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The dataset generation failed
Error code: DatasetGenerationError
Exception: ArrowInvalid
Message: JSON parse error: Missing a closing quotation mark in string. in row 134
Traceback: Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 153, in _generate_tables
df = pd.read_json(f, dtype_backend="pyarrow")
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 815, in read_json
return json_reader.read()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1025, in read
obj = self._get_object_parser(self.data)
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1051, in _get_object_parser
obj = FrameParser(json, **kwargs).parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1187, in parse
self._parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1403, in _parse
ujson_loads(json, precise_float=self.precise_float), dtype=None
ValueError: Trailing data
During handling of the above exception, another exception occurred:
Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1997, in _prepare_split_single
for _, table in generator:
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 156, in _generate_tables
raise e
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 130, in _generate_tables
pa_table = paj.read_json(
File "pyarrow/_json.pyx", line 308, in pyarrow._json.read_json
File "pyarrow/error.pxi", line 154, in pyarrow.lib.pyarrow_internal_check_status
File "pyarrow/error.pxi", line 91, in pyarrow.lib.check_status
pyarrow.lib.ArrowInvalid: JSON parse error: Missing a closing quotation mark in string. in row 134
The above exception was the direct cause of the following exception:
Traceback (most recent call last):
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1529, in compute_config_parquet_and_info_response
parquet_operations = convert_to_parquet(builder)
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1154, in convert_to_parquet
builder.download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1029, in download_and_prepare
self._download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1124, in _download_and_prepare
self._prepare_split(split_generator, **prepare_split_kwargs)
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1884, in _prepare_split
for job_id, done, content in self._prepare_split_single(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 2040, in _prepare_split_single
raise DatasetGenerationError("An error occurred while generating the dataset") from e
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Consultative Committee
of Finno-Ugric Peoples
I congress
II congress
III congress
IV congress
V congress
VI congress
VII congress
Non-govermental Organazations
Other Structures of UNO
Main // Congresses // IV congress // Resolution Of the 4th world congress of finno ugric peoples
Of the 4th world congress of finno ugric peoples
The 4th World Congress of Finno-Ugric Peoples declares that its primary objective is the preservation and development of the Finno-Ugric and Samoyed peoples and their cultures as part of the heritage of the whole mankind. The World Congress is aware that the resolution of the problems of assimilation and loss of national identity mainly depends on the policy of states and the attitude of young people to their culture, language and history.
The Congress states that the protection of human rights, and the rights of indigenous peoples and national minorities, is not a question of the country’s domestic policy only but also of the whole international community. Therefore it is important, in addition to including the international human rights standards and the rights of national minorities into national legislations, to use the mechanisms of international legal instruments which do not require ratification by states and are directly binding.
Promising in this respect is the cooperation of all the countries via different international organisations, above all the Council of Europe and the OSCE, and of Hungary, Finland and Estonia also in the framework of the European Union.
Of late, there has been a reduction in the number of population of most of the Finno-Ugric and Samoyed peoples, and the sphere of use of their languages is decreasing. It is, above all, the younger generation that has suffered where it is deprived of opportunities for socialisation in their own national cultures.
Taking into account the existing situation, the Congress considers it necessary to take the following measures:
In the field of ethnopolitics and law
The Congress entrusts the Consultative Committee with approaching the Commissioner on Human Rights of the Council of Europe with a request to set up a permanent forum on the issues of indigenous peoples and national minorities in Europe.
The Congress commissions the Consultative Committee to act as the coordinator for monitoring the international obligations concerning the protection of human rights and the rights of indigenous peoples and national minorities in the countries of settlement of Finno-Ugric and Samoyed peoples.
The Congress calls on Hungary, Russia, Finland, Estonia and other states where Finno-Ugrians have been living traditionally, to ratify the ILO Convention (No.169) concerning Indigenous and Tribal Peoples in Independent Countries. Pending the ratification of that convention Before the above Convention is ratified, it is necessary to improve the legislative framework for ensuring the rights specified therein and, above all, the right to use natural resources including minerals.
The Congress commissions the Consultative Committee of Finno-Ugric and Samoyed Peoples to strengthen cooperation with international organisations dealing with human rights and the rights of national minorities and indigenous peoples, proactively involving young people into the process.
The Congress commissions the Consultative Committee to establish a network of information and legal centres for studying national legislations and international regulations on human rights and the rights of indigenous peoples and national minorities.
The Congress is concerned about the lack of a federal state body for coordinating the ethnic and interethnic relations in such a multinational state as Russia, and calls on the Government of the Russian Federation to re-establish the Ministry of Nationalities.
The Congress expresses its concern about the processes entailing the elimination of national autonomous formations. It commissions the Consultative Committee to keep track of the implications of the unification of the Permian Komi Autonomous District and the Perm Oblast.
In the field of languages and education:
The Congress considers that the rights of Finno-Ugric and Samoyed peoples should be based on international regulations including the European Charter for Regional or Minority Languages, and calls on the states which have not ratified the above document to do it as soon as possible.
The Congress calls on parliaments and governments of Hungary, Russia, Finland, Estonia and other countries where Finno-Ugrians and Samoyeds have being living traditionally, to continue cooperation in the field of state policy of supporting the languages and cultures of the Finno-Ugric and Samoyed peoples.
The Congress commissions the Consultative Committee to promote the setting-up of a database on successful teaching and educative techniques, and the introduction of such techniques in teaching native languages to children using advanced training technologies.
The Congress encourages the activities in the area of education and advanced training of professionals for the Finno-Ugric and Samoyed regions by the leading educational centres of Hungary, Russia, Finland and Estonia. It draws the attention of administrations of these regions to the need to more effectively use the potential of ethnic professionals.
The Congress stresses the continuing loss of their native languages by Finno-Ugric and Samoyed minorities. For a people to survive, it is not enough to teach its native language as a separate subject. It is necessary to expand the network of schools for nationalities and, as the first step, to increase the number of hours provided in the curriculum for teaching the native language.
The Congress expresses its disagreement with the practice of closing of the so-called small schools in the territories of settlement of the Finno-Ugric minorities.
In the field of culture:
The Congress considers it necessary to continue the practice of international folk, ethnofuturistic and theatre festivals, days of kindred peoples, celebration of memorable dates and anniversaries.
The Congress commissions the Consultative Committee to render assistance in publishing books in the Uralic family languages.
The Congress recommends to intensify organisation of youth activities for the purpose of studying the languages and cultural heritage, and learning modern patterns of folk arts.
The Congress considers it necessary to preserve the traditional culture and transfer it to the younger generations using advanced technical facilities.
In the field of public health, demography, and ecology:
The Congress emphasises that the state must ensure for everyone the right to obtain representative information on his or her ethnic group in accordance with the national standards of statistics.
The Congress considers it necessary to establish international data interchange (including scientific conferences, etc.) regarding the state of health of the Finno-Ugric and Samoyed peoples, environmental protection problems, and cultural and educational policy.
The Congress commissions the Consultative Committee to hold an international workshop on the results of the all-Russian population census of 2002.
In the field of media and information systems:
The Congress commissions the Consultative Committee to intensify its work in exchanging information and developing its own mass media and databases, including electronic media, with a view to create the common information space in the field of environmental, public health, educational, and cultural problems.
The public agencies must ensure for the peoples the existence of mass media in their mother tongues to cover all life spheres and accessible to the largest audience possible.
The Congress recommends to the Consultative Committee to organise in 2006 an international conference of Finno-Ugric and Samoyed peoples for analysing the intermediate results of fulfilment of the recommendations of this Congress providing for the wide coverage of the outcome of the conference in the media.
The Congress commissions the Consultative Committee to study the appeals, comments and suggestions addressed to the Congress.
The Congress states that the accession of Estonia and Hungary to the European Union is a very encouraging event. The ongoing dialogue between the European Union and the Russian Federation also opens new horizons for cooperation between all the Finno-Ugric and Samoyed peoples. The active involvement of youth in these processes gives a new impetus to our movement.
Copyright © 2008 - 2016 years
en.fucongress.org
167010, Rossi, Komi Republic,
Syktyvkar city, street Kommunisticheskaya, 8
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The (Old) New New Guitar
So. I know I was all excited about my new guitar, and even gave her a name and everything. But sometimes you just have to suck it up, admit you’ve made a mistake, and do a complete about-face.
After spending a little while in the honeymoon phase, then a little while in buyer’s remorse, and off-and-on convincing myself that I should just get over it, I finally went and had a talk with Karen, friend and choir director extraordinaire. She confirmed that, yes, perhaps I had bought a guitar that matched me pretty well, but did not necessarily best match what I was trying to do.
Well, when you put it like that… okay, back to square one. Practice spiritual qualities like non-attachment and non-embarrassment. (Is that one? It should be.) Karen was kind enough to come with me this time, and was an immense help in being an extra pair of ears and getting me to spend more time on guitars I would have overlooked.
Seraphina was a Taylor, and I liked a lot of the Taylors — they have a bright, clear sound, feel lovely to play, and many of them are just beautiful to look at at well. Most of the other contenders were Martins, and I like their sound too, though in a completely different way — more resonant, and just plain yummy. But most of the smaller selection at Gryphon didn’t feel as nice under the fingers as the Taylors did, and were simply unattractive, so I tended to pass over them. But Karen kept dragging them back out.
Finally, after about an hour, she found a surprise: a used Martin D1, not particularly noticeable, not very expensive, but with a simple fascinating sound. The low strings are so mellow that at first I thought they had just been left on too long (though all the guitars there have bright new strings). But then when you start playing it you find that it has just a huge dynamic range. The higher strings sound brighter, and here my first feeling was that it just wouldn’t blend well, but in some miraculous way it does. I almost didn’t like it at first simply because I was so distracted mentally trying to figure out what was going on.
I also have to admit that I just dislike the look of the dreadnaught body shape, and it’s a bit much to get my arms around sometimes, though it really does the trick with the sound. Karen told me to play with my eyes closed for a bit, and that helped. It felt okay to play — better than the other Martins, if not as lovely as the Taylors. But it’s the sound that sold me. Karen remarked that being used is a plus: it sounds like it’s been played and loved.
So the new guitar came home, and needed a name. It popped up in meditation that night: Neville. I almost couldn’t bear to name it “Neville” after giving up a “Seraphina,” but there’s really nothing else for it. It’s a good name, and one that will be forever associated with the Harry Potter books in my mind. Neville is the one of the most humble characters, but in the end also one of the most heroic. He does what you need him to do with courage, compassion, and faith. You could do a lot worse.
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Cross-border games postponed through break
NEW YORK/TORONTO – Following several days of meetings with their respective medical experts amid increasing positive test results and rising numbers of postponed games, the National Hockey League (NHL) and National Hockey League Players’ Association (NHLPA) today jointly announced the following:
i) We will continue to play the 2021-22 regular-season schedule. Although there has been a recent increase in positive COVID test results among Players, coaches and hockey staff, there have been a low number of positive cases that have resulted in concerning symptoms or serious illness. Therefore, the NHLPA’s and NHL’s medical experts have determined that, with virtually all Players and Club hockey staff fully vaccinated, the need to temporarily shut down individual teams should continue to be made on a case-by-case basis. The effects of recently introduced enhanced prevention and detection measures will be evaluated daily. The NHL and NHLPA, along with their medical experts, will be monitoring not only the number and pattern of positive COVID results, but also the depth of Club line-ups so as to ensure both the health and safety of the Players and the integrity of League competition.
ii) Due to the concern about cross-border travel and, given the fluid nature of federal travel restrictions, effective on Monday, all games involving a Canadian-based team playing a U.S.-based team from Monday, Dec. 20 through the start of the Holiday break on Dec. 23, will be postponed and rescheduled. Those additional postponements include:
Monday, Dec. 20:
Montreal @ NY Islanders; Anaheim @ Edmonton
Tuesday, Dec. 21:
St. Louis @ Ottawa; Vancouver @ San Jose
Wednesday, Dec. 22:
Montreal @ NY Rangers; Winnipeg @ Dallas; Edmonton @ Los Angeles
Thursday, Dec. 23:
St. Louis @ Toronto; Carolina @ Ottawa; Montreal @ New Jersey; Anaheim @ Vancouver;
Edmonton @ San Jose
iii) Given the disruption to the NHL’s regular-season schedule caused by recent COVID-related events – 27 games had been postponed as of Saturday and at least 12 more will be postponed through Dec. 23 – and the continued uncertainty caused by the ongoing COVID pandemic, the NHL and NHLPA are actively discussing the matter of NHL Player participation in the 2022 Winter Olympics in Beijing, China, and expect to be in a position to announce a final determination in the coming days.
With the number one priority of maintaining the health and safety of our NHL community, and amid changing and unpredictable conditions, we are determined to remain flexible and adaptable both in terms of scheduling and in adjusting Protocols as necessary.
Theodore, Golden Knights defeat Islanders, sweep four-game road trip
Jets top Blues for first win after Maurice resigns as coach
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Women’s World Cup: Round of 16 Rankings
Posted on June 20, 2015 July 10, 2015 by Jacqueline Purdy
The first ever Round of 16 in FIFA Women’s World Cup history is about to begin. Here’s a look at each of the games, ranked in order of my excitement for each match.
1. Brazil-Australia (Sunday, 1 p.m. ET)
Is this finally Brazil’s year? | gettyimages.com
I think this game is going to be play out like Mad Max: Fury Road — two sides chasing each other at high speeds for 90 minutes. Both teams are fast and love to show it with their strikers. I am so there for this. I’ve got my popcorn ready. Give me an 11-10 game, please. But I would settle for a repeat of their thrilling meeting back in 2007 when Brazil won 3-2 in the quarterfinals.
Australia’s first 30 minutes against the United States in their opening game were fantastic. They were flying. It was like the field was titled. If not for a couple of saves from the best goalkeeper in the world — Hope Solo — the Aussies could’ve walked away with a huge win. Head coach Alen Stajcic has done well to lead his side to a second place finish in the “Group of Death” and the Matlidas are an offensive threat that should not be underestimated. And Lisa De Vanna just seems to get even faster with the ball at her feet as the years go by.
Brazil’s got three wins, is the only team to not concede a goal and they’ve even been resting players. Remember how they didn’t make a single sub in the 4-0 semifinal win over the U.S. in 2007, despite that game never being in doubt? Or how even though they barely struggled in group play in 2007 and 2011, Marta never missed a single second of a game? This year, in their final group game in Moncton, which was meaningless for them, they sat Marta, Cristiane, Formiga and Fabiana. Even if this tournament was being played on natural grass, it would be smart to rest players, but it’s especially wise on the turf. The new Brazil!
One last note…. Marta may not have fully activated “Magic Marta” mode (yet), but she’s flashed enough of it to prove that perhaps she’s holding back a bit by design — again, an example of this being a different Brazil than the one we knew in 2007 and in 2011. When Brazil really needs the magic, I expect it to be there. In the meantime, she’s hustling back on defense, making good runs and getting everyone else involved. And I know her record breaking goal came on a penalty kick — but right before that foul was called, she had gotten the ball, totally open, at the top of the 18. I don’t think she was going to miss from there.
2. Germany-Sweden (Saturday, 4 p.m. ET)
Germany had a lot of goals to celebrate in the group stage. | gettyimages.com
Germany’s path to the final could potentially be world No. 5 Sweden, No. 3 France and No. 2 USA. Which is absurd. But they are also the World No. 1, so they should be up to the task.
Germany was forced to settle for a tie versus Norway in its only group stage test, which is a concern. But they’ve only conceded one goal, an unsaveable free kick — so that is a positive. A 10-0 rout of Ivory Coast in their first game basically sealed a spot in the Round of 16 and everything after that was just prepping for the next step.
Sweden has struggled. They’ve got three ties, but for one of the top teams in the world — it feels like three losses. Lotta Schelin has not scored and her performance is not being rated well back in her home country. They have a lot of pressure on them. But their best performance was against the United States — and though the Americans have not impressed either — it could be a sign that Sweden can get things together when they need to — which they of course need to when they face Germany.
There’s more than just the World Cup riding on this game. Thanks to UEFA’s using World Cup results as Olympic qualification, the loser will not be at the Olympics next year. Only the top three European teams in Canada will advance to Rio de Janeiro in 2016, and there are seven European teams featured in the Round of 16.
3. Canada-Switzerland (Sunday, 7:30 p.m. ET)
Ramona Bachmann has three goals in three games, but could’ve had several more. | gettyimages.com
The host nation should have its hands full with Ramona Bachmann, Lara Dickenmann and Co. when they meet on Sunday. Switzerland takes 85 shots per game (approximate) and will create a lot of dangerous chances. They haven’t been able to finish them in this tournament, however, outside of their 10-1 rout of Ecuador. Bachmann’s absolute brilliance in their opener vs. Japan was undermined by her not actually scoring in the match, including missing what would’ve been the game-tying goal in the 93rd minute. But she and Switzerland are fun to watch — and if they can score on just a few of those chances, they could send the hosts packing very early.
4. Norway-England (Monday, 5 p.m. ET)
Norway celebrates with a selfie. | gettyimages.com
This is quite a toss-up of a game — it’s hard to pick a favorite in this meeting of second place group finishers. England hasn’t been majorly impressive, especially in their opener where they played a very passive match against France.
Norway has been spectacularly entertaining, both on (see above) and off the field — and seem to be the team having the most fun. Outplayed for the first half vs. Germany, they did well to earn a draw.
Norway, of course, is also one of only four teams to have won a Women’s World Cup, but they are sitting on a 20 year drought. It’s the longest drought since winning a title in women’s soccer. In fact, their star young striker Ada Hegerberg was born three weeks after they last won. England, on the other hand, has never won a knockout game in their history.
5. USA-Colombia (Monday, 8 p.m. ET)
Unfortunately for Colombia, it looks like they’ve had their major moment at this tournament already, their 2-0 upset of France. The United States will not overlook them the way France did — and Colombia is in even bigger trouble going into this match after their GK Sandra Sepulveda, who was so good in the win over Les Bleues, took a needless yellow card in their final game and will be forced to miss this match for yellow card accumulation.
This game got a bit more interesting late Friday as Lady Andrade (who famously punched Abby Wambach at the Olympics in 2012) is once again making headlines in the United States, predicting a win and complaining about the United States. Though, at the same time, what is she supposed to say…. “I think we’re going to lose”?
6. Japan-Netherlands (Tuesday, 10 p.m. ET)
The defending champs won all three group matches, but struggled to close out teams. The Netherlands heads into the match on the heels of pulling off a late 1-1 draw with host Canada in Montreal. Japan should advance, but a potential quarterfinal with Brazil looms.
7. China-Cameroon (Saturday, 7:30 p.m. ET)
Cameroon’s Gaelle Enganamouit has dazzled in the group stage — if her side tops China, they would face a quarterfinal meeting with the United States (or Colombia, if Lady Andrade’s prediction comes true.)
8. France-Korea Republic (Sunday, 4 p.m. ET)
France recovered from their shocking defeat to Colombia, topping Mexico 5-0 to win the group. They don’t seem like they will take a team so lightly again this tournament, especially so soon after one of the biggest upsets women’s soccer has ever seen.
About Jacqueline Purdy
Jacqueline attended Japan’s win over the United States in the 2011 Women’s World Cup Final in Frankfurt, Germany and considers it the greatest moment of her life. Follow her on Twitter @JacquelinePurdy
Women’s World Cup: Round of 16 Rankings - June 20, 2015
Women’s World Cup: Early Group Stage Roundup - June 15, 2015
Women’s World Cup: Group Stage Games to Watch - June 3, 2015
Posted in 2015 Women's World Cup, International FootballTagged 2015 FIFA Women's World Cup, Latest Rum Posts, soccer posts
2 thoughts on “Women’s World Cup: Round of 16 Rankings”
@JacquelinePurdy June 20, 2015
Ranking Round of 16 games. Which do I compare to Mad Max? #BRA #AUS! Also, a #SUI upset? Plus #USA #COL http://t.co/A1WMSXtyQB
@FIFANEWSCANADA June 20, 2015
Round of 16 Rankings: JacquelinePurdy breaks down the Round of 16 matchups. http://t.co/taevm1uAOH #2015WWC #WWC #RoundOf16 #WWC2015 http://WWW.…
Leave a Reply to FIFANEWSCANADA Cancel reply
one × five =
@Yorugua on The Charrúa Report: Home Sweet Home
@Yorugua on The Charrúa Report: Closer to Fine
@Martin Stezano on The “90-84-15” Edition
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VOL. 27 - NO. 1
JAN 16 - 23, 2022 PO BOX 13283
OAKLAND, CA 94661-0283
510.595.7777 FAX SUBSCRIPTION RATE:
Joint Forces Journal is published privately, and in no way is connected with DoD, the U.S. Army, Navy, Air Force or Coast Guard. This website and the printed newspaper are intended for the members of the Armed Forces and their families. Contents do not necessarily reflect official views of the U.S. Government, the Department of Defense or the U.S. Army, Navy, Air Force or Coast Guard, and do not imply endorsements thereof. The marital status, physical handicap, political affiliation, or any other non-merit factor of the purchases, user or patron for advertisers prohibited. If a violation or rejection of this equal opportunity policy by an advertiser is confirmed, the publisher shall refuse to print advertising from that source until the violation is corrected. Editorial content is prepared and edited privately, and is provided by the Public Affairs Office of U.S. Army, Navy, Air Force and Coast Guard installations. Correspondence and material for publication should be addressed to: Editor, Joint Forces Journal, P.O. Box 13283, Oakland, CA, 94661-0283. Deadline for receiving articles and photos is 3 p.m. Monday for publication on Friday of that week. Joint Forces Journal editorial policy is to use bylines and photo credits where applicable and when submitted.
TRAVEL & ENTERTAINMENT: Novato Theater Company Stages Beloved Musical �Fiddler on the Roof�
by Evan Almdale
You�ve undoubtedly heard the songs from �Fiddler on the Roof� before. One of the most popular musicals in history, �Fiddler on the Roof� is the story of family, love, change and tradition. The Novato Theater Company�s production brings new life and inspired vision to beloved �Fiddler� classic songs like �Sunrise, Sunset,� �Tradition,� �If I were a Rich Man,� �Matchmaker,� �To Life,� etc. But have you seen the play? Incredibly, I hadn�t seen it before and catching it at the Novato Theater Company has been a sheer joy.
In it, the Russian village of Anatevka comes to life. It is a musical interpretation of Sholem Aleichem�s �Tevye and His Daughters.� The story is set in 1905 imperialistic Russia and centers on Tevye, the father of five daughters, and his attempts to maintain his Jewish religious and cultural traditions as outside influences encroach on the family�s lives. He must cope both with the strong-willed actions of his three older daughters�and each one�s choice of husband�and with mounting persecution of Jews by the Tsar.
Sholem Aleichem himself had to flee the tumultuous times of early 20th Century Imperial Russia, and �Fiddler� captures the heart of a people forced, seemingly forever, to be on the move.
Michael Walraven does a superb job creating a memorable Tevye. His sharp-tongued wife, Golde, played by Paula Gianetti, sings a beautiful �Do You Love Me?� The daughters, Bessie Zolno (Chava), Gena Madory (Hodel), Bouket Fingerhit (Tzeitel), are all excellent. And the fiddler! Ashley Kimball gives a brilliant performance.
The story was written in 1894, the play was first performed in 1964. �Fiddler� is as enduring and relevant in the 21st century as it was over 100 years ago.
�Mazel tov� to the Novato Theater Company for a job well done!
This Jerry Bock-Joseph Stein-Sheldon Harnick masterpiece currently plays through April 26 at the NTC Playhouse, 5420 Nave Drive in Novato. It is directed by award-winning Pat Nims, and choreographed by Kate Kenyon. Run time is approximately 130 minutes with one 15 minute intermission.
For more information please phone (415) 883-4498 or tickets can be purchased online at: http://www.novatotheatercompany.org.
The Navy Knows How Many Ships the Future Fleet Needs – But It's Not Telling for Now
TRAVEL & ENTERTAINMENT: “Jersey Boys” Returns to San Francisco
TRAVEL & ENTERTAINMENT: West Coast Engagement of “Harry Potter and the Cursed Child” Begins at S.F.’s Curran Theater
On the Frontline Against China, the U.S. Coast Guard Is Taking on Missions the U.S. Navy Can't Do
TRAVEL & ENTERTAINMENT: Oakland Zoo Celebrates 100th Anniversary Milestone This Year
'Like He Came Back to Me': WWII Mail Received 76 Years Later
TRAVEL & ENTERTAINMENT: Musical Flair Coming to Livermore’s Bankhead Theater
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luther burbank high school
Luther Burbank High School. Luther Burbank High School is a public high school of the Sacramento City Unified School District located in Sacramento, CA. District Website. 3500 Florin Road, Sacramento, CA 95823. If you still need to check out a Chromebook, please come to our temporary front office in F8 (you need to enter through the east parking lot off of Luther Dr. Make sure to wear a mask, bring your Student ID (if possible) and follow physical distancing protocols. Reared on a farm, Burbank received little more than a high school education, but he was profoundly Google Map Link opens new browser tab. If you are having issues with your school-issued Chromebook, please email Victor-Wong@scusd.edu, and make sure to provide a phone number where we can call you back. Get directions, reviews and information for Luther Burbank High School in San Antonio, TX. Support GreatSchools in this effort! 1986 Yearbook . New rating. Luther Burbank High School, encouraging students to become active, compassionate and lifelong learners. COVID Testing. Luther Burbank Elementary School is committed to preparing students to be ready for college, career, and life. Studies show that diversity in school leads to long-term benefits for students. 1970 Yearbook. Save. Read more; Home; About Us. SCUSD does not discriminate on the basis of race, color, national origin, age, religion, political affiliation, gender, gender expression, gender identity, mental or physical disability. .) 1974 Yearbook. Reconnect with friends from Classmates Test High School, find reunions, view yearbook photos and more. March 12, 2012. Contact coordinator (210) 228-1210 GreatSchools Rating Reviews. Sacramento, CA 95823-1767 . School: Luther Burbank High CDS Code: 34 67439 3431012 School Address: 3500 Florin Rd. Read more; Header link. Schools that create a positive culture help all students thrive. Register Free absent, Solo un padre / tutor o representante de padres puede despejar 1960s; 1970s; 1980s; 1990s > 1965 Yearbook. Get Directions. Get the inside scoop on jobs, salaries, top office locations, and CEO insights. If the link doesn't work, log in to Google Classroom with your school … Uncover why Luther Burbank High School is … Luther Burbank School. Luther High School provides a Christ-centered education that encourages and equips students for life and for eternity. Copyright © 2014-15. Header link. 7 reviews of Luther Burbank High School "This for my experience at a football game 9/18/2015. Contact us. Our school serves students in Kinder Academy (Pre-Kindergarten) through 6th grade. Our coordinator Ms. Katherine Bell. un ausente, Tsuas yog Niam Txiv / Tus Saib Xyuas lossis Tus Sawv Cev Niam Donate Now! Facebook. Search Classmates® Free & Find Yearbooks and Friends from Luther Burbank High School.Connect with High School Friends at Classmates.com®. 1975 Yearbook. Send message. We work closely with parents and community partners to support student learning. Page Transparency See More. 1002 Edwards San Antonio 78204 TX UNITED STATES . Click here to register for free at Classmates.com® and view other 1963 alumni. BULLDOG BAND. Compare pay for popular roles and read about the team’s work-life balance. This rating is based on the CPS School Quality Rating Policy (SQRP). 1976 Yearbook. Alumni from the Luther Burbank High School class of 1963 that have been added to this alumni directory are shown on this page. Contact us. It's new modern and correctly laid out. It's very typical of most stadiums built at the new schools and it's nice to see an older school with an upgrade to this setup. 1002 Edwards San Antonio 78204 TX UNITED STATES . All of the people on this page graduated in '63 from Luther Burbank . Compare Details The average total spent per student at Luther Burbank High is $10,210, which is the 5 th highest among 13 high schools in the Sacramento City Unified School District. It's very typical of most stadiums built at the new schools and it's nice to see an older school with an upgrade to this setup. 65 likes. Read more; Header link. 1973 Yearbook. About us. Grades 9-12. It has a student teacher ratio of 18.0 to 1. Need to check out a Chromebook? Middle Years Programme. District Website. (Or start one for your Mother, Father, Sister, Brother, Spouse, Son, Daughter, Friend . Type Public. 1988 … Luther Burbank High School. #10 Luther Burbank v #1 Folsom. and explore higher-performing schools in your area to find the best opportunities for your child to succeed. Public. Luther Burbank High School 1002 Edwards San Antonio TX 78204. School Sports Team People. CONTACT US. Read more; Header link. Luther Burbank High School is a public school located in Sacramento, CA. Lookup Class Reunions. REGISTER FOR THE 2020-2021 SEASON. The school offers academic programs in information technology, public services, health and fitness, and agriculture and environmental sciences. View Map & Directions. 1983 Yearbook. 1981 Yearbook. Fax: 708-952-9518. It's located in Sacramento, CA in Sacramento County. School. Contact coordinator (210) 228-1210 1 ways to abbreviate Luther Burbank High School. March 12, 2012. Luther Burbank High School Football 1963. Therese Sorrentino LMFT. 1972 Yearbook. Ask the school what it’s doing to help students who are behind. All rights reserved. Luther Burbank High School is a public school, supporting grades 9 to 12 . 1971 Yearbook. Plan your High School Reunion. sexual orientation, parental or marital status, or any other basis protected by federal, state, or local law, ordinance or regulation, in its educational program(s) or employment. According to state test scores, 14% of students are at least proficient in math and 35% in reading. Menu & Reservations Make Reservations . > Luther Burbank High School; Yearbooks for Luther Burbank High School. Find Luther Burbank Middle School test scores, student-teacher ratio, parent reviews and teacher stats. Luther Burbank High School is the 523rd largest public high school in California and the 2,517th largest nationally. 9-12. Facebook. X CLOSE. 8235 S. Linder Burbank, IL 60459 . The Burbank Unified School District is committed to equal opportunity for all individuals in education. ... GoCPS for High School information. Burbank opened at its current location in September 1937. Schools are ranked on their performance on state-required tests, graduation and how well they prepare students for college. The school is structured in small learning communities which affords smaller class sizes high accountability and it affords teacher and students to build respectful relationships with each other. What’s the most important thing to look for in the staff at a school? MEDIA. what state standardized test scores really tell you. We're an independent nonprofit that provides parents with in-depth school quality information. As of 2002 the school offers a Hmong language class for native speakers of Hmong. PARENTS. Luther Burbank High School, 3500 Florin Rd (606.71 mi) Sacramento, CA, CA 95823-1767. Luther Burbank High School is a public school located in Sacramento, CA. The Portal can be accessed at the CPS website by clicking here. It is a part of the Sacramento City Unified School District. #10 Luther Burbank v #1 Folsom. You can access your children's progress and attendance live on the Parent Portal! May 8, 2012. Read more; Header link. Register for free today! 1984 Yearbook. Initially it was called the Steve's Gardens Jr.-Sr. High School. Luther Burbank High School Phone: (210) 228-1210 Address: 1002 Edwards St., San Antonio, TX 78204 Grades served: 9-12 Burbank High School web site Academic programs: Magnet Program: International Baccalaureate Program, CSI School of Criminal Justice, Farm-to-Table School of Culinary Arts and Agriculture, School of Business and Commerce, JROTC Header link. RSVP to attend, invite school friends and view the latest from your reunion and more! More 1963 alumni from Luther Burbank HS have posted profiles on Classmates.com®. Search. March 12, 2012. . Txiv thiaj tuaj yeem tshem tawm qhov kev ntsug. Luther Burbank High 2020 Rankings. If you want to see if others from Sacramento, CA high schools want to make a trade for a yearbook, post your info below. Facebook is showing information to help you better understand the purpose of a Page. Find out what works well at Luther Burbank High School from the people who know best. View Map & Directions. Luther Burbank High School has partnered with multiple organizations to offer leadership classes on campus that focus on academic and social-emotional needs. Luther Burbank High School, 3500 Florin Rd (606.71 mi) Sacramento, CA, CA 95823-1767 Phone: 708-499-0838. Test scores at this school fall below the state average. | Students. The stadium and layout is really well done. It has 1,712 students in grades 9th through 12th. Alumni from the Luther Burbank High School class of 1963 that have been added to this alumni directory are shown on this page. Based on its location, Luther Burbank High is classified as a school in a large city. GoCPS for High School information. Luther Burbank Middle School located in Los Angeles, California - CA. 1977 Yearbook. Get directions, reviews and information for Luther Burbank High School in San Antonio, TX. Luther Burbank High School (LBHS) is a high school in Sacramento, California, United States.It is a part of the Sacramento City Unified School District.. As of 2002 the school offers a Hmong language class for native speakers of Hmong.. Coordinates This suggests that most students at this school may not be performing at grade level. Luther Burbank High School Unclaimed. 1969 Yearbook. HOME. Reviews (210) 532-4241 Website. How to abbreviate Luther Burbank High School? Please fill out the form below or send a note with your student. Luther Burbank High School 1002 Edwards San Antonio TX 78204. Apartments & Homes near Luther Burbank High School, Sacramento, CA have a median rent price of $1,895 per month. Search. February 8, 2012. In 2015, the school was rated "Met Standard" by the Texas Education Agency. Click for inquiries. Luther Burbank High School is the 523rd largest public high school in California and the 2,517th largest nationally. Online Learning Information COVID-19 Updates September 18, 2020. You can register for free to add your name to the LBHS alumni directory. GreatSchools is the leading national nonprofit empowering parents to unlock educational opportunities for their children. Luther Burbank High is ranked #8,516 in the National Rankings. Luther Burbank High School is the best kept secret in SCUSD! Only a Parent/Guardian or Parent Representative may clear an Luther Burbank High School: Grades: 9-12 School district: Elk Grove Unified School District Students: 1712 Rating: 4.0 ( 21 reviews ) Tutoring Available: High School Math Tutoring, High School English Tutoring, High School Science Tutoring, High School Economics Tutoring, High School … Hello Parents! March 12, 2012. Luther Burbank Middle School has a school-wide Google Classroom, where students can find important information about school events and submit pictures for the yearbook. Disadvantaged students at this school may be falling behind other students in the state, and this school may have significant achievement gaps. Send message . Contact info. Fax: 708-952-9518. Register for Free to see all Luther Burbank High School alumni! How to abbreviate Luther Burbank High School? Mr. Jimmy Sulaica. In 2015, the school was rated "Met Standard" by the Texas Education Agency. The stadium and layout is really well done. ... How is this district responding to COVID-19? The after school program is exceptional. Luther Burbank High School (LBHS) is a high school in Sacramento, California, United States. Yearbook classifieds for Luther Burbank yearbooks are listed below. If you still need to check out a Chromebook, please come to our temporary front office in F8 (you need to enter through the east parking lot off of Luther Dr. Luther Burbank High School is a public high school of the Sacramento City Unified School District located in Sacramento, CA. Read more; Header link. Understand what on-track learning looks like,... More and explore higher-performing schools in your area to find the best opportunities for your child to succeed. Page created - May 6, 2011. Luther Burbank High School is the best kept secret in SCUSD! GreatSchools is a 501(c)(3) not-for-profit organization Get the most popular abbreviation for Luther Burbank High School updated in 2021 1987 Yearbook. SCUSD is an ISO 9001:2008 certified organization. The company's filing status is listed as Dissolved and its File Number is C3192917. 3500 Florin Road Sacramento 95823 CA UNITED STATES . School August 19, 2013 Advanced Placement (AP) Classes International Baccalaureate (IB) Programs High School Pathways and Academies Neighborhood Schools ROTC Programs 95823 Luther Burbank High School Read Article. Luther Burbank High School Junior Titans Youth Football & Cheer is a California Domestic Corporation filed on March 20, 2009. March 12, 2012. Map and boundary of Luther Burbank High History. Luther Burbank School. The names listed below are alumni who have been searched for on this site from Luther Burbank High Schoolin Sacramento, California.If you see your name among the Luther Burbank High School graduates, someone is looking for you! Here's the location on a map: Contact Information. Luther Burbank Elementary School is a Level 1+ School Our school, Luther Burbank Elementary School, has earned a Level 1+ rating which is the highest rating at CPS! From 'Remember the Titans' to 'Wildcats,' here are some flicks while we wait for high school sports to return. View all 136 active rentals today. Luther Burbank High School 3500 Florin Rd., Sacramento, CA 95823 Phone (916) 395-5110 Fax (916)433-5199 Menu & Reservations Make Reservations . It has 1,730 students in grades 9-12 with a student-teacher ratio of 21 to 1. Luther Burbank High School is the best kept secret in SCUSD! Luther Burbank High School is a high school dedicated to the late Luther Burbank in San Antonio, Texas. Luther Burbank High School. Remember that you can see how your child is doing in school by visiting the Parent Portal. 14 Grades. Luther Burbank, American plant breeder whose prodigious production of useful varieties of fruits, flowers, vegetables, and grasses encouraged the development of plant breeding into a modern science. Mr. Jimmy Sulaica. Nearby schools . See actions taken by the people who manage and post content. Luther Burbank High is ranked #8,516 in the National Rankings.Schools are ranked on their performance on state-required tests, … It is a product of Classreport, Inc. and may not be affiliated with Luther Burbank High School or its alumni association. Ad Choices, Percentage of teachers with 3 or more years experience, % of full time teachers who are certified. Use this link to join the Yellow Jacket Nation! 53 visits. 3 /10. See contact info and more. Home of the Mighty Titans . Luther Burbank High School Alumni Class List . Mailing address: Luther Burbank High School is a company based out of 3500 Florin Rd., Sacramento, California, United States. Read more; Overview. Plan your High School Reunion. Luther Burbank High School Yearbooks. The Burbank Unified School District is committed to equal opportunity for all individuals in education. Type. The following videos help provide an overview; if you are interested, please speak to your counselor about signing up. ABOUT US. 1982 Yearbook. … 14 likes. Middle Years Programme. It's new modern and correctly laid out. Phone: 708-499-0838. Grades and attendance are easy to track from any device! Successful schools understand how to close the achievement gap. It has a student teacher ratio of 18.0 to 1. 1980 Yearbook. Review. 1968 Yearbook. Posted Fri, Mar 20 2020 Students 1,730. Hello Parents! ©1998-2021 GreatSchools.org All Rights Reserved. Luther Burbank High School. 1,730. Contact coordinator (916) 433-5100 According to state test scores, 14% of students are at least proficient in math and 35% in reading. Luther Burbank High School is a high school dedicated to the late Luther Burbank in San Antonio, Texas. Reviews (210) 532-4241 Website. It has 1,712 students in grades 9th through 12th. CALENDAR. Luther Burbank High School students can get immediate homework help and access over 70+ documents, study resources, practice tests, essays, notes and more. Sacramento City Unified School District (916) 433-5100 School website. The Registered Agent on file for this company is Timothy E Shells SR and is located at 4161 Armadale Way, Sacramento, CA 95823. Scholarship Opportunities for LBHS Seniors, Luther Burbank High School 3500 Florin Rd., Sacramento, CA 95823 Phone (916) 395-5110 Fax (916)433-5199, Sacramento City Unified School District 5735 47th Ave. Sacramento, CA 95824 (916) 643-7400. More. Ya Po Cha teaches the Hmong Language at Luther Burbank High School in Sacramento and here presents a broad overview of Hmong traditions, covering subjects such as wedding rites, funeral customs, superstitious taboos, and the extension of Hmong culture into politics and the arts. Meet our 2020-2021 Student Leaders. We provide school information and parenting resources to help millions of American families choose the right school, support learning at home, and guide their children to great futures. 8235 S. Linder Burbank, IL 60459 . Does your High School Class have a full-featured Alumni Website? Home of the Mighty Titans . Mailing Address: 3500 Florin Rd. Murals at Luther Burbank High School — Celebrating Hispanic Heritage Month. Does this school offer opportunity for all its students, or leave some behind? February 8, 2012. ENSEMBLES. I'm glad my husband and I made a wise decision moving to the Sacramento area a few months ago. Founded in 1963, Luther Burbank High School is located in Sacramento, Calif., and serves more than 2,000 students. ETUDES 2020. 1 ways to abbreviate Luther Burbank High School. Luther Burbank High School Band, music education organization in San Antonio, TX. Start One Now! It has 1,730 students in grades 9-12 with a student-teacher ratio of 21 to 1. 7 reviews of Luther Burbank High School "This for my experience at a football game 9/18/2015. Read more; Header link. Top 10 high school sports movies to watch News - Published on 3/20/2020 5:15 PM. Luther Burbank High School 3500 Florin Rd., Sacramento, CA 95823 Phone (916) 395-5110 Fax (916)433-5199 Get the most popular abbreviation for Luther Burbank High School updated in 2021 Related Pages. Understand the purpose of a page is doing in School by visiting the Parent.. People on this page top 10 High School alumni, 14 % of are... San Antonio, TX, CA, Calif., and serves more than 2,000 students office locations and... To track from any device School offer opportunity for all its students or! Code: 34 67439 3431012 School address: 7 reviews of Luther Burbank School! What works well at Luther Burbank High School sports to return for High School their! Diversity in School leads to long-term benefits for students note with your.... '' by the Texas education Agency 7 reviews of Luther Burbank High School is best. Mailing address: 7 reviews of Luther Burbank High School Friends and view other 1963 alumni from people. As of 2002 the School offers a Hmong language class for native speakers of Hmong gap! Your name to the Sacramento area a few months ago based on its location, Luther Middle. Doing in School leads to long-term benefits for students a student teacher ratio of 21 to 1 grade.... '' by the Texas education Agency student learning that have been added to this directory. Provide an overview ; if you are interested, please speak to your counselor about signing.! And more all of the Sacramento City Unified School District ( 916 ) 433-5100 Burbank! Antonio, Texas to this alumni directory attend, luther burbank high school School Friends view. Standard '' by the people on this page graduated in '63 from Luther Burbank High ranked. Does this School may not be performing at grade level grades 9-12 with a ratio. Be ready for college most popular abbreviation for Luther Burbank High School, find reunions, yearbook! Students are at least proficient in math and 35 % in reading,. Are shown on this page student learning sports to return life and eternity. Following videos help provide an overview ; if you are interested, please to. It 's located in Sacramento County independent nonprofit that provides parents with in-depth School rating! From Classmates test High School ( LBHS ) is a public School located in Sacramento County of to... To unlock educational opportunities for your Mother, Father, Sister, Brother,,... To register for Free to add your name to the Sacramento area a few ago... Be ready for college, career, and CEO insights moving to the late Luther Burbank School. Provide an overview ; if you are interested, please speak to your counselor about signing up have full-featured... Cds Code: 34 67439 3431012 School address: 3500 Florin luther burbank high school, Sacramento,.! Test High School `` this for my experience at a football game 9/18/2015 career, and and!, Luther Burbank High School of the people who manage and post content their performance on state-required tests, and... And 35 % in reading opened at its current location in September 1937 called Steve... To see all Luther Burbank High School in San Antonio, TX all its,! And view the latest from your reunion and more to register for to. Calif., and agriculture and environmental sciences ' here are some flicks while we wait High! Classroom with your School for students schools understand how to close the achievement gap students, leave... Students are at least proficient in math and 35 % in reading language for! Is C3192917 offer opportunity for all its students, or leave some?... Understand how to close the achievement gap to see all Luther Burbank School. Published on 3/20/2020 5:15 PM lifelong learners Band, music education organization in San Antonio TX. This suggests that most students at this School may be falling behind students... The late Luther Burbank Middle School located in Sacramento, CA 1965 yearbook a with! Work, log in to Google Classroom with your School have a full-featured alumni website here. We wait for High School updated in 2021 Luther Burbank High School is a public located... Public High School ; Yearbooks for Luther Burbank High School Yearbooks, the School was ``... A full-featured alumni website empowering parents to unlock educational opportunities for your Mother,,! `` Met Standard '' by the people who manage and post content in the staff at a School 3500. Based on the Parent Portal posted profiles on Classmates.com® 1963, Luther Burbank School! Dedicated to the LBHS alumni directory Hispanic Heritage Month state-required tests, graduation and how well prepare. Google Classroom with your student state-required tests, graduation and how well prepare. The LBHS alumni directory are shown on this page find Yearbooks and Friends from Luther Burbank School... And how well they prepare students for life and for eternity closely with parents and community partners to support learning! Burbank HS have posted profiles on Classmates.com® achievement gaps parents to unlock educational opportunities for their.! Offer opportunity for all its students, or leave some behind 6th grade, top locations. The form below or send a note with your student jobs, salaries, office... Students are at least proficient in math and 35 % in reading here 's location! Added to this alumni directory are shown on this page other 1963 alumni from the Luther Burbank San... Find out what works well at Luther Burbank High School 1002 Edwards San Antonio TX 78204 Luther... Son, Daughter, Friend - Published on 3/20/2020 5:15 PM on a:! Titans ' to 'Wildcats, ' here are some flicks while we wait for High School and... School, find reunions, view yearbook photos and more, Parent reviews information! In SCUSD California, United States nonprofit empowering parents to unlock educational opportunities for their children unlock educational for. For High School 1002 Edwards San Antonio, TX schools understand how to close the gap... A public School located in Los Angeles, California, United States, California CA... Compassionate and lifelong learners to long-term benefits for students have been added this! And environmental sciences view yearbook photos and more national nonprofit empowering parents to unlock educational opportunities for Mother. By clicking here and fitness, and this School fall below the state and! File Number is C3192917 're an independent nonprofit that provides parents with in-depth School Quality information understand... 2015, the School offers academic programs in information technology, public services, health and,. Steve 's Gardens Jr.-Sr. High School in Sacramento, California - CA the City... Ready for college, career, and CEO insights few months ago is doing in School leads to long-term for. ; Yearbooks for Luther Burbank High School is a California Domestic Corporation filed on March,... And Friends from Classmates test luther burbank high school School provides a Christ-centered education that encourages and equips for! Cds Code: 34 67439 3431012 School address: 7 reviews of Luther Burbank School... 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Game 9/18/2015 Yearbooks are listed below empowering parents to unlock educational opportunities your! State-Required tests, graduation and how well they prepare students for life and for eternity and this offer. Father, Sister, Brother, Spouse, Son, Daughter, Friend well they prepare students for.! School Band, music education organization in San Antonio TX 78204, Daughter, Friend at... Than 2,000 students for your Mother, Father, Sister, Brother, Spouse, Son Daughter! Through 12th High CDS Code: 34 67439 3431012 School address: 7 reviews Luther! Test High School class have a full-featured alumni website the team ’ s work-life balance unlock opportunities... State average 10 High School class have a full-featured alumni website 1002 Edwards San Antonio,.. See how your child is doing in School leads to long-term benefits for students successful understand. > 1965 yearbook does your High School dedicated to the LBHS alumni directory are shown on page... Look for in the state, and this School may be falling behind other students in the average! To track from any device School in California and the 2,517th largest nationally Classmates.com® and view latest... Located in Sacramento County public School located in Los Angeles, California - CA important thing to look for the. Cheer is a High School in a large City and lifelong learners 's the location on a:. Start one for your child to succeed Yearbooks for Luther Burbank High School is public... Lbhs alumni directory are shown on this page graduated in '63 from Luther Burbank in San,...
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luther burbank high school 2021
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Blessed and Blessing
Series: The Church Year
Passage: Matthew 5:1-16
St. Matthew 5:1-16
What does it mean to pray, “Thy kingdom come, thy will be done, on earth as it is in heaven.” “Thy will be done” is pretty straightforward—at least it should be. It’s not an anxious prayer, as if God’s will were in danger of not being done if we don’t pray hard enough. No, it’s a prayer for something we know is going to happen. God is sovereign. His will—all the good things he intends for the world in his faithfulness—will be done. Our prayers aren’t going to make that true, but in our prayers we express our faith in his sovereignty and our longing to see his will and his plans for this world come to pass. But “Thy kingdom come”? What is God’s kingdom? Is it now or is it future or is it both now and future? Is it heavenly? Is it earthly? We ask in the Lord’s Prayer that as it is in heaven so may it be on earth. What does that mean? The Gospels are all about the kingdom. Mark and Luke talk about the Kingdom of God. Matthew talks about the Kingdom of Heaven, which doesn’t mean the kingdom is “up there” somewhere. It’s just a hebraic way of speaking of the kingdom of God. Earth is our sphere and heaven is God’s. They’re supposed to be united, to overlap, to be together, but sin—our sin—has divided and separated them. The temple was the one place where earth and heaven met. It was the one place on earth where human beings could go to be in the presence of God. This is why it was so remarkable that at Jesus’ baptism, heaven was opened. For just a moment there at the Jordan, earth and heaven were brought back together. It showed dramatically that Jesus was the one who would bring back together what our sins had broken apart. In Jesus—the god-man, the man of both earth and heaven—the King had come. In Jesus the kingdom of God, the kingdom of heaven was breaking in and God was beginning the work of restoring his Creation. This is what we anticipate, this is what we long for in faith and hope when we pray: “Thy kingdom come, on earth as in heaven.”
This is what lies behind our Gospel lesson, the Beatitudes, the first part of Jesus’ “Sermon on the Mount”. In fact, the Lord’s Prayer is something Jesus gives us later on in this sermon. But he begins his sermon with this list of people who are “blessed”. But who are they? Well, as much as Israel had failed in her mission to be the light of the world, there were still some people in Israel who really did have a sense of what God had called them to do. There was always a faithful remnant. We see them in people like John’s father, Zechariah, in Mary and in Joseph, in Simeon and in Anna. But the thing was that none of these people were the sorts most people expected to be exemplifying the kingdom of God. Sure, they were faithful in their simple ways, but they weren’t important, they weren’t rich, they weren’t powerful—they were nobodies. They were the people being ground up in the gears turned by the bigshots, whether that was the Romans or the Herodians or the corrupt Sadducees who controlled the temple and the priesthood. And yet it says something that it’s with these people that the Good News begins. And it’s with these people—and the people like them to whom Jesus had been ministering in Galilee—that he begins his most important sermon on the kingdom. Jesus says:
“Blessed are the poor in spirit, for theirs is the kingdom of heaven.” (Matthew 5:3)
I think we have a tendency to read this and think that what Jesus is saying is that if we behave a certain way—in this case, if we’re poor in spirit—then we will somehow earn or be worthy of God’s blessing. But that’s not it. It helps if we go back to Abraham. In Genesis 12 God calls Abraham and he says to him, “I will make of you a great nation and I will bless you and make your name great.” The Lord reiterated and renewed this promise to the generations that came after Abraham. This was his promise to Israel, “I will bless you” and this was at the core of Jewish identity. When Jesus talks about people who are blessed, he’s answering the question of who belongs to the people of God. But here’s where he turns things upside-down—at least that’s how it seemed to so many of the people who heard him. Most people just assumed that because they were descendants of Abraham, were circumcised, ate the right food, and stayed away from Gentiles that they were “blessed” because they were God’s people. But here’s the thing: the Lord’s blessing wasn’t blessing for the sake of blessing. There was more to the promise. He said to Abraham, “I will bless you…so that you will be a blessing.” A blessing to whom? The Lord says to all the families of the earth. Israel was to be like salt, preserving the earth. Israel was to be a light, shining in the darkness and leading the nations back to the knowledge of God. In fact, after these Beatitudes, that’s the next thing Jesus goes on to preach about: salt and light. If you’re not being salt and light, you’re not blessing and are not blessed—you’re not part of the kingdom.
This is what blessing is about. The people Jesus describes here are the people through whom God makes his kingdom known. They’re the people who already understand and are already living the life of the kingdom. He starts with the poor in spirit. I can’t help but think of Mary. When she finds out that she’s going to be pregnant with the Lord’s Messiah she doesn’t get full of herself. There were plenty of people who would have. No, she bursts out into a song of praise and the first things she sings is, “My soul doth magnify the Lord…for he hath regarded the lowliness of his handmaiden.”
Most people expected God to usher in his kingdom by coming to the important people, the wealthy people, the powerful and politically connected people. Most people expected the Messiah to ride into Jerusalem like King David in a chariot with a sword and with an army. Instead he came to a poor young girl. And it was people like Mary, people who were poor in spirit who came flocking to Jesus and in and through them the kingdom of God burst into the world. The humble came to Jesus in faith and he opened their blind eyes, he healed their paralysed legs, he healed their diseases, he cast out their demons, he even raised their children from death. Meanwhile the powerful people, like the Sadducees, fumed that Jesus was offering forgiveness of sins without sending these people to the temple to offer sacrifices. Meanwhile the Pharisees, people who thought of themselves as righteous, were fuming because Jesus was welcoming the unclean and the sinful. But Jesus says that the kingdom won’t be found with the powerful or the self-righteous, but with those humble enough to follow the king born in a stable.
The rest of the Beatitudes go the same way. Jesus says:
“Blessed are those who mourn, for they shall be comforted.
“Blessed are the meek, for they shall inherit the earth.
“Blessed are those who hunger and thirst for righteousness, for they shall be satisfied.
“Blessed are the merciful, for they shall receive mercy.
“Blessed are the pure in heart, for they shall see God.
“Blessed are the peacemakers, for they shall be called sons of God.” (Matthew 5:4-9)
Israel was in exile and the people longed for consolation, but most wanted that consolation to come in the form of a Messiah who would put their enemies to the sword. Jesus says that, no, those who will be comforted, those who will show the kingdom, are those who mourn the sins of Israel and who are ready to repent and turn back to God. Israel wanted to inherit the earth, but Jesus reminds them that their inheritance will come not through those who are full of pride, not through those who think they’re better than everyone else because of their descent from Abraham or their circumcision or their diet, but it will instead come through those who are meek. Israel longed for justice—which is probably a better translation than “righteousness” in this case, but the justice Israel wanted had more to do with vengeance on her enemies and Jesus is saying, again: No. Your hunger for justice will only be satisfied when you are willing to set aside your rights in favour of humility and gentleness. Israel longed for mercy. She longed for deliverance. But Jesus warns that mercy is only for the merciful, not the vengeful. Israel longed to see God, but Jesus warns: You will never see God so long as your outward acts of piety are a cover for oppressing the poor, the widow, and the orphan. The kingdom is manifest by those who aren’t just outwardly pure, but who are pure of heart. And, of course, Israel saw herself as God’s son. The people longed for God to vindicate them by establishing them once again as a nation over their enemies, but Jesus warns: If you want to be God’s sons you need to show the peacemaking character of your Father. You’re out for vengeance, you’re calling for the blood of your enemies, if you had the chance you’d kill them in their beds and then tell the world that you were acting out the justice of God on the enemies of his people. But people like that will never be sons of the God who seeks not vengeance on his enemies, but offers them mercy and forgiveness and reconciliation. The violent will never be sons of the God who seeks to make peace, even offering his own life for the sake of their treason.
Everything Jesus describes here was aimed at Israel’s failures to be God’s people, to be salt and light. God had blessed Israel to be a blessing, but they wanted to keep his blessing to themselves, which is why he’d taken it away and sent them into exile. And most still hadn’t learned. But there was this remnant: again, people like Mary and Zechariah and Simeon who were already showing the world what the kingdom was like, people who were already living out the character of God. People whom the world saw as nobodies, but who were in reality already sharing the Lord’s blessing to the world. This is what John the Baptist had been about: calling the people of Israel to repentance, calling them to turn aside from their sin, their folly, from their false views of the kingdom so that they would be prepared for the Messiah.
But, Jesus warns, if you are faithful in being the sorts of people who carry God’s blessing to the word, be prepared for trouble. In verses 10-12 he goes on:
“Blessed are those who are persecuted for righteousness’ sake, for theirs is the kingdom of heaven.
“Blessed are you when others revile you and persecute you and utter all kinds of evil against you falsely on my account. Rejoice and be glad, for your reward is great in heaven, for so they persecuted the prophets who were before you.”
I expect Jesus was anticipating where his own ministry was headed when he preached these words. He’d already experienced the anger of his own people. When he preached in his hometown of Nazareth the people tried to throw him off a cliff. He knew that most people were not going to receive what he’s saying here and he knew that he was going to be rejected and that he would suffer and be killed. And he knew that the people who chose to follow him would be persecuted too. At the Cross the present evil age was dealt a death blow. In rising from the grave Jesus inaugurated the age to come. The present age is passing away and the age to come is breaking in, but Jesus knew that his people would live in the overlap. God brought salvation and renewal this way for a reason. The people of Jesus’ day wanted it to come all at once, but God chose to bring it slowly. People today have the same sort of expectation. They ask how a good God can allow so much evil in the world. But in asking that question, in asking why God doesn’t come and deal with evil we’re showing the same sort of self-righteous mindset that dominated Israel. We’re forgetting that for God to come and deal with evil means that God will not only have to deal with our enemies and the people who cause us grief, but that he’ll also have to deal with us. We’re all sinners. And so God sent Jesus to deal with that sin and to inaugurate his kingdom, but he also delays, and in that he gives sinners a chance to repent and turn to him. It also means that those who, in this in-between time, insist on revealing the kingdom through their poverty of spirit, through their meekness, through their mercy, through their peacemaking will face the same backlash that Jesus faced.
Brothers and Sisters, we are called to turn the world upside-down and the world isn’t going to like that. But the fact is that the world we confront is actually already upside-down. It’s been corrupted by sin. When we exemplify mercy and meekness and peacemaking and purity of heart what we’re doing is showing people how the world was in the beginning and how it’s really supposed to be—and how, one day, it really will be again. But in the meantime it will fight back. The Jews stoned Stephen for preaching that Jesus really was the Messiah. Throughout the first centuries of the Church, many were martyred because they proclaimed that Jesus is Lord, which also sent the message loud and clear that Caesar is not—and Caesar didn’t like that. And it continues today. Even if we don’t face death, we face the pushback and the scorn and the hatred of those who are invested in the gods of money and power and sex and politics, those who are proud and merciless and war-making, those who represent the values of the present evil age will see us as the enemy. And yet, Jesus says, this is good. Blessed are you, for in your rejection and even in your persecution, you are manifesting the kingdom of heaven—you’re being the blessing you have been called to be and you have a share in the kingdom.
Jesus goes on in verse 13:
“You are the salt of the earth, but if salt has lost its taste, how shall its saltiness be restored? It is no longer good for anything except to be thrown out and trampled under people’s feet.
“You are the light of the world. A city set on a hill cannot be hidden. Nor do people light a lamp and put it under a basket, but on a stand, and it gives light to all in the house. In the same way, let your light shine before others, so that they may see your good works and give glory to your Father who is in heaven.” (Matthew 5:13-16)
Jesus challenges Israel. She is to be the salt of the earth. She is to be the light of the world. This was Israel’s calling, it was her vocation right from the beginning, again, going back to Abraham. God called Israel to be a kingdom of priests and a holy nation. She was called to serve the Lord and to show the world what faith in him looked like—a tiny nation surrounded by great empires, but living faithfully for the Lord and trusting him to take care of her: the new creation in miniature. She was to be like a city set on a hill. Jesus was thinking about Jerusalem, up on the mountain above the countryside. The Prophets had said that Jerusalem was to a place where the Lord was glorified by his people that the nations would come flooding through the gates to come and meet the God of Israel in his temple.
But Israel had done just the opposite. She worshipped the gods of her pagan neighbours. Instead of trusting in the Lord to care for her, she forged forbidden alliances with the nations. Instead of trusting in the Lord she trusted in horses and chariots. She did everything in her power to make herself and the God to whom she bore witness a laughingstock amongst the nations. The nations knew that Israel worshipped a God who was different from all the other gods. The nations knew that Israel was called to be different. But when they saw Israel’s unfaithfulness they mocked the God they should have praised, asking “Where is her God?”
Israel was supposed to be like a lighthouse, shining God’s light to the nations, but instead she’s removed the glass and surrounded the light with mirrors. She prided herself on being a people of light and condemned the people outside for being lost in the dark. But they were in the dark because of her refusal to share the light. And eventually her light turned to darkness. She rebuilt her temple after the exile, but the Lord’s presence never returned.
Jesus now invites those who are poor in spirit, those who are meek, those who mourn, those who are merciful, those who are pure in heart, those who are peacemakers, those who are ready to face persecution to come and find out what really being Israel is all about. If they will follow him they will be the true or the new Israel. They will share the Lord’s blessing with the nations. They will be salt. They will be light, making the Lord known and fulfilling his call to Abraham.
In the Sermon on the Mount Jesus was issuing a challenge to Israel. But, Brothers and Sisters, it’s now a challenge to us. You and I have been incorporated into Jesus and into his new Israel. We have been made sons and daughters of Abraham. And so Abraham’s vocation has been passed on to us. We are called to proclaim the King and to make his kingdom known. And we have our own temptations today that lead us away from our mission. We are just as prone as Israel was to forgetting who our real enemies are. We are just as prone to forgetting that God’s kingdom is made manifest through mercy and grace. And the Church in every age is always tempted to put her light under a basket, to remove the glass from the lighthouse and to replace it with mirrors and then call ourselves the people of the light while the world perishes in darkness. We are tempted to seek the kingdom through pride, arrogance, bullying, and war as the people of Jesus’ day were. We’re tempted to compromise the kingdom by looking to the powerful and the connected for deliverance or by forgetting that we are a people called to sacrifice our rights and ourselves for the sake of the kingdom.
But, Brothers and Sisters, one thing has changed. Jesus has poured his life into us. He has brought the dry bones of Israel to life by the power of the Holy Spirit. In our baptism we have been freed from our bondage to sin and united to the life of Jesus. Our hearts, which were once fixed on self, have been turned to God. Our minds, which once saw the kingdom as foolishness, have been renewed and set on the kingdom of heaven. That’s not to say that we don’t still struggle, but this is why Jesus invites us to his Table. Friends, here at the Lord’s Table Jesus gives us a foretaste of the kingdom. In the bread and wine our Lord pulls God’s future into the present, in the bread and wine, for just a moment he gives us a glimpse into heaven and shows us the kingdom and he reminds us that we live in faithful hope for that day when every tear has been wiped away and God had set everything to rights. Brothers and Sisters, if you struggle to share God’s blessing with the world, if you struggle to be meek, to be merciful, to be pure in heart, to a peacemaker; if you struggle to offer yourself as a living sacrifice, come this morning and be strengthened. Come this morning and have your eyes set once again on the kingdom. Come to the Table today and have your hope restored. Today, as we read in our Old Testament lesson, we are tested like gold in the furnace (Wisdom 3:6), “But lo”—as we sang—"There breaks a yet more glorious day; The saints triumphant rise in bright array; The King of glory passes on his way. Alleluia, alleluia.”
Let us pray: Gracious Father, let us never forget that you have blessed us to be a blessing. You have called us to be the salt of the earth and the light of the world. You have called us to live in such a way that the nations, seeing us, will be drawn and come streaming into your kingdom. We confess our failures and pray for the strength and the courage and most of all the faith, not only to live in hope of your kingdom, but to offer ourselves as living sacrifices for the sake of the world. Strengthen us we pray, through our Lord Jesus Christ who lives and reigns with you and the Holy Spirit, one God, now and forever. Amen.
Topics: All Saints
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Home UNCG University Archives Oral history interview with Patricia J. Trice, 2013 [text/print transcript]
Oral history interview with Patricia J. Trice, 2013 [text/print transcript]
INSTITUTIONAL MEMORY COLLECTION
INTERVIEWEE: Patricia J. Trice
INTERVIEWER: Sarah Turner
ALSO PRESENT: Woody Trice
ST: Today is Saturday, March 30, 2013. My name is Sarah Turner. I am the oral history interviewer for the [UNCG Institutional Memory Collection’s] African American Institutional Memory Project. I am at the home of—
PT: Patricia Trice.
ST: And we are here to talk about her experiences as a graduate student in the 1960s. And thank you, Dr. Trice, for letting me come today. I guess I just want to start off by asking you if you could tell me about when you were born and your birth date, and where, and your family situation, and things like that.
PT: Okay, I was born here in Greensboro. I’m a native. We didn’t live here; we lived someplace else. We didn’t move here until 1955. And I went to Washington School. It was called Washington Street School then. We lived away from here when I was in junior high so I did not go to Lincoln [Junior High], but I did go to Dudley [High School] and graduated from Dudley. I am a member—was a member and still am a member—of Providence Baptist Church, which is right down the street. It wasn’t then; it was over close to where Bennett [College, Greensboro, North Carolina] is now. What else?
ST: And what was your birth date?
PT: February 5, 1939.
ST: And when you say “here,” do you mean this actual house? Did you grow up in this house or—
PT: No, we did not move here until I was in high school.
ST: Okay.
PT: I was a senior in high school.
ST: In this house or just this area?
PT: No, in this house.
ST: Okay, so this is a childhood house for you. Okay. Where did you—You said you didn’t live in this area, but you lived in Greensboro when you were born. What area were you living in?
PT: Not too far from here, near Washington School. We lived there, and we lived in West Virginia for three years, but then we moved back to Greensboro.
ST: What was your family—How was your family made up?
PT: I have a brother, and I have a sister. She is deceased, but my brother is still living.
ST: Okay, does he live here?
PT: Yes.
ST: Great, and what did your parents do?
PT: Daddy was executive secretary of the New Farmers of America, and so he worked with young men in high school who were intending to be agriculture teachers. And mama, mama stayed home until we were in high school, and then she worked at A&T [North Carolina A&T State University, Greensboro, North Carolina]. She taught English.
ST: Okay, so did both of your parents go to college?
PT: Yes, daddy had a master’s. He went to A&T, undergraduate and graduate. Wait, is that right? He may have gotten a graduate degree from West Virginia State College [Charleston West Virginia]. But mama went to Shaw University [Raleigh, North Carolina], and then she has a master’s from A&T, and she also has further study at Columbia [University, New York City, New York].
ST: Wow, so education was, I guess, really important in your household.
PT: Oh, yes. Yes.
ST: That’s great. What year did you graduate high school?
PT: Fifty-five.
ST: I know you went to UNCG [The University of North Carolina at Greensboro] for graduate school; where did you go as an undergraduate?
PT: Oberlin [College, Oberlin, Ohio].
ST: Oberlin. Can you tell me about, you know, as a senior in high school, what were you considering when you picked where you were going to go to college?
PT: Well, when I was—When we lived in West Virginia, I had a piano teacher who was an Oberlin native. He lived here, but was brought up in Oberlin, in the city—the town of Oberlin. He also graduated from Oberlin so—And we knew about Oberlin because of its reputation for music, especially. The conservatory there is really one of the oldest and one of a very few that is part of a liberal arts college, not separated [unclear]
ST: So most conservatories are separate.
PT: Some of them are; Julliard [School, New York City, New York] is, and Curtis [Institute of Music, Philadelphia, Pennsylvania] and so on. But this is one of the top conservatories in the college setting, and so I was just always going to go there as far as I can remember. So, I did.
ST: And where is Oberlin?
PT: It’s near Cleveland [Ohio]; it’s thirty-some miles southeast or west, I can’t remember, but it’s just south of Cleveland.
ST: So you went far away.
ST: And were you the only person, I guess, from this area to go there? Did you go alone?
PT: Yes, pretty much. There were one or two—Let’s see, I’m getting mixed up. There was another girl, but she didn’t live close, and a couple of times I came home for the holidays on the bus. I had an accident in West Virginia. But most of the time I flew.
ST: I guess you knew in high school that you wanted to study music?
ST: When did you start to get involved in music?
PT: Oh, I can’t even tell you: When I was in elementary school. You know I started taking piano lessons and it just happened. I did a lot of stuff at church, and I went to Dudley and was very much involved with the music there, and I took lessons right straight on through, so I just knew.
ST: Were either of your parents musical?
PT: No.
ST: No. [laughter] And it’s piano, that’s your—
PT: Piano and organ.
ST: Okay. And so usually we focus on people’s undergraduate career, but we’ll go ahead and fast-forward. You graduated from Oberlin in 1959 and how did you decide your next step? What did you—?
PT: Well, I knew I should go to graduate school, and I was in music education at the time, and so I decided—I applied to Michigan and Illinois and two or three others, and heard right away back from Illinois. I got a personal letter from, you know, the dean and everything, so that persuaded me. I had applied to the University of Southern California, and I don’t know if I ever heard back from them.
ST: Still waiting.
PT: And so I went to Illinois, and it really was a good choice for me. I enjoyed it. I met my husband there. And then after that, we went to Colorado; he got his master’s at Colorado, and I worked in the public schools for a year. And then we came back here for a vacation, and ended up staying for nine years, and worked at A&T. And then he got a job in Florida, in Tampa, so we lived in Tampa for twenty-seven years. And I thought we’d stay there but, as luck would have it, here we are.
ST: So when you say that you went to Illinois; when did UNCG fit into your timeframe?
PT: After. I went to Illinois and got a master’s in ’60, and then we lived in Colorado for a year. I came back here—We came back here in ’61, I think. Both of us were working at A&T, and it was in ’67 or ’68 that I got the master’s from UNCG in piano performance, because the two degrees that I had were in music education.
ST: Okay, so you got your bachelor’s in music education and a master’s in music education, and then you went to UNCG and got a master’s in piano performance. And what kind of brought you to getting that degree.
PT: I was teaching piano. I had always played the piano and always taken lessons and so on, but I felt that I needed to have some kind of certification. I enjoyed it; I studied with Daniel Ericourt.
ST: How do you spell his name?
PT: E-R-I-C-O-U-R-T.
ST: And who was he?
PT: He is—At the time—I can’t remember whether he’s deceased now or not. I think he is. At the time he was a fairly well-known French pianist who lived here and taught at UNCG.
ST: And what were you teaching at A&T at the time?
PT: Piano, and—What else? The major piano—the piano performance classes and piano classes for the undergraduates. They all have to take piano, no matter what their instrument is. They love it, too.
ST: Really.
PT: Oh, they hate it. [laughter]
ST: So if you majored in music at A&T, you had to take piano.
PT: Anybody had—any place. That has to be a secondary instrument, so if you played trumpet, you’ve got to take piano.
ST : But piano just has to take piano.
PT: Oh no, they usually have to take—They have to take—You have to take a major instrument and a minor instrument anywhere you go, and so they take something else, usually voice.
ST: And so when you were going to UNCG, you were working at the same time, or did you stop ?
PT: No, I took a leave. I took a leave. I took a leave of a year, and then I think I went two summers.
ST: What were you interested, I guess, growing up besides—Was it always going to be music for you?
PT: Somehow it was, yes.
ST: And when you were going to UNCG as a graduate student, I guess you were living, you know, in a house. You weren’t living on campus or anything like that.
PT: No, we had a house not too far away from here. I wasn’t living here; this is—My parents lived here. My husband and I were living down the street.
ST: Do you guys have any children?
PT: Yes, we have two children, two grown children, and how many grandchildren? Six, seven; don’t ask me? I think it’s seven. We have a new baby so, yes. 6
ST: And did you have children at this point when you were going to UNCG?
PT: No. Oh wait, the year I graduated, we adopted a little girl, but we didn’t when I started and finished.
ST: Can you tell me just about some memories you have about going to get your master’s at UNCG? Maybe something about some more professors that you studied under.
PT: I really enjoyed everything that I did there. I enjoyed the lessons with Mr. Ericourt; well, not enjoy. You don’t enjoy lessons, but I learned a lot. You learned by listening to him play. He didn’t always tell you what to do but he’d show you, and you just watched. At least that’s how I learned. But I learned a lot about fingering. Of course, he had studied with a pupil of Debussy, so—
ST: Of what?
PT: Debussy, Claude Debussy. One of the really, really famous—
PT: D-E-B-U-S-S-Y. And he was known for his interpretation of Debussy, so I felt really, really fortunate. I had studied with him before I went there. I knew he was here in town so I called and took a few lessons from him. But it really—I learned a lot from him, especially just listening to him play. You could tell, stylistically. I didn’t like everything that he taught me, but, you know, you learn from one, and then you take what you want from there, and then you learn from somebody else and you take—And so I’ve been real fortunate that my background has been kind of broad.
ST: Did you ever consider going to UNCG for music as an undergraduate?
PT: Things were segregated then, my dear.
ST: Oh, I guess the first black student didn’t come until about ’61 [Editor’s note: the first African American students were admitted in the fall of 1956], I think.
PT: Yes, ’61, and I went to college in ’55, and—
ST: I hadn’t even thought about that.
PT: Yes, in fact the state of North Carolina paid me to go to Illinois so I would not go—I could have gone. By the time I graduated and was interested in the first master’s, I could have gone to school in this state but they paid me not to.
PT: Yes. 7
ST: Without even applying to those schools, or did they—Were you just told, if you go out-of-state—
PT: I can’t remember the process. I must have applied, and it was called the—There was a legislator whose name was [Thomas J.] Pearsall, and he—P-E-A-R-S-A-L-L—I can’t remember what his first name was. I met his son later in life. And the plan was that if you were eligible and had been accepted at UNCG, or [University of North] Carolina [in Chapel Hill], or [North Carolina] State [College, Raleigh, North Carolina], they would pay your tuition to go out-of-state.
ST: I have never heard that. That’s—
PT: Oh, my dear, yes. It’s a part of our glorious history. The Pearsall Plan. So I went to Illinois, and enjoyed it. And then later when I came back to UNCG, I enjoyed that, too. I’ve enjoyed every place I’ve been.
ST: And so I guess A&T didn’t have as well-know of a music program.
PT: They didn’t have a graduate program.
ST: But even as an undergraduate, you wouldn’t have stayed here to go to music school.
PT: No, their music department was not on a par with where I went. Oberlin has one of the best reputations in the country.
ST: Really, and I guess being it wasn’t North, but it was Midwest, it was integrated.
ST: Interesting. I hadn’t thought of that because one of the ladies, JoAnne Smart, [Class of 1960], is a Dudley graduate, and I thought for a minute you might have known her, but she’s a couple of years behind you, but she was one of the—Actually, I don’t know if she was a Dudley graduate. She student-taught at Dudley; that’s what it was, and the next wave of students came after they were—She was their student-teacher, kind of inspired by her. I had one lady who told me that her student-teacher was Miss JoAnne Smart, and that she thought she had a beautiful shade of lipstick, [laughter] and she thought she was so sophisticated that if women were sophisticated, they must all go to Woman’s College, [now The University of North Carolina at Greensboro] and that’s kind of what inspired her to go. Well, can you tell me about what the program—how it’s structured with piano performance; I mean what kind of classes you take and how you spend your time?
PT: You spend your time—at least four hours of it a day—practicing. You have to. Four hours is a minimum, and what fun that is. Not straight, you can’t do it straight. And that was the hardest—That always is the hardest part. You can’t do it altogether; you do—When I was working—and I always tried to concertize—but I’d get up at four in the morning and practice for an hour before I got ready to go to work, and then I would 8
practice two hours, maybe, at school, and then come home and try to get in another hour. Or something like that, but I always had to get up early in the morning. But I only did that for about six months.
ST: I was going to ask if your family enjoyed the early-morning piano practice.
PT: Well, fortunately I could close the music room off so that they—They weren’t the least bit happy about the fact that I got up, but they really couldn’t hear it. They slept right on through it. [laughter]
ST: Do you, as a piano performer, do you always play other music, or do you do any composing of music?
PT: No, I’m not very creative. My father never could understand that. He says, “As much music as you’ve had, you ought to be able to write something.” I said, “Daddy, I can’t. That is not my skill.” I always—
ST: Play other works.
PT: Yes. I gave my—I had a fairly large library, piano library, and I gave it to UNCG several years ago.
ST: Really. Wow. And as part of your curriculum, you practiced, and then you’d take, I guess, just practice courses. I mean what kind of courses are there in piano performance besides practicing at UNCG?
PT: In school?
ST: Yes.
PT: You take piano lessons, and then are piano lit [literature] classes, and there are other kinds of music classes that you can take.
ST: What does piano lit mean?
PT: You study the literature that has been written for the piano, from one period to the next. In the baroque period, for instance, there is Bach, mostly Bach, and some Handel and Scarlatti. And then in the classical period, there is Mozart, Haydn, and Beethoven (or Haydn, Mozart, and Beethoven) and in the romantic period, there are several composers. We learned the twentieth century composers, too. And of course they’re still writing.
ST: Right, and then after you graduated [unclear], how many students are in a concentration like you were in as piano performance?
PT: Oh gracious.
ST: How big was the program, would you say, when you were there?
PT: I have no idea. You’ve got piano majors, piano performance majors, and you have students who are taking piano as their major instrument who are music education, or voice, or something else, so I don’t know. I have no idea, but there were—Let’s see, how many piano teachers were there? There were, I know, three; there may have been four—or there may have been more than that—and then there were some graduate students who were teaching also. But Mr. Ericourt—name just went right out of my—Mr. [Robert] Darnell, and then there were—there was a husband, wife team; the names I can’t remember—Inga. [Editor’s note: Phillip Morgan was the husband of Inga Morgan] I can’t remember, but there were at least four teachers who were the major teachers, and then there were some part-timers so—
ST: And were there other African American students in the program?
PT: In piano performance?
PT: There had been before me, but I don’t remember. [unclear] [laughter] Not in Mr. Ericourt’s studio, but I knew somebody who had gotten a master’s and had graduated either a year or two before me.
ST: Do you remember who that was?
PT: Wilhelma Bishop. W-I-L-H-E-L-M-A Bishop. Her husband was a Methodist minister; still is but she’s deceased.
ST: And how did you know her?
PT: I knew her through a friend of my mother’s, who belonged to the church that he pastored, and she was really helpful and would come—She came and talked to me a couple of times about the program and what she liked about it, so I kind of had an idea about what to expect. She was a very, very nice lady. She taught piano, and she also was very active in the music program in her church. Very, very nice lady. They left shortly after that; he moved on to another church. You know, Methodist ministers don’t stay long.
ST: Right, and did you ever feel like there was any—I mean, did the teachers care. You know, at the time the administrators cared about admitting black students. It was very—They wanted it to be gradual, but did you feel as if professors had any concerns about people’s race or was it a non-issue as far as you can remember?
PT: I don’t think the professors did. The students—In some cases I was amused because—Oh, what’s the name of the—There’s a music sorority, Mu Phi Epsilon, I think, and I was eligible to belong. Did I—What did I do? I can’t remember because I was eligible at Illinois and I didn’t join, but I did join at UNCG. And I also joined Pi Kappa Lambda, 10
which is an honorary society at UNCG, but they were kind of concerned that I’d want to—They did a fashion show and all that kind of stuff and they were concerned that I might want to participate. I had no interest in participating, so they were relieved.
ST: Did you feel like people were accepting of you?
PT: Oh, yes. I think so. The dean was. He was new the year I went. In fact, I was offered a job, but that was—As soon as I was offered that job, my husband was offered a job in Florida so we left.
ST: Do you remember what the dean’s name was?
PT: Hart, Lawrence. Hart, H-A-R-T. He just died fairly recently.
ST: And I have here that you were the founder and director of the Spiritual Renaissance Singers of Greensboro, Can you tell me more about that?
PT: When I was in Tampa, a friend and I started a similar group. We sing only the arrangements of the African American spirituals, and they are all unaccompanied, they are a cappella arrangements. We started a group in Tampa and it was such a wonderful experience, I talked to some friends here and they had said, Yes, we—In fact we’re still going.
ST: Okay. So this wasn’t something you did in graduate school; this was something after.
PT: Yes, this was—what year? I don’t know, but we started this one—the one here—We met and there was a group of people who met here and they said, Yes, let’s start it. And so our first concert was in ’89 I think, and we’ve been going strong ever since.
ST: And how many people do you have in this group?
PT: From twenty-two to twenty-six or so. It’s a small ensemble and we sing only the unaccompanied arrangements of the spirituals.
ST: So no piano.
PT: No piano; no instruments of any kind.
ST: Why do you want to do unaccompanied?
PT: The bulk of the arrangements are unaccompanied, and they began as unaccompanied.
ST: Historically.
PT: Yes, the original songs were unaccompanied. 11
ST: Well, can you tell me what campus was like, I guess, for you in the 19—This was later 1960s. Can you just describe experiences or memories you have about UNCG’s campus?
PT: Well, actually I don’t have many because I wasn’t on campus. I’d drive over there, and park up whatever that street is that goes by in front of—Well, the Music Building was on Tate Street then. [Editor’s note: the name of the building was Brown Music Building]
ST: That’s a good memory because I only know [the School of Music] as being right off Market [Street] so—
PT: No, it was on Tate Street, right next to Aycock [Auditorium], and so I would park—What direction is this? No, this. This is south, isn’t it, I think.
PT: South, I would park just south of Tate Street. No, just south of Aycock [Auditorium] and—
ST: Aycock Street?
PT: Yes. And walk down, and walk up and get back in my car.
ST: Did the music school have a name of the building, or was it just the music school?
PT: No, there’s a name. [pause] It’s whatever that building is next to the [Aycock] Auditorium. What is the name of that building? [pause] Oh, that’s right. It’s not there anymore. It was—It wasn’t on the corner, but it was the next building. It’s a big building; I can’t think of the name of what it is.
+ST: You mean the building is no longer there.
PT: It’s there.
ST: Oh, it’s there. I don’t know.
PT: As far as I know, it’s there.
ST: I don’t know if they changed names when they moved things, or if they kept the name the same.
PT: I’ll see if I can find out what it is, if I can get up off this couch. Whenever you buy a couch, make sure it’s high enough [laughter] so that you don’t have to—Woody, what was the name of the Music Building at UNCG?
WT: I don’t know. I can’t remember.
PT: [laughter] What good are you?
ST: It’s okay if you can’t remember.
PT: Oh golly, isn’t that something. It’s the building right next to the auditorium.
ST: Right next to the auditorium. I should know it. I’ve got a more recent memory and I’m terrible at things like that.
PT: Well, if you don’t use the building, you don’t know.
ST: Right, and exactly as a graduate student, you stay kind of separated.
PT: Yes, you know I didn’t live on campus or anything.
ST: Right.
PT: I just can’t think of it. I’ll probably do that after you leave.
ST: And so as part of your curriculum, did you have performances that you had to do, like in Aycock [Auditorium]?
PT: You had to do an ensemble performance.
ST: What does that mean.
PT: That means you have to get together with a bunch of instruments, and we did [pause] the Trout, the Schubert, the last movement of the—or was it the first movement—of the Trout Quintet by Schubert. It was a great experience; I loved it.
ST: What did you like about it?
PT: I liked the music. But performing with others in a small ensemble, that was fun.
ST: So did you ever consider just being a piano performer, like being a professional piano player?
PT: I sort of was because I did keep performing all through my career, but pianists are a dime a dozen and it’s very, very, very difficult to break out so I just kept performing because I had to kept my chops up. and I felt it was important for my students to hear performances.
ST: And then what other—You said you had to do ensemble; did you also have to do other pieces as part of your performing requirements.
PT: Let’s see, there was of course a solo recital and then you had to do—I don’t remember exactly what but there was at least one ensemble performance and I did some accompanying, too.
ST: And does accompanying mean with a singer or does that mean—
PT: A singer or—It happened that it was a singer, but any, all instruments and voice other than piano have to be accompanied. There has to be some music, some harmony and chords and texture behind them. Piano can do everything, but clarinet can only play melody. They can only play melody.
ST: You would think I would know this. I took band—Well, I was only in middle school, but I don’t know the difference between melody and what else makes up music. It’s very interesting.
PT: Well, the melody is what you hum along with and then you have the harmony underneath, the chords that are underneath and then there’s texture—the way the notes are put together underneath and so on.
ST: So what other instruments can play harmony?
PT: All the rest of them.
PT: Yes, they play a part in the harmony. So you have a part in the harmony, in the chord.
ST: Interesting. Did you ever have to do any like sight-reading as part of, like performance, or just as part of like testing and things like that?
PT: As a part of—In fact, you had—Yes, you had to be able to sight-read as a part of a test that you took at the end of a certain period. You’d go in and you’d have to play something, play a piece that you had prepared, and then sight-read pieces that they had there for you.
ST: Did you have to audition to get into the UNCG music school?
ST: And was that the only place you applied since you were in Greensboro, or did you ever consider going anywhere—?
PT: No, at the time I didn’t. But, you know, it was here so—And the reputation was a good one, and it was in-state, and I had a husband.
ST: Right. Interesting. And can your husband play piano? 14
ST: Your children; did they learn how to play piano?
PT: Yes, sort of; to satisfy themselves. My daughter—When we were living in Florida, they both, she and my son, were in a hand bell choir at church, and they just loved that and so that’s what she has found in Kansas City—It’s not even in the church she goes to, but she plays in a hand bell choir, and she’s real happy with that.
Now my son, who lives here—In fact he lives right up the street—kept the singing, and he’s singing in the ensemble, in the Spiritual Renaissance Singers, and he has been—He kept asking me, and I kept saying, No. But he’s really been an asset.
ST: Can you tell me anything about kind of what your classmates were doing at UNCG? Did any of them go on to become famous pianists?
PT: I haven’t kept up with them at all.
ST: Did you make any kind of friends at all at—
PT: I did make friends, but one of the problems was that I moved away shortly after getting the degree, so I lost contact with the classmates that I had.
ST: I work with a lady who is a classically trained—do you say it “pee’ uh nist,” is that how you pronounce it, or is that—
PT: Some people do.
ST: Piano player.
PT: “Pee an’ ist.”
ST: Pianist, and she went to a conservatory for two years and then transferred to UNCG. I think she still has her music degree, but she just couldn’t do the conservatory anymore. She wanted to go to a liberal arts school, but she says she still has friends who are, like, professional pianists. She gets their CDs, and she says it’s just crazy to see these people make this their life. She still plays piano locally, but I was just like amazed by someone who I’ve met. I’m just so not musical. I wish I were but—
PT: Well, you know, you don’t have to be.
ST: Yes. Well, in middle school I took band, but I was forced to play the clarinet. I didn’t get to choose. My mom made my sisters all—I’m the youngest of four—we had a clarinet and we all played it. That was how it went. Mom said we’re not buying another instrument, so we all were forced to play this instrument that we didn’t want to play. It’s funny. 15
Well, let’s see what else I have to ask. Was there any kind of like political activity happening on campus when you were there; any kind of like the Neo-Black Society or any kind of—
PT: Not that I know of but I was kind of divorced from all of that. I did not get involved in campus life that much. I didn’t live on campus, you know. I just wasn’t—I drove my car over there and parked it on Tate Street and—I went to concerts and things like that, but I always went to concerts so I don’t go as much now as I did then because I’m just—I’m an old lady. I just [laughter, unclear] But I went to a lot of concerts then.
ST: Would famous people come to—?
PT: Oh yes, the Artist Series, yes.
ST: Really, who would come and [they’d?]—What are some names of people who would come, if you can remember it?
PT: Shirley Verrett, who was an emerging singer. Where did you park, over here?
ST: I parked in your driveway. Is that okay?
PT: Okay, right here.
PT: Okay.
ST: How do you—Her name was Shirley—
PT: V-E-R-R-E-T-T. Who else came? The Artist Series has always brought in [pause] For the life of me, I can’t remember anything, but they were excellent concerts.
ST: And when did you get your PhD?
PT: In [pause, chuckles]—
ST: Obviously after you went to UNCG.
PT: [calls out] Woody, when did I get my PhD?
WT: When?
WT: I think ’81.
PT: No, it wasn’t ’81.
WT: I don’t know.
ST: [laughs] Where did you get it from?
PT: Florida State.
ST: Florida State. Did you ever consider going to UNCG and, instead of piano performance, getting a PhD.
PT: I didn’t live here then.
ST: But I mean after—You could have gone since you already had a master’s degree. Instead of getting an additional master’s, theoretically, you could have gone and gotten a PhD.
PT: Oh, yes. No, at that time, I didn’t. I was teaching piano at A&T, and I felt like I needed to get further training in piano, so that’s why I got my master’s instead of getting a PhD. But a PhD is not a performing degree anyway. It’s what I have now, because I did not get a performance degree at Florida State.
ST: But as far as you could get with performance would be a master’s. It’s a terminal degree or does it have a PhD.
PT: It’s a DMA, doctor of musical arts. And I really didn’t—I’m glad I did not go for that degree. The degree that—The PhD has really been very beneficial. It introduced me to the world of research, and I really like that world; it has served me well.
ST: What kind of research do you do for music?
PT: Well, the book that I wrote—
ST: Oh, you wrote a book.
ST: See, we learn so much.
PT: It is a bibliography and a—My mind is [unclear]. A friend of mine told me—She was asking me when I was getting ready to go up to get the doctorate, to get the degree for commencement, she says, “Pat, when is commencement?” I said, “I don’t know.” [She asked,] “Who’s the speaker?” [I said,] “I don’t know.” She asked me another question and I said, “I don’t know.” She said, “Well, I’m glad”—She had a real strong Southern accent. She says, “Well, I’m glad you got your degree then because I don’t think you could get it now.” When did I get my degree?
ST: What was the name of your book?
PT: Oh, it was a long name; let me go get it. [pause] Where is it? [pause]
ST: It almost seems like you are allowed to forget things now because you were a professional student for—How many years were you in college from undergraduate? You went four years as an undergraduate.
PT: And then I got a master’s and then I [unclear]
ST: Was that two years?
PT: No, it was a year.
ST: A year, so that’s five years. And then you got your second master’s.
PT: Yes, that was—
ST: Was that a year or two?
PT: A year and a half. A year and two summer things.
ST: That’s at least another—You’re almost up to seven.
PT: And then the PhD was a year of residence, and all kinds of other time. But I enjoyed all of it. I loved going to school.
ST: So it’s Choral Arrangements of the African-American Spirituals. So this has been something I guess you’ve always been interested in.
PT: The spirituals, yes, and particularly since we started—In Tampa, we started the Spiritual Renaissance Singers of Tampa, and I found out that there wasn’t a reference book at all. There was no place I could go to find out what was available, so it’s not the kind of book that everybody would read because it just lists, by composer and then by title and subject.
ST: And so did you have to write this as part of your graduate degree?
PT: No, I wrote that after.
ST: You wrote it after. Okay. Interesting because a lot of people, at least in history, to get a PhD you essentially have to publish a book, or at least have to write a book and hope it gets published, so I figured you did this as part of your studying.
ST: So you did this when you were working. Okay. Well, what kind of—This is the history in me—What kind of primary documents were you using? Where did you find the history for these spirituals?
PT: There are some references but—And there are lists of—There is an overview, an historical overview at the beginning, and then there are three lists: There’s one by arranger, by title, and then by subject, so what I did to find the pieces was to write—Well, I started with what I knew and what I had, and then I wrote publishers that I knew published and asked them to send me—I told them I was writing a book and it had been accepted for publishing and could they send me pieces, and many of them did. I also wrote arrangers and asked them to send me or tell me so I could order, and most of them were just really, really helpful. And so that is how I got the information, and at the time, it was about as complete, you know, but it goes out—This is ’98 and this is what, 2013, and there’s been another book written since that is not quite like this, but it also lists arrangements. But it’s two or three years old already—more than that.
ST: Really, how long did it take you to write this?
PT: [pause] I don’t know exactly because the first few chapters are history and so on, and characteristics and stuff. I worked on that—My [husband] was living in Boston at the time and so I went up to see him in the summertime and that’s what I did, was to work on the book. And then, what I did was to write to all the publishers, and arrangers in some cases, and ask them to send me music. I went over to UNCG to the library in the music department, or the School of Music, and got some information there, but I have a number of sources myself, and while he was in Boston, we went to the Brattle Bookstore and found me all kinds of books there. And one of the ladies who was a subject—He was working at the Human Nutrition Research Center in Boston—and one of their subjects was a retired music librarian at New England Conservatory, and she gave me a copy of a book that was one of the primary history books that I was using. Then he managed to find me other books in the Brattle Bookstore, stuff like that. In fact they invited him out to their house and let him browse and he found some things.
ST: And what did you say the name of this bookstore was?
PT: Brattle, B-R-A-T-T-L-E. It’s a fairly well-known bookstore [of] used and old books.
ST: Is it mostly in the Northeast?
PT: It’s in Boston.
ST: Just in Boston. Okay. That’s really interesting. And so you wrote your book—Well, you got your PhD while you were in Florida. You were also teaching at the time.
ST: And you were teaching at—? 19
PT: Hillsborough Community College.
ST: Hillsborough Community College.
PT: Yes, that’s in Tampa.
ST: So you were able to go to school and teach at the same time.
PT: No, I took a year off, and then—I took a year off, and then I took another semester to do the dissertation. But I started by taking classes in the summertime.
ST: What was your dissertation topic?
PT: I wrote on my piano teacher. What was the title of that dissertation? [laughter] Oh, my heavens.
ST: You don’t have to tell me the title; you can just tell me what it was about.
PT: It was about my piano teacher. My piano teacher, whose name was Gray Perry, in Tampa—I studied with him in Tampa for several years—was a student of, a pupil of [Theodor] Leschetizky who was a well-known teacher.
ST: How do you spell that? Sorry.
PT: L-E-S-C-H-E-T-I-Z-K-Y, I think. That may be “T-I-S-K-Y.”
ST: It doesn’t have to be exact. I don’t think I even know how to begin how to spell that.
PT: It’s spelled a lot of ways. You know it’s one of those Polish names, I guess, that’s spelled a lot of different ways. I think it’s “S-K-Y.” He had studied with a pupil of his, and he had also studied with Isidor Phillip who was a well known French pianist. Phillip, spelled
P-H-I-L-L-I-P, I think. That was—I learned a lot from all my teachers. Now Mr. Ericourt, you learned from him by listening to him play. He didn’t really articulate how to do things but you watched what he did, and he taught a particular kind of touch, too, which I use, not all the time because I don’t think it should be used all the time. But then Mr. Perry, he was in his eighties when I studied with him, but he was about as energetic as anybody, any fifty-, or sixty-year-old. He drove back and forth, you know. He had a home in Tampa, and he came there on weekends. That’s where I took my lessons. And he taught in Bradenton, [Florida] which was an hour away, and he drove back and forth. He just was a phenomenal man. He talked very slowly. He was from Arkansas, and he had to have been in his eighties when I studied with him.
ST: And what did you write about him?
PT: His pedigree. He studied with Isidor Phillip; he studied with, as I said, a pupil of Leschetizky; and he studied with—Oh, what is the man/wife’s name—Virgil, Mrs. A.M. 20
Virgil in New York, and these were all fabulous teachers. They weren’t necessarily performers, but they were teachers, and he was able to bring together much of what he learned from all of them into—I hate to say a method, because he really didn’t have a method—but the way he developed technique and so on, it was—I’d never had a teacher like that. He was really, really fabulous. He was a big influence on me, and that’s why I did my dissertation on him, just to show—And my committee, particularly the pianist that was on my committee, was fascinated by him. He was in his eighties when I was studying with him.
ST: And even as an adult and having a master’s degree in piano performance, you continued to take lessons.
ST: Really, and, I mean, at what point are you—do you know so much that you—Can you always be taught?
PT: I think so, I think so. If for no other reason, it helps to have another pair of ears listening to what comes out. You can always learn. In Tampa—After I got the degree, I did not do solo piano performances anymore, but I did work with another pianist, and we did duo piano concerts, and it was interesting for him to listen to me, and me to listen to him, and to adjust our techniques to each other so that we could—so that it sounded, you know, good. So that was kind of fun.
ST: You would think you would stop taking lessons once you’re, you know—
PT: Oh no, you can always learn from somebody,
ST: And what did you teach at Hillsborough Community College?
PT: I taught the piano major classes; I taught piano class, the minor classes; and I taught—
ST: So people who majored in piano and people who minored.
PT: And then people who did not major in piano. They all had to take piano. And I had the—The last few years, I had the chorus and the vocal ensemble because I’ve had a lot of choral experience, and I taught music history and keyboard harmony.
ST: And so you always taught in, like, higher education. You never taught in the schools.
PT: I taught one year in elementary school in Colorado; loved it. The only reason I didn’t—We couldn’t—My husband couldn’t get a job there, so we came back here for our vacation not knowing what on earth we were going to do, and we got jobs at A&T.
ST: How old were you when you took your first piano lessons?
PT: Too young, I think. I think I was four.
ST: And do you remember, have memories of your first piano teacher?
PT: Vague memories. I don’t remember the lessons so much, but I do remember vaguely. The teacher that I had after that, Mrs. Brown, I do remember.
ST: And this was when you were living in Greensboro, before you moved to West Virginia.
PT: Yes, and then in West Virginia, my teacher Mr. Phillips; I remember him, and he was a native of Oberlin, Ohio and went to Oberlin, and was a major influence, or a major reason that my parents found out about Oberlin and decided that that was where I was going to go.
ST: And who was your music teacher at Dudley?
PT: Julia Ruth Morrison, or Richmond, her name is now. And she was very, very helpful to me; always very helpful.
ST: Julia Ruth Morrison.
PT: She was Morrison then; she’s Richmond now.
ST: And was she, I guess, a Dudley teacher.
ST: And she’s still around and—
PT: Yes, she’s retired, of course, but she’s still—She lives right up the street. But there were a number of people who were very, very helpful. The people at my church were very supportive of me; my parents did everything they knew to do, everything they could do; and I’m very grateful for that.
ST: Did either of your siblings play piano or do anything with music?
PT: My brother didn’t; my sister took piano lessons a little bit, took some lessons from me, but you know, she just did it for fun.
ST: And when you were at Dudley, did Miss Morrison—Was she a driving force, too, in going to Oberlin, or did she want you—
PT: She encouraged me a whole lot. I mean, everybody in my life, everybody has been very encouraging and still are.
ST: Well, that’s great. And do you ever do anything with the music school at UNCG now? Do you ever stay connected or visit or—
PT: When I was here before, I went to concerts all the time, and I know some of the people over there, but I just don’t fly around like I used to.
ST: Does your choral group ever play at UNCG?
PT: No, we never—We never have been invited, but we sing primarily at churches. We’re still going; I don’t know how much longer we’re going to go because everybody—not everybody—but many of them are my age or a little younger and we’re not getting any younger. My son is involved in it, and he’s one of the younger ones, but—
ST: And do you sing in this group, or do you direct it?
PT: I direct it. No, I’m not much of a singer. I can carry a tune and I kind of know what to do with my voice, but you can do without me. [laughter]
ST: Well, what impact do you think your time at UNCG has made on your career and your life?
PT: I think it was kind of unique because it was the performance—It’s the only performance degree I had, and I enjoyed going to the concerts; I enjoyed participating in things. I just thoroughly enjoyed it.
ST: And do you think it was a valuable experience for you; was it—
PT: Oh yes.
ST: Is there anything else you’d like to share about UNCG; any other stories or memories of professors, your classmates, anything you can share that I haven’t asked about that you can think of?
PT: The year I went there, Dr. Hart, who is now retired, H-A-R-T, it was his first year there, too, and he was very, very supportive. He taught one class and I took that class. It was a teaching, a theory class, and actually he had hired me. He hired me to—I was supposed to teach at UNCG, and right after he hired me, my husband went down to Florida and got a job, so I had to go then. He says, “That’s what I hate about you women with these husbands. Your husbands take you off.” So I never was, I was kind of disappointed but it was good for us to move.
ST: Really. That’s really—I’ve really learned a lot about music; there’s so much to know, and you’re quite an accomplished woman. I mean, you have a lot of things under your belt that you’ve experienced and—
PT: I’ve been very fortunate, and I have to give credit to my family and to my mother and father and my husband because they all have been very, very supportive. I couldn’t have done it at all if they hadn’t been supportive.
ST: What had you heard about UNCG in terms of just the graduate school before you came; I mean, was it—Would you have ever considered going if you hadn’t been living in Greensboro or was it just a, We’re here; I might as well go because I need the experience.
PT: Well, I think it was a combination of things: it was helpful that I didn’t have to leave Greensboro because we had a house and everything—not this one—but we had a house and, of course, my husband was here so it was helpful that I didn’t have to leave, and UNCG had a good enough reputation, you know. I didn’t feel like I was sacrificing anything. I enjoyed it and I learned a lot.
ST: And you, I guess, retired from Hillsborough after how many—
PT: Twenty-seven years I was there. I didn’t work in Florida the first year we moved. My children were real little, and I stayed home with them, and then when they were old enough to go to daycare and stuff like that, so I worked the second year we were there, worked the entire time.
ST: And do you still teach piano, or do you still do—?
PT: No, I don’t. I just don’t. I have a church job, but it’s conducting. I can play the organ; in fact, I played the organ the other day at a funeral, but I don’t play anymore.
ST: And did you learn organ just as the second instrument you had to—
PT: Actually, I went to Oberlin with piano as a primary instrument and then switched over to organ, so I did organ at Oberlin and at Illinois, and then, since I was teaching piano at A&T, I thought perhaps I ought to get a little bit more training in piano, and I was glad I did. It was a good experience.
ST: And so you will still play for certain events or certain people you know; I mean, how do you—
PT: I don’t do much playing, and I don’t teach. I sort of half-way teach my grandson, but he doesn’t want to learn much, [laughter] and I don’t force him. I just—teaching, unless it’s going to—If I had the opportunity to teach an advanced student, I would, but teaching beginning students, I just don’t have the patience to do it anymore. They don’t practice, and most of them don’t want to do it; their parents are making them do it, you know. And I don’t feel like I want to do that anymore.
ST: Do you still play on your own?
PT: Not very much. 24
ST: Really, why is that?
PT: I don’t practice. Now I can sit down and play when I need to play. I have a church job, but it’s conducting so I don’t need to, but if I need to do the piano, I can. I had to play the organ at a funeral the other day, unexpectedly, but you know, I could so I just went on and did it. But no, I don’t do much piano playing. Do I miss it? Sometimes, but it was really hard work. You just don’t sit down and play stuff. My neighbor in Tampa said to me one time, because I would just disappear for whole periods of time. I was practicing four hours a day, and it’s hard to get four hours a day into your day, and she would say, “Why do you have to practice; don’t you know how to play?” So, I don’t know what I said to her because there wasn’t anything to say to her. She just didn’t understand.
ST: Right, and you are probably the most critical person on your own playing, whereas if I heard you play, I’d probably think you played perfectly, but you probably see every mistake or hear every mistake—
PT: Yes, somebody asked, you know—I was practicing four hours a day and my kids were, oh, maybe nine and seven, or something like that, and a friend said, asked my daughter (who was the older), “Did your mom make any mistakes?” and she said, “Yes, twenty-seven.” Because they’d heard it over and over and over again, so she said, “Yes, twenty-seven.”
ST: Well, that’s so interesting. Well, I don’t really have any other formal questions unless you have anything else you want to share or would like to—
PT: I really, really enjoyed UNCG. It was just right; it was something I could do, and I couldn’t really be a part of, you know, the [campus] life completely, but then I didn’t need to be. I was older so I didn’t need to get involved it everything, but I really enjoyed it.
ST: And I’ve actually heard that from a lot of music students in general, even as undergraduates, that, you know, your time is spent in practice studios and you just don’t mix with the regular students as much because you’re so—especially at UNCG—which has a serious music program, that people came because they wanted to do music. They didn’t necessarily do the college thing, because they wanted to be musicians.
PT: Well, if you’re doing performance, you have to practice; you have to practice. And people don’t understand that, you know. “Four hours a day.” But if you don’t practice, it doesn’t happen.
ST: And did you say you recognized any of these names on here, because I know we have some music people on those lists?
PT: Yvonne Cheek, [Class of 1967].
ST: Yvonne, I was thinking that was the one you probably knew. 25
PT: I didn’t know her sister. I met her sister later.
ST: And how did you know Yvonne?
PT: I think I met her over there. Marian Thornhill, [McClure, Class of 1964] is a Greensboro person. Shelia Cunningham [Sims, Class of 1962] is also a Greensboro person, but I have not seen her in, I bet you, forty or fifty years because they live out in California, and I haven’t seen them. I think that’s all. [pause] JoAnne Smart Drane.
ST: That was the lady who was the first black student.
PT: Not a music major though.
ST: No.
PT: Was she from Greensboro?
ST: I don’t think she was originally. [unclear] but I think I got confused, but I know she student-taught at Dudley. She may have—
PT: I don’t—That name. Ada Fisher, [Class of 1970], now. I think I have met her. I know her sister. [pause] Oh, I see: interviewed as of March first. You would not have interviewed Claudette [Graves Burroughs-White, Class of 1961] because she died several years ago. Elizabeth Withers, [Class of 1963]: I bet I know her parents. Elizabeth Withers Stroud.
ST: And that’s yours to keep.
PT: Well, thank you.
ST: You can hang on to that, if you’d like. And the only other thing I have—
Title Oral history interview with Patricia J. Trice, 2013 [text/print transcript]
Creator Trice, Patricia J.
Contributors Turner, Sarah McNulty
Description Patricia J. Trice (1939- ) graduated from Oberlin College in 1959, received a master's in music education from Illinois in 1960, a master's in piano performance from The University of North Carolina (UNCG) in 1968, and a PhD from Florida State. She is founder and director of the Spiritual Renaissance Singers of Greensboro. For nine years, Trice was a member of the music faculty of North Carolina A&T State University in Greensboro, North Carolina and a member of the music faculty of Hillsborough Community College in Tampa, Florida, for twenty-seven years. Trice remembers the importance of education in her family; attending Oberlin College in Oberlin, Ohio, to study music; and receiving funds from the Pearsall Plan, which was used by North Carolina during the segregated 1950s to send African American students to study out of state. She discusses her music degrees and attending various colleges and universities. Trice recalls being a graduate student at UNCG in the 1960s but not being very involved with campus life except to attend classes. She talks about publishing her book Choral Arrangements of the African-American Spirituals and founding the Spiritual Renaissance Singers of Greensboro.
Related material Full audio recording: http://libcdm1.uncg.edu/cdm/ref/collection/ui/id/59890
Source collection OH002 UNCG Institutional Memory Collection
Full Text 1 THE UNIVERSITY OF NORTH CAROLINA AT GREENSBORO INSTITUTIONAL MEMORY COLLECTION INTERVIEWEE: Patricia J. Trice INTERVIEWER: Sarah Turner DATE: March 30, 2013 ALSO PRESENT: Woody Trice ST: Today is Saturday, March 30, 2013. My name is Sarah Turner. I am the oral history interviewer for the [UNCG Institutional Memory Collection’s] African American Institutional Memory Project. I am at the home of— PT: Patricia Trice. ST: And we are here to talk about her experiences as a graduate student in the 1960s. And thank you, Dr. Trice, for letting me come today. I guess I just want to start off by asking you if you could tell me about when you were born and your birth date, and where, and your family situation, and things like that. PT: Okay, I was born here in Greensboro. I’m a native. We didn’t live here; we lived someplace else. We didn’t move here until 1955. And I went to Washington School. It was called Washington Street School then. We lived away from here when I was in junior high so I did not go to Lincoln [Junior High], but I did go to Dudley [High School] and graduated from Dudley. I am a member—was a member and still am a member—of Providence Baptist Church, which is right down the street. It wasn’t then; it was over close to where Bennett [College, Greensboro, North Carolina] is now. What else? ST: And what was your birth date? PT: February 5, 1939. ST: And when you say “here,” do you mean this actual house? Did you grow up in this house or— PT: No, we did not move here until I was in high school. ST: Okay. PT: I was a senior in high school. 2 ST: In this house or just this area? PT: No, in this house. ST: Okay, so this is a childhood house for you. Okay. Where did you—You said you didn’t live in this area, but you lived in Greensboro when you were born. What area were you living in? PT: Not too far from here, near Washington School. We lived there, and we lived in West Virginia for three years, but then we moved back to Greensboro. ST: What was your family—How was your family made up? PT: I have a brother, and I have a sister. She is deceased, but my brother is still living. ST: Okay, does he live here? PT: Yes. ST: Great, and what did your parents do? PT: Daddy was executive secretary of the New Farmers of America, and so he worked with young men in high school who were intending to be agriculture teachers. And mama, mama stayed home until we were in high school, and then she worked at A&T [North Carolina A&T State University, Greensboro, North Carolina]. She taught English. ST: Okay, so did both of your parents go to college? PT: Yes, daddy had a master’s. He went to A&T, undergraduate and graduate. Wait, is that right? He may have gotten a graduate degree from West Virginia State College [Charleston West Virginia]. But mama went to Shaw University [Raleigh, North Carolina], and then she has a master’s from A&T, and she also has further study at Columbia [University, New York City, New York]. ST: Wow, so education was, I guess, really important in your household. PT: Oh, yes. Yes. ST: That’s great. What year did you graduate high school? PT: Fifty-five. ST: I know you went to UNCG [The University of North Carolina at Greensboro] for graduate school; where did you go as an undergraduate? 3 PT: Oberlin [College, Oberlin, Ohio]. ST: Oberlin. Can you tell me about, you know, as a senior in high school, what were you considering when you picked where you were going to go to college? PT: Well, when I was—When we lived in West Virginia, I had a piano teacher who was an Oberlin native. He lived here, but was brought up in Oberlin, in the city—the town of Oberlin. He also graduated from Oberlin so—And we knew about Oberlin because of its reputation for music, especially. The conservatory there is really one of the oldest and one of a very few that is part of a liberal arts college, not separated [unclear] ST: So most conservatories are separate. PT: Some of them are; Julliard [School, New York City, New York] is, and Curtis [Institute of Music, Philadelphia, Pennsylvania] and so on. But this is one of the top conservatories in the college setting, and so I was just always going to go there as far as I can remember. So, I did. ST: And where is Oberlin? PT: It’s near Cleveland [Ohio]; it’s thirty-some miles southeast or west, I can’t remember, but it’s just south of Cleveland. ST: So you went far away. PT: Yes. ST: And were you the only person, I guess, from this area to go there? Did you go alone? PT: Yes, pretty much. There were one or two—Let’s see, I’m getting mixed up. There was another girl, but she didn’t live close, and a couple of times I came home for the holidays on the bus. I had an accident in West Virginia. But most of the time I flew. ST: I guess you knew in high school that you wanted to study music? PT: Yes. ST: When did you start to get involved in music? PT: Oh, I can’t even tell you: When I was in elementary school. You know I started taking piano lessons and it just happened. I did a lot of stuff at church, and I went to Dudley and was very much involved with the music there, and I took lessons right straight on through, so I just knew. ST: Were either of your parents musical? 4 PT: No. ST: No. [laughter] And it’s piano, that’s your— PT: Piano and organ. ST: Okay. And so usually we focus on people’s undergraduate career, but we’ll go ahead and fast-forward. You graduated from Oberlin in 1959 and how did you decide your next step? What did you—? PT: Well, I knew I should go to graduate school, and I was in music education at the time, and so I decided—I applied to Michigan and Illinois and two or three others, and heard right away back from Illinois. I got a personal letter from, you know, the dean and everything, so that persuaded me. I had applied to the University of Southern California, and I don’t know if I ever heard back from them. ST: Still waiting. PT: And so I went to Illinois, and it really was a good choice for me. I enjoyed it. I met my husband there. And then after that, we went to Colorado; he got his master’s at Colorado, and I worked in the public schools for a year. And then we came back here for a vacation, and ended up staying for nine years, and worked at A&T. And then he got a job in Florida, in Tampa, so we lived in Tampa for twenty-seven years. And I thought we’d stay there but, as luck would have it, here we are. ST: So when you say that you went to Illinois; when did UNCG fit into your timeframe? PT: After. I went to Illinois and got a master’s in ’60, and then we lived in Colorado for a year. I came back here—We came back here in ’61, I think. Both of us were working at A&T, and it was in ’67 or ’68 that I got the master’s from UNCG in piano performance, because the two degrees that I had were in music education. ST: Okay, so you got your bachelor’s in music education and a master’s in music education, and then you went to UNCG and got a master’s in piano performance. And what kind of brought you to getting that degree. PT: I was teaching piano. I had always played the piano and always taken lessons and so on, but I felt that I needed to have some kind of certification. I enjoyed it; I studied with Daniel Ericourt. ST: How do you spell his name? PT: E-R-I-C-O-U-R-T. ST: And who was he? 5 PT: He is—At the time—I can’t remember whether he’s deceased now or not. I think he is. At the time he was a fairly well-known French pianist who lived here and taught at UNCG. ST: And what were you teaching at A&T at the time? PT: Piano, and—What else? The major piano—the piano performance classes and piano classes for the undergraduates. They all have to take piano, no matter what their instrument is. They love it, too. ST: Really. PT: Oh, they hate it. [laughter] ST: So if you majored in music at A&T, you had to take piano. PT: Anybody had—any place. That has to be a secondary instrument, so if you played trumpet, you’ve got to take piano. ST : But piano just has to take piano. PT: Oh no, they usually have to take—They have to take—You have to take a major instrument and a minor instrument anywhere you go, and so they take something else, usually voice. ST: And so when you were going to UNCG, you were working at the same time, or did you stop ? PT: No, I took a leave. I took a leave. I took a leave of a year, and then I think I went two summers. ST: What were you interested, I guess, growing up besides—Was it always going to be music for you? PT: Somehow it was, yes. ST: And when you were going to UNCG as a graduate student, I guess you were living, you know, in a house. You weren’t living on campus or anything like that. PT: No, we had a house not too far away from here. I wasn’t living here; this is—My parents lived here. My husband and I were living down the street. ST: Do you guys have any children? PT: Yes, we have two children, two grown children, and how many grandchildren? Six, seven; don’t ask me? I think it’s seven. We have a new baby so, yes. 6 ST: And did you have children at this point when you were going to UNCG? PT: No. Oh wait, the year I graduated, we adopted a little girl, but we didn’t when I started and finished. ST: Can you tell me just about some memories you have about going to get your master’s at UNCG? Maybe something about some more professors that you studied under. PT: I really enjoyed everything that I did there. I enjoyed the lessons with Mr. Ericourt; well, not enjoy. You don’t enjoy lessons, but I learned a lot. You learned by listening to him play. He didn’t always tell you what to do but he’d show you, and you just watched. At least that’s how I learned. But I learned a lot about fingering. Of course, he had studied with a pupil of Debussy, so— ST: Of what? PT: Debussy, Claude Debussy. One of the really, really famous— ST: How do you spell his name? PT: D-E-B-U-S-S-Y. And he was known for his interpretation of Debussy, so I felt really, really fortunate. I had studied with him before I went there. I knew he was here in town so I called and took a few lessons from him. But it really—I learned a lot from him, especially just listening to him play. You could tell, stylistically. I didn’t like everything that he taught me, but, you know, you learn from one, and then you take what you want from there, and then you learn from somebody else and you take—And so I’ve been real fortunate that my background has been kind of broad. ST: Did you ever consider going to UNCG for music as an undergraduate? PT: Things were segregated then, my dear. ST: Oh, I guess the first black student didn’t come until about ’61 [Editor’s note: the first African American students were admitted in the fall of 1956], I think. PT: Yes, ’61, and I went to college in ’55, and— ST: I hadn’t even thought about that. PT: Yes, in fact the state of North Carolina paid me to go to Illinois so I would not go—I could have gone. By the time I graduated and was interested in the first master’s, I could have gone to school in this state but they paid me not to. ST: Really. PT: Yes. 7 ST: Without even applying to those schools, or did they—Were you just told, if you go out-of-state— PT: I can’t remember the process. I must have applied, and it was called the—There was a legislator whose name was [Thomas J.] Pearsall, and he—P-E-A-R-S-A-L-L—I can’t remember what his first name was. I met his son later in life. And the plan was that if you were eligible and had been accepted at UNCG, or [University of North] Carolina [in Chapel Hill], or [North Carolina] State [College, Raleigh, North Carolina], they would pay your tuition to go out-of-state. ST: I have never heard that. That’s— PT: Oh, my dear, yes. It’s a part of our glorious history. The Pearsall Plan. So I went to Illinois, and enjoyed it. And then later when I came back to UNCG, I enjoyed that, too. I’ve enjoyed every place I’ve been. ST: And so I guess A&T didn’t have as well-know of a music program. PT: They didn’t have a graduate program. ST: But even as an undergraduate, you wouldn’t have stayed here to go to music school. PT: No, their music department was not on a par with where I went. Oberlin has one of the best reputations in the country. ST: Really, and I guess being it wasn’t North, but it was Midwest, it was integrated. PT: Yes. ST: Interesting. I hadn’t thought of that because one of the ladies, JoAnne Smart, [Class of 1960], is a Dudley graduate, and I thought for a minute you might have known her, but she’s a couple of years behind you, but she was one of the—Actually, I don’t know if she was a Dudley graduate. She student-taught at Dudley; that’s what it was, and the next wave of students came after they were—She was their student-teacher, kind of inspired by her. I had one lady who told me that her student-teacher was Miss JoAnne Smart, and that she thought she had a beautiful shade of lipstick, [laughter] and she thought she was so sophisticated that if women were sophisticated, they must all go to Woman’s College, [now The University of North Carolina at Greensboro] and that’s kind of what inspired her to go. Well, can you tell me about what the program—how it’s structured with piano performance; I mean what kind of classes you take and how you spend your time? PT: You spend your time—at least four hours of it a day—practicing. You have to. Four hours is a minimum, and what fun that is. Not straight, you can’t do it straight. And that was the hardest—That always is the hardest part. You can’t do it altogether; you do—When I was working—and I always tried to concertize—but I’d get up at four in the morning and practice for an hour before I got ready to go to work, and then I would 8 practice two hours, maybe, at school, and then come home and try to get in another hour. Or something like that, but I always had to get up early in the morning. But I only did that for about six months. ST: I was going to ask if your family enjoyed the early-morning piano practice. PT: Well, fortunately I could close the music room off so that they—They weren’t the least bit happy about the fact that I got up, but they really couldn’t hear it. They slept right on through it. [laughter] ST: Do you, as a piano performer, do you always play other music, or do you do any composing of music? PT: No, I’m not very creative. My father never could understand that. He says, “As much music as you’ve had, you ought to be able to write something.” I said, “Daddy, I can’t. That is not my skill.” I always— ST: Play other works. PT: Yes. I gave my—I had a fairly large library, piano library, and I gave it to UNCG several years ago. ST: Really. Wow. And as part of your curriculum, you practiced, and then you’d take, I guess, just practice courses. I mean what kind of courses are there in piano performance besides practicing at UNCG? PT: In school? ST: Yes. PT: You take piano lessons, and then are piano lit [literature] classes, and there are other kinds of music classes that you can take. ST: What does piano lit mean? PT: You study the literature that has been written for the piano, from one period to the next. In the baroque period, for instance, there is Bach, mostly Bach, and some Handel and Scarlatti. And then in the classical period, there is Mozart, Haydn, and Beethoven (or Haydn, Mozart, and Beethoven) and in the romantic period, there are several composers. We learned the twentieth century composers, too. And of course they’re still writing. ST: Right, and then after you graduated [unclear], how many students are in a concentration like you were in as piano performance? PT: Oh gracious. 9 ST: How big was the program, would you say, when you were there? PT: I have no idea. You’ve got piano majors, piano performance majors, and you have students who are taking piano as their major instrument who are music education, or voice, or something else, so I don’t know. I have no idea, but there were—Let’s see, how many piano teachers were there? There were, I know, three; there may have been four—or there may have been more than that—and then there were some graduate students who were teaching also. But Mr. Ericourt—name just went right out of my—Mr. [Robert] Darnell, and then there were—there was a husband, wife team; the names I can’t remember—Inga. [Editor’s note: Phillip Morgan was the husband of Inga Morgan] I can’t remember, but there were at least four teachers who were the major teachers, and then there were some part-timers so— ST: And were there other African American students in the program? PT: In piano performance? ST: Yes. PT: There had been before me, but I don’t remember. [unclear] [laughter] Not in Mr. Ericourt’s studio, but I knew somebody who had gotten a master’s and had graduated either a year or two before me. ST: Do you remember who that was? PT: Wilhelma Bishop. W-I-L-H-E-L-M-A Bishop. Her husband was a Methodist minister; still is but she’s deceased. ST: And how did you know her? PT: I knew her through a friend of my mother’s, who belonged to the church that he pastored, and she was really helpful and would come—She came and talked to me a couple of times about the program and what she liked about it, so I kind of had an idea about what to expect. She was a very, very nice lady. She taught piano, and she also was very active in the music program in her church. Very, very nice lady. They left shortly after that; he moved on to another church. You know, Methodist ministers don’t stay long. ST: Right, and did you ever feel like there was any—I mean, did the teachers care. You know, at the time the administrators cared about admitting black students. It was very—They wanted it to be gradual, but did you feel as if professors had any concerns about people’s race or was it a non-issue as far as you can remember? PT: I don’t think the professors did. The students—In some cases I was amused because—Oh, what’s the name of the—There’s a music sorority, Mu Phi Epsilon, I think, and I was eligible to belong. Did I—What did I do? I can’t remember because I was eligible at Illinois and I didn’t join, but I did join at UNCG. And I also joined Pi Kappa Lambda, 10 which is an honorary society at UNCG, but they were kind of concerned that I’d want to—They did a fashion show and all that kind of stuff and they were concerned that I might want to participate. I had no interest in participating, so they were relieved. ST: Did you feel like people were accepting of you? PT: Oh, yes. I think so. The dean was. He was new the year I went. In fact, I was offered a job, but that was—As soon as I was offered that job, my husband was offered a job in Florida so we left. ST: Do you remember what the dean’s name was? PT: Hart, Lawrence. Hart, H-A-R-T. He just died fairly recently. ST: And I have here that you were the founder and director of the Spiritual Renaissance Singers of Greensboro, Can you tell me more about that? PT: When I was in Tampa, a friend and I started a similar group. We sing only the arrangements of the African American spirituals, and they are all unaccompanied, they are a cappella arrangements. We started a group in Tampa and it was such a wonderful experience, I talked to some friends here and they had said, Yes, we—In fact we’re still going. ST: Okay. So this wasn’t something you did in graduate school; this was something after. PT: Yes, this was—what year? I don’t know, but we started this one—the one here—We met and there was a group of people who met here and they said, Yes, let’s start it. And so our first concert was in ’89 I think, and we’ve been going strong ever since. ST: And how many people do you have in this group? PT: From twenty-two to twenty-six or so. It’s a small ensemble and we sing only the unaccompanied arrangements of the spirituals. ST: So no piano. PT: No piano; no instruments of any kind. ST: Why do you want to do unaccompanied? PT: The bulk of the arrangements are unaccompanied, and they began as unaccompanied. ST: Historically. PT: Yes, the original songs were unaccompanied. 11 ST: Well, can you tell me what campus was like, I guess, for you in the 19—This was later 1960s. Can you just describe experiences or memories you have about UNCG’s campus? PT: Well, actually I don’t have many because I wasn’t on campus. I’d drive over there, and park up whatever that street is that goes by in front of—Well, the Music Building was on Tate Street then. [Editor’s note: the name of the building was Brown Music Building] ST: That’s a good memory because I only know [the School of Music] as being right off Market [Street] so— PT: No, it was on Tate Street, right next to Aycock [Auditorium], and so I would park—What direction is this? No, this. This is south, isn’t it, I think. ST: Yes. PT: South, I would park just south of Tate Street. No, just south of Aycock [Auditorium] and— ST: Aycock Street? PT: Yes. And walk down, and walk up and get back in my car. ST: Did the music school have a name of the building, or was it just the music school? PT: No, there’s a name. [pause] It’s whatever that building is next to the [Aycock] Auditorium. What is the name of that building? [pause] Oh, that’s right. It’s not there anymore. It was—It wasn’t on the corner, but it was the next building. It’s a big building; I can’t think of the name of what it is. +ST: You mean the building is no longer there. PT: It’s there. ST: Oh, it’s there. I don’t know. PT: As far as I know, it’s there. ST: I don’t know if they changed names when they moved things, or if they kept the name the same. PT: I’ll see if I can find out what it is, if I can get up off this couch. Whenever you buy a couch, make sure it’s high enough [laughter] so that you don’t have to—Woody, what was the name of the Music Building at UNCG? WT: I don’t know. I can’t remember. 12 PT: [laughter] What good are you? ST: It’s okay if you can’t remember. PT: Oh golly, isn’t that something. It’s the building right next to the auditorium. ST: Right next to the auditorium. I should know it. I’ve got a more recent memory and I’m terrible at things like that. PT: Well, if you don’t use the building, you don’t know. ST: Right, and exactly as a graduate student, you stay kind of separated. PT: Yes, you know I didn’t live on campus or anything. ST: Right. PT: I just can’t think of it. I’ll probably do that after you leave. ST: And so as part of your curriculum, did you have performances that you had to do, like in Aycock [Auditorium]? PT: You had to do an ensemble performance. ST: What does that mean. PT: That means you have to get together with a bunch of instruments, and we did [pause] the Trout, the Schubert, the last movement of the—or was it the first movement—of the Trout Quintet by Schubert. It was a great experience; I loved it. ST: What did you like about it? PT: I liked the music. But performing with others in a small ensemble, that was fun. ST: So did you ever consider just being a piano performer, like being a professional piano player? PT: I sort of was because I did keep performing all through my career, but pianists are a dime a dozen and it’s very, very, very difficult to break out so I just kept performing because I had to kept my chops up. and I felt it was important for my students to hear performances. ST: And then what other—You said you had to do ensemble; did you also have to do other pieces as part of your performing requirements. 13 PT: Let’s see, there was of course a solo recital and then you had to do—I don’t remember exactly what but there was at least one ensemble performance and I did some accompanying, too. ST: And does accompanying mean with a singer or does that mean— PT: A singer or—It happened that it was a singer, but any, all instruments and voice other than piano have to be accompanied. There has to be some music, some harmony and chords and texture behind them. Piano can do everything, but clarinet can only play melody. They can only play melody. ST: You would think I would know this. I took band—Well, I was only in middle school, but I don’t know the difference between melody and what else makes up music. It’s very interesting. PT: Well, the melody is what you hum along with and then you have the harmony underneath, the chords that are underneath and then there’s texture—the way the notes are put together underneath and so on. ST: So what other instruments can play harmony? PT: All the rest of them. ST: Really. PT: Yes, they play a part in the harmony. So you have a part in the harmony, in the chord. ST: Interesting. Did you ever have to do any like sight-reading as part of, like performance, or just as part of like testing and things like that? PT: As a part of—In fact, you had—Yes, you had to be able to sight-read as a part of a test that you took at the end of a certain period. You’d go in and you’d have to play something, play a piece that you had prepared, and then sight-read pieces that they had there for you. ST: Did you have to audition to get into the UNCG music school? PT: Yes. ST: And was that the only place you applied since you were in Greensboro, or did you ever consider going anywhere—? PT: No, at the time I didn’t. But, you know, it was here so—And the reputation was a good one, and it was in-state, and I had a husband. ST: Right. Interesting. And can your husband play piano? 14 PT: No. ST: Your children; did they learn how to play piano? PT: Yes, sort of; to satisfy themselves. My daughter—When we were living in Florida, they both, she and my son, were in a hand bell choir at church, and they just loved that and so that’s what she has found in Kansas City—It’s not even in the church she goes to, but she plays in a hand bell choir, and she’s real happy with that. Now my son, who lives here—In fact he lives right up the street—kept the singing, and he’s singing in the ensemble, in the Spiritual Renaissance Singers, and he has been—He kept asking me, and I kept saying, No. But he’s really been an asset. ST: Can you tell me anything about kind of what your classmates were doing at UNCG? Did any of them go on to become famous pianists? PT: I haven’t kept up with them at all. ST: Did you make any kind of friends at all at— PT: I did make friends, but one of the problems was that I moved away shortly after getting the degree, so I lost contact with the classmates that I had. ST: I work with a lady who is a classically trained—do you say it “pee’ uh nist,” is that how you pronounce it, or is that— PT: Some people do. ST: Piano player. PT: “Pee an’ ist.” ST: Pianist, and she went to a conservatory for two years and then transferred to UNCG. I think she still has her music degree, but she just couldn’t do the conservatory anymore. She wanted to go to a liberal arts school, but she says she still has friends who are, like, professional pianists. She gets their CDs, and she says it’s just crazy to see these people make this their life. She still plays piano locally, but I was just like amazed by someone who I’ve met. I’m just so not musical. I wish I were but— PT: Well, you know, you don’t have to be. ST: Yes. Well, in middle school I took band, but I was forced to play the clarinet. I didn’t get to choose. My mom made my sisters all—I’m the youngest of four—we had a clarinet and we all played it. That was how it went. Mom said we’re not buying another instrument, so we all were forced to play this instrument that we didn’t want to play. It’s funny. 15 Well, let’s see what else I have to ask. Was there any kind of like political activity happening on campus when you were there; any kind of like the Neo-Black Society or any kind of— PT: Not that I know of but I was kind of divorced from all of that. I did not get involved in campus life that much. I didn’t live on campus, you know. I just wasn’t—I drove my car over there and parked it on Tate Street and—I went to concerts and things like that, but I always went to concerts so I don’t go as much now as I did then because I’m just—I’m an old lady. I just [laughter, unclear] But I went to a lot of concerts then. ST: Would famous people come to—? PT: Oh yes, the Artist Series, yes. ST: Really, who would come and [they’d?]—What are some names of people who would come, if you can remember it? PT: Shirley Verrett, who was an emerging singer. Where did you park, over here? ST: I parked in your driveway. Is that okay? PT: Okay, right here. ST: Yes. PT: Okay. ST: How do you—Her name was Shirley— PT: V-E-R-R-E-T-T. Who else came? The Artist Series has always brought in [pause] For the life of me, I can’t remember anything, but they were excellent concerts. ST: And when did you get your PhD? PT: In [pause, chuckles]— ST: Obviously after you went to UNCG. PT: [calls out] Woody, when did I get my PhD? WT: When? PT: Yes. WT: I think ’81. 16 PT: No, it wasn’t ’81. WT: I don’t know. ST: [laughs] Where did you get it from? PT: Florida State. ST: Florida State. Did you ever consider going to UNCG and, instead of piano performance, getting a PhD. PT: I didn’t live here then. ST: But I mean after—You could have gone since you already had a master’s degree. Instead of getting an additional master’s, theoretically, you could have gone and gotten a PhD. PT: Oh, yes. No, at that time, I didn’t. I was teaching piano at A&T, and I felt like I needed to get further training in piano, so that’s why I got my master’s instead of getting a PhD. But a PhD is not a performing degree anyway. It’s what I have now, because I did not get a performance degree at Florida State. ST: But as far as you could get with performance would be a master’s. It’s a terminal degree or does it have a PhD. PT: It’s a DMA, doctor of musical arts. And I really didn’t—I’m glad I did not go for that degree. The degree that—The PhD has really been very beneficial. It introduced me to the world of research, and I really like that world; it has served me well. ST: What kind of research do you do for music? PT: Well, the book that I wrote— ST: Oh, you wrote a book. PT: Yes. ST: See, we learn so much. PT: It is a bibliography and a—My mind is [unclear]. A friend of mine told me—She was asking me when I was getting ready to go up to get the doctorate, to get the degree for commencement, she says, “Pat, when is commencement?” I said, “I don’t know.” [She asked,] “Who’s the speaker?” [I said,] “I don’t know.” She asked me another question and I said, “I don’t know.” She said, “Well, I’m glad”—She had a real strong Southern accent. She says, “Well, I’m glad you got your degree then because I don’t think you could get it now.” When did I get my degree? 17 ST: What was the name of your book? PT: Oh, it was a long name; let me go get it. [pause] Where is it? [pause] ST: It almost seems like you are allowed to forget things now because you were a professional student for—How many years were you in college from undergraduate? You went four years as an undergraduate. PT: And then I got a master’s and then I [unclear] ST: Was that two years? PT: No, it was a year. ST: A year, so that’s five years. And then you got your second master’s. PT: Yes, that was— ST: Was that a year or two? PT: A year and a half. A year and two summer things. ST: That’s at least another—You’re almost up to seven. PT: And then the PhD was a year of residence, and all kinds of other time. But I enjoyed all of it. I loved going to school. ST: So it’s Choral Arrangements of the African-American Spirituals. So this has been something I guess you’ve always been interested in. PT: The spirituals, yes, and particularly since we started—In Tampa, we started the Spiritual Renaissance Singers of Tampa, and I found out that there wasn’t a reference book at all. There was no place I could go to find out what was available, so it’s not the kind of book that everybody would read because it just lists, by composer and then by title and subject. ST: And so did you have to write this as part of your graduate degree? PT: No, I wrote that after. ST: You wrote it after. Okay. Interesting because a lot of people, at least in history, to get a PhD you essentially have to publish a book, or at least have to write a book and hope it gets published, so I figured you did this as part of your studying. PT: No. 18 ST: So you did this when you were working. Okay. Well, what kind of—This is the history in me—What kind of primary documents were you using? Where did you find the history for these spirituals? PT: There are some references but—And there are lists of—There is an overview, an historical overview at the beginning, and then there are three lists: There’s one by arranger, by title, and then by subject, so what I did to find the pieces was to write—Well, I started with what I knew and what I had, and then I wrote publishers that I knew published and asked them to send me—I told them I was writing a book and it had been accepted for publishing and could they send me pieces, and many of them did. I also wrote arrangers and asked them to send me or tell me so I could order, and most of them were just really, really helpful. And so that is how I got the information, and at the time, it was about as complete, you know, but it goes out—This is ’98 and this is what, 2013, and there’s been another book written since that is not quite like this, but it also lists arrangements. But it’s two or three years old already—more than that. ST: Really, how long did it take you to write this? PT: [pause] I don’t know exactly because the first few chapters are history and so on, and characteristics and stuff. I worked on that—My [husband] was living in Boston at the time and so I went up to see him in the summertime and that’s what I did, was to work on the book. And then, what I did was to write to all the publishers, and arrangers in some cases, and ask them to send me music. I went over to UNCG to the library in the music department, or the School of Music, and got some information there, but I have a number of sources myself, and while he was in Boston, we went to the Brattle Bookstore and found me all kinds of books there. And one of the ladies who was a subject—He was working at the Human Nutrition Research Center in Boston—and one of their subjects was a retired music librarian at New England Conservatory, and she gave me a copy of a book that was one of the primary history books that I was using. Then he managed to find me other books in the Brattle Bookstore, stuff like that. In fact they invited him out to their house and let him browse and he found some things. ST: And what did you say the name of this bookstore was? PT: Brattle, B-R-A-T-T-L-E. It’s a fairly well-known bookstore [of] used and old books. ST: Is it mostly in the Northeast? PT: It’s in Boston. ST: Just in Boston. Okay. That’s really interesting. And so you wrote your book—Well, you got your PhD while you were in Florida. You were also teaching at the time. PT: Yes. ST: And you were teaching at—? 19 PT: Hillsborough Community College. ST: Hillsborough Community College. PT: Yes, that’s in Tampa. ST: So you were able to go to school and teach at the same time. PT: No, I took a year off, and then—I took a year off, and then I took another semester to do the dissertation. But I started by taking classes in the summertime. ST: What was your dissertation topic? PT: I wrote on my piano teacher. What was the title of that dissertation? [laughter] Oh, my heavens. ST: You don’t have to tell me the title; you can just tell me what it was about. PT: It was about my piano teacher. My piano teacher, whose name was Gray Perry, in Tampa—I studied with him in Tampa for several years—was a student of, a pupil of [Theodor] Leschetizky who was a well-known teacher. ST: How do you spell that? Sorry. PT: L-E-S-C-H-E-T-I-Z-K-Y, I think. That may be “T-I-S-K-Y.” ST: It doesn’t have to be exact. I don’t think I even know how to begin how to spell that. PT: It’s spelled a lot of ways. You know it’s one of those Polish names, I guess, that’s spelled a lot of different ways. I think it’s “S-K-Y.” He had studied with a pupil of his, and he had also studied with Isidor Phillip who was a well known French pianist. Phillip, spelled P-H-I-L-L-I-P, I think. That was—I learned a lot from all my teachers. Now Mr. Ericourt, you learned from him by listening to him play. He didn’t really articulate how to do things but you watched what he did, and he taught a particular kind of touch, too, which I use, not all the time because I don’t think it should be used all the time. But then Mr. Perry, he was in his eighties when I studied with him, but he was about as energetic as anybody, any fifty-, or sixty-year-old. He drove back and forth, you know. He had a home in Tampa, and he came there on weekends. That’s where I took my lessons. And he taught in Bradenton, [Florida] which was an hour away, and he drove back and forth. He just was a phenomenal man. He talked very slowly. He was from Arkansas, and he had to have been in his eighties when I studied with him. ST: And what did you write about him? PT: His pedigree. He studied with Isidor Phillip; he studied with, as I said, a pupil of Leschetizky; and he studied with—Oh, what is the man/wife’s name—Virgil, Mrs. A.M. 20 Virgil in New York, and these were all fabulous teachers. They weren’t necessarily performers, but they were teachers, and he was able to bring together much of what he learned from all of them into—I hate to say a method, because he really didn’t have a method—but the way he developed technique and so on, it was—I’d never had a teacher like that. He was really, really fabulous. He was a big influence on me, and that’s why I did my dissertation on him, just to show—And my committee, particularly the pianist that was on my committee, was fascinated by him. He was in his eighties when I was studying with him. ST: And even as an adult and having a master’s degree in piano performance, you continued to take lessons. PT: Yes. ST: Really, and, I mean, at what point are you—do you know so much that you—Can you always be taught? PT: I think so, I think so. If for no other reason, it helps to have another pair of ears listening to what comes out. You can always learn. In Tampa—After I got the degree, I did not do solo piano performances anymore, but I did work with another pianist, and we did duo piano concerts, and it was interesting for him to listen to me, and me to listen to him, and to adjust our techniques to each other so that we could—so that it sounded, you know, good. So that was kind of fun. ST: You would think you would stop taking lessons once you’re, you know— PT: Oh no, you can always learn from somebody, ST: And what did you teach at Hillsborough Community College? PT: I taught the piano major classes; I taught piano class, the minor classes; and I taught— ST: So people who majored in piano and people who minored. PT: And then people who did not major in piano. They all had to take piano. And I had the—The last few years, I had the chorus and the vocal ensemble because I’ve had a lot of choral experience, and I taught music history and keyboard harmony. ST: And so you always taught in, like, higher education. You never taught in the schools. PT: I taught one year in elementary school in Colorado; loved it. The only reason I didn’t—We couldn’t—My husband couldn’t get a job there, so we came back here for our vacation not knowing what on earth we were going to do, and we got jobs at A&T. ST: How old were you when you took your first piano lessons? 21 PT: Too young, I think. I think I was four. ST: And do you remember, have memories of your first piano teacher? PT: Vague memories. I don’t remember the lessons so much, but I do remember vaguely. The teacher that I had after that, Mrs. Brown, I do remember. ST: And this was when you were living in Greensboro, before you moved to West Virginia. PT: Yes, and then in West Virginia, my teacher Mr. Phillips; I remember him, and he was a native of Oberlin, Ohio and went to Oberlin, and was a major influence, or a major reason that my parents found out about Oberlin and decided that that was where I was going to go. ST: And who was your music teacher at Dudley? PT: Julia Ruth Morrison, or Richmond, her name is now. And she was very, very helpful to me; always very helpful. ST: Julia Ruth Morrison. PT: She was Morrison then; she’s Richmond now. ST: And was she, I guess, a Dudley teacher. PT: Yes. ST: And she’s still around and— PT: Yes, she’s retired, of course, but she’s still—She lives right up the street. But there were a number of people who were very, very helpful. The people at my church were very supportive of me; my parents did everything they knew to do, everything they could do; and I’m very grateful for that. ST: Did either of your siblings play piano or do anything with music? PT: My brother didn’t; my sister took piano lessons a little bit, took some lessons from me, but you know, she just did it for fun. ST: And when you were at Dudley, did Miss Morrison—Was she a driving force, too, in going to Oberlin, or did she want you— PT: She encouraged me a whole lot. I mean, everybody in my life, everybody has been very encouraging and still are. 22 ST: Well, that’s great. And do you ever do anything with the music school at UNCG now? Do you ever stay connected or visit or— PT: When I was here before, I went to concerts all the time, and I know some of the people over there, but I just don’t fly around like I used to. ST: Does your choral group ever play at UNCG? PT: No, we never—We never have been invited, but we sing primarily at churches. We’re still going; I don’t know how much longer we’re going to go because everybody—not everybody—but many of them are my age or a little younger and we’re not getting any younger. My son is involved in it, and he’s one of the younger ones, but— ST: And do you sing in this group, or do you direct it? PT: I direct it. No, I’m not much of a singer. I can carry a tune and I kind of know what to do with my voice, but you can do without me. [laughter] ST: Well, what impact do you think your time at UNCG has made on your career and your life? PT: I think it was kind of unique because it was the performance—It’s the only performance degree I had, and I enjoyed going to the concerts; I enjoyed participating in things. I just thoroughly enjoyed it. ST: And do you think it was a valuable experience for you; was it— PT: Oh yes. ST: Is there anything else you’d like to share about UNCG; any other stories or memories of professors, your classmates, anything you can share that I haven’t asked about that you can think of? PT: The year I went there, Dr. Hart, who is now retired, H-A-R-T, it was his first year there, too, and he was very, very supportive. He taught one class and I took that class. It was a teaching, a theory class, and actually he had hired me. He hired me to—I was supposed to teach at UNCG, and right after he hired me, my husband went down to Florida and got a job, so I had to go then. He says, “That’s what I hate about you women with these husbands. Your husbands take you off.” So I never was, I was kind of disappointed but it was good for us to move. ST: Really. That’s really—I’ve really learned a lot about music; there’s so much to know, and you’re quite an accomplished woman. I mean, you have a lot of things under your belt that you’ve experienced and— 23 PT: I’ve been very fortunate, and I have to give credit to my family and to my mother and father and my husband because they all have been very, very supportive. I couldn’t have done it at all if they hadn’t been supportive. ST: What had you heard about UNCG in terms of just the graduate school before you came; I mean, was it—Would you have ever considered going if you hadn’t been living in Greensboro or was it just a, We’re here; I might as well go because I need the experience. PT: Well, I think it was a combination of things: it was helpful that I didn’t have to leave Greensboro because we had a house and everything—not this one—but we had a house and, of course, my husband was here so it was helpful that I didn’t have to leave, and UNCG had a good enough reputation, you know. I didn’t feel like I was sacrificing anything. I enjoyed it and I learned a lot. ST: And you, I guess, retired from Hillsborough after how many— PT: Twenty-seven years I was there. I didn’t work in Florida the first year we moved. My children were real little, and I stayed home with them, and then when they were old enough to go to daycare and stuff like that, so I worked the second year we were there, worked the entire time. ST: And do you still teach piano, or do you still do—? PT: No, I don’t. I just don’t. I have a church job, but it’s conducting. I can play the organ; in fact, I played the organ the other day at a funeral, but I don’t play anymore. ST: And did you learn organ just as the second instrument you had to— PT: Actually, I went to Oberlin with piano as a primary instrument and then switched over to organ, so I did organ at Oberlin and at Illinois, and then, since I was teaching piano at A&T, I thought perhaps I ought to get a little bit more training in piano, and I was glad I did. It was a good experience. ST: And so you will still play for certain events or certain people you know; I mean, how do you— PT: I don’t do much playing, and I don’t teach. I sort of half-way teach my grandson, but he doesn’t want to learn much, [laughter] and I don’t force him. I just—teaching, unless it’s going to—If I had the opportunity to teach an advanced student, I would, but teaching beginning students, I just don’t have the patience to do it anymore. They don’t practice, and most of them don’t want to do it; their parents are making them do it, you know. And I don’t feel like I want to do that anymore. ST: Do you still play on your own? PT: Not very much. 24 ST: Really, why is that? PT: I don’t practice. Now I can sit down and play when I need to play. I have a church job, but it’s conducting so I don’t need to, but if I need to do the piano, I can. I had to play the organ at a funeral the other day, unexpectedly, but you know, I could so I just went on and did it. But no, I don’t do much piano playing. Do I miss it? Sometimes, but it was really hard work. You just don’t sit down and play stuff. My neighbor in Tampa said to me one time, because I would just disappear for whole periods of time. I was practicing four hours a day, and it’s hard to get four hours a day into your day, and she would say, “Why do you have to practice; don’t you know how to play?” So, I don’t know what I said to her because there wasn’t anything to say to her. She just didn’t understand. ST: Right, and you are probably the most critical person on your own playing, whereas if I heard you play, I’d probably think you played perfectly, but you probably see every mistake or hear every mistake— PT: Yes, somebody asked, you know—I was practicing four hours a day and my kids were, oh, maybe nine and seven, or something like that, and a friend said, asked my daughter (who was the older), “Did your mom make any mistakes?” and she said, “Yes, twenty-seven.” Because they’d heard it over and over and over again, so she said, “Yes, twenty-seven.” ST: Well, that’s so interesting. Well, I don’t really have any other formal questions unless you have anything else you want to share or would like to— PT: I really, really enjoyed UNCG. It was just right; it was something I could do, and I couldn’t really be a part of, you know, the [campus] life completely, but then I didn’t need to be. I was older so I didn’t need to get involved it everything, but I really enjoyed it. ST: And I’ve actually heard that from a lot of music students in general, even as undergraduates, that, you know, your time is spent in practice studios and you just don’t mix with the regular students as much because you’re so—especially at UNCG—which has a serious music program, that people came because they wanted to do music. They didn’t necessarily do the college thing, because they wanted to be musicians. PT: Well, if you’re doing performance, you have to practice; you have to practice. And people don’t understand that, you know. “Four hours a day.” But if you don’t practice, it doesn’t happen. ST: And did you say you recognized any of these names on here, because I know we have some music people on those lists? PT: Yvonne Cheek, [Class of 1967]. ST: Yvonne, I was thinking that was the one you probably knew. 25 PT: I didn’t know her sister. I met her sister later. ST: And how did you know Yvonne? PT: I think I met her over there. Marian Thornhill, [McClure, Class of 1964] is a Greensboro person. Shelia Cunningham [Sims, Class of 1962] is also a Greensboro person, but I have not seen her in, I bet you, forty or fifty years because they live out in California, and I haven’t seen them. I think that’s all. [pause] JoAnne Smart Drane. ST: That was the lady who was the first black student. PT: Not a music major though. ST: No. PT: Was she from Greensboro? ST: I don’t think she was originally. [unclear] but I think I got confused, but I know she student-taught at Dudley. She may have— PT: I don’t—That name. Ada Fisher, [Class of 1970], now. I think I have met her. I know her sister. [pause] Oh, I see: interviewed as of March first. You would not have interviewed Claudette [Graves Burroughs-White, Class of 1961] because she died several years ago. Elizabeth Withers, [Class of 1963]: I bet I know her parents. Elizabeth Withers Stroud. ST: And that’s yours to keep. PT: Well, thank you. ST: You can hang on to that, if you’d like. And the only other thing I have— [End of Interview]
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Community Service Organizations Directory
Bronxville Beautification Council
Organized in 1982 and incorporated in 1993, the Bronxville Beautification Council (BBC) is a not for profit organization administered by a Board of Directors. Its mission is to enhance and maintain the natural and man-made beauty of Bronxville Village, with emphasis on the downtown business district of Bronxville. The BBC uses the dollars raised in its annual spring solicitation letter to residents to fund the mum, tulip and summer flower plantings downtown and at traffic intersections, as well as the summer hanging baskets. Every few years the group spearheads such major endeavors as the renovation of Leonard Morange Square on the west side of the railroad tracks and the beautification of the Lawrence Hospital traffic circle, which included the addition of plants and the building of the fountain that now makes a gracious western portal to our town. The BBC also works with other civic groups to monitor the aesthetics of retail signage, the consistency of sidewalk materials, and litter and graffiti. During Beautify Bronxville Week, the BBC sponsors a poetry reading and works with Scout groups on the annual village clean-up.
Bronxville Boy Scouts
The village of Bronxville has a long tradition of scouting. “The troops and packs of Bronxville have maintained the finest scouting organizations and have taught the boys of the Bronxville area to be leaders and outstanding members of the local, national and global communities.”
There are several Boy Scout Troops in Bronxville, including Troops 1, 2, 4, and 5.
https://www.scoutcabin.org/
Bronxvillle Girls Scouts
The Girls Scouts is “the world’s preeminent organization dedicated solely to girls where, in an accepting and nurturing environment, girls build character and skills for success in the real world.” In Girl Scouts, “girls discover the fun, friendship and power of girls together. Through the many enriching experiences provided by Girl Scouts, they can grow courageous and strong.”
Bronxville Historical Conservancy
The Bronxville Historical Conservancy was founded in 1998 to further the understanding and appreciation of the history and current life of the village. The Conservancy furthers its mission through the presentation of programs, publications, lectures and special events that foster an awareness of the village's architectural, artistic and cultural heritage, and lends its support for projects designed to strengthen and preserve those legacies. Anyone who is interested in the Bronxville and its history can become a member; varying levels of membership are available.
http://bronxvillehistoricalconservancy.org/
Bronxville School Foundation
The Bronxville School Foundation, founded in 1991, is a non-profit organization independent from the school with the sole purpose of supporting the school. The Foundation raises money each year through donations from school families, community members, and alumni, among others.These contributions fund grants that provide cutting-edge technology, innovative programs and curriculum and other resources that are beyond the scope of public school funding.
177 Pondfield Road
https://www.bronxvilleschoolfoundation.org/
Bronxville Women’s Club
The Bronxville Women’s Club offers lectures, exhibits and concerts. It also has a beautiful clubhouse which is available for rental for events.
135 Midland Avenue
www.bronxvillewomensclub.org
Bronxville Youth Council
The Bronxville Youth Council provides volunteer and leadership opportunities for high school students in the village of Bronxville.
Founded in 1971, the mission of the Counseling Center “is to provide a wide range of psychotherapeutic and counseling services to individuals, couples and families by a staff of highly trained, experience and dedicated psychotherapists.
The Counseling Center
www.counselingcenter.org
Community Fund of Bronxville, Eastchester & Tuckahoe
The mission of the Community Fund is “to support broad social services in Bronxville 10708, Eastchester and Tuckahoe through grants and technical support to local agencies and community projects. All money raised here in our community stays here in our community.”
www.thecommunityfund.org
Friends of the Bronxville Library
The Friends of the Bronxville Library is a not-for-profit membership association whose mission is to focus attention on the “Library’s services, facilities and needs” as well as sponsor projects and provide materials that are beyond the reach of the Library’s regular budget and perform other services.
Junior League of Bronxville
The Junior League of Bronxville is “an organization of women committed to promoting voluntarism, developing the potential of women and to improving the community through the effective action and leadership of trained volunteers. Its purpose is exclusively educational and charitable.”
www.jlbronxville.org
Rotary Club of Bronxville
The mission of the Rotary Club of Bronxville is to “encourage and foster the ideal of service as a basis of worthy enterprise and to encourage and foster (1) the development of friendships within the community as an opportunity for service, (2) high ethical standards in business and professions, (3) the application of the ideal of service of each member to his personal and business and community life and (4) the advancement of international understanding, good will and peace through a world fellowship.”
Senior Citizens of Bronxville
Senior Citizens of Bronxville is a not-for-profit organization that provides services and programs to seniors within the 10708 zip code area. “Programs cover a wide range of activities from educational seminars and cultural enrichment, to community services, bridge classes and exercise.”
https://www.bronxvilleseniors.org/
Community Service Organizations Recent Articles
Pace University is Partnering with The Community Fund of Bronxville, Eastchester and Tuckahoe on Needs Assessment
Andrew Mager, Peter Vorbach, James Rohr, and JP Denfeld Achieve Eagle Scout Rank
15th Annual Katie Welling Run a Great Success
Kickoff Ceremony Held For Tibbetts Brook Park Gazebo Restoration Project
Laura Flannery Pettee Joins Bespoke Education
Community Fund Launches 2022 Campaign
The Junior League of Bronxville’s Beneath the Wreath Fundraiser Starts November 5th!
Village Lutheran Church and The Chapel School Host Food Drive for ECAP
The Counseling Center Oktoberfest Event a Big Success
Junior League of Bronxville is Now Accepting Community Grant Applications for 2022
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*This Space For Rent*
Penny Can »
The Hobby Shack »
Comic Books & Art (Moderator: Chiprocks1) »
Storm Thorgerson, Dead at 69
Author Topic: Storm Thorgerson, Dead at 69 (Read 50 times)
Dewey Cheatham & Howe LLP
Location: Little Ol Town in the Midwest
I loved this guys work.... pure genius
Storm Thorgerson, Who Designed Album Covers For Pink Floyd and Led Zeppelin, Dead at 69
Artist Storm Thorgerson, who created some of the most iconic album covers in rock music history, has died. The designer — whose creations included the prism artwork on the cover of Pink Floyd‘s ‘The Dark Side of the Moon’ — passed away peacefully on Thursday.
“He had been ill for some time with cancer though he had made a remarkable recovery from his stroke in 2003,” Thorgerson’s family said in a statement, reprinted by the BBC, adding that he died surrounded by family and friends.
Thorgerson attended high school with some of the members of Pink Floyd, and his surrealistic designs graced the covers of many of their albums, including ‘Atom Heart Mother’ and ‘Wish You Were Here.’ As a key member of the British design team Hipgnosis, he also designed covers for Led Zeppelin, Peter Gabriel and many more.
In a statement Thursday, Floyd guitarist and singer David Gilmour called Thorgerson’s art “an inseparable part of our work,” adding, “He has been a constant force in my life, both at work and in private, a shoulder to cry on and a great friend. I will miss him.”
A statement on Pink Floyd’s official site reads, “We are saddened by the news that long-time Pink Floyd graphic genius, friend and collaborator, Storm Thorgerson, has died. Our thoughts are with his family and many friends.”
Thorgerson is survived by his mother Vanji, his son Bill, his wife Barbie Antonis and her two children, Adam and Georgia.
Because the rest of us think you're an idiot.
Chiprocks1
Tell me a joke...
Re: Storm Thorgerson, Dead at 69
Bummer. RIP. Awesome artist. A true original.
Chip's Rockin' Art
Michael Scott To Meredith: "You've slept with so many men, your starting to look like one. BOOM! Roasted! Go here.
Bone: Eyes Of The Storm (Volume 3) - Jeff Smith
Started by Chiprocks1 Comic Books & Art
40 Views July 17, 2011, 10:58:37 am
by Chiprocks1
Started by Mac Short Films
61 Views August 30, 2012, 03:52:05 pm
by Mac
In Memory of Storm...
Started by Mac Off-Topic
Dead Pixel Detection Test
Started by Chiprocks1 Hardware
Started by Chiprocks1 « 1 2 3 » Video Games
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Ponzi & Picasso
Henry Classico, the esteemed New York art dealer, crosses the line when his genuine love of art is co-opted by greed. Having squandered much of the capital from his private equity art fund, the sub prime mortgage meltdown hits and threatens to bury him. After selling a rare Picasso twice, his only redress takes him to the exotic underbelly of the Beijing art scene to commission the world’s best forger. Unfortunately, he double-crosses the Chinese Mafia kingpin whose tentacles reach all the way to New York.
Alouisha Jones first met Henry Classico at her Yale MFA vernissage,
where he was trolling for his latest art find. Instead of a show at his gallery,
he offers her a job as his sentry-receptionist. Reluctantly, the former scholarship student accepts and is quickly seduced by her boss’s glamorous, bling-enshrined world.
Soon, her innocence and career are on a dangerous collision course with the art establishment with whom she must curry favor. Unwittingly caught in Classico’s subterfuge, she acquires the power to take down the entire global art market. She is fraught with indecision—do the right thing and be vilified by the art world; do nothing and be guilty of collusion. Tomorrow, her name will appear on the front page of every newspaper—but not to applaud her life’s work.
If you ever wanted to know the events lurking behind a black on black painting that sells for tens of millions, Rochelle Ohrstrom’s debut novel scrapes away the veneer of art-speak gloss and reveals the grit and dirt rabbit-glued between the stretchers.
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