#that's probably how storytelling will go in the pathway era

[chatterbox-juice]

Juno is important. according to AJHQ on their insta, Juno is NOT an alpha but an ancient hero, which is interesting, because if Juno isn't an alpha, then canonically the arctic wolves has no alpha. for my AU, i've been considering reviving Juno, not because of author's bias, but because narratively, Juno is THE protector of Balloosh, the newest land added to the game. and I don't want to create an Arctic wolf alpha bc

A: shamans can't create anymore shamans after the phantoms (which i'm changing a bit)

B: that's boring

C: the implications of bringing someone from the past back to the present is somewhat horrifying

but yeah, Juno is OLDER than the shamans, and in my au I said "nuh-uh" because I couldn't think of a way of Juno being older that fits the timeline. correction, I just didn't like it.

in the game, they have two major connections to presumably (100%) dead alphas; Star and Fang, the direwolf and sabertooth alphas respectively. Fang is unimportant, and Star is mildly more important than Fang.

Now, while Balloosh really shines in the Juno Era to the Hexagram Era, it existed as far back as the Culture Era, if we're talking about it being established. the land Balloosh was established on most likely existed in the early history eras.

but anyway, to make sense of Peck, Greely, Gilbert, Liza, Graham, and Cosmo being the original six shamans, Star and Fang will no longer be shamans. they'll be important figures, like pack leaders (did sabertooths and direwolves form packs??), but not shamans. Juno doesn't exist here.

Star and Fang are older than the six in terms of age, just to establish that. Juno is younger in age. So how does Juno come to exist?

they're a gift from Mira. prior to this, Star and Fang joined their packs together and wandered just like that, a massive culmination of canine and feline. this most likely takes place in the Dominion Era, so collaboration between different species was unheard of. Star, Fang, and their pack was shunned, pushed to the far marshlands, but Mira had a sort of respect for it. so she gifted them Juno in the form of a feather.

this is also why Juno is nonbinary. they weren't created with a gender. (also they didn't feel entirely comfortable with gendered pronouns later in life)

these marshlands would also later become Balloosh, founded by Star, Fang, and Juno.

but anyway, Star carries around the feather with a piece of twine, treating it as the second coming of God, whilst Fang leads the pack with one of the leaders fixated on a feather. Fang found it redundant, and he always scolded Star for it, but Star herself did not care about what he had to say. Mira respected them. Respected them! if it wasn't obvious, this is from Star's point of view. to Fang, he acknowledged the feather as a gift, but felt that Mira's attention was fleeting. ultimately, in some way, shape, or form, he wasn't entirely wrong.

one day, during the Settlement Era, the feather glowed as bright as the sun, and soon it grew legs, and fur, and ears, and oh god it's a pup now. this pup was baby Juno, the arctic wolf born from a feather. Star and Fang became parents, almost. they were both a bit feral for Juno more tame demeanor, but they loved Star and Fang nonetheless.

[wazafam]

Star Wars: The High Republic – Light of the Jedi is the novel that formally kicks off the new and hugely ambitious High Republic multimedia storytelling initiative, but it just may be doing something else sneakily in the background: setting up Darth Plagueis, the Dark Lord of the Sith who would, one day, go on to teach – and be murdered by – Darth Sidious, the main villain of the Skywalker Saga.

The High Republic epoch starts some 200 years before all of the current (and most of the upcoming) Star Wars films and television series, and it depicts the antithesis of those stories: a galaxy at peace, an Old Republic that is idealistic and prosperous, and a Jedi Order that mostly lives out in the field, being a part of the galactic community that it has sworn to guide and defend. Unfortunately, audiences have already been made well aware that this golden period is doomed to end in the long slide toward deterioration and collapse, as the Galactic Senate becomes corrupt and the Jedi become insular, priming for the return of their mortal enemies, the Sith.

Related: Disney’s Three New Star Wars Eras Explained

But beyond one or two tantalizing clues or innuendos, the ancient Jedi enemies are nowhere to be seen in the pages of Charles Soule’s Light of the Jedi. Instead, readers are introduced to a brand-new High Republic villain, Marchion Ro, a man with a long and mysterious past and a seeming blood vendetta against the Jedi, who have apparently afflicted his family before. Being the symbolic leader of the Nihil, a band of savage space pirates and marauders that hitherto have been too small to show up on the Republic’s radar, Marchion concludes that it’s only a matter of time before Supreme Chancellor Lina Soh and the Jedi Council start to close in on him, stripping him – and the rest of his “people” – of their way of life.

Ro, then, begins a vast and hugely complicated plot that will transform his Nihil, preparing them for the war that is to come, and awaken his true nature, allowing him to shed the placid, spoiled life of a figurehead and transform into the cunning, calculating, bloodthirsty strategist that he always secretly was. Even at this early juncture of his overarching plan – remember that The High Republic is designed to run for some five or six years – one can’t help but compare the convoluted, multifaceted scheme with that of Lord Sidious’s throughout all nine films of the Skywalker Saga. All of which begs the question: is Marchion Ro secretly Darth Plagueis, much like how Supreme Chancellor Sheev Palpatine concealed the true identity of Darth Sidious? There are several hints buried in the text that would seem to point in this direction.

Decades before the events of Star Wars: The High Republic – Light of the Jedi, Mari San Tekka uses her strange, probably-Force-fueled power to locate special routes through hyperspace to help her family come to fame and prominence, establishing them as the dominant hyperspace prospectors of the galaxy – and, thereby, providing a familial lineage to their distant relative, Lor San Tekka, the old explorer who helps locate Jedi Master Luke Skywalker during the events of Star Wars: The Force Awakens. At some point, an individual by the name of Asgar Ro takes Mari as his own, using her pathways that are otherwise computationally impossible to help transform a low-level group of Outer Rim pirates into a sizable, menacing force – and rendering himself as their leader.

That band of marauders is called the Nihil, and Asgar becomes their Eye, but it is only a symbolic position as opposed to a substantive one. Eventually, this comes to an end with a blade in the back – one of the actual, on-the-ground commanders wishes to eliminate him in a power grab. Marchion Ro, Asgar’s son, instead assumes his father’s mantle and role and is, at first, content to merely toe the line, collecting his share of the plunder and maintaining the status quo. This is until the Republic's Chancellor Soh begins the effort to consolidate the Republic’s presence in the Rim in the form of the Starlight Beacon space station. Seeing the writing on the wall, Marchion decides it’s time to remake the ragtag group into an actual fighting force, with himself firmly positioned as their grand general.

Related: Star Wars Reveals Two Jedi Council Members Were Much Older Than You Thought

The impossibly complex plan starts with Mari San Tekka, who is well over a century old now and who is kept alive in a type of medical cocoon. Still believing she's prospecting – and making money – for her family, Ro has her deliberately chart a “Path” for one of the Nihil vessels that lands it directly in the way of the ship, a massive cargo freighter called the Legacy Run (itself a hundred years of age) that is transporting supplies and settlers to a new life out on the wild frontiers of space. The Run is torn to pieces after it attempts to avoid the collision, and its parts – some of which still contain living, breathing passengers – emerge from hyperspace all across the region, shredding through space stations and ships and slamming into worlds and moons. Billions of sentients die.

In the chaos that ensues, Marchion provides his people with projections of exactly when and where the remaining remnants of the Legacy Run will drop into realspace, with instructions to exploit the information for gain (blackmailing one planetary governor, for instance). In the process, the Nihil intrinsically become linked with the Great Hyperspace Disaster, and the Republic predictably marshals a defense fleet to eliminate the threat – which, in turn, helps to unite the disorganized ravagers in common cause. Ro is only too happy to step up to meet the sudden needs of the moment – much like Supreme Chancellor Palpatine does in the unexpected start of the Clone Wars centuries later – unveiling a new usage for their unique hyperspace Paths as he does so: combat, which throws the traditional war playbook out the window and demonstrates the true potential of a unified, cohesive Nihil.

While Disney and Lucasfilm may have shown a propensity for hewing to certain elements or characters that were originally established in Star Wars Legends stories, that original, now-defunct version of the Star Wars Expanded Universe, they have also demonstrated a willingness for going their own way, “overturning” classic storylines. Odds are good that Darth Plagueis may very well go the way of the latter – meaning that his backstory, and even his previously established species of Muun, could be wiped clean (it’s never established what type of alien Marchion Ro is in Light of the Jedi, but it’s very obviously not that). This, in turn, could mean that Lord Plagueis will get some sort of grand introduction somewhere in The High Republic – and Lucasfilm and the architects of the epic multimedia initiative could even attempt to position him upfront, right before the eyes of audiences right from day one.

This isn’t as big a leap as it may at first sound. With the upcoming Disney+ series Star Wars: The Acolyte chronicling the rise of the dark side of the Force during the nadir of the High Republic, it has the golden opportunity to show how the Dark Lords of the Sith maneuvered themselves into the position to enact their revenge, slaughter the Jedi Order, and reinstate their interstellar empire. By having the centuries-spanning High Republic transition from a time of peace and prosperity to the secret rise of Plagueis and his newly appointed apprentice, Darth Sidious, it would strongly parallel the narrative structure that George Lucas himself enacted with the prequel trilogy.

Related: Star Wars Reveals How Palpatine Cut the Jedi off from the Force

Another parallel – or “rhyming,” as Lucas liked to put it – would be Marchion Ro hiding his Sith identity for the majority of the story, only revealing it at just the right, climactic moment, in the throes of some type of victory or another, just as his student would do over the course of Episodes I through III. And just what that victory could be is already established in the very last scene of Light of the Jedi: a Force vision that’s set in a sickly purple light and that shows “horribly mutilated” Jedi fighting battles they can’t win and fleeing in open terror from “awful things that lived in the dark.” The prophecy ends with an image of “evil, horror, sweeping across the galaxy like the tide” – which could very well be another rhyme with the ravages of the Clone Wars and the establishment of the Galactic Empire during the Skywalker Saga.

And then there’s a mysterious device that Ro brandishes, a rod which has also long been part of his family and whose description sounds very much like some sort of ancient Sith relic (lest that sound too far-fetched, Light of the Jedi introduces another Jedi who wields a recovered kyber crystal that was plucked from an old Sith lightspear and purged of its red-hued misery and pain). This weapon is covered in bizarre symbols – such as screaming faces – and emits a purple glow, which only seems to seal the Sith deal.

There are many instances in the novel where it could seem like Ro might have a secret Sith identity. Whether or not Marchion Ro turns out to be Darth Plagueis in disguise, fans of The High Republic have plenty of tantalizing clues to keep them guessing, and a thrilling storyline even without that connection to the Star Wars trilogies.

Next: Star Wars: New Canon Keeps Making Yoda Even More of a Failure

Is Star Wars: High Republic Villain Marchion Ro Actually Darth Plagueis? from https://ift.tt/3aoRyFC

[theartscenter-blog]

John McEuen & Friends present: “Will The Circle Be Unbroken”

Interview: John McEuen Posted by Jenks Miller

We spoke with John McEuen about his time with the Nitty Gritty Dirt Band -- and about his plans for his first tour after leaving the seminal folk-rock group -- in advance of his show at The ArtsCenter in Carrboro on November 10th. Get tickets for John McEuen & Friends present Will the Circle Be Unbroken here. Interview continues below. Audio from this interview is streaming at the bottom of this post.

The ArtsCenter: Your tour this fall is a celebration of the Nitty Gritty Dirt Band’s classic record, Will the Circle Be Unbroken. Each show features stories and songs from the record. Storytelling has always been an important aspect of the folk tradition, and at this point Circle has its own mythology. What kind of stories should audiences anticipate at these shows? Are they stories about the recording sessions? Stories about the songs themselves?

 John McEuen: For years, with the Dirt Band, I’ve been very frustrated by not having enough music reflecting the Will the Circle Be Unbroken album. In fact, the band only did one song from the album. And that is such an important record for my life and for many people’s lives that it just needs to be covered more. When I started doing that at my own shows, I found out there’s a real hunger for knowing about how it all came about. And I have all these photographs from the session, and stories behind it.

 It’s always different every night, but what usually happens is I have the video running behind me and I might be talking about part of the album recording and I say to the audience, “Instead of trying to tell you what Maybelle Carter was like, let’s just go to the session.” And that’s when her voice will come up on the screen and say, “Well in the old days I used to play it like this.” Then Doc Watson says, “Do you remember the ending you put on that old song?” And she says, “Well I started it like this…” That’s when we start “Keep on the Sunny Side,” live on stage with the pictures going behind us.

 And we go through the whole process of recording the album, with some sound bytes from the studio, from Roy Acuff and Doc and Merle [Travis] and Maybelle. But preceding that is also the story of the Nitty Gritty Dirt Band, a group of young hippies in Southern California that had a dream of getting on the radio, and did against all odds. Our first review in Billboard Magazine, before we had a record company, was: “Very entertaining, but doubtful if they’ll ever be captured on record.”

 TAC: Well, you proved them wrong.

 JM: That review is in a frame with the first platinum album. [In this show] I try to take people through this strange path I’ve been on, the dream of an Orange County teenager. The first part of the dream was just to get out of Orange County — that’s Orange County, California. I’d spent several years working in Disneyland, then music came along and took over the pursuit, my passion.

 TAC: So the music was kind of a ticket out of where you grew up.

 JM: It became one, for sure. The pathway out. After I saw a group called The Dillards, I was driven to play the banjo. I went home and took the fifth string off my guitar and put a HO [scale] railroad spike at the fifth fret so I could tune it like a banjo. From that point on, I wanted to be on stage and travel the world as a troubadour, mainly in the folk tradition.

 The first guy that I had a band with was Les Thompson. We had a group called the Wilmore City Moonshiners in 1965. That lasted about nine months. We probably did twelve jobs, then went our separate ways. Then he called me up the next year and said, “We’re putting together a new band — it’s called the Nitty Gritty Dirt Band.” And in about the second month of the band coming together, I jumped in. I taught ‘em a song I’d written with my brother, ‘cause I’d wanted to play a banjo contest with more behind me than just me. And they did a good job! So I said, “OK, I’ll go with this group, ‘cause that might get me on the radio.” Nine months later we had our first single out, “Buy for Me the Rain,” with banjo on it.

 TAC: Now, was that an actual banjo or were you still playing a modified guitar?

 JM: No, that was an actual banjo. I put a mute on it so it would sound like a harpsichord! We made four albums, then Jeff [Hanna] broke the group up after we did Paint Your Wagon, the movie. We spent four months on the set and when we got back a couple months later, we were tired. We split for six months. I went and worked on other things, including an album with [Eagles founding member] Bernie Leadon, mainly bluegrass. We worked for about four months on music, but he got a call to be part of Dillard and Clark. Then I ran into Jeff at a club and said, “We ought to get the band back together,” which we did. All this story comes out on stage, with the photos behind us from the era. It kind of takes people on the path, as if they were there like a fly on the wall. And Les Thompson is part of the group that I have. He’s on stage with me fifty years later.

 One of the guys in the group is John Cable. He was in the band in the 1970’s and went to Russia with us. We became the first American band to go to Russia.

 TAC: I’ve read about that. How did that come about? How did they decide it would be you guys that went over?

 JM: The Russians had to go look at a bunch of American groups and decide which one they would approve. It was in the agreement between the State Departments that America would bring over whatever they wanted, but they had to commit to bringing over a band — not a lead guy, a star with a bunch of musicians, but an actual, democratic band. They went and looked at a bunch of groups and they ended up picking us. We did twenty-eight sold-out shows.

 I took an 8MM sound camera with me, in 1977, and when I have enough time — which I will, for this show — I go through the Russia trip a bit. John Cable’s up there in the pictures, but now it’s thirty years later. He has more hair than Les, though. Les has less hair. [laughs]

 TAC: Besides Les, who else are you going to have on stage with you for this show?

 JM: On stage with me also will be a guy I’ve been playing music with the last twenty-five years: Matt Cartsonis. He plays mandola, guitar … but I don’t let him sing till the middle of the show ‘cause he’s so hard to follow. [laughs]  Matt just rocks out. It’s all acoustic, no drums: stand-up bass, mandolin, guitar, fiddle, banjo, mandola. We cover music from the early Dirt Band, music from my String Wizards album, and the new album, Made in Brooklyn. Matt’s an integral part of the Made in Brooklyn album.

 TAC: On your latest album, Made in Brooklyn, you play the title track from an earlier album, Acoustic Traveller.

 JM: It’s a song from Acoustic Traveller with a different arrangement. Made in Brooklyn features people I’ve been wanting to record with for many years, like David Bromberg, Jay Ungar, John Cowan. Matt’s singing the song John Cowan did, and he’s killing it. It’s exciting every night. After we do some Dirt Band songs, and the Circle story, we get into that music — more bluegrass than the Dirt Band does.

 What’s important about this trip — well, I think every show is important — but this particular trip is the first time I’m actually going out as an ex-member of the Dirt Band. I just departed at the end of October. After fifty-one years, I just need to do what I want to do. It’s awful hard to be in a band and say, “Hey guys, I’ve got twelve songs I want to put on the next album,” you know? It’s awful hard to be in a band and say, “I want to do these fifteen songs on stage tonight.” But my players — Les and Matt and John Cable — we like to play everything. They like to play everything. They like to follow my suggestions, and they have so many good ones of their own. Everybody listens to each other.

 TAC: You have more creative freedom under your own name, I imagine.

 JM: Totally. With the Nitty Gritty Dirt Band, it had come down to where I wasn’t fingerpicking guitar anymore. I wasn’t playing enough bluegrass music or enough Carter Family songs, or our new music. The band basically played the same set for the last 11 years: “OK, the show started at 8. What time is it now? Oh, ‘Bojangles’ is starting, so it must be it’s 8:52!” [laughs] At this show, we’ll play at least one or two songs that we’ve never played before together. Somebody might yell out a request, and I’ll say, “John, do you know that one? Matt, do you know it? I know it, follow me.” Or, “You know it, I’ll follow you.” And that’s not to be haphazard. It’s to capture that moment when music is for the music and not just because it was on a record -- to put people to the test.

 TAC: It sounds like you have a lot of flexibility on stage, a lot of spontaneity.

 JM: Exactly. And keep in mind, the Circle album was thirty-five songs done in six days. And that was because everybody had studied what to do. The Made in Brooklyn album, with all the people I mentioned and several others like David Amram, Andy Goessling from Railroad Earth, Skip Ward on bass, John Carter Cash, Steve Martin plays banjo on a Warren Zevon song -- we’re doing a couple Warren Zevon songs because I think he’s an overlooked guy. Made in Brooklyn has fourteen songs and was done in two days. We recorded it all in one microphone, and you had to be able to know the song and play it right once.

 TAC: Tell me a little bit about that binaural recording technique, because it’s pretty interesting. In photos, everybody’s gathered around a model of a human head, and the mic kind of replicates how we hear the music in a room.

 JM: You know when you drop your car keys, you hear ‘em hit the ground, right? A bird chips in a tree and you hear it above you. A car honks its horn while you’re walking down the street and you can tell it’s behind you, right? That’s the way you actually hear. But most stereo records are mixed right to left, as though everything is right in front of you. This binaural mic — in a dummy head with two split mics, one in each ear — it hears the way you hear. When my daughter first got the album, she said, “Dad, I wish you would’ve warned me. I was home alone playing the record and I thought somebody came in behind me.” [laughs] It’s like surround sound without the speakers.

 TAC: I’m not sure I’ve heard another binaural record.

 JM: There’s a bunch of ‘em on Chesky Records. They’ve made about four hundred albums over the years. When the owner of the company came to me with a proposal, it took a while to get it going, to get everybody’s schedules to match up. Then we rehearsed the songs for about five days — we rehearsed by email, too — and it came together.

 On the “Miner’s Night Out” cut on Made in Brooklyn, the drum sound is one of my favorite I’ve ever had recorded with my music. And it’s all with the one mic, all in one take! It amazed me. I was thinking the drums weren’t going to pick up good enough, but no: it was perfect. That was also because of the drummer: he knew that he wasn’t playing rock and roll drums. He was a percussionist. The engineer would come out after we ran a song once and he’d say to one person, “You move back two feet, and you move in a foot. And I gotta move you over to the left about four feet.” Because we were surrounding the mic. And dang, Skip Ward, the bass player — I used Skip Ward on The Crow, the album I produced for Steve Martin. I’d spent five days in the studio with him there and in rehearsal for this album, and I’ve never heard him make a mistake! It’s really disgusting! [laughs] He’s so good. One of the top New York bass players.

 TAC: Did the setup in the room affect the arrangements of the songs themselves?

 JM: It meant we didn’t need echo, because the room was a big, old, out-of-business church that had its own natural echo. That’s why we recorded there. Chesky records in that building all the time. It was a simple formula: the engineer said, “If you can’t hear the other guy playing, then you’re playing too loud. Play like you want to hear each other. If it’s your solo, and they can’t hear you, then they’re playing too loud.”

 TAC: You’d have to have some disciplined musicians to pull that off.

 JM: They certainly were. All these people have been recording for 40 years or more. They’ve gone through all the mistakes and the accomplishments of recording well. I told David Bromberg on “She Darked the Sun,” “Just play one of the solos that I used to have to buy the album for.” [laughs] Sometimes you’d hear a record back in the 70’s and go, “Geez, how did he play that?!” and you’d buy the album because of that one solo.

 That recording attitude is reflected in the live show. It’s a wonderful thing. We feel at ease in what we’re doing but excited about getting out there. We’re playing all the time. The sound check usually goes long because we’re done in about fifteen minutes but we play for another hour. Then we go back to the dressing room and play because you can’t play in the rental car, you know? That’s the excitement I miss.

 TAC: This is a Carrboro show, and The ArtsCenter is literally two blocks from where Elizabeth Cotten grew up on Lloyd Street. You told me you were thinking of doing a special tribute or acknowledgment of her at the show. Are you still planning on doing that?

 JM: Yeah. The first song I learned fingerpicking was “Freight Train.” Years later, I was booking and producing a show for Austin City Limits, and I booked Elizabeth Cotten to come out and tell her story. That was a really neat thing, to get to meet her. At thirteen years old, she had written a song on fingerpicking guitar that has had as much effect on the guitar world as Maybelle Carter’s guitar playing did.

 I was talking to Duane Allman’s daughter a year or two ago. She wanted to find out about her dad because she was only three or four years old when he died, so she was calling people that knew him. I’d spent time with Duane. When The Allman Brothers first came to LA — my brother had convinced the band The Allman Joys to come out to Los Angeles — they moved into the house that I’d rented up in the Hollywood Hills. We had one floor occupied by The Allman Joys — which was to become The Allman Brothers — and the other three by Dirt Band people. It was a mess. [laughs]

 It was really fun. We were on the radio for the first time, and this group of great players had come out. They were set up and playing on one floor, and we were on the other three. They became The Hourglass, which lasted about a year and a half. Then that broke up, and so forth.

 TAC: Looking back, that was such a magical time. You had an intersection of great talent, recording technology that was coming along very rapidly, and an industry with infrastructure that could support new artists. It’s incredible to think back on all the great music that was made back then.

JM: It was very strange: I was living in Laurel Canyon, in the middle of Hollywood, kind of. Across the street was [“San Francisco” singer] Scott McKenzie with flowers in his hair. Next door was Ian Whitcomb from England with a hit [“N-Nervous”]. Down the street were The Mamas & the Papas. Across from them were The Mothers of Invention. And at the top of the hill was Steve Martin, writing for the Smothers Brothers’ show, and my brother was managing him. I had a young kid, a nineteen year-old, approach the Nitty Gritty Dirt Band in 1969, and he wanted us to record some of his songs. So I had him come up to make a demo. I play one of those demos as part of the show and talk about how Kenny Loggins came into the radio world through the Nitty Gritty Dirt Band, which has always been nice to remember. We recorded four of his songs from that demo. You’ll hear him at nineteen years old and we’ll sing along with him, it’s really fun. You feel like you’re going back to that era, only the sound is better. [laughs]

John McEuen plays some licks during our Skype interview:

John McEuen & Friends present: “Will The Circle Be Unbroken” The ArtsCenter in Carrboro

Friday, November 10th

8:00pm

Tickets:

http://artscenterlive.org/events/john-mceuen/

John McEuen’s website:

http://www.johnmceuen.com/

[atticusblog2016-blog]

New Post has been published on Atticusblog

New Post has been published on https://atticusblog.com/superstars-in-education-honored-tonight/

Superstars in Education honored tonight

Seven training applications can be honored this night at the annual Superstars in education ceremony.

Superstars in training are charged with recognizing exquisite academic programs and individual achievements. The yearly event highlights excellence in revolutionary coaching, integrated study room era practices, and school-to-career pathways. It additionally serves to leverage the economic enterprise community’s funding within the destiny employees.

The occasion is held by using The Partnership, the 501(c)(3) training companion of the Delaware Country Chamber of Trade. Superstars in education and Delaware Most crucial for an afternoon are the agency’s flagship programs. The 2017 Superstars in training Choice Committee taken into consideration nominations from the public, non-public, magnet, charter and parochial faculties from around the Nation.

Daniel Wealthy, professor of Public Coverage and Director of the community Engagement Initiative at the University of Delaware, can also be honored at the right. He’s the 2017 recipient of the toilet H. Taylor, Jr. schooling Leadership award, which acknowledges someone in the community who has supplied sustained Management in advancing Delaware schooling and who, by using doing so, has also made the network a higher area in which to live and paintings.

Flamenco Guitar – Stars and Superstars

Flamenco Guitar stars are not as numerous as stars in different musical patterns

But they genuinely exist. Main the percent, truly, is percent de Lucia. Without difficulty, the most Across the world recognized Flamenco Guitarist. And, with excellent purpose. p.C.’s innovations, plus his potential and choice to explore different musical genres whilst respecting his Flamenco history, brought Spanish Track to a much broader audience.

A baby prodigy, who received no formal preparation, % started appearing professionally at the age of 17, with Jose Greco’s dance business enterprise. Later he spent eight years accompanying the mythical Flamenco singer – Carmen De la Istra.

His tour with fellow guitar stars, John McLaughlin and Al Di Meola, with their live CD, “Friday Night time in San Francisco”, took Flamenco Guitar Music to a brand new plateau. Solo, and together with his institution, % maintains to discover new musical territory, even as last actual to his musical roots.

Adidas superstar black and gold

p.C.’s integration of Jazz, Pop, Rock, Classical and World patterns into his Track has, logically, prompted and inspired the current era of Flamenco Guitar Stars. Canadian |Jesse Cook dinner with his Rhumba rhythms. Lawson Rollins, referencing many locations on the musical globe. The excellent approach and passionate overall performance of Miguel De la Bastide. Trinidad’s maximum celebrated musical export.

But none of those notable guitarists ought to have end up “Stars” – without the “Superstars of Flamenco. ” The pioneers who evolved and innovated Flamenco Guitar Track. These “Roots Superstars” made two-sport converting contributions to the evolution of Flamenco Guitar Tune.

First, and most importantly, They expanded the Flamenco Guitar from it is accompanying function to a solo one. 2nd – They took Spanish Song on tour. Bringing, for the primary time, actual Flamenco Music to a Global audience. These “Pioneer Superstars” – The authentic Legends of Flamenco – have been Ramon Montoya, Sabicas, and Nino Ricardo.

Like most early Flamenco Guitarists, Ramon Montoya got here from humble origins

A Family of Gypsy cattle traders. But through sheer talent and determination, he evolved into the most critical guitarist of his generation. For one essential reason. Ramon Montoya changed into the first to establish the Flamenco Guitar as a solo tool. Taking it away from, and beyond its traditional role accompanying dancers and singers.

However, it was Sabicas, the subsequent Flamenco Guitar Superstar, who persisted and elevated Montoya’s accomplishments. Leaving Spain in 1936 with the outbreak of civil conflict, Sabicas toured South The united states and different international locations. Bringing Flamenco Tune to a good wider target audience. Referred to as his extraordinary approach, Sabina’s acquired the last praise from the overdue American guitar Superstar Chet Atkins, who commented in an interview: “The first-rate technique around has were given to be Sabicas, the Flamenco player. ”

Possibly the saddest word in the Records of the Flamenco Guitar Superstars is the lifestyles of Nino Ricardo. A huge expertise, with a completely unique tone and style derived from upward curving fingernails, Nino became universally appeared as the fine guitarist of his day. Celebrated, and, of course, broadly imitated. He died of liver failure at the age of sixty-eight. Probably irritated via his early years of constant gambling in Seville’s bars and cafes.

  Distance Education: Then and Now

  People are progressively waking up to the belief that excessive faculty ranges aren’t virtually what they used to be and getting a job based totally on that isn’t always going to reduce it as it as soon as did. This has triggered them to discover alternatives such as distance training which can be being touted because of the future of our education system. Whether it is a university application or a promotion you’re running for at work, online mastering platforms offer you the excellent viable solutions in phrases of pliability and convenience when you’re seeking out a possibility to get ahead academically. Members have the choice to time table their training as according to their very own convenience and in one of a kind codecs relying on their personal desires. This in flip, allows them to paintings around their own schedules and range the pace in their getting to know the method in step with their own mastering competencies. With technology revolutionizing our lives in unimaginable ways, perhaps it’s time to accept online schools for the boon they genuinely are.

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The quantity of money and time you could keep on visiting is another reason why distance training is slowly being adopted as viable options across the nation. These avenues also provide parents with the option too often reveal the progress of their child at their very own convenience without the hassle of continuously having to go to their toddler’s teachers. teachers for his or her element too, have the freedom to interact with mother and father via on-line modes of conversation, thereby making frequent communication plenty greater cost effective in addition to viable. Average, online colleges have truly provided us with greater possible options to assist acquire a better work-life balance without compromising at the essential factors of education. Enrolling in an approved school that offers you amazing online training will clearly improve your probabilities of garnering a university schooling and pass on to better possibilities inside the future.

Although distance schooling is slowly being incorporated into our training gadget

We nevertheless have an extended way to head in phrases of exploring the genuine capability of online learning environments. Ensuring the net school you join with has all of the required accreditation together with the ones from the Southern Affiliation of Faculties & colleges Council on Accreditation and school Development (SACS CASI) and The National Council for Personal faculty Accreditation (NCPSA) can virtually make all of the distinction while pursuing higher training and employment opportunities. The direction curriculum at online faculty has been aligned and articulated to the Not unusual Core Country Requirements and the following Technology Sunshine Nation Standards.

As a training Counselor the beyond 15 years, Chris has written on numerous distinct topics of training. His 30+ years in training subject has given him a perception into many regions, which has been helpful in him writing.

Storytelling – A Time Honored Tradition

Absolutely everyone likes an excellent story

From the olden days whilst the aged would gather kids and tell stories of the past, to the contemporary agencies at libraries wherein authors of books read their testimonies, storytelling is a time-honored subculture. What makes storytelling so interesting relies upon on the storyteller. If the storyteller is exciting and wonderful, then you may revel in each minute of the story. The exciting part of storytelling is that maximum of the stories informed is based on real occasions. This now not only gives you an interesting tale, it helps you research something.This commemorated culture gives many adventures for all to enjoy. Anyone has a grandfather or grandmother who has advised you that tale of how they were in Global Struggle II or that they were part of the Ladies’ right to vote. Those stories no longer simplest provide know-how and studying, they are part of your records. studying approximately your ancestors through your on the spot circle of relatives is a part of the family tree. Storytelling offers this much and more. Each person likes to sit down round and concentrate to their relative inform them about Those kinds of stories. It gives them a sense of cause because extra frequently than not, tales always have an ethical to whatever turned into being informed.

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through storytelling there comes a hazard of bonding. Bonding with own family or friends is a vital a part of our lives. Those are our partners in existence and it’s far continually a good idea to attract information from their reports. There are instances which storytelling is imagined and taken into consideration fiction, but because of the storyteller, the tale offers leisure. Having a great storyteller is important for accurate storytelling. Many humans in contemporary society are forgetting this time venerated culture.

Forgetting about storytelling is by no means an awesome concept

Without this culture, there might be greater television watching, online game playing, and all collectively waste of time. it’s far pleasant to inform as many testimonies as you may to your kids and grandchildren. Remembering this time commemorated culture will enhance your mindset to memories.