texts:
<mask>, 3rd Earl of Burlington and 4th Earl of Cork,  (25 April 1694 – 4 December 1753) was an Anglo-Irish architect and noble often called the "Apollo of the Arts" and the "Architect Earl". The son of the 2nd Earl of Burlington and 3rd Earl of Cork, <mask> never took more than a passing interest in politics despite his position as a Privy Counsellor and a member of both the British House of Lords and the Irish House of Lords. His great interests in life were architecture and landscaping, and he is remembered for being a builder and a patron of architects, craftsmen and landscapers, Indeed, he is credited with bringing Palladian architecture to Britain and Ireland. His major projects include Burlington House, Westminster School, Chiswick House and Northwick Park. Life

Lord <mask> was born in Yorkshire into a wealthy Anglo-Irish aristocratic family, the only son of Charles Boyle, 2nd Earl of Burlington and his wife, Juliana Boyle nee Noel (1672–1750). He succeeded to his titles and extensive estates in Yorkshire and Ireland at the age of nine, after his father's death in February 1704. During his minority, which lasted until 1715, his English and Irish lands, as also his political interests and patronages, were managed by his mother.<mask> showed a fondness for music at an early age. Georg Frideric Handel dedicated two operas to <mask> while staying at his residence Burlington House: Teseo and Amadigi di Gaula. According to Hawkins, Francesco Barsanti dedicated the six recorder sonatas of his Op. 1 to <mask>, although the dedication must have appeared on the

masks:
Richard Boyle
Burlington
Burlington
Burlington
Burlington
Lord Burlington


type: original

texts: edition sold by Peter Bressan, before Walsh & Hare engraved the works c. 1727. Three foreign Grand Tours taken between 1714 and 1719, and a further trip to Paris in 1726, gave him opportunities to develop his taste. His professional skill as an architect (always supported by a mason-contractor) was extraordinary in an English aristocrat. He carried his copy of Andrea Palladio's book I quattro libri dell'architettura with him when touring the Veneto in 1719, but made notes on a number of blank pages, having found the region flooded and many villas inaccessible.It was on this tour that he acquired the passion for Palladian architecture. In 1719, he was one of the main subscribers of the Royal Academy of Music, a corporation that produced baroque opera on stage. Lord <mask>'s first project, appropriately, was one of his own London residences, Burlington House, where he dismissed his baroque architect James Gibbs when he returned from the continent in 1719, and employed the Scottish architect Colen Campbell, with the history-painter-turned-designer William Kent assigned for the interiors. The courtyard front of Burlington House, prominently sited in Piccadilly, was the first major executed statement of Neo-Palladianism. In the 1720s, <mask> and Campbell parted, and <mask> was assisted in his projects by the young <mask> ("<mask> Harry"), who developed into a major architect of the second Neo-Palladian generation, Daniel Garrett, a straightforward Palladian architect of the second rank, and some draughtsmen. Lord <mask> never closely inspected Roman ruins or made

masks:
Burlington
Burlington
Burlington
Henry Flitcroft
Burlington
Burlington


texts: detailed drawings on the sites; he relied on Palladio and Scamozzi as his interpreters of the classic tradition to do so. <mask>'s Palladio drawings include many reconstructions of Vitruvius' Roman buildings, which he planned to publish.In the meantime, he adapted the palazzo facade in the illustration for the London house of General Wade at Old Burlington Street in 1723, which was published for Vitruvius Britannicus iii (1725). This publication put a previously unknown Palladio design into circulation. Another source of his inspiration were drawings he collected, some drawings of Palladio himself which had belonged to Inigo Jones, and many more of Inigo Jones' pupil John Webb, which William Kent published in 1727 (although a date of 1736 is generally accepted) as "Some Designs of Mr Inigo Jones"... with some additional designs that were by Kent and <mask>. The important role of Jones' pupil Webb in transmitting the palladian-neo-palladian heritage was not understood until the 20th century. By the early 1730s, Palladian style had triumphed as the generally accepted manner for a British country house or public building. For the rest of his life, <mask> was "the Apollo of the arts" as Horace Walpole phrased it— and Kent, "his proper priest." In 1739, <mask> was involved in the founding of a new charitable organisation called the Foundling Hospital.<mask> was a governor of the charity, but did not formally take part in planning the construction of this large Bloomsbury children's home, completed in 1742. The architect for the building was a Theodore Jacobsen,

masks:
Burlington
Burlington
Lord Burlington
Lord Burlington
Burlington


texts:
 who took on the commission as an act of charity. Many of Lord <mask>'s projects have suffered from rebuilding or additions, from fire, or from losses due to urban sprawl. In many cases, his ideas were informal: at Holkham Hall, the architect Matthew Brettingham recalled that "the general ideas were first struck out by the Earl of Burlington and the Earl of Leicester, assisted by Mr. William Kent." Brettingham's engraved publication of Holkham credited <mask> specifically with the ceilings for the portico and the north dressing-room. Lord <mask>'s architectural drawings, inherited by his son-in-law, William Cavendish, 4th Duke of Devonshire, are preserved at Chatsworth House, and enable attributions that would not otherwise be possible. In 1751, he sent some of his drawings to Francesco Algarotti in Potsdam, together with a book on Vitruvius.Major projects
 Burlington House, Piccadilly, London:  Lord <mask>'s own contribution to the house is likely to have been restricted to the former colonnade (demolished 1868) of the building. A monumental screening gateway to Piccadilly was built and the principle interiors of the house were reconstructed with typical Palladian features. In London, <mask> offered designs for features at several aristocratic free-standing dwellings, none of which have survived: Queensbury House in Burlington Gardens (a gateway); Warwick House, Warwick Street (interiors); Richmond House, Whitehall (the main building). Tottenham House, Wiltshire, for his brother-in-law, Charles Bruce, 3rd Earl of Ailesbury: Built from 1721, executed by Lord

masks: Burlington Burlington Burlington Burlington Burlington


texts: <mask>'s protégé <mask> (enlarged and remodelled since). In the original house, the high corner pavilion blocks of Inigo Jones' Wilton House were provided with the "Palladian window" motif to be seen at Burlington House. <mask>, with a good eye for garden effects, also designed the ornamental buildings in the park (now demolished). Westminster School, the Dormitory: Built between 1722 – 1730 (altered, bombed, and restored), the first public work by Lord <mask>, for which Sir Christopher Wren had provided a design which was rejected in favor of <mask>'s, exhibited as a triumph for the Palladians and a sign of changing English taste.Old Burlington Street, London: Houses, including one for General Wade which was built in 1723 (demolished). General Wade's house rendered the genuine Palladio facade in Lord <mask>'s collection of drawings. Waldershare Park, Kent, the Belvedere Tower: Built between 1725 – 27. A design for an eye-catcher garden that might have been attributed to Colen Campbell were it not have been for a ground plan found among Lord <mask>'s drawings at Chatsworth House. Chiswick House Villa, Middlesex: The "Casina" in the gardens, constructed in 1717, was Lord <mask>'s first essay. The villa, built between 1727 and 1729, is considered to be the finest remaining example of Neo-Palladain architecture in London and one of the gems of European 18th-century architecture. An attempt made by <mask> to create a Roman villa situated in a symbolic Roman garden.He built the villa with enough space to house his art collection, regarded as containing "some of

masks:
Burlington
Henry Flitcroft
Burlington
Burlington
Burlington
Burlington
Burlington
Burlington
Burlington


texts:
 the best pictures in Europe", and his more select pieces of furniture, some of which was purchased on his first Grand Tour of Europe in 1714. Sevenoaks School, School House: Built in 1730. The school depicts classic Palladian work, commissioned by <mask>'s friend Elijah Fenton. The York Assembly Rooms: Built between 1731 – 32 (facade remodelled). In the basilica-like space, Lord <mask> attempted an archaeological reconstruction "with doctrinaire exactitude" (Colvin 1995) of the "Egyptian Hall" described by Vitruvius, as it had been interpreted in Palladio's Quattro Libri. The result was one of the grandest Palladian public spaces. Castle Hill, Devonshire.Northwick Park, Gloucestershire. Kirby Hall, Yorkshire (an elevation). Marriage and children

<mask> married Lady Dorothy Savile on 21 March 1720, the daughter of William Savile, 2nd Marquess of Halifax and his second wife, Lady Mary Finch. Mary was the daughter of Daniel Finch, 2nd Earl of Nottingham and Lady Essex Rich (died 1684). Essex was the daughter of Robert Rich, 3rd Earl of Warwick, and Anne Cheeke. Anne was the daughter of Sir Thomas Cheeke of Pirgo and an earlier Lady Essex Rich (died 1659). This Lady Essex was the daughter of Robert Rich, 1st Earl of Warwick and Lady Penelope Devereux.Essex was probably named after her maternal grandfather Walter Devereux, 1st Earl of Essex. Her maternal grandmother was Lettice Knollys. They had three daughters:
 Lady Dorothy Boyle (14 May 1724 – 2 May 1742). She was married to George FitzRoy, Earl of Euston, second son of Charles FitzRoy, 2nd Duke of Grafton

masks:
Lord Burlington
Burlington
Burlington


texts:
 and Lady Henrietta Somerset. No known descendants. Lady Julianna Boyle (1727–1730). Lady Charlotte Elizabeth Boyle (27 October 1731 – 8 December 1754).She married William Cavendish, Marquess of Hartington (later Duke of Devonshire after her death). They were parents to William Cavendish, 5th Duke of Devonshire, George Cavendish, 1st Earl of Burlington, and two other children. <mask> died at Chiswick House, aged 59. Upon his death, the Earldom of Cork passed to a cousin, John Boyle, and the title of the Earl of Burlington became extinct. It was recreated in 1831 for his grandson, George Cavendish, and is now held by the Cavendish family as a courtesy title for the Dukes of Devonshire. Gallery of architectural works

References

Additional sources
Howard Colvin (1995). Dictionary of British Architects.3rd ed. Handel. A Celebration of his Life and Times 1685–1759. National Portrait Gallery, London. External links
 <mask>, Earl of Burlington
 Lord Burlington
 <mask>, 3rd Earl of Burlington and 4th Earl of Cork at the National Portrait Gallery, London

Further reading
 Arnold, Dana (Ed. ), Belov'd by Ev'ry Muse. <mask>, 3rd Earl of Burlington & 4th Earl of Cork (1694–1753).Essays to celebrate the tercentenary of the birth of <mask>. London, Georgian Group. 1994. Harris, John, The Palladians. London, Trefoil. 1981. RIBA Drawings Series.Includes a number of <mask>'s designs. Lees-Milne, James, The Earls of Creation. London, Century Hutchinson. 1986. Chapter III: <mask>, 3rd Earl of Burlington (1694–1753). Wilton-Ely, John (Intro. ), Apollo of the Arts: <mask> and

masks:
Burlington
Richard Boyle
Richard Boyle
Richard Boyle
Lord Burlington
Burlington
Richard Boyle
Lord Burlington


texts:
 His Circle.Nottingham University Art Gallery. 1973. Exhibition catalogue. Wittkower, Rudolf, Palladio and English Palladianism. London, Thames and Hudson. Rep. 1985. Chapter 8: <mask> and William Kent.Chapter 9: <mask>'s Work at York. Chapter 10: <mask> at Northwick Park. 1694 births
1753 deaths
18th-century English architects
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Richard
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04
Fellows of the Royal Society
Knights of the Garter
Lord-Lieutenants of the West Riding of Yorkshire
Members of the Privy Council of Great Britain
Members of the Privy Council of Ireland
People from the East Riding of Yorkshire
Honourable Corps of Gentlemen at Arms
Lord High Treasurers of Ireland
Neoclassical architects
18th-century Irish landowners
Members of the Kit-Kat Club
Freemasons of the Premier Grand Lodge of England
Architects from

masks:
Lord Burlington
Lord Burlington
Lord Burlington


texts:
<mask> is the second and best known lead vocalist, rhythm guitarist and founding member of Arkansas's Christian metal band Living Sacrifice. The lead vocalist role was left to <mask> shortly after the departure of former lead Darren Johnson and prior to the recording of Living Sacrifice's 1997 album, Reborn. Fitzhugh is featured in Zao's The Lesser Lights of Heaven DVD. <mask>'s nephew is Drew Garrison, Vocalist for Descended From Wolves and Becoming Saints. He has been involved in many other music endeavors such as producing The Showdown's debut album, A Chorus Of Obliteration. He also produced albums for Zao, Further Seems Forever, Few Left Standing, and Eso-Charis. He is also a guest vocalist on Demon Hunter's album Storm the Gates of Hell on the song "Sixteen".In 2015, Fitzhugh stated in an interview with Mark Salomon, that Living Sacrifice is currently writing new music. Fitzhugh, along with Demon Hunter guitarist and Showdown bassist, Jeremiah Scott, wrote two songs titled "Made for War" and "Defend the Crown" for the Killing Floor 2 Soundtrack. In 2015, Fitzhugh, along with Travis Turner (ex-Aletheian, Solamors) and Alex Kenis (ex-Becoming the Archetype, Aletheian, Solamors), recorded a cover of Megadeth's "Holy Wars... The Punishment Due" cover in honor of the 25th anniversary of the song. Fitzhugh owned a label titled: "Seize the Day Records". Fitzhugh formed the company, Zambooie with Mike Lewis (Puller, For Love Not Lisa) and later Billy Power (Blenderhead) and currently works at Manhead Merch. History
<mask>gh began his musical career in 1989,

masks:
Bruce Fitzhugh
Bruce
Fitzhugh
Bruce Fitzhu


texts: joining Darren Johnson and Lance Garvin in the band Living Sacrifice.The three would be joined by Jason Truby on lead guitars. Fitzhugh and Johnson became friends during high school and Fitzhugh became friends with Garvin shortly thereafter. The band's first show was on December 1, 1989 in front of a hall of nurses. Living Sacrifice would record a demo, titled Not Yielding to Ungodly, with Fitzhugh performing rhythm guitars, which was released in 1990. The demo was influenced by early Slayer, drawing from thrash metal influences. The demo would get into the hands of Kurt Bachman and Joey Daub of Believer, which led to the band signing with R.E.X. Records.In 1991, the band would enter the studio to record their debut self-titled album, which would be released through R.E.X. as the band's label debut. Around 1992, the band would switch styles with Johnson switching to a guttural vocal style and Garvin incorporating blast beats. In this new death metal style, the band entered the studio to record Nonexistent, with the band driving all the way from Little Rock, Arkansas to Nashville, Tennessee. During the recording process, Fitzhugh and the other members were upset with the engineer who was hired for the record, which led to them asking him to step aside. With this in mind, Fitzhugh and the members of Living Sacrifice began to engineer the record and mixed their record at that time. Fitzhugh also was not a fan of Johnson's change in vocal style, however, by the next release, his style adjusted.In 1994, the band released Inhabit, which was recorded in


texts: Pennsylvania with Daub and Bachman. The band had left on Christmas Day in 1993 and began recording on December 27 until early 1993. Following the release, the band came to the realization that R.E.X. was not paying them their royalties, which led to a confrontation that resulted in the band being released from their contract and owning the rights to their first three albums. In 1995, Johnson departed from the band. Not wanting to bring anyone new in as their vocalist, Fitzhugh and Truby would both try for the position. However, Truby would lose his voice, while Fitzhugh's continued to get better.With this in mind, and still requiring a bassist, the three would hire Chris Truby as their bassist, Jason's older brother. Taking time to record their demo with this new lineup, featuring four-songs, including "Spirit Fall", "Sellout", "Reborn", and "Awakening". The band would record Reborn, their fourth and most impactful release, at this time. Brandon Ebel of Tooth & Nail Records would create Solid State Records at this time and sign Living Sacrifice as their first artist. Fitzhugh would debut on vocals and the band's style changed exponentially, aiming towards a more metalcore style. The album was released in 1997 through Solid State Records, being the label's fourth official release, behind Overcome's When Beauty Dies, Strongarm's Advent of a Miracle, and Zao's The Splinter Shards the Birth of Separation. The band would record at Barry Poynter's studio in Arkansas, which all the members were onboard with rather than having to drive to different states to


texts: record.In 1998, Fitzhugh would produce Zao's Where Blood and Fire Bring Rest at Poynter's studio, which would also be released through Solid State Records. Fitzhugh would also make his first guest appearance on Embodyment's Embrace the Eternal. Fitzhugh also produced the band Eso-Charis' debut album. To release the album for Eso-Charis, Fitzhugh created the record label Seize the Day Records. While on tour, Living Sacrifice, Eso-Charis, and Embodyment, during a stop in California, Fitzhugh and Eso-Charis picked up their CDs from Wuv Bernardo of P.O.D. By the end of 1998, the Truby brothers departed from the band, which led to Fitzhugh and Garvin hiring on Cory Putman and Jay Stacy on guitars and bass respectively for a time, with the permanent position being filled by Rocky Gray (ex-Shredded Corpse) and Arthur Green (ex-Eso-Charis). Andrew Godwin (Embodyment) would initially be asked by Fitzhugh, however, he could not move from Texas to Arkansas.With Gray and Green on board, the band would also hire on Cory's brother, Matt Putman as an additional percussionist. At this time, Fitzhugh produced metallic hardcore band, Few Left Standing, for their debut album Regeneration of Self. According to Vocalist Chris Stafford, the band likely made Fitzhugh mad during the process, which is why he did not produce their second effort. The five members of Living Sacrifice would begin working on their fifth album, titled The Hammering Process, which would be released in late 2000. The album would be well-received, and like their album before, Reborn, was both released


texts: through Solid State and would be credited for being a forefather of the predominate genre, in this case groove metal. Fitzhugh's vocal range would become even lower than Reborn at this time. Two years later, Living Sacrifice would begin recording their sixth album, Conceived in Fire.At the time, Fitzhugh was unimpressed with it but was happy how it turned out in the end. Fitzhugh would begin to get burnt out on the band at this time and felt a need to remain home with his family and be involved with his children growing up. By 2002, Fitzhugh began the label XS Records alongside former Puller and For Love Not Lisa member Mike Lewis, which would release records from Echocast, Stavesacre, Josh Todd, and Embodyment. On the Embodyment album, Songs for the Living, Fitzhugh was A&R for the record. Fitzhugh began to transition full-control to Garvin. Gray had departed to join Evanescence as their drummer, while Cory Putman returned as a guitarist. The initial plan was for Cory to take over vocals following Fitzhugh's departure and for Bryan Gray (The Blamed, ex-Left Out, ex-Six Feet Deep, ex-Blenderhead) to join on lead guitars.However, during Fitzhugh's final tour, Garvin decided to break the band up, with all the members going their separate ways in 2003. Following their disbanding, Fitzhugh would work on melodic death metal and southern metal band The Showdown's debut album, A Chorus of Obliteration, as a producer, with the album being released through Solid State. In 2005, Living Sacrifice released a compilation In Memoriam, which saw Fitzhugh, Gray, and


texts: Garvin reunite to record three new songs. After the breakup, Fitzhugh and his former business partner and labelmate Mike Lewis would create the merchandise company known as Zambooie. Billy Power of Blenderhead would also join the company as a business owner. The company would hire several people in the music industry or who would go on into the music industry, most notably Andy Atkins of A Plea for Purging. In 2007, Fitzhugh produced another album by Further Seems Forever, former members of Strongarm, for their third album, The Final Curtain.In 2008, Living Sacrifice would reunite with Fitzhugh returning to the helm of vocals and rhythm guitars, with Gray returning on lead guitars, Green on bass, and Garvin on drums. With this reunion, the band recorded a two-song EP, Death Machine, which would be released independently. Re-signing with Solid State, the band began working on a new album, which would be titled The Infinite Order, which would be produced by their longtime friend Jeremiah Scott (Demon Hunter, The Showdown, Destroy Destroy Destroy) and mixed by Andy Sneap (Hell). In 2013, the band would release their eight studio album, Ghost Thief, which also saw Scott producing the record again. In 2015, Tripwire Interactive, a video game company owned by John Gibson, released the video game Killing Floor 2, with the soundtrack featuring several Living Sacrifice tracks, including a re-recorded version of "Something More" off of Reject. Fitzhugh and Scott would also write two songs, "Made for War" and "Defend the Crown", exclusively for the video game


texts:
 release. In 2020, Living Sacrifice planned a release for their 30th anniversary of a documentary of the band, which would also see a show with them and The Blamed, with members of the current lineup and former lineups performing, as well as Mark Garza of Embodyment and The Famine.However, due to the Coronavirus pandemic, the release and show was postponed. Discography
With Living Sacrifice
 Not Yielding to Ungodly Demo (1989)
Living Sacrifice (1991)
Nonexistent (1992)
Metamorphosis (1993)
Inhabit (1994)
Living Sacrifice '95 Demo (1995)
Reborn (1997)
The Hammering Process (2000)
Subtle Alliance (2002)
Conceived in Fire (2002)
In Memoriam (2005)
Death Machine (2008)
The Infinite Order (2010)
Ghost Thief (2013)

As <mask>gh & Jeremiah Scott
 "Made for War" (2015)
 "Defend the Crown" (2015)

As Megabruce
 "Holy Wars... The Punishment Due" (2015; Originally performed by Megadeth)

Guest vocals
"Lies" on the album Origin by Evanescence (2000)
"Dagon Undone – The Reckoning" on the album A Chorus Of Obliteration by The Showdown (2004)
"Sixteen" on the album Storm the Gates of Hell by Demon Hunter (2007)
"Religious Infamy" on the album Embrace the Eternal by Embodyment (1998)
"The Electric Boogaloo" on the album Danza II: Electric Boogaloo by The Tony Danza Tapdance Extravaganza (2007)
“Transhuman” on the album Mythos by Soul Embraced (2013)
"S.O.T.S." on the album Wait for the Siren by Project 86 (2012)
"The Mountain" on the album Possession by Benea Reach (2002)
"Tear Us Apart" on the album Flesh & Blood by No Innocent Victim (1999)
"The Escapist" the single,


texts:
 by Broken by the Burden (2014)
"Lost" on the album Oh, the Suffering, by Becoming Saints (2016)
"Breathing Murder" on the album Inhabit, by Living Sacrifice, covered by Aletheian (2002, Live)

Production
Where Blood and Fire Bring Rest - Zao (1998)
Eso-Charis - Eso-Charis (1998)
Regeneration of Self - Few Left Standing (1999)
Songs for the Living - Embodyment (2002)
A Chorus of Obliteration - The Showdown (2004)
The Final Curtain - Further Seems Forever (2007)

References

External links
 . HM Magazine. Retrieved on June 29, 2016. American heavy metal guitarists
American heavy metal singers
American male singers
Christian metal musicians
Living people
Year of birth missing (living people)
American performers of Christian music
Solid State Records artists
American male guitarists
Living Sacrifice


texts:
<mask>'ing-ling (27 January 189329 May 1981) was a Chinese political figure. As the third wife of Sun Yat-sen, one of the leaders of the 1911 revolution that established the Republic of China, she was often referred to as Madame Sun Yat-sen. She was a member of the <mask> family and, together with her siblings, played a prominent role in China's politics prior to and after 1949. After the establishment of the People's Republic of China in 1949, she held several prominent positions in the new government, including Vice Chairman (1949–1954; 1959–1975) and Vice Chairman of the Standing Committee of the National People's Congress (1954–1959; 1975–1981), traveled abroad during the early 1950s, representing her country at a number of international events. During the Cultural Revolution, however, she was heavily criticized. Following the purge of President Liu Shaoqi in 1968, she and Dong Biwu as Vice Presidents became de facto Heads of State of China until 1972, when Dong was appointed Acting President. Soong survived the political turmoil during the Cultural Revolution but appeared less frequently after 1976. As the acting Chairwoman of the Standing Committee of the National People's Congress from 1976 to 1978, Soong was again the acting Head of State.During her final illness in May 1981, she was given the special title of "Honorary President of the People's Republic of China". Soong was the first female head of state of modern China, a position that did not appear again until 2016 when Tsai Ing-wen assumed the presidency of the Republic of China, which is the polity that
now governs Taiwan. Life and activities before 1949

Soong Ch'ing-ling was born to businessman

masks:
Rosamond Soong Ch
Soong


texts: and missionary <mask> in Chuansha, Pudong, Shanghai, the second of six children. She graduated from McTyeire School for Girls in Shanghai, and Wesleyan College in Macon, Georgia, United States. Like her sisters, she spoke fluent English due to being educated in English for most of her life. Her Christian name was Rosamonde (in her early years, her passport name was spelled as Chung-ling Soong, and in her Wesleyan College diploma, her name was Rosamonde Chung-ling Soong). Soong married Sun Yat-sen, leader of China's 1911 revolution and founder of the Kuomintang (KMT or Nationalist Party), on 25 October 1915.Even though he was a Christian, her parents greatly opposed the match. (Dr. Sun was 26 years her senior.) After Sun's death in 1925, she was elected to the KMT Central Executive Committee. However, she left China for Moscow after the expulsion of the Communists from the KMT in 1927, accusing the KMT of betraying her husband's legacy. Her younger sister, May-ling, married Chiang Kai-shek, a Methodist like Soong and her sisters. This made <mask>'s brother-in-law. The CPC still treats Sun Yat-sen as one of the founders of their movement and claim descent from him as he is viewed as a proto communist and the economic element of Sun's ideology was socialism.Sun stated, "Our Principle of Livelihood is a form of communism". After an initial warm public reception in Moscow for the cadre, to which <mask> Ching-ling belonged, from 1928 their attempts to establish a leftist Chinese front were frustrated. Soong returned to China in June 1929 when Sun Yat-sen was moved from his temporary burial site in Beijing to a new memorial in Nanjing, but left again three months

masks:
Charlie Soong
Chiang Soong
Soong


texts:
 later, and did not return until July 1931, when her mother died. She resided afterwards in Shanghai until July 1937, when the Second Sino-Japanese War broke out. Following the outbreak of hostilities, she moved first to Hong Kong (where she befriended future restaurateur and philanthropist Madame Wu [Sylvia Cheng]), then to Chongqing, the wartime capital of the Chinese government. In 1939, she founded the China Defense League, which raised funds and sought supplies primarily for the Chinese Communist controlled areas of northern China. In 1946, the League was renamed the China Welfare fund, continuing to seek funds and support for the Chinese Communists.During the Chinese Civil War, Soong permanently broke with her family and supported the Communists. In 1948, she became honorary chairwoman of the Revolutionary Committee of the Kuomintang, a left-wing splinter group of the KMT that claimed to be the legitimate heir of Sun's legacy. With the collapse of the Nationalist government and the Communist victory in the civil war, she left Shanghai in September 1949 to attend the Chinese People's Political Consultative Conference (CPPCC), convened in Beijing by the Communist Party of China to establish a new Central People's Government. On 1 October, she was a guest at the ceremony in Tiananmen Square marking the birth of the new People's Republic of China. The Nationalist government issued an order for her arrest, but this was soon blocked by the swift military victory of the Communists. The KMT fled from mainland China to Taiwan soon after this. Political offices and activities after 1949

Soong was the third person in the new government mentioned by Mao in the


texts: founding Proclamation of the People's Republic of China.Soong was held in great esteem by the victorious Communists, who reckoned her as a link between their movement and Sun's earlier movement. After the formal establishment of the People's Republic of China in 1949, she became one of six vice chairpeople of the Central People's Government," and one of several vice-chairpeople of the Sino-Soviet Friendship Association. In April 1951, it was announced that she had been awarded the Stalin Peace Prize for 1950. In 1950, Soong became chairwoman of the Chinese People's Relief Administration, which combined several organizations dealing with welfare and relief issues. Her China Welfare Fund was reorganized as the China Welfare Institute and began publishing the magazine China Reconstructs, now published as China Today. In 1953, a collection of her writings, Struggle for New China, was published. In 1953 Soong served on the committees preparing for elections to the new National People's Congress and the drafting of the 1954 constitution.Soong was elected a Shanghai deputy to the first NPC, which adopted the constitution at its first meeting in September 1954. She was elected one of 14 vice-chairpeople of the NPC's standing committee, chaired by Liu Shaoqi. In December of the same year, she was elected a vice-chairwoman of the CPPCC, which became a consultative body, and replaced Liu Shaoqi as chairperson of the Sino-Soviet Friendship Association. During this period, Soong traveled abroad several times, visiting Austria, India, Burma, Pakistan, and Indonesia. Her trips included a January 1953 visit to the Soviet Union, where she was received by Stalin shortly before


texts:
 his death. She visited Moscow again in 1957 with Mao Zedong's delegation to the 40th anniversary of the Russian Revolution. Vice-presidency

In April 1959, <mask> again served as a Shanghai deputy at the 2nd National People's Congress.At this Congress, Mao Zedong and Zhu De stepped down as President and Vice-President of the People's Republic of China. Liu Shaoqi was elected State Chairman (President), and <mask> Ching-ling and Dong Biwu, a senior Communist Party 'elder', were elected Vice President of China. Soong resigned at this time from her positions as vice-chairwoman of the CPPCC National Committee and the NPC Standing Committee. She was re-elected to the post of Vice-chairperson of the PRC at the Third National People's Congress in 1965, and appeared frequently in the early 1960s on ceremonial occasions, often greeting important visitors from abroad. During the Cultural Revolution (1966–76), <mask> was heavily criticized by Red Guard factions, and in one incident, the marker of her parents' grave was toppled and their bodies exposed. Following this incident Premier Zhou Enlai recommended that <mask> Ching-ling be put on a "List of Cadres to be protected." Zhou's recommendation was approved by Mao Zedong.Late in the Cultural Revolution, during the 4th NPC which approved the 1975 Constitution in January 1975, <mask>'s term as Vice President of China ended with the abolishment of that post, after which she was again appointed one of the vice-chairwomen of the NPC Standing Committee. Later life and death

Soong's public appearances were limited after the Cultural Revolution, and she was in generally poor health, but articles by her, primarily on children's

masks: Soong Soong Soong Soong Soong


texts:
 welfare issues, continued to appear in the press. Her last public appearance was on 8 May 1981, when she appeared in a wheelchair at the Great Hall of the People to accept an honorary LL.D. degree from the University of Victoria. A few days later she began running a high fever and was unable to rise again. On 16 May 1981, less than two weeks before her death, she was admitted to the Communist Party and named Honorary Chairwoman of the People's Republic of China (). She is the only person to ever hold this title.According to one of <mask>'s biographers, she had wanted to join the Communist Party of China as early as 1957. However, when she asked Liu for permission to join the party, the request was turned down because "it was thought better for the revolution that she not join formally, but that she would thenceforth be informed, and her opinion sought, concerning all important inner-Party events matters, not only those involving the government." Museums
According to her wishes, Soong's cremated remains were placed next to her parents' restored grave in the Soong family burial plot at Shanghai's International Cemetery (), which was later renamed in her honor as the Soong Ching-ling Memorial Park (). Several of <mask> Ch'ing-ling's former residences have also been transformed into museums:

In 1918, Soong and her husband Sun Yat-sen lived in a house in the French Concession of Shanghai. After her husband's death, Soong continued to reside there until 1937. The house has now been converted into a museum dedicated called the Former Residence of Sun Yat-sen. Though dedicated primarily to Sun, it also contains some of Soong's artefacts during their life together.From

masks: Soong Soong


texts:
 1948 to 1963 <mask> Ch'ing-ling lived in the western end of the French Concession in Shanghai. This building is now the Soong Ching-ling Memorial Residence. A memorial hall containing some of her belongings and photographs stands near the entrance. The main building and gardens are preserved in near original state with original furnishings throughout. In the garage are two large cars: one Chinese built Red Flag limousine and another "Russian" car presented to Soong by Josef Stalin. <mask> Ch'ing-ling obtained a mansion in Beijing in 1963 where she lived and worked for the rest of her life and received many dignitaries. After her death the site was converted into the Former Residence of Soong Ching-ling as a museum and memorial.The rooms and furniture have been kept as she had used them, and memorabilia are displayed. Media portrayal
In the 1997 Hong Kong movie The Soong Sisters, she is portrayed by Maggie Cheung. In the 2009 mainland China movie The Founding of a Republic, she is portrayed by Xu Qing. In other popular culture, it is also mentioned by the character Jim Graham in Empire of the Sun that he met Madame Sun Yat-sen when he was three years old. Family

See also

 History of the Republic of China
 Revolutionary Committee of the Chinese Kuomintang
 He Xiangning (wife of Liao Zhongkai)
 Soong sisters
 Soong Ai-ling
 Soong Mei-ling
 Soong Ching-ling Children's Literature Prize

Notes

 Before the 1982 Constitution President of the People's Republic of China was officially translated as "Chairman" by the PRC government. References

Citations

Sources

External links

 Soong Ching-ling Foundation
 Former Residence of Song Qingling, Beijing
 Memorial


texts:
 Residence, Shanghai

1890 births
1981 deaths
Presidents of the People's Republic of China
Women leaders of China
Chinese Methodists
Chinese Communist Party politicians from Shanghai
Female heads of state
People's Republic of China politicians from Shanghai
Republic of China politicians from Shanghai
Members of the Revolutionary Committee of the Chinese Kuomintang
Stalin Peace Prize recipients
Sun Yat-sen family
Vice Chairpersons of the National People's Congress
Vice Chairpersons of the National Committee of the Chinese People's Political Consultative Conference
Vice presidents of the People's Republic of China
Wesleyan College alumni
20th-century Chinese politicians
20th-century women politicians
Burials in Shanghai
Women vice presidents
All-China Women's Federation people
Deaths from leukemia
Deaths from cancer in the People's Republic of


texts:
<mask> (born 9 August 1989 in London) is an English professional footballer who plays as a defender for National League side Ebbsfleet United. Having started his career with Charlton Athletic; he spent time on loan with Accrington Stanley, Barnet and Lewes before signing for Woking in 2009, and Braintree Town in 2011. He played for Grimsby Town for two and a half years and had a second short stint with Woking before joining Dover Athletic in 2015. Career

Charlton Athletic
Thomas started his career with the Charlton Athletic youth system. Although he never made his senior debut, <mask> appeared on the bench twice, but he did make four appearances for the U18s and featured 11 times for the reserves in the 2007–08 season, scoring in the 8–4 home victory over Southampton in September 2007. <mask> had been compared to former Charlton hero Richard Rufus, and noted as a clean striker of a ball, athletic and strong in the tackle. He joined Accrington Stanley on loan in January 2008 where he made his Football League debut against Wycombe Wanderers.He scored twice in a 2–3 victory against Chester City, firing in Leam Richardson's defence-splitting pass and <mask> followed up John Danby's parry from his own shot to level. He returned to Charlton after serving his suspension for being sent off against Macclesfield Town when he had thrown the ball in the face of Shaun Brisley. He also played twice on loan at Barnet at the start of the 2008–09 season, after completing his month-long loan with League Two side Barnet, shortly afterwards he joined Lewes on loan. Woking
He signed a one-year contract with Conference South outfit Woking in 2009 and scored on his debut against Welling United which Woking went on to win 2–1. Braintree

masks:
Aswad Kwame Thomas
Thomas
Thomas
Thomas


texts:
 Town
In June 2011, <mask> signed for the newly promoted Conference National team Braintree Town. After playing five games with three clean sheets, <mask> received his first of seven yellow cards on 29 August 2011 in the 50th minute, in the 2–3 defeat against Ebbsfleet United. He scored his first of five goals in the 2011–12 season, a close range shot into the bottom right corner in the 6–2 defeat at York City.Three games later he scored in the 5–4 defeat against Kidderminster Harriers. England C manager Paul Fairclough confirmed that <mask> had been close to getting an international call-up, and on 10 November 2011 <mask> <mask> was included in the stand-by contingency squad for the England C team in the friendly against Gibraltar on the following Tuesday. On 26 November 2011 <mask> received his 2nd yellow card of the season in the 10th minute for unsporting behaviour and was sent off in the 85th minute for his second bookable offence, an unfair foul on Curtis Obeng, serving a one match ban after the 0–0 stalemate against Wrexham. On 26 December 2011 he received his 3rd yellow card in 78th minute for a foul on substitute defender Jonathon Thorpe in the 2–0 away defeat at Cambridge United. <mask> scored his 5th and final goal for Braintree

At the start of the new calendar year and in the following game on New Year's Day, again <mask> fouled Jonathon Thorpe to receive his 4th yellow card in the 19th minute in the 3–2 victory at home against Cambridge United. His third goal of the season came when he scored the opening goal, <mask> volleyed in Ben Wright's cross in the 2–2 draw at home against Stockport County. He scored a crucial 79th-minute goal in the 1–0 home win against Barrow, a low pass from defender Dean Wells

masks: Thomas Thomas Thomas Aswad Thomas Thomas Thomas Thomas Thomas


texts:
 to <mask>, he scored inside the six-yard box to the bottom right corner of the goal.On 18 February 2012 he received his 5th yellow card in the 1–0 away defeat at A.F.C. Telford United for unsporting behaviour, after giving away a free kick for an unfair challenge on striker Chris Sharp. On 17 March 2012 <mask> received his 6th yellow card in the 1–4 defeat at home to Kidderminster for unsporting behaviour, after conceding a free kick for a foul on defender Lee Vaughan. On 24 March 2012 <mask> scored the opening goal in the 0–4 thrashing of Barrow, latching onto striker Sean Marks' header from 18 yards at the edge of the penalty box to the top left corner of the goal. On 14 April 2012 <mask> was forced to sit on the bench despite not being 100 per cent fit at Stockport County and missed the following home game against York City also due to the knee injury. Having missed the previous two games, <mask> played in what became his last and final game of the season for Braintree in the 5–1 defeat at Wrexham. Grimsby Town
<mask> signed a two-year deal with Conference National side Grimsby Town on 4 July 2012, for an undisclosed fee, thought to be around £15,000.Having impressed in his first five games for Grimsby, <mask> was named in the England C squad to face Belgium in Brussels on Wednesday 12 September in an International Challenge Trophy game. In his first two seasons with Grimsby, <mask> was a runner-up in the 2013 FA Trophy as well as losing in the Conference Premier semi-final in both years. On 4 January 2014 he scored a last minute own goal which meant Grimsby were dumped out of the FA Cup third round in a 2–3 defeat against Huddersfield Town. On 22 January 2015, <mask> was signed off from work with the club after

masks: Thomas Thomas Thomas Thomas Thomas Thomas Thomas Thomas Thomas


texts:
 suffering from stress. <mask> had requested the cancellation of his contract in order to resolve personal issues and sort out a transfer away from the club, however Grimsby decided in this case to allow the player a month's leave. On 3 February <mask> was released by Grimsby on mutual consent. Return to Woking
Shortly after being given a month's leave by Grimsby, it was confirmed by Conference Premier side Woking that <mask> had returned to the club and had signed contractual forms for the rest of the season.Dover Athletic
On 28 August 2015, following his release from Woking, <mask> joined Dover Athletic on a one-year deal. Sutton United
<mask> joined Sutton United in the 2017 close season alongside former Dover teammates Ross Lafayette and Moses Emmanuel. He made his club debut on 5 August 2017 in a 2–0 home victory over Leyton Orient. He scored his first goal for the club on 23 September in a 3–2 win against Barrow. International career
<mask> was called up to the England C team in 2012. Career statistics

Honours

Club
Grimsby Town
Lincolnshire Senior Cup Winners (1): 2012–13
FA Trophy : Runners-up, 2012–13

Individual
Braintree Supporters Player of The Season: 2011–12
 Conference National Team of the Year: 2012–13

References

External links
<mask> <mask> player profile at cafc.co.uk

 (at Lewes)

Living people
1989 births
English footballers
Charlton Athletic F.C. players
Accrington Stanley F.C.players
Barnet F.C. players
Lewes F.C. players
Woking F.C. players
Braintree Town F.C. players
Grimsby Town F.C. players
Dover Athletic F.C. players
Sutton United F.C.players
English Football League players
National League (English football) players
England semi-pro international footballers
Association football

masks: Thomas Thomas Thomas Thomas Thomas Thomas Aswad Thomas


texts:
<mask> of Urie, 1st Viscount Stonehaven, 1st Baron Stonehaven, 2nd Baronet, 3rd of Ury,  (27 April 1874 – 20 August 1941) was a British politician who served as the eighth Governor-General of Australia, in office from 1925 to 1930. He had previously been a government minister under David Lloyd George, Bonar Law, and Stanley Baldwin. Baird was born in London, and attended Eton and Christ Church, Oxford. His father was Sir Alexander Baird, a Scottish-born civil servant who spent much of his life in Egypt. Baird was a member of the Diplomatic Service before winning election to the House of Commons in 1910, representing the Conservative Party. When war broke out a few years later, he joined the Intelligence Corps and won the Distinguished Service Order (DSO). Baird was added to the Lloyd George ministry in 1916, and held various junior portfolios until 1922 when he was appointed Minister of Transport and First Commissioner of Works.In 1925, Baird was appointed Governor-General of Australia on the advice of Stanley Bruce. He was raised to the peerage as Baron Stonehaven, having previously succeeded to his father's baronetcy in 1920. Lord Stonehaven was the first governor-general to live in Canberra, moving into Yarralumla in 1927 and presiding over the first sitting at the new Parliament House. After returning to Britain, <mask> served as Chairman of the Conservative Party from 1931 to 1936. He was raised to the viscountcy in 1938, and retired to his ancestral seat in Aberdeenshire. Early life
Baird was born in Chelsea, London, son of Sir Alexander Baird, 1st Baronet, and wife The Hon. Annette Maria, daughter of Lawrence Palk, 1st Baron Haldon.He was educated at Eton and Christ Church, Oxford, but left university without graduating. He was commissioned in the Lanarkshire Yeomanry (later the Scottish Horse). In 1894 he served as an aide-de-camp to the Governor of New South Wales, then entered the diplomatic service. He was

masks:
John Lawrence Baird
Stonehaven


texts:
 appointed Second Secretary in September 1902, and became a Companion of the Order of St Michael and St George in 1904, before he retired from the Diplomatic Service in 1908. He was a Deputy Lieutenant for Kincardineshire from 5 January 1900. Political career 1910–1924
Baird was elected to the House of Commons for Rugby in the January 1910 general election as a Conservative, and was private secretary to the Leader of the Conservative Party, Bonar Law, between 1911 and 1916. He also fought in the First World War where he was mentioned in despatches and awarded the Distinguished Service Order.He entered David Lloyd George's coalition government as Parliamentary Secretary to the Air Board in December 1916, an office that was renamed Parliamentary Secretary to the Air Council in November 1917. In January 1919 he became Joint Parliamentary Secretary to the Ministry of Munitions. Already in April 1919 he was made Under-Secretary of State for the Home Department, which he remained until the coalition government fell in October 1922. Bonar Law became Prime Minister the same month, and appointed Baird Minister of Transport and First Commissioner of Works. He was sworn of the Privy Council a few days later. In the November 1922 general election, he was returned for Ayr Burghs. He continued as First Commissioner of Works and Minister of Transport also when Stanley Baldwin became Prime Minister in May 1923 and held them until January 1924, when Ramsay MacDonald's Labour government took office.Governor-General of Australia

In December, after the Conservatives returned to power, he accepted the position of Governor-General of Australia offered to him by Australian Prime Minister Stanley Bruce, who opted for Baird partly because of his political experience and partly because he was a more modest figure than the aristocratic alternatives. In June 1925 he was raised to the peerage as Baron Stonehaven, of Ury in the County of Kincardine,


texts: and appointed a Knight Grand Cross of the Order of St Michael and St George (GCMG). Lord Stonehaven arrived in Australia in October 1925. He quickly established good relations with Bruce, with whom he had much in common. But, like his predecessor, he found that Australian Prime Ministers no longer wanted a Governor-General acting as an Imperial overseer, or as a representative of the British government, but merely as discreet figureheads. The 1926 Imperial Conference in London recognised the de facto independence of the Dominions, and ended the role of the Governors-General as diplomats and as channels of communication between governments. From now on the Governor-General's sole role was to be a personal representative of the Crown.There were other changes during <mask>'s term. In May 1927 he formally opened the first meeting of the Australian Parliament in the newly built Parliament House in Canberra, and the Governor-General was at last given a permanent residence, Government House, Canberra, commonly known by the previous name of the house, Yarralumla. This meant an end to travelling between government houses in Sydney and Melbourne and made the post of Governor-General less expensive. At the same time, the advent of aviation, of which <mask> was a keen exponent, made travelling around Australia much easier. For most of Stonehaven's term Bruce seemed firmly entrenched in office, but in September 1929 he was unexpectedly defeated on the floor of the House of Representatives, and asked Stonehaven for a dissolution. Although the Parliament was only a year old, Stonehaven agreed at once: the days when Governors-General exercised a discretion in this area had passed. Bruce's party was defeated at the October election, and Bruce also lost his own seat.The Labor leader, James Scullin, took office in January 1930. Stonehaven's relations with Scullin were correct but not friendly, since his political sympathies lay elsewhere.

masks: Stonehaven Stonehaven


texts:
 It was probably fortunate for him that his term expired before the crises of the Scullin government began. <mask> left Australia on 2 October 1930, at which point his successor had not been determined; Lord Somers, the Governor of Victoria, took over as Administrator of the Commonwealth until a permanent successor, Sir Isaac Isaacs, took office in January 1931. Freemasonry
<mask> was a freemason. During his term as Governor-General (1925–1930), he was also Grand Master of the Grand Lodge of New South Wales. Later life
On his return to Britain he was appointed Chairman of the Conservative Party in 1931, a post he held until 1936.In 1938 he was further honoured when he was made Viscount Stonehaven, of Ury in the County of Kincardine. Family
Stonehaven married Lady Ethel Sydney Keith-Falconer, daughter of the 9th Earl of Kintore, in 1905. They had two sons and three daughters. Lord <mask> died of hypertensive cardiac disease at Ury House, Stonehaven, Scotland, in August 1941, aged 67, and was succeeded by his eldest son, Ian. The Viscountess Stonehaven succeeded her elder brother as eleventh Countess of Kintore in 1966. She died in September 1974, one day after her 100th birthday. References

External links

Baird family tree

1874 births
1941 deaths
Scottish Horse officers
Companions of the Distinguished Service Order
Baird, <mask>
Deputy Lieutenants of Kincardineshire
Governors-General of Australia
Scottish Freemasons
Knights Grand Cross of the Order of St Michael and St George
Members of the Privy Council of the United Kingdom
Baird, <mask> educated at Eton College
Baird, <mask>, <mask>, <mask>, <mask>, <mask>, John
UK MPs who were granted peerages
Viscounts in the Peerage of the United Kingdom
People from Chelsea, London
Chairmen of the Conservative Party (UK)
Lanarkshire Yeomanry officers
Australian Freemasons
Masonic Grand Masters
Baird, <mask> of State for Transport (UK)
Peers created by George V
Peers created by

masks:
Stonehaven
Stonehaven
Stonehaven
John
John People
John Baird
John Baird
John Baird
John Baird
John Baird
John Secretaries


texts:
<mask> "Tui" <mask> (born September 2, 1948) is an American singer, percussionist, producer, songwriter, and music arranger. She began her professional singing career at age 19 with the Bay Area rock band The Loading Zone. She is recognized as a pioneer in Women's music, with her second solo album titled <mask> released on Olivia Records in 1977. In addition to performing, she was the producer on three of Olivia's first eight albums. Within the women's music genre, she has collaborated with June Millington, Deidre McCalla, Barbara Higbie, Holly Near, Margie Adam, and others. <mask> was nominated for a Grammy Award in 1997 for Best Musical Album for Children. <mask> has been a professional musician for her entire adult life and has had a long career as a backing/supporting vocalist for mainstream artists as diverse as Santana, Bobby McFerrin, Huey Lewis and the News and the Turtle Island String Quartet.In the early 1990s, she began exploring the roots music of enslaved Africans and the African diaspora, forming the group The Cultural Heritage Choir which remains active. Early life
<mask> was born in 1948 to parents who migrated from Texas to San Francisco during World War II. She was born on the block of Fell Street where the SFJAZZ Center currently stands. Her father (Horace) was a carpenter whose first job after moving to California was at the Hunters Point Shipyard. Her mother (Eva L.) was a seamstress and later worked at a job pressing garments in a Chinatown sweatshop. Neither of her parents were musicians, but she had two uncles who played cornet. <mask> says her parents were terrible singers but they loved music and had a large collection of 78 rpm records.The music she heard as a young person in her

masks:
Linda
Tillery
Linda Tillery
Tillery
Tillery
Tillery
Tillery


texts:
 household ranged from Count Basie and Sarah Vaughan to rural and urban blues. By age 2, her favorite singer was Dinah Washington, whose recording of "That's All I Want From You" was particularly loved by <mask> and was the first song she memorized. <mask> claims that she learned how to read by looking at the labels from her parent's record collection. "Basie was on Verve. Dinah was on Mercury". She had memorized Basie's arrangement of "April in Paris" by age 4. She also admired Ethel Merman's big voice, going into her parent's acoustically-pleasing bathroom and trying to imitate Merman's song "There's No Business Like Show Business".<mask> is a self-taught singer, but her formal music education began at age 13 when she studied the classical bass at Lowell High School in San Francisco. She was allowed to play the drum kit and other instruments such as the bassoon in school because her teacher recognized her superior musical abilities. Also around age 13, <mask> attended a picnic in Pittsburg, California where she saw Vi Redd playing alto saxophone. <mask> says she was mesmerized by Redd and that experience enlightened her to "be able to play whatever instrument I chose. I wanted to sing, but not just as a centerpiece. I wanted to be a unique voice". <mask> graduated from high school in 1966 and worked for a year while also attending City College of San Francisco.She says her parents always wanted her to be a business major but she says she "got bored very quickly" with college. She dropped out to begin singing professionally. Late 1960s: The Loading Zone
<mask> first came to prominence as the lead singer in San Francisco group The Loading Zone starting in 1968. The band had just signed with RCA Records and

masks: Tillery Tillery Tillery Tillery Tillery Tillery Tillery


texts:
 was looking for a new lead singer, so they placed a classified ad in the San Francisco Chronicle stating "Wanted: One Soul Singer" which was also the title of a Johnnie Taylor album that Tillery enjoyed. At least six singers had auditioned for the job but the 19-year-old <mask> had an edge because she had phoned beforehand to make sure she was what the band was seeking. Years later, Loading Zone founder Paul Fauerso described the hiring of <mask>:

She said, 'I'm kind of big, like Big Mama Thornton, and I play harmonica…. She walked through the door in a post office uniform, with little white cat-eyed glasses, and I said, that's our girl.She just looked right. We evolved as a dance band with a fusion of R&B and rock, and we ended up as a psychedelic soul band once we added <mask>. She was singing for us by the time we opened for Cream at Winterland. Her mother made her a floor-length ruffled red leather cape. It was very dramatic. <mask> recalled her audition day with humor. Loading Zone guitarist Steve Dowler went to <mask>'s house to pick her up."Her mother saw a hippie at the door and refused to let him in". <mask> with the Loading Zone frequently played popular Bay Area Night Clubs like Keystone Berkeley, Frenche's in Hayward and The Odyssey Room in Sunnyvale. While The Loading Zone occasionally performed as headliners in concert venues, they were more well known as a popular opening act for other big-name bands. They toured with Vanilla Fudge and The Jeff Beck Group, and opened Bay Area shows for many other bands and performers including The Who on their first American tour, Jethro Tull, Sam & Dave, Cream at San Francisco's famed Winterland Ballroom and Big Brother and the Holding Company featuring

masks: Tillery Tillery Linda Tillery Tillery Linda


texts: Janis Joplin at Bill Graham's historic venue The Fillmore. Of the gig with Big Brother, <mask> and the Loading Zone won over Joplin's fans so much that Joplin told others after the show that <mask> was never allowed again to be on the same bill with her. The Loading Zone's style has been described as psychedelic soul, and they have been compared somewhat to Sly and the Family Stone. Another critic called their music "a distinctive blend of garage rock, R&B, and jazz".Their debut album titled The Loading Zone was released on RCA Records in 1968 and sold about 100,000 copies. Critical reception was mixed, with many dismayed that the album "didn't come close to capturing the band's energy in concert". <mask>'s tenure with The Loading Zone marked the beginning of her professional career. "Though it was at the height of the drug-crazed rock era, the members of the band had all turned to Transcendental Meditation, were completely clean and sober, and were dealing with a lot of political issues that other musicians wouldn't tackle, like confronting the American Federation of Musicians which was not doing a very good job at providing benefits and protections for musicians. It was the beginning of a journey through consciousness-raising and political development for me". <mask> stayed with The Loading Zone a few years, but the lifestyle became "too much, too soon …. I kind of crashed after that….The lifestyle can either make or break a human being.There are some people who are destroyed by their early success. At least I can say I'm a survivor". The group broke up and reformed in 1969, and had varying membership for periods of time in the late 1960s and early 1970s. One account shows that <mask> left the group in

masks: Tillery Tillery Tillery Tillery Tillery


texts:
 January 1969, rejoined in March 1970 through 1971, and left The Loading Zone for the final time in 1972. 1970-1977: Debut solo album and session work

As early as 1968, <mask> was performing as a solo artist around the Bay Area under the name <mask> Divine. She signed with CBS Records and released her debut album titled Sweet Linda Divine in 1970. The album was produced by Al Kooper who also played piano, organ and horns on selected songs.<mask> provided lead vocals and played percussion on the recording, which garnered some enthusiastic reviews but did not sell well. The album earned <mask> two consecutive "Jammies" (Bay Area Jazz Awards) for Outstanding Female Vocalist. Through much of the 1970s, <mask> worked as a session musician providing backing vocals and occasionally playing drums on albums by Santana, Boz Scaggs, Lenny White, Teresa Trull and others. She sang backing vocals on the Santana III album, including on the hit single "Everybody's Everything" which debuted on the Billboard Hit 100 chart on October 16, 1971, peaked at number 12 and remained on the chart for a total of 10 weeks. She also sang backing vocals on the song "Everything's Coming Our Way" from the same album. During this time, <mask> was a member of the jazz fusion band Cesar 830, which recorded one album. She was also the lead vocalist for Coke Escovedo's soul/funk/jazz/Latin band, appearing on two albums.Another group with whom she performed during this period was Jessica Hagedorn's Gangster Choir. The "poet's band" had two distinct incarnations based on Hagedorn's residencies in San Francisco in the 1970s and New York City in the 1980s. <mask> was a member of the West Coast Gangster Choir's vocal trio, the Gangsterettes. Of this

masks:
Tillery
Sweet Linda
Tillery
Tillery
Tillery
Tillery
Tillery


texts:
 period in her career, <mask> said "Then my education as a hard-working singer began…. I was what I call a '9-to-5 musician' from '70 to '77. Played with a lot of bands, did a lot of club work, only the hours were 9 to 2". 1975-1979: Olivia Records and women's music

<mask> was introduced to Women's music in 1975 when the Bay Area band BeBe K'Roche submitted her name to Olivia Records to produce their album.<mask> produced, arranged, sang backing vocals and played percussion on the 1976 eponymous LP, which was the fledgling record label's third release. In addition to the LP, two singles were released as well. Like most Olivia recordings, the album contains several songs with overt lesbian and/or feminist lyrics, but unlike other early Olivia projects, the style of the music is R&B/funk/jazz and Latin-influenced rock. <mask> joined the Olivia collective, which became "the pioneering label run by the lesbian-feminist collective that made a place for female musicians, engineers, and producers". <mask> and Olivia collective member (and later Olivia president) Judy Dlugacz recruited Sandy Stone as recording and mix engineer on the BeBe K'Roche recording. At the time, Stone was in the early stages of transitioning from male to female. Stone's presence as a transsexual in the Olivia collective caused an uproar in the late-1970s within segments of the lesbian-feminist community, and they threatened a boycott of Olivia products as a result.The Olivia collective defended Stone in multiple feminist publications, but after long debate, Stone left the collective in 1979. <mask>'s next job with Olivia Records was producing Teresa Trull's debut album titled The Ways A Woman Can Be. Released in 1977, this album also

masks: Tillery Tillery Tillery Tillery Tillery Tillery


texts: contained overt lesbian/feminist lyrics. In addition to producing, <mask> played drums and contributed supporting vocals to the recording. Also in 1977, Olivia released the compilation album Lesbian Concentrate in response to Anita Bryant's anti-gay crusade. <mask> contributed the song "Don't Pray For Me" to the LP, which was composed by Mary Watkins. This song has been recognized by scholars as one of the first songs to directly challenge homophobia.Later in 1977, Olivia Records released <mask>'s second solo album, titled <mask>. <mask> was the lead producer, with co-producer credits to bassist Diane Lindsay and keyboardist/string and horn arranger Mary Watkins. It featured <mask> on lead and supporting vocals, drums and percussion, and marked the first time that <mask>, Watkins, and vocalist/vocal arranger Vicki Randle appeared together on an album. Like all Olivia projects at the time, all of the musicians as well as technical staff were female, including Sandy Stone as recording engineer. The album included a slightly longer version of "Don't Pray For Me", as well as two songs with overt lesbian lyrics: "Womanly Way" and "Wonderful", the latter of which was the first song composed entirely by <mask>. The song "Freedom Time", co-written by <mask> and Watkins, brings attention to the problems of being black and female and gay with the lyrics: "If I could just tell you what it's really like/To live this life of triple jeopardy/I fight the daily battles of all my people/Just to sacrifice my pride and deny my strength". This song has been cited as influential in scholarly studies of black feminism and in feminist journals.In a 1978 review in the radical feminist journal off our backs, the style of the album

masks:
Tillery
Tillery
Tillery
Linda Tillery
Tillery
Tillery
Tillery
Tillery
Tillery


texts: <mask> is described as "characteristically jazz/rock fusion with her clean, funky drumming and excellent interplay between among bass, drums, and keyboards. Combined with the music is a message of lesbian strength, struggle and pride". The album earned <mask> a Bammie (Bay Area Music Award). In fall 1978, Olivia Records produced the "Varied Voices of Black Women" national tour in response to an all-white lineup of an earlier "Women on Wheels" tour, as well as to promote Olivia artists. The Varied Voices tour played in eight cities and featured <mask>, Mary Watkins, Gwen Avery, Vicki Randle, and poet Pat Parker and brought poetry as well as jazz and blues to women's music audiences. It also exposed audience members to an empowering lesbian culture that was emerging across the USA and it "demonstrated that white lesbians were not the only ones creating a new women's culture: Though the concert [tour] was first and foremost a celebration of Black lesbian feminist identity and culture, it was also an attempt to broaden the white feminist community's understanding of feminist and lesbian identity…. Varied Voices was a watershed event in the history of black women and women-identified music".The film Radical Harmonies documents the history of women's music, and includes a segment on the Varied Voices tour. In the film, musician June Millington describes seeing the performances at the time: "You've never seen anything like it. They really did present this hot, hot, HOT show. And either you really fell into … the well or some people were repelled … because it was almost too much. But that's the good news, because they were groundbreaking". <mask> was the only album she released on Olivia Records, and <mask> left the

masks:
Linda Tillery
Tillery
Tillery
Linda Tillery
Tillery


texts:
 collective in 1979. In an interview years later, <mask> described her Olivia experience: "I was quite happy to be in an environment where I could observe other women in the creative process and also in the administrative process because all of my experience up to that point had been working with men.The Loading Zone was nine: me and eight white men; every other band I was in was me and six men, me and five men, me and four men. I had never worked with any women musicians". In a 2020 interview in The Guardian, <mask> said "I'm so thankful for what Olivia did for me and for other women. Suddenly there was this feeling of hope that our lives could be lived safely in a relationship of our choosing." <mask> has referred to herself as the "queen mother" to women's music, to both deflect the tendency of some to look upon her as a sex object, as well as to recall the term's honorific association in some African cultures. 1980-early 1990s: More women's music, more session work, and club bands

Although she ended her formal relationship with Olivia in 1979, <mask> remained an important figure in the women's music scene throughout the 1980s and into the 1990s. She has performed at many women's music festivals including the first Michigan Womyn's Music Festival ("MichFest") in 1976 and several subsequent years, bringing her authentic expression of African American blues and R&B to women's music festival audiences.A favorite project that she initiated at MichFest was called "A Tribute to Black Women in the Blues" which presented <mask>'s "respect and gratitude paid to some women who might have been otherwise ignored. Who were otherwise ignored! And it was one of the most satisfying moments in my life". A recording was


texts: made of the tenth anniversary of MichFest in 1985 with <mask> contributing her rendition of the Al Green hit song "Love and Happiness" to the LP. For several years at MichFest, <mask> also lead the festival gospel choir that included both professional musicians and festival attendees, which traditionally performed on Sunday mornings. After a controversy whereby some white choir members changed the gender pronouns from male to female in song selections, the 1992 MichFest program booklet description of the choir, led by <mask>, stated: "The repertoire will draw from spirituals and gospel standards and the workshop will include a discussion of the cultural roots of gospel music. The music will be sung exactly as it is written (no gender substitutions of pronouns or names)".During the 1980s, <mask> performed annually at NEWMR, the Northeast Women's Music Retreat, of which she said "that was the festival where I felt most at home". She has also performed several times at the National Women's Music Festival, as well as Wiminfest in Albuquerque, New Mexico, and at the first Southern Women's Music Festival in 1984. On November 26, 1982 <mask> was a member of the all-female band that performed with Meg Christian and Cris Williamson at Carnegie Hall in New York City, to celebrate the tenth anniversary of Olivia Records. Tickets to the two-show performance were sold-out two months prior to the evening to 5,400 women and 200 men, and Olivia released the concert as an LP in 1983, on their Second Wave subsidiary label. In 1985, <mask> released her third solo album titled Secrets on her own independent 411 Records label and distributed by Redwood Records. <mask> was the LP's co-Executive producer with Ray Obiedo, but acted


texts: as primary producer on only two songs ("I'm So Thankful" and "Fever"), with Obiedo producing all other songs except one. The style of the recording is a blend of R&B, gospel, pop, jazz and soul, and garnered some critical success but failed to gain national recognition.The LP's "Motown-y" style made it hard for the women's music distribution network to categorize and therefore market to the majority white women's music audience, despite some positive reviews in the gay press such as "<mask>'s latest album … is one of the best records ever to find its way into the Women's Music section of a record store". Secrets garnered some radio airplay in major metropolitan areas such as San Francisco. <mask> and band toured during 1985 to support the release of Secrets. The touring band included pianist Julie Homi, who performed in both the mainstream New York jazz scene as well as the women's music circuit. <mask>'s May 3, 1985 performance at Boston's Strand Theater was especially significant because the show was opened by a then-little known Tufts University undergraduate singer named Tracy Chapman, who made her major-stage debut that evening. Throughout the 1980s and early 1990s, in addition to performing, recording, and producing albums within the women's music network, <mask> continued to record with mainstream performers. During this time frame, she provided backing vocals on recordings by artists Pete Escovedo, Tiggi Clay, Bobby McFerrin, and Santana.She was a mainstay in the Bay Area music scene, considered by many to be one of the area's "most revered vocalists since the 1960s". In an interview, musician Country Joe McDonald was asked about his favorite Bay Area musicians and he "instantly replied that <mask>

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texts: was one of the best in the business". Also in the 1980s, <mask> began a twelve-year musical partnership with Ray Obiedo, an Oakland-based guitarist. Obiedo was the leader of two soul/jazz ensembles "Kick" (featuring a young Sheila E.) and "Rhythmus 21" that both featured <mask> as a vocalist. During this time period, <mask> also shared lead vocals with her younger brother <mask> in the house band at Slim's nightclub in San Francisco which was co-owned by rock/blues musician Boz Scaggs, who often sat in with the band. She was briefly a member of the ZaSu Pitts Memorial Orchestra and also performed with the Solid Senders. In the early 1990s, <mask> formed and played with the popular Bay Area all-woman Skin Tight Motown Revue band, an R&B/blues/pop outfit that featured <mask>, Vicki Randle and Teresa Trull as vocalists, along with other instrumentalists recognizable to women's music audiences.Skin Tight's first performance was at the 1990 Association of Women's Music and Culture (AWMAC) conference in San Francisco, and they "brought the house down". In 1993, <mask> was among the performers who celebrated Olivia's 20th anniversary weekend in San Francisco, which coincided with the city's annual Gay pride festivities. On Friday June 25, <mask> performed for the first time in ten years with Mary Watkins at Zellerbach Hall. The duo performed <mask>'s song "Womanly Way", and later in the set <mask> was joined by other Olivia artists Dianne Davidson, Deidre McCalla, Nancy Vogl, Teresa Trull, Cris Williamson, Tret Fure, and Lucie Blue Tremblay. On Saturday, <mask> and Skin Tight performed at a dance called "Puttin' On The Ritz" that was jointly sponsored by Olivia and the Bay Area Career Women organization, to

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 celebrate BACW's tenth anniversary and Olivia's twentieth anniversary. That evening, Skin Tight's membership consisted of Ellen Seeling and Jean Fineberg on horns, Joy Julks on bass, Nancy Wenstrom on electric guitar, Maria Martinez on drums, Bonnie Hayes on keyboards (subbing for regular pianist Julie Homi), with <mask>, Vicki Randle, and Teresa Trull providing the vocals. 1992-present: Cultural Heritage Choir

In 1991 while <mask> was channel surfing on her television, she came across a PBS special featuring opera singers Jessye Norman and Kathleen Battle singing spirituals.<mask> said of that moment: "It practically lifted me out of my seat. I was thinking 'This is the new road. This is the new path. This is the new journey I'm going to take' ". After the music reduced her to tears, she declared to her cat Mimi that "I am going to pursue this music". Around the same time, <mask> was in rehearsals for the play "Letters From a New England Negro", and the producer sent her a cassette tape containing traditional black folk songs obtained from the Library of Congress and the Smithsonian Institution. Of that recording, <mask> said "Even though I knew some of the songs and the sound of the music was familiar, I didn't realize there was a source for this….I loved the music. I felt like I had been reborn". Her next step was to do more extensive research to gather materials to perform. She started by ordering as many recordings from the Library of Congress and the Smithsonian Institution as she could, but soon extended her research into multiple forms of black roots music, including spirituals, work songs, field hollers, and slave songs. This was the beginning of her career as a self-taught ethnomusicologist.


texts: Tillery gathered music from small churches, cotton fields and the "freedom music" of her ancestors. She performed research at the Schomberg Center for Research in Black Culture in New York, and was introduced to the ethnomusicology studies of Eileen Southern and Bernice Johnson Reagon.She also wanted to talk to the musicians themselves, so she travelled to the sea islands of South Carolina and Georgia to find performers of traditional Gullah music. After that revelatory evening via PBS and gathering initial material, <mask> approached a friend who directed a youth choir, as well as thirteen musician friends, and they put together a concert of spirituals in Oakland, California to test the response. The feedback was overwhelmingly positive, with <mask> being "flooded" with letters from fans saying how much the music had touched them. After that experimental concert in 1991, <mask> decided she would continue on this path and she formed the Cultural Heritage Choir in 1992. The original group consisted of six women, but soon settled into a five-member voice and percussion ensemble featuring <mask>, Rhonda Benin, Elouise Burrell, Melanie DeMore, and Emma Jean Foster-Fiege, who all lived within a 15-mile radius of <mask>'s Oakland home. Cultural Heritage Choir (CHC) performances often feature the musicians wearing colorful robes and hats from Nigeria, Ghana and Sierra Leone, while performing songs, chants, children's play songs, folk tales, field hollers, percussion and dance. The instrumentation often consists of hand drums, tambourines, gourds, bells, and "pounding sticks" to keep the rhythm.The Choir has a repertoire of 60 to 70 songs. The traditional arrangements of many of the songs were for one or two people


texts: with perhaps hand claps as percussion. <mask> chooses the material and has arranged about 95 percent of the music for the five-part choir. <mask> calls the music performed by the CHC "survival music". She says "it helped African-Americans endure Jim Crow, lynchings, rapes. The music carried them forward". Also, <mask> says "These songs and the consciousness of them will actually save me in the end.They don't cost any money, they're interactive, I can do them with other people, they're not violent, they don't express destruction or disrespect of anyone or anything, and that's an unbeatable combination". <mask> says that the CHC's music is 100 percent black, but "75 percent of the audience is white and 25 percent will be African American or other…. It's a hard thing to explain. We deal with a lot of what is typically called 'slave music.' And I suppose that there are some people who just want to forget that period of time and the events that occurred. However, I have found that the byproduct of slavery, the art that came out of that particularly dreadful time, to be absolutely stimulating and exciting. And sometimes I wonder why it is not as exciting to other African Americans".<mask> said that from the inception of the CHC, "the educational aspect would be the most important part of this…. A lot of people never knew, or have forgotten, the origin of some of our most important music in this country. Many of the songs we hold near and dear today are actually spirituals". It was <mask>'s intention when she founded the choir that it remain all-female, although men appeared on the group's recordings. But Foster-Fiege left the band in 2002, and after many substitute singers performed with the group, <mask> said she


texts: was "looking for a particular kind of voice, a particular kind of singer and someone who had a background in traditional music". She found that voice in 2003 in Lamont Van Hook, the group's first male performer, who brought an Al Green-like falsetto to the group's vocal arsenal. Van Hook had toured for several years as a background singer for Rod Stewart.<mask> had decided by that time that the gender issue was no longer as important as it once was. "What I really wanted was really good singers and good musicians. And folks we could get along with". The second male performer was added in 2005 when Simon Monserrat joined the group, bringing his vast knowledge of Afro-Caribbean rhythms. The group has also added more contemporary music to their repertoire and has become "less myopic". Other men have been members of the choir since 2005 including Bryan Dyer, but the core original members of <mask>, Benin and Burrell have remained in the lineup consistently over the years. DeMore left the choir around 2009, and her chair was filled by Tammi Brown.The Cultural Heritage Choir has performed all across the United States and in 13 countries. The group has become "an institution at many folk festivals". <mask> has stated that "what I love most of all are international music festivals because they provide me with an opportunity to see and hear what's going on in the rest of the world....It's amazing how much music there is and most people don't get to hear or take the time to hear the stuff that doesn't get played on the radio unless they're tuned into some kind of network". The Cultural Heritage Choir united with wall dancers Bandaloop to perform I'll Fly Away, a dance piece based on the African-American folk tale of

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 slaves flying back to Africa. CHC provided the soundtrack to the wall dancing of Bandaloop. The performance was a one-night stand at San Francisco's Fort Point. The entrance to the fort was converted to the swaying deck of a slave ship, and the story played out over the fort walls.They only performed it once due to production costs. From 2005–2007, <mask> & The Cultural Heritage Choir with Black Voices (UK), composed and arranged A Long Way Home: Concertizing the Golden Triangle for San Francisco International Arts Festival. Recordings
As of 2009, <mask> and the Cultural Heritage Choir have released six albums, including two children's albums. All were produced or co-produced by <mask>, and she provided the majority of the song arrangements. Their debut CD Good Time, A Good Time was self-published in 1995, with Carlos Santana describing the recording as "a truly landmark project with historical value". The Choir's second recording was Front Porch Music, released in 1997 on the EarthBeat! label.Their next release on the same label was a 2001 live recording titled Say Yo' Business that included guest appearances by Wilson Pickett, Laura Love, Richie Havens, Odetta, Kelly Joe Phelps, Eric Bibb and Kitka. In 2009, the Choir returned to self-publishing with the release of Still We Sing, Still We Rise. The group issued two children's albums on the Music for Little People label. 1997 saw the release of Shakin' a Tailfeather with Taj Mahal and Eric Bibb, which was nominated for a 1998 Grammy Award for Best Musical Album for Children. The recording Hippity Hop with Taj Mahal, Eric Bibb, Sheila E., Maria Muldaur, and Shinehead was released in 1999. Expanding collaborations

In addition to her solo, session work,

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Linda Tillery
Linda Tillery
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texts: women's music, and Cultural Heritage Choir careers, <mask> has collaborated with many other artists in various genres including music, theater, radio, film, and television. She has also taught classes and workshops as part of her role as an "activist educator".In 1987, <mask> performed with Danny Glover in the live National Public Radio production of the musical Jukebox. <mask> was a founding member of Bobby McFerrin's 10-person ensemble Voicestra, including performing on the soundtrack of Common Threads: Stories from the Quilt (1989). During her seven-year stint with Voicestra, she appeared on many television shows including The Arsenio Hall Show, Johnny Carson's The Tonight Show, CBS This Morning, The Today Show, and Entertainment Tonight as well as concerts with the Boston Pops, and at the Black Filmmakers Hall of Fame, and the Tokyo Music Festival. Of <mask>'s contributions to Voicestra, McFerrin said in 2015: "If I was the heart of Voicestra, <mask> was the soul". <mask> formally studied voice with McFerrin for several years, learning about vocal layering and dynamics. <mask> has appeared in music videos for Bobby McFerrin's The Garden (1990) and Big Bear-Earth Project's Will the Circle Be Unbroken (1990). She was also in a Burger King television commercial in 1990.In 1992, she recorded the soundtrack for the play Letters from a New England Negro, written by poet/novelist Sherley Anne Williams. <mask> performed on the soundtracks of several films by director Marlon Riggs: Color Adjustment (1992), Fear of Disclosure (1992), Black is... Black Ain't (1994), and No Regrets (1993). She also appeared in VH1 specials with Bobby McFerrin and the Kenny Loggins band. <mask> was hired in 1992 as a special

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texts: consultant to Redwood Records' New Spirituals Project, which each year commissioned a female composer to create a "new spiritual". <mask> sang with the Project every year in concerts held over the Thanksgiving weekend in Oakland, California. Some of the commissioned works were later performed by other choirs across the country, including the Boys Choir of Harlem and MUSE, The Cincinnati Women's Choir. She created and performed the music for the dance Invisible Wings, with choreographer Joanna Haigood.The dance was commissioned by Jacob's Pillow in 1998 and was the result of three years of research and collaboration between Haigood, <mask> as musical director, and storyteller Diane Ferlatte. It tells the story of Jacob's Pillow as a stop on the Underground Railroad, and was revived in August 2007 for the finale of Jacob's Pillow Festival's 75th anniversary season. The 2007 performance included <mask> and members of the Cultural Heritage Choir, and portions of the dance were included on a DVD about the festival titled Never Standing Still: Dancing at Jacob's Pillow (2012). <mask> and Haigood with the Zaccho Dance Theater teamed up again on October 19, 2008 for a one-time performance of It Takes Two To Tango at Miraflores Winery in Pleasant Valley, California. The performance celebrated the history of the tango and its blending of African rhythms with Argentine milonga music, influenced by the intermixing of African, Spanish, Italian, British, Polish, Russian, and native Argentinian cultures in Buenos Aires. <mask> and the Cultural Heritage Choir were the artists-in-residence at the Cache Valley Arts Festival (Utah) in 2004. <mask> was the featured vocalist at a March 13, 2005 concert in Sacramento, California

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texts: to celebrate the 100th anniversary of the birth of composer Harold Arlen.She was accompanied by the 71-piece Sacramento Philharmonic Orchestra on two seldom-sung Arlen songs, "A Sleepin' Bee" and "I Had Myself a True Love". In May 2005, <mask> and the Cultural Heritage Choir collaborated with Deborah Vaughan, founder and artistic director of Dimensions Dance Theater to create a performance called Spirits Uplifted I, which celebrates the positive aspects of Oakland, California. "The city gets such a bad rap. Not enough is focused on what is positive in Oakland" said Vaughan about the work. In 2011, <mask> acted as musical director for a Bay Area production of August Wilson's play Seven Guitars. Also in 2011, multi-instrumentalist musician Barbara Higbie was the first artist-in-residence at the prominent Bay Area music venue Yoshi's, and she invited her friends Laurie Lewis and <mask> to see what would happen if the three musicians from disparate backgrounds performed together. The initial concert was dubbed as "Hills to Hollers", and it was such a success that the three women put together a tour and released a live album in 2012.The main idea behind the project was to get together as a "trio thing exploring roots music from the time when America was a much more rural country and black and white music was much more blended". The collaboration "fuses the bluegrass sounds of the Kentucky rolling hills with the hills and field hollers of the Mississippi Delta". <mask> collaborated with vocalist Molly Holm to create the music for the play black odyssey, a modern-day retelling of Homer's Odyssey representing "ancient Greek mythology thrust upon the high seas of the African-American experience", written by Marcus

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 Gardley and produced by the California Shakespeare Theater in 2017. The initial run of the play was so successful that Cal Shakes reprised the production in fall 2018. In July 2017, <mask> reconnected with Mary Watkins, Vicki Randle, Diane Lindsay and other musicians in a "Womanly Way Reunion Band" performance at the National Women's Music Festival. The reunion band then toured to celebrate the 40th anniversary of <mask>'s Olivia Records album that featured the song "Womanly Way". In September 2018, <mask> and former Meters drummer Zigaboo Modeliste teamed up in a "Bay Area funk supergroup" and appeared as festival headliners to celebrate the 50th anniversary of The Freight and Salvage music venue in Berkeley, California.Activist educator

Putting her ethnomusicological research to work in educational settings, <mask> was a visiting scholar and taught classes at Stanford University in 2009, as well as at Williams College. In 2011, <mask> was a research assistant at Indiana University Bloomington, as well as a member of the National Advisory Board for the Archives of African American Music & Culture in the Department of Folklore and Ethnomusicology at IU. She and fellow musician Teresa Trull were guest lecturers at a San Francisco State University class on women's music taught by Angela Davis. In June 2003, <mask> gave the keynote speech at the Phenomenon of Singing International Symposium IV, in Newfoundland, Canada titled "The Voice as an Instrument of Peace and Motivating Force for Justice". <mask> was a presenter at the November 2009 "Reclaiming the Right to Rock Conference" at Indiana University. <mask> wrote the foreword to the scholarly book Songs in Black and Lavender: Race, Sexual Politics, and

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 Women's Music by Eileen M. Hayes (University of Illinois Press, 2010). From February 2013 to the present, she has been a visiting lecturer and artist at the San Francisco Jazz Center, where she conducts workshops on the Music of the African Diaspora.Personal life

<mask> is openly lesbian. A 2015 news story identified her partner as Ann Jefferson, director of Community Life and Spiritual Care at Pacific School of Religion. As she has aged, <mask> has been open about her health problems. She has had a stroke and a malignant abdominal tumor. She has had both knees replaced for which a benefit concert was held in June 2012 at Berkeley's The Freight and Salvage venue to help with her medical expenses, which featured artists Tuck & Patti, the Wayne Wallace Quintet, Faye Carol, and the Ray Obiedo Group. She had bilateral carpal tunnel surgery and has back issues. She has used crutches since her knee surgery but views that with characteristic humor: if Itzhak Perlman can "drag himself onstage on his crutches, sit down and play his ass off", then I can deal with my physical challenges as well.In July 2020, a GoFundMe account was set up to help with <mask>'s medical expenses. Her younger brother <mask> is also a vocalist. They have recorded together on Coke Escovedo's album Coke (1975), and on <mask> and the Freedom Band's album Celebrate the King (2012). Distributed by California Newsreel. Radical Harmonies (directed by Dee Mosbacher, Woman Vision, 2002, DVD); includes multiple interview scenes with <mask> and some performance footage
Never Stand Still: Dancing at Jacob's Pillow (directed by Ron Honsa, First Run Features, 2012, DVD); <mask> is listed in credits as Featured Artist; includes a few short interview

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 scenes with <mask> and some performance footage of the dance "Invisible Wings" for which <mask> was music director and Cultural Heritage Choir performed the music

References

External links
 <mask> website
 <mask> and the Cultural Heritage Choir website (archived 15 February 2017)

1948 births
Living people
20th-century African-American women singers
American blues singers
American women drummers
American folk singers
Record producers from California
Songwriters from California
American soul singers
CBS Records artists
American lesbian musicians
LGBT people from San Francisco
LGBT singers from the United States
LGBT songwriters
Lowell High School (San Francisco) alumni
Singers from San Francisco
Women's music
20th-century American drummers
20th-century American women musicians
American women record producers
African-American songwriters
21st-century African-American people
21st-century African-American

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Louis-<mask> (17 August 1754 – 15 July 1802) was a French politician, journalist, representative to the National Assembly, and a representative on mission during the French Revolution. Background
The son of <mask>, he was born in Paris to a wealthy family. His father was a prominent journalist and popular opponent of the philosophes and encyclopédistes, his most notable opponent being Voltaire (who openly considered Elie his enemy), and it is surmised that his father's history of conflict with the state over freedom of the press heavily influenced <mask>'s political views. He attended the Lycée Louis-le-Grand, where his father held a faculty position, together with the likes of Maximilien Robespierre and Camille Desmoulins. On the death of his father, he inherited L'Année littéraire, which was continued until 1795 and edited successively by the abbé Royou and Julien Louis Geoffroy. Early Revolutionary activities
Though due to legal obligations he still had some affiliation with L'Année littéraire, <mask> took up writing and editing his paper L'Orateur du Peuple. In it, he wrote radical denunciations of counter-revolutionaries much like those written by Jean-Paul Marat and Camille Desmoulins, and in fact the three of them aided each other in editing their papers.His first real taste of rabble-rousing came in the form of collaboration with Desmoulins to incite the storming of the Bastille. Soon after, he was elected as representative to the Bonne-Nouvelle district of the newly formed Paris Commune, where it seems he was minimally active before returning to his role as a journalist. He acted as a collaborator for L’Ami des citoyens for a brief period before starting his own paper L'Orateur du Peuple, under the pseudonym Martel, which consisted of 8 pages and was distributed every other day, with Marcel Enfantin serving as editor. Aside from his writings in his paper, he openly collaborated with Marat and agreed to fund and write half of Desmoulins paper. In June 1790, Marcel

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 Enfantin was arrested for "provable conspiracy against liberty" because the authorities believed him to be Martel. In response, Fréron wrote:
Citizens, can you believe it? The Orateur du peuple is in chains!He had only taken up the pen in defense of your rights, he was a dynamic writer of the most ardent patriotism…he fought the ministerial hydra with a club, and the aristocracy with ridicule…Well, the Municipality has slandered [his] intentions…it has poisoned his innocent phrases…[but] the voice the Orateur du peuple will pierce the vaults of his prison…the articles of the Rights of Man were made to be used by this French citizen…so that he may publish his opinions. Also, Fréron's relationship with Desmoulins brought him to the cause of the Cordeliers and prompted his involvement with the attack on Tuileries palace of 1792 (the insurrection of the Paris crowds against the House of Bourbon, and their battle with the Swiss Guards). In September, Fréron was elected to the National Convention for the département of Seine, and voted in favor of  Louis XVI's execution. Fréron served as a Représentant en mission to Provence, Marseilles, and Toulon between 1793 and 1794 together with Paul Barras. Siege of Toulon
He was charged with establishing the Convention's authority in the south during the Toulon rebellion. Fréron remained infamous as an enforcer of the Reign of Terror but came into contact with Napoleon Bonaparte, still just a young artillery officer, who had been stationed there. Augustin Robespierre and Antoine Christophe Saliceti, two representatives on mission, responded favourably to Napoleon's request (bypassing his commander, Jean François Carteaux) to seize the peninsula fort from the British and install artillery on a promontory overlooking the bay in order to fire on the British fleet at anchor.An infantry attack led by Bonaparte was repelled, due chiefly to Carteaux lowering the number of men allocated to Napoleon for the attack. <mask>, despite quarrelling


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 with Bonaparte and threatening him with execution, eventually gave him his backing against Carteaux. He subsequently attempted to curtail Napoleon's career by insuring he would not command another larger attack on the British fort that was being planned, posting him to command the reserves instead. However, as this new attack faltered, Napoleon led the reserves forward without orders and seized the British fort. Napoleon had previously introduced <mask> to his sister Pauline Bonaparte with whom he had a relationship until Pauline was married off to General Charles Leclerc in 1797. Reaction and the Directory
Nonetheless, both he and Barras joined the Thermidorian Reaction in its clash with Robespierre; L'Orateur du Peuple became the mouthpiece of anti-Jacobins, and Fréron incited the Muscadins to attack the sans-culottes with clubs. He brought about the accusation of Antoine Fouquier-Tinville, and of Jean-Baptiste Carrier, and the arrest of the last Montagnards.Being sent by the Directory on a mission of peace to Marseilles he published in 1796 Mémoire historique sur la réaction royale et sur les malheurs du midi ("Historical Dissertation on the Royalist Reaction and the Misfortunes of the South"). He was elected to the Council of the Five Hundred, but not allowed to take his seat. Failing as suitor for the hand of Pauline Bonaparte, in 1801 he was sent by Napoleon, now first consul, to Saint Domingue and died there from yellow fever in 1802. General Charles Leclerc, who had married Pauline Bonaparte, also received a command in Saint Domingue in 1801 (during the last stage of the Haitian Revolution), and died the same year. See also
 Jean Joseph Dussault

References

1754 births
1802 deaths
Writers from Paris
Deaths from yellow fever
Deputies to the French National Convention
French journalists
Lycée Louis-le-Grand alumni
Infectious disease deaths in Haiti
Représentants en mission
People of the Reign of Terror
People of the Haitian Revolution
French male non-fiction