first_imgBilly Strings continues to make a name for himself, entreating fans along for the ride with his soulful folk music. Today, Billy Strings has announced that he’ll be bringing that music on the road for a lengthy Winter Tour in early 2017.The 36 date trek features a slew of headlining and festival dates with his three piece band of bluegrass bandits, co-bills with Shook Twins and The Lil’ Smokies, and runs supporting The Infamous Stringdusters and Railroad Earth. Smack in the middle of the tour, Billy will also join the legendary David Grisman’s Bluegrass Experience for a handful of shows.Billy Strings is touring in support of his self-titled EP release from June 2016, and expects to put out a full length album in 2017. Along with Billy Strings, Drew Matulich on mandolin, Billy Failing on banjo and Brad Tucker on bass complete this exciting touring band!Check out the full tour schedule below and head to the Billy Strings website for details.Billy Strings Winter Tour 2017 Dates1/13 Asheville, NC – The Orange Peel *1/14 Athens, GA – Georgia Theatre *1/15 Abingdon, VA – Historic Barter Theatre *1/21 McMinnville, TN – Bluegrass Underground **1/24 Columbus, OH – Park Street Saloon *1/25 Rocky Mount, VA – Harvester PAC *1/26 Cincinnati, OH – On Sale Soon1/27 Evanston, IL – SPACE %%1/28 Indianapolis, IN – Scratched Vinyl2/1 Tulsa, OK – American Theatre Company On Sale Soon2/3 Albuquerque, NM – The Cooperage2/4 Colorado Springs, CO – Gold Room2/8 Billings, MT – Pub Station ***2/9 Big Sky, MT – Big Sky Bluegrass2/10 Big Sky, MT – Big Sky Bluegrass2/11 Big Sky, MT – Big Sky Bluegrass2/15 Seattle WA – Tractor Tavern2/16 Portland, OR – Bunk Bar2/17 Portland, OR – Bunk Bar2/18 Enterprise, OR – OK Theatre ^2/22 Boulder, CO – The Fox Theatre ^^2/23 Ft. Collins, CO – Hodi’s Half Note ^^2/24 Steamboat Springs, CO – Winter Wondergrass2/25 Denver, CO – The Bluebird Theater3/4 Davie, FL – David Posnack JCC ^^^3/17 St. Augustine, FL – Anastasia Music Festival ^^^3/18 Asheville, NC – Grey Eagle Tavern ^^^3/22 Omaha, NE – The Waiting Room %3/23 Minneapolis, MN – 1st Avenue %3/24 Milwaukee, WI – Pabst Theater %3/25 Chicago, IL – The Vic Theatre %3/27 Indianapolis, IN – Vouge Theatre %3/29 Memphis, TN – Inglewood Hall %3/30 Nashville, TN – Marathon Music Works %3/31 Raleigh, NC – Duke Energy Center – Fletcher Opera Theater4/1 Martinsville, VA – Rives Theater* supporting The Infamous Stringdusters** supporting Michael Cleveland & Flamekeeper*** supporting Dead Horses^ with Shook Twins^^ with Lil’ Smokies^^^ as part of David Grisman Bluegrass Experience% supporting Railroad Earth%% with The Suitcase Junketlast_img read more


first_img PlayPlayPauseSeek0% buffered00:00Current time00:00Toggle MuteVolumeToggle CaptionsToggle Fullscreen Min Kahng is the composer and writer of the award-winning “The Four Immigrants: An American Musical Manga,” which he based on the autobiographical comic by Japanese artist Henry Kiyama. Kahng will lead a master class for students on a three-day visit to Harvard as part of the Office for the Arts’ Learning From Performers program.In addition to leading a workshop, Kahng will deliver a public lecture at Houghton Library on Wednesday at 6 p.m. in connection with its exhibition on “Treading the Borders: Immigration and the American Stage.” In advance of his visit, he talked with the Gazette about his creative process and artistic journey.Q&AMin KahngGAZETTE: “The Four Immigrants” was originally a Japanese manga. How did you come to bring it to the stage?KAHNG: I stumbled upon it in a used bookstore in downtown Berkeley (California). Henry Kiyama was a 20th-century Japanese artist who came to the U.S. to study art. He was college-age in San Francisco when immigration laws were stiffened. It primarily interested me because the narrative we are told about Asian immigrant history is they came here to become laborers. To learn there was a Japanese immigrant who came to study art at the San Francisco Art Institute really spoke to me because I feel like I’m trying to carve a similar path. I got in touch with the English translator Frederik Schodt, who I discovered lives 20 minutes away. Fred is a very generous and giving person. He gave me his vote of confidence, and through him I got the blessing of Kiyama’s daughter and granddaughter, who are in Japan. “My parents knew I had a creative side, but they didn’t know how to cultivate it.”,GAZETTE: So was your path to the arts non-linear?KAHNG: I was not involved in theater growing up. I listened to cast albums of Broadway shows, and the Disney renaissance happened when I was in elementary/middle school. But I grew up in a household where the arts weren’t necessarily encouraged. My parents knew I had a creative side, but they didn’t know how to cultivate it. They didn’t know there were theater programs and classes. I think that was fairly common in immigrant families. It may be changing now, but in the ’80s the focuses for immigrant parents were on the classic doctor/lawyer goals. It was definitely a struggle when I decided to major in music — how would I sustain myself, what kind of career would I have? — so I double-majored in rhetoric. It was a way to say to my parents I might become a lawyer.GAZETTE: You mentioned Disney as an influence. Which movie was most powerful?KAHNG: The film that really grabbed my attention was “Beauty and the Beast.” I think the opening number showed me how a single song could set up an entire movie. In that first song, you learn all you need to learn about Belle, and you hear it from a range of townspeople. The way their voices are interwoven, and then Gaston too — by the end of the song, you’re ready to see what happens next. “Optimism” from “The Four Immigrants: An American Musical Manga — Original Cast Album,” courtesy of Min Kahngcenter_img GAZETTE: Back to your education: When you graduated college with your music degree, you went into marketing. Were you trying to take the more expected path?KAHNG: After college, I felt fairly confused as far as what I felt I needed to do. I had not ever seriously considered a career in the arts. Also, the low presence of Asian Americans in media reinforced that; it didn’t seem there were a lot of us working in theater or film or television. When I finally decided to go for it, I used voice lessons as my stable job and took on a whole bunch of other gigs. I was performing community theater, music directing, playing in orchestra pits, and eventually teaching theater classes. Along the way, I was also writing. I had a passion project called “The Song of the Nightingale” (based on the Hans Christian Andersen fairytale).GAZETTE: On your blog, you talk about a trip to New York to network theater connections and how you dreaded having to “schmooze.” Was it as bad as you expected?KAHNG: That trip gave me hope that even if I become more integrated in the New York theater community at every level and in every pocket, there are donors, producers, actors, and musicians who just love making theater. Some might be all about the business and tough to deal with, but the majority of my interactions were pleasant. I’m learning to stop using the word “schmoozing” and instead think about it as connecting with people who are like-minded. I think they are out there.GAZETTE: What are your next projects?KAHNG: My next production is called “Gold: The Midas Musical,” which opens in February at Bay Area Children’s Theatre. It’s an imaginative romp through the Midas story as if imagined by a 10-year-old living today, combining anachronisms like a telescope and wristwatch with contemporary musical theater song styles. I hope to truly focus in on the relationship between King Midas and his daughter, and how they both discover that family is worth more than all the gold in the world. I’ve also been developing a play called “Calafia: A Reimagining.” It’s a portion of an epic story written in the 16th century about a black Amazonian warrior queen who rules over an island of black Amazonian women. It’s believed to be how we got our state name. I’m reimagining her because in the original story she ends up converting to Christianity and getting married — the opposite of everything I found fascinating about this character. My take is focused on the island itself, and addresses themes of how we deal with outsiders in our community.GAZETTE: Is it harder to think of yourself as an artist or a businessperson?KAHNG: I’ll have to say it’s harder to declare myself an artist. I’ve always had a very practical side of my brain, so while some other artists might struggle with the business side of things, I’m pretty adept at it. Having had a corporate job helped me to understand professional dynamics. But because of my path, not thinking art was a career option, it took me a while to have the confidence to say that’s what I am. I’m definitely there now.last_img read more


first_imgAs part of the year-long celebration of 175 years of Saint Mary’s College, students, faculty, alumnae and other visitors took a journey across campus — and through history — with “Discover Saint Mary’s: A Walk in Time.” Participants gathered at the Church of Our Lady of Loretto to be commissioned as pilgrims by Interim President Nancy Nekvasil and Sister M. Veronique Wiedower before embarking Sunday.In her opening remarks, vice president for mission at Saint Mary’s Judith Fean said “A Walk in Time” was an invitation to be intentional while exploring the campus.“It’s more than a walk,” Fean said. “It’s more than a tour. It’s a pilgrimage. … So, what sets pilgrims apart from other travelers? Pilgrims are on a journey with a deeper purpose. Pilgrims are seekers, although what they seek may vary.”Joni Kanzler, director of research for development at Saint Mary’s and chair of the Pilgrimage subcommittee, orchestrated the walk, along with other members of the 175 celebration steering committee. Kanzler said she hopes participants considered the storied past of the Sisters of the Holy Cross who established the College in 1844.“To think about the steps that we’re taking, and what the sisters had to face when they first came here 175 years ago,” she said. “ … And then as [the pilgrims] move from place to place, just being able to say this is where [the sisters] walked too, you know, how many years ago. That’s the part that means the most.”Planning for the walk began in June of 2018, Kanzler said, with the initial goal of traveling on foot to the original site of the first school and novitiate opened by the sisters in Bertrand, Michigan.“It’s a long way to walk, a lot of costs involved,” Kanzler said. “We decided Saint Mary’s is here, and this is our home.”Kanzler said the pilgrimage committee worked closely with the Sisters of the Holy Cross to give pilgrims the opportunity to “stop, ponder, reflect and pray” while learning more about the heritage and traditions of the College and the sisters who founded it.Sister M. Veroniqe Wiedower, president of the Congregation of the Sisters of the Holy Cross, shared this history with pilgrims visiting Bertrand Hall, the first home for the College, then called Saint Mary’s Academy. After Fr. Edward Sorin and the Congregation of Holy Cross began the foundation of Notre Dame in 1842, Wiedower said, they asked Blessed Basil Anthony Moreau, of Le Mans, France for some assistance.“They immediately wrote a letter to Father Moreau back in France and said, ‘Once the sisters arrive — and their presence is ardently desired — they must be prepared, not only to look after the laundry and the infirmary (over at Notre Dame), but also to conduct a school, perhaps even a boarding school,’” Wiedower said.Less than six months later, in May of the following year, Wiedower said, four newly professed sisters traveled from Le Mans, France to the U.S.“They made private vows to Father Moreau the day before getting on the boat, so they were not seasoned religious women,” Wiedower said. “Sister Mary of the Heart of Jesus was 19 years old. She was named the headmistress of the school. Sister Mary of Nazareth was 21 years old, and she was named as infirmarian and teacher. Sister Mary of Calvary was 24 years old, and she was named the chief linen keeper, and took care clothes for all the students, the brothers, priests and the sisters. And Sister Mary of Bethlehem was 45 years old, probably illiterate. Her job was to be in charge of the cows and the dairy.”These sisters succeeded in founding and running the College in its earliest days, despite being newly-professed religious sisters, untrained in teaching and only speaking French, Wiedower said.“So, I say Father Moreau should have miracles right away,” Wiedower said. “One: the sisters have survived all of these 175 years with four women who came over. And secondly: that Saint Mary’s College has survived 175 years with the beginnings of those first four women.”Much of the Saint Mary’s experience that students enjoy today is owed to those that came before, crossing the Atlantic to educate and spread the values of the Congregation of the Holy Cross, Wiedower said.“I’m a firm believer that the spirits of those who have gone before us live on, and that we stand on the shoulders of the women and men who have done something to allow Saint Mary’s to grow and to thrive today,” Wiedower said. “So, I think it’s important for students to know that the foundation on which their education is built on, the core values that we try to instill in students at Saint Mary’s, all come from this heritage of these men and women who took a risk, and did things that they weren’t necessarily prepared to do.”Wiedower said she hopes Saint Mary’s students graduate with similar values.“I hope that the education that these women receive not only prepares them for professions after graduation, but also prepares them for life, where they’re going to take risks and to be pioneers in many, many ways in the future,” Wiedower said.Interim President Nancy Nekvasil said Saint Mary’s legacy of 175 years is unique.“I think that it’s really unusual to be at a place that has been in existence for 175 years,” she said. “When I’ve gone to meetings, and I’ve had the opportunity to say that we’re celebrating our 175 anniversary, among other [college] presidents, there are audible gasps around the room.“It’s just really an incredible thing. And then when you think about the history, with regard to very young sisters, who left everything, and came across a very dangerous ocean, and stayed here, and instead of complaining and asking to be sent home … they looked around to see what the needs were. And I think that’s really who we are as Saint Mary’s.”Tags: 175th anniversary, A Walk in Time, blessed basil moreau, Congregation of the Sisters of the Holy Cross, Le Mans, Rev. Edward Sorinlast_img read more