobs that would support my sound addiction, I naïvely knew that I would only take a high school job, in a really nice area, with lots of students, who all wanted to be there and felt like I did about choral music. That was easy to find, right?
The reality of what happened is that I took a job as an associate director split between HS and MS in a school district that was 60% affluent students, and 40% students that were in a very low socio-economic bracket who were bussed in from rough areas to help them succeed.
The disconnect between my drive for helping create people who were passionate about choral sound, and the reality of my choirs being filled with 90+ students, many of whom were there simply for a credit, mixed with a few great singers, caused a huge crisis for me. I cried every day for six months because I poured my heart out each minute trying to explain what they should/could feel instead of giving them an experience that made them discover for themselves. But, instead of running away, I decided that I wouldn't stop until I figured out a system and a way to help my large, "y'all-come" choirs make unified sounds, remarkable music, and give them an experience that makes them want to be there every single day.
My mission became my passion, and my favorite choirs to work with today are non-auditioned, large choirs.
Through my process of finding ways to unify these groups both musically and emotionally, I've found that there are a few key ideas and techniques (among many others) that I prioritize in rehearsals:
Economic voice matching and changing seating often
A system of exercises that standardizes healthy vowel space/placement and tricks to modify consonants/vowels to improve intonation
Utilizing the forte dynamic and gradually working our way to a healthy, piano with a core tone and focus
Picking repertoire that is diverse tonally, challenging and attainable for all levels of musicianship and singers.
Building peak experiences through principles of appreciative inquiry
I believe that these priorities are the means to reach connection among singers.
I believe that connection leads to vulnerability and making mistakes.
I believe that mistakes lead to discovery.
I believe that discovery leads my students to find their own contribution to make to themselves, the ensemble, and the world around them.
I believe that it is unconditional contribution that creates that brilliant, unified sound that changed me when I was 17.
In the end, I believe that change is the legacy we leave behind.
Dr. Cory Ganschow is Coordinator of Music Education and Associate Director of Choirs at Western Connecticut State University. She is extremely active as an adjudicator and clinician for honor choirs across the country including All-State, All-Region, and All-District Choirs. Prior to teaching at WCSU, Ganschow taught choir in the Texas and Illinois public schools, and served as a facilitator of music in the adolescent behavioral health community. She has sung professionally in the Simon Carrington Chamber Singers, Voce, and Spire, and is also a published researcher and presenter in the areas of choral rehearsal approaches and engagement. She currently serves on the NAfME National Council for Choral Education Executive Committee and the CT-ACDA Executive Board as the R&S Chair for Women's Choirs. Ganschow holds a Ph.D. in Music Education and Curriculum & Instruction from the University of Missouri-Kansas City Conservatory of Music and Dance, a MME from Illinois State University and a BME from Millikin University where she studied conducting with Dr. Brad Holmes.
Are you a process or a product style choral music educator?
After presenting an interest session with the Mansfield University Concert Choir demonstrating vocal techniques at the 2006 ACDA Eastern Division Conference in New York City, Frank Albinder commented: "I didn't know that you were such a process person." The comment inspired my thinking. Since then as I have read articles on teaching philosophy and observed conductors in rehearsal, I have considered whether the process of how students learn is as important as the final product or, in other words, the performance. If the performance is great, does it matter how we get there? My answer is "yes, it does;" in fact, the process can enhance the product!
I am really looking forward to presenting interest sessions on Saturday morning in Boston, "The Choral Rehearsal: Process to Product," with the Mansfield University Concert Choir as a demonstration group. Throughout my twenty-six years at Mansfield, I have been passionate about vocal pedagogy and sequential learning as applied to choral rehearsals.
Successful performances are grounded in a creative, yet systematic, rehearsal process that builds confidence through vocal development, musical knowledge, and security in musical performance. My process involves layers of learning centered upon the elements of music: rhythm, pitch, harmony, texture, and tone color, combined with articulation, dynamics, and cultural understanding.
The interest session will focus on specific concepts related to each musical selection and will demonstrate rehearsal techniques that define an efficient and effective rehearsal process resulting in a musical product that is grounded in healthy vocal technique and musical understanding. Techniques such as count-singing using the Tometics method, pitch-reading based upon solfège, text-chanting à la Robert Shaw, and changing choral colors using head- or chest-voice will be incorporated. In addition, exercises for achieving choral blend through vowel formation, dynamic balance, and voice matching will be demonstrated. Here are examples of pedagogical approaches to tone color:
Bright-forward timbre: Laudar Vollio from Cortona laudario (13th c.)
A. Bright tone color
1. Begin with puppy whine
2. Vocalize on tongue vowels only: "nee-ay-ah-ay-ee"
3. Five tones descending on "nyae, nyae, nyae," or "yellow"
4. Fast vocalises with initial consonants: V, Z, Y
5. Vibration towards the hard palate; soft palate not as involved
B. Application to music
1. Chant text on Shaw chord
2. Learn pitches with solfège in E dorian
Dark vocal color: I've been in the storm so long (Jeffery Ames)
A. Vocalize with dark color (compare dark and bright)
1 Sense an open throat – sip air through straw to feel lift in palate
2. Use lip vowels: ah, oh, oo
3. Sing five tone descending scale on "ee-oh" with Oreo cookie concept
4. Sing ascending/descending scales on "noo noh nah nay nee" with puckered lips
5. Put hands on cheeks for tall vowels and rounded lips
6. Pretend you have marshmallows in throat
7. Imagine Timothy Seelig's concept of the woofer and the tweeter:
woofer– resonance in the pharynx with lifted soft palate
The Concert Choir and I will demonstrate the rehearsal techniques with repertoire selections by Monteverdi, Parry, Britten, Messiaen, Esenvalds, Memley, Ames, Runestad, and Hatfield, and a handout with teaching techniques will be provided. Hope to see you there!
Peggy Dettwiler is Professor of Music and Director of Choral Activities at Mansfield University, where she conducts the Concert Choir, Festival Chorus, and Chamber Singers, and teaches choral conducting and methods. She holds the Doctor of Musical Arts Degree from the Eastman School of Music in Rochester, New York. Dettwiler has served as a guest conductor and lecturer throughout the country and has given presentations at numerous NAfME and ACDA Conventions. She has produced two DVDs, one entitled, "Developing a Vocal Color Palette for Various Choral Styles" and the second, "Sing in Style." Dettwiler made her conducting debut in Carnegie Hall in January of 2014 and presented an interest session at the World Choral Symposium in Seoul, Korea, in August of 2014.
Rehearsal Technique
From Conference to Mozambique
ACDA conferences, both regional and national, often tend to serve as mileposts as we head along our career path: "Do you remember the national conference when we heard…. Did you hear the interest session at the regional when we first learned about…." The 2012 Eastern Regional conference in Providence, though, was less a milepost for me than a giant direction sign: "STOP! Turn here!"
At that conference, many interest sessions and concerts were devoted to the concept of choral music as community service. I listened enthralled to the sessions devoted to intergenerational choirs, prison choirs, adaptive choirs, choirs for the homeless, choirs for promoting peace in war-torn regions. The more I heard, the more I realized that this was an aspect of our profession I knew so little about but that spoke to me with increasing delight at every session. But how to begin?
It was providence again indeed when I saw a guest choral director posting on Choralnet in December of that year. The Manda Wilderness Community Trust, located in far northwestern Mozambique, was looking for this choir director to come for their annual Choral Festival, held in late July. The position would involve working with the local village choirs, teaching the ensembles a piece to perform en masse, then coordinating the festival and possibly organizing a workshop for the choirmasters for a few days after the festival. I applied New Year's Eve 2012, and after a few challenging attempts to interview via rainy season solar-powered skype sessions, the trust offered me the position that following February.
I spent the next few months learning the local language, Chinyanja (a variant of Chichewa), finding a piece for the choirs to sing together, and hiking, hiking, hiking to get myself in shape. This remote region is known even in Mozambique as fim do mundo ("the end of the world"), so I knew there were not going to be many forms of transportation much more than walking!
In May, I arrived at Nkwichi, the headquarters of the Manda Wilderness Community Trust. For two-and-a-half months, I logged four hundred and fifty miles of hiking as my guides and I travelled from village to village, sleeping in tents at the compounds of each village mfumu (chief), eating the local food, speaking the language, and working with the choirs – just as here, each with its own distinctive way of working and its own community culture.
With each chorus, I would listen to them perform then ask if there was anything they felt they wanted assistance with. It was important to me never to impose my own ideas of what I felt they might need; and I was glad I came in with that mindset, because by the end of my time there I realized what I would have missed in the culture had I come in with that attitude – not to mention how foolish it would have looked.
I had brought video and audio recording equipment with me, and I used it to record two to four pieces at each and every session. My primary reason for doing this was to show the choirs how they looked and sounded, as they had never had this opportunity to see themselves before. Naturally, however, this meant that in the course of visiting fifteen of the sixteen villages in the region, I amassed a huge video collection of the local choral culture. This I carefully transcribed and translated each time I would return to Nkwichi, with much assistance from the knowledgeable local employees of the trust.
In addition to recording established repertoire, I felt it would be good as a guest director to encourage local composers to consider creating new works for the repertoire. In this endeavor I received enthusiastic support from local choirmaster and trust employee Richard Stephano. At each village in my final honorary speech (an expected custom), I would invite the choirmaster to encourage any choir member who had a composition to come and perform it with their choir when they came to the festival. I would record it, transcribe it, and then submit to earthsongs for consideration for publication upon my return to the United States. How exciting it was when three choirs came to the festival with new works to add to the repertoire!
My last three weeks were spent organizing the festival (Did the rubric sheet make sense for adjudication based on local customs? Were the judges acceptable to the choirs? Did we have enough nsima and mchicha to go around for the meal at the festival?), as well as delivering the workshop with the choirmasters. The total experience was of course life altering. Upon my return I could not wait to begin sharing all I had learned.
I am very grateful that earthsongs enthusiastically embraced the idea of publishing all three composed pieces. Part of my interest session will be the presentation of one of these works, written by Jaime Chiphanga of the Mcondece village choir. Based on my personal experience and observations, I will walk interested colleagues through an authentic rehearsal and performance process for these pieces, all of which would be appropriate for concert or for worship settings and are designed to work for choirs of all ages.
It would be an honor to share this wonderful culture and its music with you in Boston this coming February, four years after that transformational Eastern Division conference in Providence. May your time in Boston provide you with your own revelatory insights, inspiration and meditation, that we may each live a life of service through music wherever that leads us.
MARK CONLEY, a conductor, composer and singer, has conducted numerous ensembles from professional opera companies to high school and middle school ensembles. He has also served as music director for numerous theater companies as well as performing as an opera and oratorio soloist. At the University of Rhode Island he serves as Professor of Music and Director of Choral Activities. He made his Carnegie Hall conducting debut in the spring of 2009. The Summer of 2013, he served as guest choral director for the choral festival in the Manda Wilderness of Mozambique, working for three months in this remote region in order to help present a choral concert in late July. He blogged about his experiences at www.intrepidconductor.weebly.com.
Multicultural Perspectives
The Journey of Singing at an ACDA Conference: A Reflection of Gratitude
From the moment it was announced that Roxbury Classic Sounds Honors would be singing in Boston, my students and I felt an anticipation and excitement that was intangible and special. I feel particularly grateful about our upcoming performance in Boston. Roxbury's first appearance at an ACDA convention was Friday February 13th, 2004 at the Old South Church. We feel privileged to sing at the Old South Church again, this time on Friday February 12th, 2016. There is something very sentimental about this for the Roxbury kids, alumni, staff and myself regarding this "moment in time."
My mom taught me the value of these "moments in time." She often said that a special "moment in time" was important as it acted as a frame of reference for modeling all the other days of your life. I feel certain of what these "moments in time" – milestone dates of anniversaries, important performances, and birthdays – do for us. They remind us that the journey is the real deal. Why do we do what we do on a daily basis? Because as teachers and musicians we are in the business of enhancing lives through daily music-making. The bigger picture is a culmination of the details: the months of rehearsal; the study of great music; the interaction of students and teachers; the welcoming of guest artists and their special talents to contribute; and – through all the above – the development of students' confidence, skills, and talents.
I hope and trust through every rehearsal across days, months, and years that each student can develop their own passion to create and continually strive for authentic musical experiences. I hope these musical experiences can then become a "moment in time" for them, a frame of reference for their future experiences in life – a sort of chain-reaction for an extraordinary life.
Certainly, the actual performance moment in February is a significant "moment in time," but so is the journey: the
Roxbury Classic Sounds Honors
daily musical phrases that hit correctly; the interaction of friends, singers, and colleagues; and the communication of beauty through music – this is the point of all we do.
I never want to forget the "big picture" concerning my involvement in ACDA.
This organization has given me great joy, friendships, opportunities, and resources in the choral world beyond what I ever imagined. So, for the "moment in time" in February, I am very grateful; however, it is the journey that I will truly cherish.
GET GUYS SINGING: Thoughts from the choir…
Several years ago, my co-director and I decided to split the 7th and 8th grade choirs by gender at Marsteller Middle School in Bristow, VA. Little did we know the dramatic effect that would have on our male enrollment. In just two years we reached a 1 to 1 ratio of boys to girls and at our largest, had over 900 students in choir. My session will focus mostly on the repertoire and gimmicks I use, both in class and on stage, to get young men interested in singing and looking and sounding their best. This blog, however, has been written by my singers. They are the backbone of the session and will be there with me, showcasing many of the songs we'll be discussing. I asked them "What's cool about being in a men's chorus?" and told them to send their response to me via the Remind app, which limits their text to 140 characters. Here's what they had to say:
To me, Men's Select helps me to liberate my creative passion for the art of music.
I enjoy being in a men's chorus because we form close bonds with each other and with Mr. Keirstead and have fun singing together.
Men's Chorus is a great class. I get to be in a class with a lot of my friends and I love being able to express myself in music.
I enjoy Men's Chorus because it is one of the classes where I can go and do what I like doing, which is singing.
What I love about men's chorus is that we get to go around and perform for our parents and little kids, showing them how much fun chorus is.
In Men's Chorus you get to show your talent and hang out with guys that do it, too. You don't need to sing too high and the music is great.
We are not just a boys' choir. Mr. Keirstead has taught us all to be men.
I don't have to worry about impressing girls. It's fun hanging out with just my guy friends.
Men's Chorus is fun! Not just the singing and dancing, but the actual learning of the music is fun in itself.
A men's choir gives me an opportunity to have fun learning about music with kids like me. It makes me feel normal while learning music.
Being in men's chorus is a good human experience, not only for the students, but for the teacher, also.
You can make new friends and support each other in and outside of men's chorus.
Being in men's chorus is a unique opportunity to show who you are and the person you are inside, where you won't be judged by others.
Men's Chorus is cool because of the awesome songs and dances along with the cool outfits!
Being in a men's chorus is fun because we can all relate to each other and understand each other. Also, we sing songs that are meant for our voice range.
I think it's cool to be in a men's chorus because we all understand each other better. Also, we get along with each other without it getting awkward.
And finally, from the kid who didn't follow directions and sent several 140-character texts to finish this thought…
Men's Chorus is an inspirational class to get you to where you want to be when you grow up. Being separated into these two classes of men and women allows the teachers to dig deeper into the music and focus on the important things without only touching on them. This also allows the students to stay engaged in their music because being around the other gender distracts them from their musical experience.
Philip Keirstead is one of two choral directors at Marsteller middle School in Prince William County, Virginia. There he directs the 7th Grade Men's Chorus, 8th Grade Advanced Men's Chorus, and co-directs the 6th Grade Mixed Choir with Julie Phelan.
Philip attended James Madison University where he was a founding member and treasurer of its first collegiate chapter of the American Choral Director's Association. He served as student conductor of the University Chorus and graduated Magna Cum Laude with a bachelor's degree is music education. He currently serves on the university's Music Education Advisory Committee. Philip completed his Master of Choral Music Education Degree at Florida State University in 2015.
Philip began his teaching career at Hylton High School in Woodbridge, VA, serving as assistant choral director and musical director. He has served the Virginia Music Educators Association as District IX Choral Representative and as the VCDA Secretary. Philip is also very active in the American Choral Directors Association, having served as the Middle School Repertoire and Standards Chair and organizing the All-Virginia Middle School Honor Choir and auditions.
Guest conducting engagements include several district and county choir events in and around Virginia. In 2011, Mr. Keirstead and his 8th Grade Men's Select Choir were invited to give a presentation entitled "Get Guys Singing" which focused on repertoire that attracts young men to chorus. This presentation was reprised at the ACDA Southern Division Conference in Jacksonville, FL in 2014. Philip was named Prince William County's Middle School Teacher of the Year for the 2011-2012 school year and was a runner-up for the Washington Post Agnes Meyer Outstanding Teacher Award.
Tenor and Bass Choirs
Musica: A Great Benefit for ACDA Members
If you are searching for choral repertoire, and the fact is, we are indeed searching for choral repertoire all the time, your membership in the American Choral Directors Association offers you the entire Musica choral database to track down repertoire throughout the world.
Why would you use Musica rather than a Google search? Great question! Here are some answers I think you will find compelling:
The Musica database references the score for the choral piece you want to find and does not drown in all other areas that you will encounter in a typical Google search;
Music is a structured database, which means there exists a specific field for each type of information describing a score—composer, title, voicing, number of voices, key center, genre, style, form, instrumentation, liturgical use, and much more (for example, try searching in Google for Swiss choral scores for mixed voices in French, for a harvest festival, lasting about five minutes….Good luck with that! But in Musica, your search can be pinpointed with these criteria.)
With Musica, fields of a search are grouped, making the search much more friendly and faster;
In Musica, several search forms are available for the user who can choose the one that is best suited to the research desired, or to the one that is most comfortable to the user;
Musica automatically translates the important data into four languages, allowing access to all data, even those introduced in Musica in a language other than that used by the visitor;
A Musica record includes all the information about the score into a single entity; you will find the bibliographic description, but also the multimedia links (video, audio clip, translations, pronunciation of the text, image of the page, and more);
The information is monitored constantly and checked and improved (in other words, it is trusted) by the Musica coordination team, which is a team of choral conductors and music librarians (in other words, this is a trusted site, avoiding the negative aspects of Wikipedia and Google searches);
The videos selected for the choral works sought are only the good performances, unlike Google and YouTube that mix the best with the worst;
In the composer's file, nearly 11,000 composers have one or more links to detailed biographies, again checked and monitored by the Musica team;
Musica offers "favorite pieces of the month" for additional exploration and interest;
Musica offers an "auditorium" where you can browse through the vast compilation of all audio and video links;
Musica allows you to interact with the data by using a Musica Wiki or Facebook page;
Musica offers a list of important anniversaries for composers.
Musica can be used to manage your choral holdings without need of doing your own database, by benefitting from private fields to input for instance your location.
Musica has developed into THE choral music research and teaching tool for the benefit of conductors, musicologists, music conservatories and schools, music federations, and choral music industry members, worldwide. For the experienced choral musician, it is the source for discovering literature from around the world. For the student of choral music, Musica is a keen way to discover and learn about the world of choral repertoire.
Music comprises four databases that can be consulted separately: choral scores-170,000 records; choral composers-30,000 records; authors of texts-13,000 records; choral publishers-2,200 records. These databases are interlinked so that it is possible to navigate directly between them.
The database of scores comprises a series of records yielding as many as 100 different types of information about the score, including composer, arranger, publisher, title, genre, form, difficulty, type of choir, language, musical period, instrumentation, etc. About 20 fields are translated automatically through several multilingual thesaurus developed by the Musica International team. As a result, information is automatically and immediately available in the different languages.
Musica currently contains more than 200,000 multimedia links. The multimedia fields are designed to provide a fuller understanding of the piece: image of one page of the score, the text, its translation in several languages, a sound clip of a good interpretation and/or a video, a sound file of the correct pronunciation by a
native speaker of the language, a midi file, and links to pages external of the project. By the end of 2015, the Musica database contained more than 170,000 records, making it the leading virtual library of choral music in which all possible information about a score is available.
Since 2011, Musica has concentrated on the development of features allowing full interactivity with the actors of choral music. The choral world is able to contribute actively to its development through the linked online Musica Wiki, allowing every composer, publisher, conductor, musicologist, or choral music lover to leave comments, additional information and reports of experiences with the music, and to directly input their favorite pieces.
Musica is now a benefit of membership in ACDA. At the Eastern Division ACDA Conference in Boston in February, 2016, I will be joined by the Musica Board to present an Interest Session on the use of the Musica database with all of the features mentioned in this blog. I hope many of you will come and learn from the Musica team as they unfold the richness of this choral repertoire search engine and learning resource.
Tim Sharp is Executive Director of the American Choral Directors Association, the world's largest association of choral conductors, students, scholars, composers, and choral industry representatives. Tim has pursued an aggressive agenda of strategic planning and progressive initiatives to keep the American Choral Directors Association energized and relevant in the 21st century. He represents choral activity in the United States to the International Federation for Choral Music, and appears regularly as guest conductor and clinician throughout the world. Tim is in his eighth season as Artistic Director of the Tulsa Oratorio Chorus, where critics characterized his performances as having "stunning power" and "great passion and precision". In a recent review of the Tulsa Oratorio Chorus' performance of Mozart's Requiem, arts critic James Watts stated, "The Tulsa Oratorio Chorus, prepared by its artistic director Tim Sharp, was in excellent form, summoning up rafter-shaking power…and showing great sensitivity …."
From the Vocal Studio to the Choral Classroom: Incorporating Key Concepts of Vocalism within the Choral Rehearsal
The benefits of having students in your ensembles participate in voice lessons can be invaluable. The reality is that access to these lessons is not always available or affordable. This participatory session will introduce vocal techniques, literature ideas and rehearsal tips that will strengthen your singers' musicality and promote healthy vocalism throughout your rehearsals. This session is for the "do it all" teacher/conductor searching for more strategies to develop their choral singers' personal vocal development.
Introducing vocal techniques that encourage the unification of registers and develop effective breath management are essential strategies for strengthening your singers' musical capabilities. Unifying vocal registers refers to the singer's ability to smoothly transition between the breaks that naturally occur in the voice. Singing a descending scale on a [i] vowel, particularly through the passaggio, is an effective tool for teaching your singers how to unify the tone through vocal registers. Effective breath management is essential for fostering the musical growth of your singers. Messa di voce exercises can be a key tool in developing effective breath management for your vocalists. Messa di voce is characterized as singing a on a single sustained note maintaining consistent resonance and vibrato while evenly increasing and then decreasing volume throughout the note (Ex.1). One can also make this exercise more interesting for the singer by utilizing a four part singing texture (Ex. 2)
The benefits of breath management include building stamina through increasing the duration of the sustained note, encouraging breath management and NOT breath control, and strengthening tone. It affords the opportunity to incorporate kinesthetic learning and reinforces musicianship through the exploration of dynamic contrast. The consistent implementation of vocal techniques that promote the unification of registers and development of effective breath management should be at the core of all vocal music programs.
At the center of any good choral program is well-planned and thoughtful literature consideration. There are many outlets from which to choose choral octavos to use a teaching aides in our choral ensembles. We oft neglect art songs as instructional tools in our choral programs and have relegated them to solo singing experiences. In fact, arts songs provide another outlet for capitalizing on the value of unison singing. Employing these songs in your choral program not only strengthen your singers intonation but can also be used in group vocal lessons, commonly found in schools throughout New York state, and offer options for assessments.
Collaboration and encouragement are also essential elements in helping your students translate vocal studio concepts into the choral rehearsal. Inviting professional singers into your classroom setting, especially if they are former students, can help your students see connections from your classroom to their career goals. Once might even consider programing a small work with soloists in which you can use your students as the soloists, i.e. Mozart Veni Sancte Spiritus. This type of experience can serve as encouragement for those students who choose to pursue singing as a career. We know that singing is a VERY personal experience. Choral directors should stay engaged vocally so that we never forget what it feels like to be on the other side of the podium. If we remember the skill and effort it takes to keep our own voices in shape, it will inform our efforts to do the same for our students.
Most teachers must subscribe to the school of "Do It All, " meaning we are the choral director and voice teacher for our students. We may not be fortunate enough to live in areas where the resources are available to provide students with supplemental musical instruction and if we do, our students may not be able to afford those services. We have to continue to grow our knowledge base so that we can effectively and efficiently provide the necessary instruction our students need in order to support their musical growth. The practical techniques outlined in my session in Boston will be focused on equipping you with the tools to employ these techniques in your choral classroom.
Dr. Derrick Fox
Assistant Professor of Choral Music Ed./Choral Conducting
Ithaca College, New York
dfox@ithaca.edu
The Importance of Adolescent Voice
I became an educator to help young people find their singing voices and advance their personal musicianship. What I did not realize, at the time, was how engaged I would become with how adolescents develop through choral experiences. I remember when my thoughts came to a fore—the Mixed Choir was preparing for an international tour. We engaged in additional rehearsals and sectionals, the students sang run out concerts, faculty and administrators held meetings with parents, and the choir participated in team-building activities. With more than 55 singers traveling to Europe, we crafted several interactions to facilitate a smooth and enjoyable trip.
Upon our return, student after student told me the choir had "bonded." I probed into the students' experiences and realized they described a sense of belonging and community that developed through extended time together. Participating in choir helped singers feel connected to one another, fostered emerging friendships, and encouraged greater self-awareness and self-growth. Choir members positioned singing in the center of their social development. One student said:
But when you hear someone singing it's their voice, but it's also a different way of seeing someone. We are using ourselves. We become the instrument when we work together. When you are singing, you are making yourself vulnerable. You want to make friendships with those people because you are already opening yourself up to them by singing. (Parker, 2010, p. 347)
My interest was piqued when choir members discussed how the repertoire contributed to their experiences of belonging:
In English class the other day, we were reading Beloved and a character said, 'Oh my Jesus.' The rest of the chorus kids in the class broke into song [at that time in chorus class, students were rehearsing Moses Hogan's I'm gonna sing 'til the spirit which includes several 'Oh my Jesus' within it]. We always have that class right after chorus and so many chorus people are in it. It occurred to me after that experience that maybe other people don't get it" (p. 346).
Adolescents shared that choir is significant because it is a protected, safe space for those who seek friendships and compelling musical experiences. For some, choir acts as an in-group that serves powerfully to build adolescent social identity. Through conducting several research studies, I have learned that young people have important experiences to tell and unique ways of telling—I believe listening to adolescent voices will sustain and inspire our developing practices as choral music educators and advance advocacy efforts for music education.
I look forward to engaging with you in how to create and sustain supportive communities through building relationships, student leadership, enhancing and expecting high-level music-making, and communication within and outside of the school community during my presentation, "What Happens in Choir…Adolescent Development through Singing" at Eastern ACDA in Boston. I hope to see you there.
Parker, E. C. (2010). Exploring student experiences of belonging within an urban high school choral ensemble: An action research study. Music Education Research, 12, 339–352. http://dx.doi.org/10.1080/14613808.2010.519379
Elizabeth Cassidy Parker, PhD, is Assistant Professor of Music Education at the Boyer College of Music and Dance at Temple University. She also conducts the Troubadors, one of four ensembles of the Pennsylvania Girlchoir. Prior to her work at Temple, Elizabeth taught at the Schwob School of Music at Columbus State University, GA. Selected journal publications include the Journal of Research in Music Education, Bulletin of the Council for Research in Music Education, Choral Journal, Music Education Research, and the International Journal of Music Education.
The Conference in the Palm of Your Hand!
The Boston Conference is pushing boundaries in more ways than one! For the first time, we will exclusively be using an app to replace the traditional conference program book. We have partnered with DoubleDutch, one of the industry leaders in conference apps and are excited to provide a top shelf experience in communication, scheduling, and general information. The app works on all major Apple and Android smart devices and tablets and a web based version of the app is available for any other devices. The app itself is native, meaning once you install it, just about all information exists on your device and will not require data (with negligible exceptions). Here is a brief tour of what's in store.
The Activity Feed
This is the default view of the app – the Activity Feed. Think of this as the Conference's "wall." Here, you will find promoted posts from our sponsors and exhibitors, pictures and posts from other conference attendees, and general announcements. You may scroll down the Activity Feed just like a Facebook Wall or the comments section of a webpage to see previous posts. Note that the first post is labeled "Promoted Post." Those will be from the leadership or from our loyal sponsors. The next post down is a picture from Dr. T.J. Harper – a great example of a social posting. You will be able to post to the feed by using the "pencil and paper" icon in the upper righthand corner of the screen.
Most importantly, at the top lefthand corner of the screen
The Menu Button
is the menu button. A close-up is shown here. Clicking this button will cause the main menu to appear. You may also bring out the menu by swiping the screen from the left edge to the right edge. From the menu, you may get to any of the subsections of the app.
The Menu has several useful sections, the most important of which is the two Tracks, which will include every scheduled event: concerts, interest sessions, Together We Sing reading sessions, receptions, research sessions,
roundtables, and everything else. To the right, you will see the default menu view. You can see that the two tracks have their own menu items, color coded appropriately. The Tracks are filterable, meaning, if you just want to see the concert sessions, you can filter everything else out. Each session will contain a wealth of info: live links to repertoire for concerts, interest session materials, and much more.
Below that is the People icon. Here you can find information on the conductors, leadership, interest session speakers, and more. Speaker and Conductor profiles are linked to their respective concert and interest sessions.
Clicking the note icon will display information on all of the Performing Choirs, including rep, linked to publishers, and when they are performing.
Below the Activity Feed icon, you will find Venue Directions. Selecting this provides directions and addresses for all venues from the Sheraton. iPhone users can click on the address and get directions from anywhere instantly. Android users can use Google maps.
Next, you will find the menu item for the Sheraton. Clicking this provides floor layouts and the Exhibit Floor map which is interactive.
Below the Sheraton Floor Plan, are the Exhibitors and Sponsors menu items. The Exhibitors item will provide the location of any booth on the floor and the Sponsors section is interactive, with live phone numbers, email addresses, and weblinks.
Lastly, a section providing Dining info in the Back Bay area should prove useful, listing price point, live addresses and phone numbers, webpages, and a brief description of the cuisine.
Stay tuned for some video walk throughs of the app. On January 1st, the app will officially go live, but we will start adding registered conference attendees as users on December 10th. If you have registered by that date, you will receive and email from Mark Boyle, our Conference Tech Liaison, explaining how to download and log into the app. After the 10th of December, we will be sending out emails weekly to each batch of new registrants after that with the same info.
Mark A. Boyle is the Director of Choral and Vocal Activities at Seton Hill University in Greensburg, PA. He serves ACDA as the Male Choir R & S Choir and the Conference Tech Liaison for the Eastern Division, and the Undergraduate Conducting Competition Chair for ACDA PA.
Eastern Region Conference 2022 Dates and Location Announced
Making Your Chorus Welcoming for Transgender Singers
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The widespread prevalence of elder financial exploitation destroys the financial security of millions of older Americans annually, per the Bureau of Financial Protection. According to the Department of Justice, the mission of the Elder Justice Initiative is to support and coordinate the Department's enforcement and programmatic efforts to combat elder abuse, neglect and financial fraud and scams that target our nation's seniors. Together our mission is to combat elder abuse and financial exploitation, encourage reporting abuse, and educate the public to make America safer for all.
Volunteers are needed to participate in prevention workshops to be trained to use the Money Smart for Older Adults education curriculum. Upon completion of the program, volunteers will able to provide the training to elderly community members and their families.


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E-learning, entre buzz et réalité éducative
Blog Educpros de Jean-François Fiorina. De passage sur le salon e-learning expo (Paris), je vous livre quelques réflexions à partir des observations que j'ai pu y faire. Outre le fait que j'ai revu une ancienne élève et rencontré une ESC en stage – comme quoi le sujet intéresse ! -, je n'ai pas été saisi par de fulgurantes innovations. Suite...
WCET Post on Distance Education Misconceptions
By Phil Hill. It is gratifying to see WCET pick up the mantle with their analysis of distance learning based on the new IPEDS data. They have several posts up already, and today's post is quite good and important. If only more people jumping into the fray on higher education history and reform would start with a grounding in facts, the public debate and resulting recommendations would be much more useful. More...
2U's Upcoming IPO: Filing estimates $533 million company value
By Phil Hill. One month ago 2U filed its registration for an IPO in 2014. 2U is an online service provider that helps traditional universities develop fully-online programs, currently based on 9 customers at the master's level (see here for summary of revenue per student and per customer). On Monday the company set the terms for the IPO, as described by Bill Flook in the Washington Business Journal. More...
Proposed State Authorization: Dramatic increase in federal control of distance ed
By Phil Hill. The Department of Education (DOE) released their proposed State Authorization regulations this week as part of the negotiated rulemaking process that seeks to replace previous rules struck down by courts in 2011. While the new process is more transparent than before (which was the basis of the court rulings), the proposed rulings would represent a dramatic increase in federal control of distance education and compliance burden for institutions. More...
Online and Face-to-Face Education
By Carole Browne and Jacquelyn Fetrow. Many faculty fear that online teaching is incompatible with the liberal arts educational model, a model that focuses on small class sizes and the availability of faculty to interact with students outside of the classroom—a model which, when done well, has been demonstrated to produce outcomes of critical and creative thinking and analytical reasoning. Read more...
Difficult Online Students
By Andrea Zellner. I have been teaching online in some fashion since 2008, and in the course of that time I have learned a thing or two about dealing with the difficult student. Before we go on, however, I want to note that if a student is behaving in a threatening manner, you need to immediately contact your college or university and allow professionals to deal with such conduct. It is important that threatening or abusive behavior be dealt with immediately and by a full team of professionals at your institution. Now, back to the difficult student. Read more...
Has the number of online programs been exaggerated?
By Jake New - eCampus. When Hannah Benbow ran into problems with the for-profit college she attended, she turned to the federal government for help.
Benbow, 24, wrote to the U.S. Department of Education when the Art Institute of Washington in Arlington, Va.—one of more than 50 for-profit Art Institute campuses across the country—told her unexpectedly that she would need to apply for yet another student loan, on top of the nearly $120,000 she'd already borrowed, to cover $7,000 in fees she said were not disclosed to her before she signed up. More...
La licence en droit à distance de l'université Panthéon-Assas de Paris
La licence en droit à distance de l'université Panthéon-Assas s'adresse à toute personne se trouvant dans l'impossibilité de suivre les cours à l'université, notamment aux personnes en recherche d'emploi.
L'admission à la licence de droit numérique se fait sur dossier. L'inscription est obligatoire, annuelle et payable en début d'année. La licence aboutira au diplôme national.
Hormis l'organisation des examens, toute la procédure d'inscription, tout l'enseignement et tout contact avec l'étudiant se dérouleront via la plateforme pédagogique interactive.
Les cours magistraux seront dispensés sous forme d'enregistrements vidéo par les enseignants de l'université. Les cours vidéos seront accompagnés de ressources pédagogiques et d'auto-évaluations comme : textes de loi, jurisprudences, bibliographies, fiches descriptives, glossaires, cas pratiques, quizz et exercices, etc…
En plus des évaluations et exercices interactifs, l'étudiant aura à effectuer en ligne des devoirs obligatoires.
Des réunions méthodologiques sont organisées à l'université avant les examens.
Pour les étudiants qui ne peuvent se rendre à l'université, ces réunions seront diffusées en visioconférence, enregistrées et disponibles ensuite sur la plateforme pédagogique.
Comme pour le régime « en présentiel », l'année universitaire est composée de deux semestres, chacun sanctionné par des examens, en février et en juin. Si l'étudiant n'a pas validé toutes les matières, il pourra les repasser à la session de septembre.
Plus d'informations sur www.agorassas.fr. Voir l'article...
Director of UF Online resigns after less than three months
By Jeff Schweers. When former provost Betty Capaldi Phillips agreed to come back to the University of Florida to direct the startup of the state's first fully online four-year bachelor's degree program, it was met with much fanfare.
She had built a reputation as vice chancellor of the State University of New York system and as provost of Arizona State University, helping to launch ASU's own, nationally acclaimed online program. More...
There May Be Fewer Online Programs Than You Think
By Lawrence Biemiller. A new report on online education finds "noise in the data" that institutions send to the U.S. Department of Education about their offerings. While 3,311 institutions say they have online programs, the report says, the actual number is more like 1,243—in part because the definition of "online" is "overly ambiguous and broad," and in part because an institution that has multiple campuses can count each as having online programs, even if the institution in fact has only a single online offering available to all its students. More...


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CAUTION: when working with Li-ion cells, they are very sensitive to charging characteristics and may explode if mishandled. User should have enough knowledge on Lithium-Ion rechargeable batteries in charging, discharging, and assembly before use. Put the batteries in fire-proof container. Never leave batteries unattended when charging or while in use. Do not put batteries on wood surface or carpet when charging. Make sure to charge in Fire-Proof container. We are not responsible for damage of any modification to the batteries in any form or shape. We are not responsible for any damage caused by misuse or mishandling of theses Li-Ion batteries.


In a recent post, Saeed got me thinking (as he usually does) — this time, though, about something I'd said, about a metaphor I used in a presentation to describe product management to people unfamiliar with the practice.
Product Manager: Mini-CEO Of The Product?
I disagree with this metaphor, partially because of the issues that Ivan and Adam cite.
And, while I'm many things, I am not an ersatz caricature of a real CEO.
Product Manager: Parent, Raising A Family?
Love, conflict, advice… but this one falls short, too, because… well… it's a little patronizing, frankly. And don't even get me started on comparing "business" to "family".
If being a product manager isn't exactly being a mini-CEO… nor raising a family… nor grease and/or glue… then it's… what? Working in a kitchen? Punk rock? Cat herding?
There's some truth to all these things, but none of them individually sums up what we do in a satisfying way.
We analyze market data to make intelligent decisions… chart the course… and pilot the product toward its intended destination.
And fight like hell to achieve goals and objectives.
Is It A Perfect Metaphor?
But is it something I can believe in? Aye, aye, captain.
Subscribe to the feed to receive future updates–and follow me on Twitter to keep the discussion going!
Are You An Angry Product Management Buddha?
Chris, I like where this landed. I was actually fond of your "grease and glue" metaphor (I'm not easily nauseated) and have used it to excellent effect in some conversations, but I get that its marketability might be limited.
So a captain, eh? Given that we must typically lead by example, persuasion, and charm, (rather than force of will), I'm thinking we're more Picard than, say, Hook.
It's hard to find a concrete metaphor (is there such a thing?) for Product Managers because our roles are so diverse. Certainly the aspects of being a captain that you highlight apply to being a PM, but captains in any form have EXPLICIT authority, which is something that Product Managers almost NEVER have.
There are those Product Managers who become captains due to some aspect of their expertise or who have the ear of someone in the organization who does have explicit authority or who are "appointed" captain, but as a general metaphor, I don't think this fits with the typical Product Manager.
I don't really have an alternate to propose. My example of COO as a better metaphor isn't perfect, either. Maybe we're all just utility players…good at many things, great at a few, and master of none.
Chris, thanks for the call out. Now if you extended this exercise and came up with metaphors for other roles (Sales, Marketing, Project Manager, Development etc.) what would they be?
Or would one even need metaphors to explain them?
The more traditional business roles, I think, are well-established in our culture so they don't really require metaphors to explain them. But you could definitely use metaphor to extract more value or change someone's thinking about those roles.
For example, "Metaphorically Selling" describes sales in terms of fishing–the type of bait you use, the location you fish at, the equipment you bring, the size and kind of fish you're seeking… all of those things can help get a point across that otherwise might not be evident.
I tend to agree with this metaphor as well. But in a company I once worked for, the Product Management function was a resource into a larger team under a Program Manager. At that point, the metaphor fell apart for me and I had to modify it to Navigator. I hated this seeming downgrade at first, until I really started thinking about how much of our focus is spent in making sure we get our entire team to the right location. With every functional area I worked with, I would find most of my advice and guidance centering around where we need to go and the best way to get there. It was not always my responsibility to manage every area in the ship, but it was always mine to make sure everyone knew where we were going.


Residents live in a lovely environment with their own personal areas. The managers are eager to support volunteers who can offer their assistance between the hours of 10am and 7pm. Obviously they are not expecting any one person to do the full hours so have asked for a range of volunteers to help out during the busy day time. This may involve reading with residents, doing an activity such as drawing, playing a game, craft work, coffee and chat, life story work, singing songs in group work etc.
These projects have places available in several areas of Sheffield from designing to planting. Some work requires an artist's touch for that little bit of difference.
Duties will involve basic office skills such as answering the telephone, meeting and greeting visitors, filing, printing, scanning and some basic computer skills for faxing etc. Volunteers in some office roles may be offered a Trust e-mail account.
We are always seeking new opportunities for volunteering positions within the Trust, so if you can play an instrument, have any knowledge of floristry, have an interest in finance department or are able to product posters using computer software (e.g. PowerPoint, Excel etc.) you could be involved in opening that new opportunity.


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Emmanuel Music does full justice to Mozart's "La Clemenza di Tito"
By Angelo Mao
William Hite sang the role of the title monarch in Mozart's "La Clemenza di Tito" presented by Emmanuel Music Saturday night.
La Clemenza di Tito is the least performed and most difficult to execute of Mozart's mature operas. Not only does the score call for a castrato (taken by a mezzo-soprano or countertenor today) prima donna with both extraordinary fire and range, the serious work lacks Mozart's usual light touch.
To complicate matters, La Clemenza di Tito is not pure Mozart; the recitatives between numbers were written by Mozart's student Franz Süssmayr (who also handed us the version of Mozart's Requiem in D Minor best known today).
Emmanuel Music closed its season with La Clemenza in a single performance presented Saturday night. In this version, the recitatives are excised, replaced by a narration so that the opera almost feels like an oratorio. Still, even without stage trappings, this rewarding concert performance provided fine advocacy, making the case that that La Clemenza di Tito should be mounted more frequently than it is.
Though the opera's archaic opera seria form is often blamed for making La Clemenza less approachable, the libretto is, in some ways, dramatically superior to other Mozart operas of the period with the internal and external conflicts of ancient Rome sharply drawn and fully explored.
Vitellia, vengeful and beautiful, uses Sesto's love for her to make an assassination attempt on Emperor Tito, his friend and liege. In the first act, it is Sesto's torments that dominate. In Act Two, Vitellia's awakening conscience and Tito's wrestling between justice and clemency join to become the three central conflicts. All is resolved in the end when Tito pardons all the wrongdoers.
If there is any weakness in the opera's characterizations, it is with the central protagonist Tito. It is difficult to imagine a ruler so inclined towards mercy toward his enemies, and the opera was written with monarchial propaganda purposes in mind. It is therefore a great triumph on the part of Ryan Turner's conducting and tenor William Hite's singing that this Tito comes across as a genuine, fully rounded character.
Part of it is due to Hite's careful differentiation between Tito's public persona and his private thoughts, singing the former with restrained elegance and the latter with a fuller, franker tone. Though Hite's tone is not rich, he sings with genuine Mozartian style and phrasing. Part of the characterization also comes also from Turner's careful handling of Mozart's often stunning harmonies, especially in Tito's first, meditative accompanied recitative. Here is a man who is truly conflicted about his personal feelings and the demands of his crown.
Krista River's silvery mezzo felt a bit lightweight at times for Sesto, especially in her declamatory recitative in the act one finale. Dramatically, however River was deeply satisfying, and her internalization of Sesto's torments fascinating to watch.
Deborah van Renterghem's Vitellia was a true femme fatale, and her soprano opened up in the first act, revealing a full, warm tone over an impressive range. However, there was a lack of specificity and command in her singing; the variety of mood necessary for Vitellia's crucial (and fiendishly difficult) final aria Non piu di fiori could have been sharply drawn.
Pamela Dellal and Susan Consoli excelled in the smaller roles of Annio and Servilia. Dellal's mezzo soared thrillingly on top, and she had excellent command of the phrasing in the music. Servilia has only one solo, but Consoli tackled it with a light, clear soprano.
Aaron Engebreth brought a rich baritone to the role of Publio, and Susan Larson's superb narration often conveyed the passionate sublimity of an oratorio. Though a concert performance, Emmanual Church proved an ideal backdrop for the music, with Turner eliciting the necessary pomp and bombast from the orchestra for the public scenes.
3 Responses to "Emmanuel Music does full justice to Mozart's "La Clemenza di Tito""
Posted Apr 15, 2012 at 2:50 pm by jaylyn
A good review as far as it goes. But the chorus? As a member of the chorus, I should probably not ask this question, but, for all that it's a small contribution to a spectacular evening of music-making, we were there, too. The orchestra (beyond "necessary pomp and bombast")? And the delicious ensemble work of the principals that's a trade-mark of Emmanuel Music?
Posted Apr 15, 2012 at 8:29 pm by Joe Green
I was there and I largely agree. But I will quibble with two things. In my opinion, Ms. van Renterghem was far more varied and multichromtic as Vitellia than the reviewer thought. And Ms. Consoli was not quite up to the standards of her colleagues, but vocally (one high g in her aria was unpleasantly hollow) and stylistically.
Overall though, a memorable evening.
Posted Apr 16, 2012 at 1:37 am by Christina
Great review! Thanks.


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Sebit earned an award
SAN FRANCISCO Cheap Anders Bjork Shirt , Sept. 10 (Xinhua) -- A new study challenges along-held assumption in psychology that most human emotions fallwithin the universal categories of happiness, sadness, anger,surprise, fear and disgust.
Using statistical models to analyze the responses of 853 men andwomen, who are demographically diverse, to 2,185 emotionallyevocative video clips, University of California, Berkeley,researchers have identified 27 distinct categories of emotion andcreated a multidimensional map to show how they're connected.
Moreover, in contrast to the notion that each emotional state isan island, the study published in the early edition of theProceedings of the National Academy of Sciences journal indicatesthat there are smooth gradients of emotion between, for instance,awe and peacefulness, horror and sadness, and amusement andadoration.
""We don't get finite clusters of emotions in the map becauseeverything is interconnected,"" study lead author Alan Cowen, adoctoral student in neuroscience at UC Berkeley, was quoted asexplaining in a news release.
For the study, the study participants went online to view arandom sampling of silent 5- to-10-second videos intended to evokea broad range of emotions. Themes from the video clips includedbirths and babies, weddings and proposals, death and suffering,spiders and snakes, physical pratfalls and risky stunts, sexualacts, natural disasters, wondrous nature and awkwardhandshakes.
Three separate groups of participants watched sequences ofvideos, and, after viewing each clip, completed a reportingtask.
The first group freely reported their emotional responses toeach of 30 video clips. ""Their responses reflected a rich andnuanced array of emotional states, ranging from nostalgia tofeeling 'grossed out,'"" noted Cowen.
The second group ranked each video according to how strongly itmade them feel admiration, adoration, aesthetic appreciation,amusement, anger, anxiety, awe, awkwardness, boredom, calmness,confusion, contempt, craving, disappointment, disgust, empathicpain, entrancement, envy, excitement, fear, guilt, horror,interest, joy, nostalgia, pride, relief, romance, sadness,satisfaction, sexual desire, surprise, sympathy and triumph. Theparticipants converged on similar responses, with more than half ofthem reporting the same category of emotion for each video.
The final cohort rated their emotional responses on a scale of 1to 9 to each of a dozen videos based on such dichotomies aspositive versus negative, excitement versus calmness, and dominanceversus submissiveness. Researchers were able to predict howparticipants would score the videos based on how previousparticipants had assessed the emotions the videos elicited.
Overall, the results showed that study participants generallyshared the same or similar emotional responses to each of thevideos, providing a wealth of data that allowed the researchers toidentify 27 distinct categories of emotion.
Through statistical modeling and visualization techniques, theresearchers organized the emotional responses to each video into asemantic atlas of human emotions. On the map, each of the 27distinct categories of emotion corresponds to a particularcolor.
""We found that 27 distinct dimensions, not six, were necessaryto account for the way hundreds of people reliably reported feelingin response to each video,"" said study senior author DacherKeltner, a UC Berkeley psychology professor and expert on thescience of emotions. Enditem
by Denis Elamu
JUBA, Sept. 8 (Xinhua) -- South Sudanese local film industry, though still nascent, is slowly growing following the launch of the annual film festival last year, which encourages production of films reflecting the country's culture.
Most movies at this year's festival, which opened on Tuesday, are works of young men and women inspired by their country's turbulent past and present that also includes social, cultural complexities like early child marriage and domestic violence.
Wilma Poni, 22, a budding actress and also student of accounting and finance at Juba University, plays a supporting role in the drama ""Dollar"" depicting the scarcity of hard currency in the prevailing economic hardship in the country.
Poni told Xinhua in Juba Thursday that she has sought inspiration from the current challenges.
""I started acting in 2014. At that time we had an event on peace following eruption of conflict in our country. There are a lot of problems like the shortage of U.S. dollars, we started to make fun of it,"" she said.
The other movie in which Poni stars, Tears of Street Kids, is currently a nominee in this year's second annual film festival organized by Juba Film Limited.
""When some people watch the film, they will be inspired to work hard,"" she said, adding that South Sudanese movies could soon compete on the regional scene.
According to John Thomas, one of the directors at Juba Film Limited, this year there has been improvement in the quality of the photos and production among the 32 local movies and 37 foreign movies being screened.
She disclosed that movies from DR Congo, Tanzania, Rwanda, Tanzania, France, Sweden and Germany with similar cultural connection to South Sudanese experience will compete in the Saturday award ceremony.
""There is big progress. The stories are nice, the screen and the scenery is very nice. After this one we are looking to improve further next year,"" Thomas told Xinhua.
Charles Sebit, a 33-year-old actor and film producer, said part of his work involves highlighting violence against women, and educating the population on the dangers of cholera, in the wake of the watery diarrhea disease killing hundreds.
Sebit earned an award at last year's annual film festival. He added that despite some improvement on the film quality, eyeing regional competit There is not. Roquan Smith Jersey Richard Sherman Jersey Patrick Mahomes Jersey Nick Foles Womens Jersey Leonard Fournette Womens Jersey Kirk Cousins Youth Jersey Josh Rosen Youth Jersey Josh Allen Kids Jersey J.J. Watt Kids Jersey James Conner Kids Jersey
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After train derailment, Chicago Transit Authority sticks to the facts
A train went off the tracks at Chicago's O'Hare Airport, injuring more than 30 people. On social media and in the press, the agency was hesitant to offer much explanation.
By Matt Wilson
Another angle: @cta Blue Line derailment @ the O'Hare station. The train hopped the platform & ran up the escalator. pic.twitter.com/SEucvE08uu
— Courtney Gousman (@cgousman) March 24, 2014
CTA's Twitter account reported the derailment almost immediately.
Blue Line trains are not stopping at O'Hare due to a derailement.
— cta (@cta) March 24, 2014
The account periodically tweeted about the derailment throughout the morning, but it was all immediate information for riders rather than an explanation of the derailment.


Keeping a toilet clean is essential to your health and the health of your family. Maintaining a clean toilet is not only better for your health but also more pleasant for visitors. While it is not recommended that you use bleach on most toilets because it can erode the finish, there are many other products useful for cleaning and maintaining your toilet. Once clean, it only takes a nominal effort to maintain until you are able to clean again. Here are some suggestions for how to maintain a clean toilet.
If you're looking for advice on keeping the toilet tank clean (rather than the bowl), see How to Clean a Toilet Tank.
Add toilet cleaner or other household cleaner to the inside of the bowl and beneath the rim then allow it to work for a few minutes. There are many products available that cling to the sides of the bowl rather than running quickly down.
Using a toilet brush, scrub the interior bowl until clean.
Sprinkle baking soda all around the sides of the inner bowl for a more natural, non-chemical clean. Allow it to work for approximately 5 minutes then scrub with a toilet brush.
Baking soda is an inexpensive, non-toxic, naturally-occurring material that is effective in cleaning and whitening without harsh chemicals. This is a safer option for households with dogs who may drink from the bowl or potty-training children who touch the toilet frequently.
Spray a household cleaner around the outside of the bowl, lid and seat then wipe with a paper towel or clean rag. When finished, wipe the floor around the base of the toilet to catch any over-spray and to prevent slipping.
Wipe down the exterior of the bowl, lid and seat with pre-moistened disinfecting wipes.
Mix a solution of equal parts water and vinegar in a spray bottle. Spray the exterior of the bowl, lid and seat with the solution for a more natural, non-chemical clean. Then wipe all the parts clean with a paper towel or clean rag.
Vinegar is a non-toxic product effective in killing most mold, bacteria and germs. This is a safer option for households with dogs who may drink from the bowl or potty-training children who touch the toilet frequently.
Use a solution of 1 part water and 1 part vinegar. Spray the interior and exterior of the bowl daily. Wipe the exterior down, but allow the solution to continue working in the interior bowl until the next flush.
Keep pre-moistened disinfecting wipes on hand and use them to wipe the exterior of the bowl daily. This will help keep your toilet clean between regular cleanings.
Try products that clip to the side of the bowl that clean the water with each flush.
Employ the use of tablet products that rest in the toilet tank and clean the water with each flush.
Keep the toilet brush clean too. A cleaning tool remains useful only when kept in good and safe condition. Weekly cleaning of the toilet brush is essential for maintaining hygiene and ensuring the brush is doing its job in keeping the toilet properly clean.
How do I keep the toilet drains clean?
Ways to keep your toilet drains clean include ensuring that only toilet paper and human waste products are flushed down the toilet; regular cleaning of the toilet; and regular drain cleaning to remove clogs and build-up. For advice on cleaning the drains, see How to Clean Drains.
Which powder can we use?
Any common brand of cleanser would be fine.
How can I keep the toilet bowl from staining when it's not in use for long periods of time?
Try turning off the supply valve and removing the toilet bowl's water after a full flush. Then, shove a slightly oversized ball into the bottom of the toilet, to keep sewer gases out when the water's gone.
Why is it every time I clean the toilet, a few days later it starts getting dirty in the bowl?
See if there is dirt inside the tank. You can buy tank cleaner at home improvement stores.
How many times is cleaning of the toilet is recommended?
How do I open a top-fitting dual flush toilet to try fix the constant running?
Thanks to all authors for creating a page that has been read 60,258 times.


Riojasaurus was a herbivore (plant-eater) that lived in South America during the late Triassic period, about 225 to 219 million years ago. The name means "Rioja lizard" and was chosen because the first specimen was found in the La Rioja Province of Argentina.
Riojasaurus was about to 33 feet (10 meters) long. It had a heavy body and bulky legs, as well as a long neck and tail. The structure of the animal's skeleton suggests that it always walked on all four legs (relatively unusual for an early dinosaur), although it could probably rear up on its hind legs.
South American Dinosaurs - Riojasaurus lived in South America.
Riojasaurus was a genus of dinosaur.
"Riojasaurus" means "lizard from Rioja" (after a province in Argentina).
Riojasaurus was a member of the Saurischia ("lizard-hipped") order of dinosaurs. What this means, is that although Riojasaurus was not closely related to lizards, it did have similarly shaped pelvic bones.
Riojasaurus was a Prosauropod - a member of a group of related early herbivorous (plant-eating) dinosaurs which had long necks, small heads, shorter forelimbs than hind limbs, and a thumb claw.
Riojasaurus lived between about 225 million years ago and 219 million years ago, during the Triassic period.
Riojasaurus lived in South America.
Riojasaurus was a herbivore (plant-eater).
Riojasaurus was about 33 feet (10 meters) long.
Riojasaurus weighed about 1500 pounds (680 kilograms).


text:
Home » News » India » Amid Fresh Rise in Covid-19 Cases in Gujarat, Manufacturers Asked to Keep 50% Oxygen for Medical Use
Amid Fresh Rise in Covid-19 Cases in Gujarat, Manufacturers Asked to Keep 50% Oxygen for Medical Use
Last Updated: November 29, 2020, 14:14 IST
A doctor checks the heart rate and blood oxygenation readings of an asymptomatic COVID-19 patient. (AP/Representational Photo)
The units have been directed to produce 50 per cent oxygen for medical use, to be supplied to hospitals in Gujarat, and divert the remaining for industrial use.
Amid a fresh rise in Covid-19 cases in Gujarat, the state health department has again directed oxygen production units to keep 50 per cent of their production for medical use so that it could be easily made available to hospitals treating coronavirus patients. The state health department on September 10 also issued a similar notification.
In its new order dated November 26, issued under various sections of the Epidemic Diseases Act and the Disaster Management Act, the department has directed oxygen production units to keep their production uninterrupted and at their maximum production capacity. The units have been directed to produce 50 per cent oxygen for medical use, to be supplied to hospitals in Gujarat, and divert the remaining for industrial use.
The units have also been asked to give priority to supply oxygen to hospitals as compared to industries, in case the need arises. The order remains in operation till December 31, said the notification A similar notification issued in September was effective for a month, and was not revised as the number of COVID-19 cases at that time came down.
Gujarat Food and Drug Control Administration Commissioner H G Koshiya earlier said the demand for medical oxygen reduced in October as compared to September. The oxygen consumption stood at 135 ton per day in October, compared to 240 tons per day in September, he said.
This happened during the period when the number of COVID-19 cases witnessed a decline in the state. However, in the recent weeks, the state has seen a new surge of COVID-19 cases, which has led to an increase in the use of medical oxygen in hospitals treating such patients.
The state reported 1,598 new coronavirus cases on Saturday, taking the tally to 2,06,714, as per official figures.
Read all the Latest News, Breaking News and Coronavirus News here
disaster management act
Epidemic Diseases Act
first published:November 29, 2020, 14:14 IST
last updated:November 29, 2020, 14:14 IST


Today PM Modi made the announcement after talks with Maldives' new president Mohamed Ibrahim Solih, who is trying to reset ties with India; the financial assistance of $1.4 billion to the Maldives. PM Modi made the announcement after talks with Maldives' new president, Mohamed Ibrahim Solih, who defeated the pro-China ex-president Abdulla Yameen in an election which resulted in October and is trying to reset ties with India.
PM Modi said that-India stood ready to help the Maldives as a close friend and neighbour and also stated that-he had discussed regional security with President Solih and both had agreed not to allow each other's territory to be used against the other.
"For Maldives' social and economic development we are providing a financial assistance of $1.4 billion in the form of budgetary support, currency swap agreements and concessional lines of credit"- said during a brief media appearance with Maldives President Solih.
Later, President Solih said that the- Maldives and India had signed agreements to cooperate on trade,health and defence. India would help improve Maldives' security through joint patrols as well as aerial surveillance-according to officials.
News sources stating that-India's big worry has been that China's expansive diplomacy in the region was aimed at securing an outpost on an island in the Maldives.


text:
e - flux Announcements
Stop Painting
Site-Specific Art
Lucio Fontana, Milano, 1962. Photo: Ugo Mulas. © Ugo Mulas Heirs. All rights reserved. © Fondazione Lucio Fontana by SIAE 2021.
May 22–November 21, 2021
Press preview: May 19, 10am–6pm
L.go Isarco, 2
press@fondazioneprada.org
www.fondazioneprada.org
Instagram / Facebook / Twitter
Stop Painting is an exhibition conceived by artist Peter Fischli on view at the historic palazzo of Ca' Corner della Regina, Fondazione Prada's Venetian venue, from May 22 to November 21, 2021. The press preview will take place on Wednesday, May 19.
Described by Peter Fischli as "a kaleidoscope of repudiated gestures," the project explores a series of specific ruptures within the history of painting in the last 150 years, intertwined with the emergence of new social factors and cultural values.
"Was the recurring ghost telling the story of the end of painting a phantom problem? And if yes, can phantoms be real?". These were Fischli's doubts at the beginning of the process leading to the conception of his exhibition. In an attempt to answer these and other open questions, he identified five radical ruptures that marked artistic paradigm shifts through rejection and reinvention of painting: the diffusion of photography, the invention of the readymade and the collage, "the death of the author," the critique of painting as a commodity, and the crisis of criticism in the late-capitalist society.
The artist conceived this exhibition divided in ten sections as a plurality of different narratives told by himself in the first person. The show begins on the ground floor of Ca' Corner della Regina with a new site-specific artwork by Fischli that consists of a scaled-down model of the entire project, defined by the artist as "a sculpture of a painting exhibition". Stop Painting, which brings together more than 110 artworks, unfolds on the first floor of Ca' Corner della Regina following not a chronological order, but a personal and idiosyncratic approach. The display consists of a system of temporary walls that cross and cut through the spaces, passing through the thresholds that connect the different rooms. A selection of works by more than 80 artists, also disseminated on the ground floor, in the courtyard, and in the staircase of the palazzo, constitutes the intersecting storylines that form the exhibition Stop Painting.
RSVP for Stop Painting
Fondazione Prada will be in touch.


Lotus Adiva women's wedge sandal. It features a cross strap design with a shimmer textile upper and gold accents. The buckle fastening allows for adjustability and helps to provide a secure fit when walking. It also has a small elastic panel behind the buckle that allows you to slip your foot in and out with ease. It sits upon a 7.5cm wedge heel that adds a height boost while still maintaining stability. The matching handbag is available, see Lotus Chicory.


Keeping records of your business income and expenditure is a legal requirement. For a lot of people, this is a source of many headaches! We can take your paper and/or electronic records and transform them into something you can use to manage your business more efficiently saving you time and money. By outsourcing this task to us, you will have more time to focus on increasing your income and managing your expenditure. On the flip side, we have clients who actively enjoy (perhaps this is not the right word!) doing their own bookkeeping – using software that's right for them (we have certifications with the UK's top cloud software suppliers).
Taking everything on a regular basis and processing the income and expenditure for that month / quarter.
Whether you'd like to discuss training, using software, setting up a new system, outsourcing the whole process or something in between, we'd love to help work out what would work best for you. The right solution for any business owner is one that's efficient, manageable and fitted to the type of business – we can help you find that solution.


text:
City Council Cuts LAPD Hiring, Force to Fall Below 10K Sworn
July 1, 2020 • by POL Staff
The Los Angeles City Council voted Wednesday to cut hiring at the LAPD, pushing the number of sworn officers well below 10,000 and abandoning a budget priority once seen as untouchable by city leaders.
Faced with a grim budget outlook and deluged by demands for reductions in police spending, the council voted 12 to 2 to take the Los Angeles Police Department down to 9,757 officers by next summer — a level of staffing not seen in the city since 2008, the Los Angeles Times reports.
Overall, the council's decision delivered a $150-million hit to the LAPD budget, much of it coming from funds earmarked for police overtime pay. Councilman Curren Price, who pushed for the cuts, said two-thirds of the savings would ultimately be funneled into services for Black, Latino and disenfranchised communities, such as hiring programs and summer youth jobs.
Still, the $150-million cut to the LAPD fell far short of demands from Black Lives Matter-Los Angeles and their allies, who had pushed for a "People's Budget" that would effectively eliminate police spending and redirect the savings to housing, mental health services and other needs.
"That is literally pocket change," said Rebecca Kessler, a resident of Van Nuys who called in to the council this week. "It's a slap in the face. You need to defund the police, take way more money, put way more money into these programs."
Council members have begun exploring ways of diverting many calls for help — those that involve nonviolent incidents — away from the LAPD and to other city workers. Council members voted this week to direct city staffers to come up with an "unarmed model of crisis response" for further review.
Read more about Defund/Abolish Police Black Lives Matter Budget Cuts City Budgets Officer Hiring Crisis California agencies California patrol the west


text:
Marcus Garvey School, Newark New Jersey
Date added: September 10, 2021 Categories: New Jersey School
This school was constructed in 1888 as an eight-room primary school and was called the 13th Avenue Public School. Successive enlargements between 1891 and 1915 accommodated and reflected the growth of Newark's immigrant populations.
The first addition was constructed just three years after its opening and increased its capacity to 17 rooms. This addition completed the original design of the school building as planned in 1887-88. A photograph of the 13th Avenue facade taken after the construction of the first addition and before 1903 indicates that the building, as originally designed was a three-story Romanesque Revival Style brick and brownstone school. The 1891 addition is indistinguishable from the original portion in this photograph; the two combined read as one seamless school building. The main entrance fronted 13th Avenue; a second side entrance was at the comer of Richmond Street and Thirteenth Avenue. There were two detached bathrooms immediately behind the school suggesting that the school did not have indoor plumbing at that time.
Nine additional classrooms were added in 1903. The 1903 addition was constructed perpendicular to the 13th Avenue facade fronting but set back from Norfolk Street. This addition contained two staircases and was three stories in height.
Historic maps indicate that boys and girls bathrooms were added in a small appendage to the rear of the school sometime before 1908. The two outhouses remained but were noted as "not used" on the 1908 Sanborn map.
Additional ground was purchased and a 15 classroom addition was constructed beginning in 1906 and opening in December 1908. This addition is L-shaped and fronts Richmond Street. It is the oldest portion of the building remaining before the building was completely demolished although the corner stair tower had been demolished. There is a terra cotta plaque with "A. D. 1906" near the Richmond Street entrance. This addition is brick and brownstone and repeated the Romanesque detailing of the original and 1891 sections.
In 1915, the 18-classroom Norfolk Street addition was constructed with standard size, well-lit classrooms, a gymnasium and an auditorium known as Robert Treat Hall. In January of that year, the name of the school was officially changed to the "Robert Treat School" in honor of the leader of the first group of European American settlers in Newark. The Norfolk Street addition remained intact and contained a carved plaque with the name "Robert Treat School." This addition departed from the Romanesque Revival Style of the earlier sections and utilized a classical renaissance vocabulary executed in brick, terra cotta and cast concrete. The auditorium has its own entrance lobby accessed by three arched doorways. A separate entrance leads to a stair hall and corridor for classroom access. This addition enclosed the schoolyard on the Norfolk Street side creating a center courtyard plan.
The 13th Avenue Public School opened November 19, 1888 and became a "full grammar" school in 1895. The grammar school served a district bounded by South Orange Avenue, Howard Street, Bank Street and Hunterdon Street and later a district bounded by High Street, Bank Street, Littleton Avenue, South Orange Avenue and Springfield Avenue.
In 1916, the K through 8 "day school" had three separate kindergarten classes, and about six separate classes for grades 1 through 8. There were also cooking classes, physical and manual training classes, speech improvement and special classes. Athletic competitions were held with other schools. The grammar school also educated blind students in a separate classroom setting. Newark was the only school district in Essex county offering classes for the blind at this time. Eight blind boys and 6 blind girls were schooled in 1915 presumably at the Robert Treat School.
An evening High School program was offered at this school from 1903 to 1928 and was one of four Newark schools offering an evening high school program in 1906. Newark's Evening High School program ranked 6th largest in the nation in 1903. In 1916, the evening high school program at this school offered stenography and English classes, bookkeeping, dress making, millinery, nursing, cooking, physical training, manual training, mechanical drawing, civil service classes and state examination classes.
By the early twentieth century, the Newark board of education saw many benefits in adding an auditorium and gymnasium to an older school building and many of Newark's schools were updated with such facilities. The auditorium at the Robert Treat School seated 900, and was used for many types of school functions, which prior to its construction were held in the courtyard. The auditorium was originally equipped with a fireproof booth for a stereopticon and moving picture machine, and dressing rooms near the stage. Lantern slides and moving picture films were shown. A biannual pageant performed by grade students to celebrate the early history of Newark, became a school tradition.
The board of education promoted and encouraged the use of school auditoriums and gymnasiums by the general public. Guilbert's 1915 addition allowed the school to play a greater role in the community. A free public lecture series was offered "every Sunday afternoon during lecture season" for "older children, graduates and their parents"; the school hosted a monthly, winter, Friday night concert series selling tickets at 10¢, 15¢ and 20¢ a concert or $1 for five concerts.
A social hour held in the gymnasium followed the concerts. The school library was used as a "reading room before and after school sessions". There was a "Robert Treat Alumni Association" which hosted events for graduates of both the day grammar school and the evening high school. The auditorium and gym were also rented to private organizations for political meetings, and social purposes. A bronze-finished statue of Robert Treat by sculptor Peter Zampol was presented to the school by a local business, L. Bamberger & Co.
By 1929, the school was called the Robert Treat Junior High School but the school facilities also housed the Robert Treat Elementary School. There were approximately 1000 students in the elementary grades and 600 in the junior high in 1958. Overcrowding resulted in "part time classes". Combined elementary and junior high school facilities appear to have continued at this school to about 1960 at which time the school went back to being an elementary school and "part time classes" were eliminated.
Status: Demolished
Demolished: 2003
Location: 131 Thirteenth Avenue
State: NJ
Next Page History


text:
Basic Text Analysis
========================================================
author: Chris Bail
date: Duke University
autosize: true
transition: fade
  website: https://www.chrisbail.net
  github: https://github.com/cbail
  Twitter: https://www.twitter.com/chris_bail

========================================================

# **CLEANING TEXT**

Character Encoding
========================================================

Character Encoding
========================================================

GREP
========================================================

GREP
========================================================

```r
wikipedia_scrape<- "Class of 2018: Senior Stories of Discovery, Learning and Serving\n\n\t\t\t\t\t\t\t"
```

grepl
========================================================

```r
grepl("Class", wikipedia_scrape)
```

```
[1] TRUE
```

gsub
========================================================

```r
gsub("\t", "", wikipedia_scrape)
```

```
[1] "Class of 2018: Senior Stories of Discovery, Learning and Serving\n\n"
```

gsub (2 patterns)
========================================================

```r
gsub("\t|\n", "", wikipedia_scrape)
```

```
[1] "Class of 2018: Senior Stories of Discovery, Learning and Serving"
```

More GREP
========================================================

```r
some_text<-c("This","Professor","is","not","so","great")
some_text[grep("^[P]", some_text)]
```

```
[1] "Professor"
```

Regex Cheat Sheet
========================================================

http://www.rstudio.com/wp-content/uploads/2016/09/RegExCheatsheet.pdf

Escaping Text
========================================================

```r
text_chunk<-c("[This Professor is not so Great]")
gsub("\","", text_chunk)
```

Escaping Text
========================================================

```r
text_chunk<-c("[This Professor is not so Great]")
gsub('\\[|\\]',"", text_chunk)
```

```
[1] "This Professor is not so Great"
```

========================================================

# **UNITS OF ANALYSIS**

Tokenization
========================================================

Tokenization
========================================================

N-grams
========================================================

N-grams
========================================================

========================================================

# **CREATING TEXT DATABASES**

What is a Corpus?
========================================================

Creating a Corpus
========================================================

```r
load(url("https://cbail.github.io/Trump_Tweets.Rdata"))
head(trumptweets$text)
```

```
[1] "Just met with UN Secretary-General António Guterres who is working hard to "Make the United Nations Great Again." When the UN does more to solve conflicts around the world, it means the U.S. has less to do and we save money. @NikkiHaley is doing a fantastic job! https://t.co/pqUv6cyH2z"
[2] "America is a Nation that believes in the power of redemption. America is a Nation that believes in second chances - and America is a Nation that believes that the best is always yet to come! #PrisonReform https://t.co/Yk5UJUYgHN"
[3] "RT @SteveForbesCEO: .@realDonaldTrump speech on drug costs pays immediate dividends. New @Amgen drug lists at 30% less than expected. Middl…"
[4] "We grieve for the terrible loss of life, and send our support and love to everyone affected by this horrible attack in Texas. To the students, families, teachers and personnel at Santa Fe High School – we are with you in this tragic hour, and we will be with you forever... https://t.co/LtJ0D29Hsv"
[5] "School shooting in Texas. Early reports not looking good. God bless all!"
[6] "Reports are there was indeed at least one FBI representative implanted, for political purposes, into my campaign for president. It took place very early on, and long before the phony Russia Hoax became a "hot" Fake News story. If true - all time biggest political scandal!"
```

Creating a Corpus
========================================================

```r
install.packages("tm")
```

Creating a Corpus
========================================================

```
Error in library(tm) : there is no package called 'tm'
```

redpajama_set_name: RedPajamaGithub


The Gallery is delighted to be hosting a display of limited editions in 3D commissioned by The Multiple Store including works by Fiona Banner, Jonathan Callan, Graham Fagen, Corinne Felgate, Sigune Hamann, Kenny Hunter, Anya Gallaccio, Langlands & Bell, Liliane Lijn, Cornelia Parker, Yinka Shonibare MBE, David Shrigley and Alison Wilding. All work is for sale. The show also includes work by gallery artists Damien Hirst, Peter Saville, Keith Coventry, Gavin Turk and Julian Simmons.


Майкл. . Wallpaper and background images in the Michael Jackson club.
This Michael Jackson photo contains Fedora, nadama sumbrero, Homburg, Stetson, and trilby. There might also be hip boot, thigh boot, boater, leghorn, panama, panama sumbrero, mandaragat, espumadera, dayami sumbrero, mahusay bihis tao, suit, pantalon suit, and pantsuit.