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We have worked with many clients and know what it takes to get a hiring managers' attention. Maritza Rivera Cohen is a Viet Nam Era veteran who served as a Commissioned Officer in the Military Intelligence Branch of the US Army. Her latest book of poetry, A Mothera€™s War, was written to share her thoughts and feelings during her sona€™s two tours in Iraq and to make the intensity of war a reality for everyone who reads it. Caucassian dances group is one of the most spectacular dances of Anatolia.A As many ethnic group, Caucasian people live and keep their original culture in harmony with all Anatolia.
Anatolia is just like a marbling trough.A  Through thousands of years, hundreds of different civilization with many different colors, sound, rhythm has been composed in this area. Since then, dance and people's approach to dance have changed very much in turkey like many other things. It is a dance characterized by smooth, flowing, complex, and sensual movements of the torso, alternated with shaking and shimmy type moves. The dancers often use some type of rhythm instrument to aid the musicians, or as the sole accompaniment to their dance.
Belly dance is very popular in Turkey, You can see on TV, in wedding parties and there are many course and dance schools where belly dance can be learned. There are so many kids of folk dance in Turkey that we cana€™t name just one of them as the Turkish folk dance. Caucassian dances group is one of the most spectacular dances of Anatolia.A  As many ethnic group, Caucasian people live and keep their original culture in harmony with all Anatolia.
Madame Louis, nee Marie-Emmanuelle Bayon, was a French composer, pianist, and salonniere of considerable activity and influence. According to her husband’s biographer, Victor Marionneau, Marie-Emmanuelle Bayon was born in Marcei, department of Orne (west of Paris), in 1746.
Diderot compared her work to that of Domenico Alberti, Johann Christian Bach, Johann Gottfried Eckard (Eckhardt), Johann Schobert, and other foreign composers whose music was currently admired in Paris. In 1770, on 20 June, Mlle Bayon married Victor Louis (1731–1800), an architect with important social and political connections similar to her own. A few months before the Paris premiere of Fleur d’epine, Bordeaux was the site of a great ceremony when Louis-Philippe-Joseph d’Orleans, duc de Chartres, at the invitation of Victor Louis, came to lay the first stone for the new theatre. With the completion of the magnificent Grand-Theatre in 1780 the Louis family returned to Paris, where their residence on the rue de la Place-Vendome became a gathering place for distinguished literary and artistic figures. With the notable exception of Fleur d’epine, Madame Louis evidently wrote and performed music principally for private gatherings.
During the Revolution of 1789–92 and the even more turbulent times that followed, when the French passion for theatre, including music theatre, continued to find new means of expression, “citizen Louis” still worked in Paris.
After Victor Louis died in 1800, Mme Louis remained in Paris and lived for a time in the Vandeul apartment. Diderot’s first enthusiastic accounts appear in letters to his principal correspondent Mlle Volland. Late the year before, in 1769, Diderot had engaged a new teacher for his daughter Angelique, the theorist and pedagogue Anton Bemetzrieder (1739–ca. The next year, in 1771, Diderot published his famous account of his daughter's lessons, the Lecons de clavecin et principes d'harmonie, par M.
Some idea of Madame Louis's character, her own music, and the repertoire she has taught Angelique can be derived from the dialogues.
Diderot's musical references to the current repertoire of the music lesson corroborate Madame de Genlis's naming of performers and instruments at her l767 salon. A set of sonatas was the usual debut publication of a performer and composer already known in private circles, and typically when the composer was around 21, sometimes younger. The style of the sontatas, as can be guessed from the preceding account of contemporary keyboard repertoire, combines traditional French keyboard writing and German and Italian influences.
The first movement of Sonata II is the only first movement not marked Allegro; marked Andante affectuoso, it is an expressive melody over Alberti bass and other accompaniment patterns.
The three sonatas with violin accompaniment are generally of a more lyrical character than the solo sonatas, in keeping with the violin’s ability to sustain tone.
In several passages the violin melody is set over only a figured bass, not an unusual scoring even at this late date. As it was unusual for an amateur musician, let alone a woman, to have an opera-comique performed by the Comedie Italienne, it is evident that for the production of Fleur depine Madame Louis had the help of influential people.
Voisenon’s friend and secretary, Mme la Comtesse de Turpin, in her edition of the Fleur d’epine libretto published in 1781, notes that it had been set once before, by the abbe Charles Gauzargues (ca. Information about the circumstances leading to performance appeared around the time of the premiere in the Memoires secrets, a collection of political, literary, and theatre news gathered by members of a salon in which Voisenon had been a colorful and noteworthy participant. The libretto was based on L’Histoire de Fleur d’epine, or The Story of May-Flower, a rather long, wonderfully rambling fairy tale by the Irish-born French writer Antoine Hamilton (1646–1720). Voisenon used Hamilton’s main characters and ideas in his Fleur d’epine, which is described (on the title page) as a comedie melee d’ariettes—a comedy [spoken dialogue] mixed with arias [and other musical numbers].
In Hamilton’s story, Tarare rescues Fleur d’epine and carries her back to the caliph’s court on the galloping Sonnante with the luminous cap lighting the way. The published score contains an overture and twenty musical numbers—eleven ariettes, or arias, sung by four of the five characters (Dentillon has no aria), plus two duets, two trios, ensemble finales for each act, two small chorus numbers, and a brief instrumental fanfare for Seraine’s final entrance as dea ex machina. The Comedie Italienne was a cooperative, profit-sharing troupe; members chose the works to be performed (as noted earlier) and hired the orchestra and chorus. The first performance at the Comedie Italienne, on Thursday, 22 August 1776, was followed by performances on the next three Saturdays, Mondays, and Thursdays for a total of ten performances in August and September, and two more on 12 and 14 April 1777, a Saturday and Monday.
The first few evenings of Fleur d’epine’s run, it was preceded by a comedy of Italian origin, such as a harlequin play. The production of Fleur d’epine attracted the attention of several Paris writers and critics.
The review in the Correspondance secrete dated 31 August pronounced the premiere performance “monstrous,” especially the sight of a man playing a woman (Dentue). Diderot attended a performance, as might be expected, and pronounced the production cahin-caha, “so-so.” A substantial review appeared in the Correspondance litteraire, another chronicle of Paris literary culture, this one from Diderot’s circle. Another prominent critic, Jean-Francois de La Harpe, declared that the libretto “falls far short of” Hamilton’s delightful story, and that “the late abbe” had been overrated.
In general, the composer’s contemporaries found the music and production to be stronger than the libretto.
Besides the full score, music from Fleur d’epine was published in many different arrangements for smaller, chamber forces. Correspondance secrete, politique et litteraire, ou Memoire pour servir a l’histoire des Cours, des Societes et de la litterature en France, depuis la mort de Louis XV, edited by Francois Metra. Memoires secrets, pour servir a l’histoire de la Republique des Lettres en France depuis 1762 jusqu’a nos jours. A few months before the Paris premiere of Fleur d’epine, Bordeaux was the site of a great ceremony when Louis-Philippe-Joseph d’Orleans, duc de Chartres, at the invitation of Victor Louis, came to lay the first stone for the new theatre.  In the princely retinue was Madame Louis’s friend, Madame de Genlis, who was a lady-in-waiting to the duchesse de Chartres. With the notable exception of Fleur d’epine, Madame Louis evidently wrote and performed music principally for private gatherings.  Her social position, both before and after her marriage, prevented her from holding a paid, professional appointment, yet it gave her considerable influence in matters of taste and style. After Victor Louis died in 1800, Mme Louis remained in Paris and lived for a time in the Vandeul apartment.  Almost nothing else is known of her life.
After less than a year of lessons, Diderot no longer had much use for Bemetzrieder.  One reason, to be inferred from the Lecons, may have been Bemetzrieder's musical taste and his interest in becoming something of a public figure. A set of sonatas was the usual debut publication of a performer and composer already known in private circles, and typically when the composer was around 21, sometimes younger.  (In l769 when her op. I first saw them perform at the 2009 Tribes Hill Annual Meeting and Hootenanny at the historic Hammond House headquarters in Valhalla, NY. Much of their work carries the style and emotional power of musical theater, something Ia€™m very fond of.
After they found out that they were all into music, they'd go over to Paul's house and play just for fun doing covers of Sheryl Crow, Bonnie Raitt and others.
Outside of her positive chorus experiences, there were two stumbling blocks, one of them having a lasting negative effect. The next step she took was to enroll as a Theater major at SUNY (State University of New York), Fredonia, near Buffalo NY.
Around 1996, the three had been getting together to play at Paul's house for some time, eventually playing a few shows as The YaYas, but never took any of it too seriously. In 2003, they self-produced their first 10-song CD, Everything, co-produced and mixed by Ben Wisch whoa€™d produced the Grammy-winning album Walking in Memphis by Mark Cohn and additionally, other notable performers (Patty Larkin, Lucy Kaplansky, Jonatha Brooke, Red Molly).
While Catherine is the lyricist for the band, she readily acknowledges the integral part that Jay and Paul play, sometimes helping her complete the songs, pushing her past hurdles in the narratives.


Paper Boats was just completed in September, and I was able to listen to the album before its release.
The band moved to Mohegan Lake, near Peekskill, NY in 2005, and has become a part of the Tribes Hill community. The YaYas will appear in Acoustic Live showcases at NERFA and wea€™ll be at the Postcrypt Coffeehouse for their October 1st show. I thought Jay, wry humorist, was the joker in the 3-card hand until Paul started to tell his story. Are you putting off applying for a new job or promotion because of the headache of writing your resume? They are blended, they get various shapes, but if you look and listen closely you can see the signs of all that great civilizations living in this picture.A  Turkish dance is one of the most lively and colorful themes of this picture. So the geographic isolation diversity of racial and ethnic influences and cultural traditions has produced rich folklore both in towns and in the rural area. Various other items used during dance such as snakes, swords, veils, and candles have magical, protective functions for primitive peoples that can still be found in the folk dances of these countries. Her principal published works are, as Mademoiselle Bayon, a collection of six keyboard sonatas, three of them with violin accompaniment, opus 1 (1769), and, as Madame Louis, the full score of her two-act opera-comique, Fleur d’epine, or “May-Flower” (the heroine’s name), scored for solo voices, chorus, and orchestra. Louis sought membership in the Academie Royale d’Architecture but, owing to internal politics, was rejected, a major disappointment to him. In August 1768, he implies that Bayon had some concern with her musical reputation outside France.
The first four sonatas—the three for solo keyboard and the first of the sonatas with violin accompaniment—are, like Alberti's sonatas, in two movements, both in the same key but with contrasting tempos and characters. Her husband specialized in the design and construction of theatres; by the time of his marriage in 1770 he had worked with some of the leading writers, composers, and directors.
Hamilton’s story, which was familiar to many in the audiences at the Comedie Italienne in 1776, begins in the court of the idyllic caliphate of Kashmir and recounts the adventures of the courageous Tarare (literally, Nonsense) on his quest for the magical maiden Fleur d’epine (May-Flower) who could save the caliph’s daughter.
Voisenon reduces Hamilton’s story to the plight of the two young lovers, Fleur d’epine and Tarare, a beautiful princess and her brave prince. The monsters are turned back into men, and Fleur-d’epine and Tarare can be married and live happily ever after. The Overture is in two sections, Allegro and Andante, each in Classic key-area form (sonata form). Antoine D’Origny in the Annales du Theatre Italien for August 1776 (published in 1788) reported that, while the words were sometimes funny, sometimes bizarre or in bad taste, the music had “moments of real beauty,” the most striking being a trio in dialogue, Fleur d’epine’s virtuosic aria, and her sleep aria. Victor Louis, Architecte du Theatre de Bordeaux: Sa vie, ses travaux et sa correspondance 1731–1800.
The full score of Fleur d’epine, probably published around the time of the premiere, includes a dedicatory preface to the duchesse de Chartres in which the composer employs the conventionally flattering, obsequious phrases of a courtier addressing her patron.
Louis sought membership in the Academie Royale d’Architecture but, owing to internal politics, was rejected, a major disappointment to him.  He began working with the duc de Chartres on plans for extensive development at the Palais Royal, including a newly designed theatre (l’Opera du Palais-Royal).
She died at the family’s country residence at Aubevoye, a rich abbey her husband had owned in the vicinity of Rouen, canton of Gaillon, department of Eure, on 19 March 1825. We performed not only some proverbs but an opera-comique for which my friend Mlle Baillon [sic] (later Mme Louis, wife of the famous architect) composed the music.  M. The woman gives Tarare a small packet of bird-salt for ruining Dentue’s brew, and he in turn presents her with a diamond, demonstrating his generosity. Dentue has entrusted Dentillon with the all-important key, which he has attached to his boutonniere. The band in which she sings lead vocals, The YaYas, has just released a new album, Paper Boats. With her husband, Jay Mafale on guitar and old friend Paul Silverman on piano, she forms the point at which the lineup, in tandem, pushes its way into the listenera€™s heart. Neither of his parents had musical ability, but his father played Sinatra records all the time. Her teachers were serious about teaching everything from folk singing, to sight reading and ear training.
The company would rearrange the space differently, according to need, sometimes in-the-round, often with the audience in close proximity to the actors.
He didn't pursue any type of musical performance during his 4 years at college, but his drive to play was persistent.
He did some acting for fun and enjoyed the camaraderie of the other actors, continuing with the theater group after graduation. During this period, Jay and Catherine fell in love and in October of 1997, they got married. On their honeymoon, Catherine was thrown from a horse and two of her vertebrae were crushed. Reaching back to their first CD, Everything, it was evident that they had something special.
Catherine continues to do what she does best, writing songs that touch upon her personal experiences, but contain universal appeal, then express them with refined, passionate vocals. Reaching back to their first CD, Everything, it was evident thatA  they had something special. They dance as a group, in couples or solo, As he offers you a seat, a tea, a warm and friendly welcome, NurdoAYan AzengA?ler turns his gaze from the walls of his studio to the dome of Hagia Sophia, to the Sea of Marmara.Light pours into the room, dances across the walls and reveals a large-framed picture of Hagia Sophia under the snow.
Its unique rhetoric tells us the stories of central Asian shamans, ancient Anatolian heroes, Islamic traditions and westernization.A  It tells us the story of people in east-west tensions, humorous coexistence of Islamic tradition and modernity, and peoples from different ethnicities living together in harmony, in its homogenous, coherent and distinctive language. Whichever the real source of it, belly dance is taken in as a unique dance style, In every step, every movement you can see the hints of its originality and its rich heritage and traditional associations with both religious and erotic elements; because of this mystery, maybe, belly dance is loved by many people all around the world. Composed to a libretto by Claude-Henri Fusee, abbe de Voisenon (1704–1775), a leading writer and librettist, Fleur d’epine had twelve performances in Paris during the 1776–77 season by the Comedie Italienne, one of the official, privileged French theatrical companies of the ancien regime; the final performance was attended by the queen, Marie-Antoinette, and members of the royal family. 1 sonatas she refers to “the many kindnesses bestowed upon me since my tenderest infancy” by the family of Madame la Marquise de Langeron to whom the volume is dedicated. She names the actors—three men and three women, including herself and Mlle Bayon—and refers to fifteen spectators, of whom she names eleven.
In London, Johann Christian Bach (1735–1782), the composer, keyboardist, and royal chapelmaster, had suggested to two English friends that they look up his friend Diderot in Paris.
The absence of a publication date is typical of eighteenth-century music, and was perhaps intended to allow music sellers to proclaim an edition to be the latest thing in subsequent years. The other two accompanied sonatas, like many sonatas of Eckard and Schobert, have three movements in the pattern fast-slow-fast; middle movements are in the dominant key. He was the protege of the duc de Richelieu who was one of the king’s Premiers Gentilshommes de la Chambre who supervised the Comedie Italienne (which performed Fleur d’epine) and the Comedie Francaise.
The entry for 21 August referred to the efforts of Mme Turpin, Voisenon’s “intimate acquaintance” whom he had appointed as “his residuary legatee for his manuscripts and literary productions,” to have the play accepted for performance with music by Mme Louis, and noted that it was scheduled ahead of other plays that had been accepted earlier.
The evil fairy Dentue has kidnapped Fleur-d’epine, who is the daughter of the good fairy Seraine, and has taken her far away.
The energetic opening section in G Major modulates to D major and then explores D minor and other keys, with new melodic motives, before returning to the home key. A second report on 7 September noted that in a subsequent performance Fleur-d’Epine had undergone so many “corrections” that it was “tolerable enough” to continue playing.
Bartlet of Duke University, who worked in Paris in 1996–97 and generously shared her extensive knowledge and understanding of eighteenth-century French operatic productions.
Extraits de sa correspondance inedite, avec son mari, avec Jacques-Henri Meister de Zurich (1746–1826) et de divers lettres et documents inedits du fonds Diderot-Vandeul aux Archives Departementales de la Haute-Marne. One of the copies of the full score now in the Bibliotheque Nationale in Paris bears the coat of arms of the duc de Chartres, and another that of Madame de Genlis.
Correspondence between Diderot and his daughter, Madame de Vendeul, indicates that Mme Louis devoted considerable energy to furthering her husband’s interests.
3, in F major but he plays only the keyboard part without its accompaniment of violin and two horns. This movement, unlike the first movement, has occasional piano and forte markings.  Left-hand notation in alto clef occurs here and in other sonatas in this set as well. Fleur d’epine, left alone with Dentillon, tries to lull him to sleep so that Tarare, who is hiding in the bushes, can come and steal the key. The song, a€?All these Gifts,a€? is from that album, and epitomizes her command of the songwriting craft and her vocal abilities. Once they found out about their mutual interest in making music, in small increments, their path revealed itself. When she was around 14 years old, as a Christmas gift, her mother purchased private lessons for her with a voice teacher.


Finding that she liked it, she performed through the rest of high school in some dramas and a couple of musicals. It gave Catherine a new, heightened confidence, having the audience right next to her at times. She'd lost the grandmother she sang with at age 14 and her maternal grandmother the year before her mom died. I got my hands on Everything at the 2009 Northeast Regional Folk Alliance (NERFA) Conference. Although no one else in her family had musical talent, her grandmother, who loved to sing, lived next door.
I got my hands on EverythingA  at the 2009 Northeast Regional Folk Alliance (NERFA) Conference. AzengA?ler talks about a child walking hand in hand with his father to the YenikapA± Mevlevihanesi (dervish lodge), listening to the women's prayers at the nearby Merkez Efendi Camii (mosque) -- a curious, talkative child whose gaze has wrinkled over the years but whose eyes sparkle with the same intensity.
Oriental dance is uniquely designed for the female body, with an emphasis on abdominal muscles, hip moves, and chest moves. The snake is a complex symbol which represented both male and female principles, and also immortality in the form of the snake eating its tail. Collections of musical numbers from the work arranged for unaccompanied voice were also published, as was an arrangement of the overture for keyboard with violin and cello accompaniment; other vocal arrangements appeared in music periodicals and collections from 1776 until around 1786.
In the early 1770s, through the patronage of the duc de Richelieu, Louis was commissioned to design and supervise construction of the Grand-Theatre in Bordeaux, the building for which he is perhaps most famous today. In 1763, Louis had been scenic designer for a production at the Comedie Italienne under the direction of Charles-Simon Favart (1710–1795), created at the request of the government in celebration of the ending of the Seven Years War; Voisenon (librettist of Fleur d’epine) wrote the words and Francois-Andre Danican-Philidor (1726–1795) the music. Upon Voisenon’s death in 1775, Mme Turpin had “some men of letters” read Fleur d’epine to members of the Comedie Italienne, in accordance with the troupe’s procedures for considering new plays. The influential playwright, teacher, and musician Stephanie de Genlis (1746–1830) considered her a friend. While no new musical works by her are reported, Fleur d’epine was performed in Brussels, and in 1784 it was performed in Bordeaux.  A play by Victor Louis was performed in Paris the same year.
The arias are generally in “ABA” form with a brief orchestral introduction.  Voisenon’s ariette texts that contrast two states of mind are given musical settings that contrast “A” and “B” sections in different tempos and keys. The lead singer begins, her voice with that little catch in it which always works its way past my defenses.
During a 90-minute conference-call interview, amidst many laughter-filled moments, we learned about each membera€™s individual path and what brought them together.
Given that there wasn't much money available for such things, it was for just one lesson per month and, to her, it was a special gift. However, during her senior year, her English teacher told her that the subject matter in her poems was immature and not worth writing about.
Rehearsals were held mostly on Long Island and toward the end also in Manhattan, where Jay was living. She was confined, with a brace, to bed rest for three months, allowed to take a few steps once a day. In my December NERFA CD reviews, I wrote: a€?While Jay on guitar and Paul on keyboard are terrific, Catherinea€™s voice is the jewel in the setting. In addition to co-bills with Freda€™s band, Hope Machine and the YaYas, Fred and Catherine will be touring together this fall. AzengA?ler speaks about himself, his love for his country, his culture and his art gallery, Les Arts Turcs. The composer’s unpublished works, discussed during her lifetime but not yet found, include further instrumental chamber music and opera-comiques, and music for La fete de Saint Pierre, a divertissement to a libretto by Antoine-Francois Quetant (1733–1823), performed at the Chateau de la Cour-Neuve in Paris on St. In the two-movement works no repeat marks are printed but they may be assumed—at double bars at the end of each reprise and at the end of the rondo's first couplet.
Louis apparently became a good friend of the prominent composer Andre Ernest Modeste Gretry (1741–1813); in late 1782 he accompanied Gretry to the composer’s native Liege, where both men were honored by the government. In the two-movement works no repeat marks are printed but they may be assumed—at double bars at the end of each reprise and at the end of the rondo's first couplet.  There are several printing errors as well—occasional wrong notes, misplaced trills, and, most often, missing sharps or natural-signs with the modulation to the dominant in the first reprise.
Fleur d’epine now sings a gentler song, her famous “sleep aria”; Dentillon falls asleep, and Tarare steals the key. Hearing them again, on a number of occasions, their brilliance reinforced my initial impression.
When he was 12, his parents took him to a Sinatra concert and he was thrilled to watch Buddy Rich drumming. During the third lesson, Catherine asked the teacher if she had a chance to become a singer. His actual daughter, Angelique, later Madame de Vandeul (1753–1824), studied harpsichord with her from about 1765 until 1769 and remained her lifelong friend and confidante. During her recuperation period, she had time to reflect, and she realized that singing was the most important thing in her life and she wanted to make a serious attempt to work at it full-time. The room is lined with shelves; the shelves are loaded with books, crafts, clothes, jewelry and CDs. Bach's sons Johann Christian Bach and Carl Philipp Emmanuel Bach (1714–1803), and the Mannheimer Ignaz-Franz von Beecke (1733–1803). She sings a brilliant, virtuosic aria, because Dentillon has said that music puts him to sleep—a reaction he attributes to his being a “great nobleman.” When Tarare, hidden, says something to Fleur d’epine, Dentillon half awakes and asks who was talking. She worked 30 hours a week her first two years and didn't audition for anything the first year. She spoke to Jay and Paul about pushing for more gigs, so in 1998, they surveyed the musical landscape and began their serious run as a band.
After re-acclimating herself as a student, in her sophomore year, she started performing in plays again.
He worked with rehearsals for shows, so there wasn't time to practice the material a€” he just had to pick it up quickly. In addition, she took a writing course, and in Carolyn Sobel, her professor, found a believer.
Ita€™s dreamlike, with Paula€™s keyboard ringing like chimes and Jaya€™s solemn guitar strum conducting a stately march.
Catherinea€™s voice floats, ethereally high over them: Please let him keep looking toward this horizona€¦When Ia€™m thinking of him, ita€™s twilight. Armenian music meets Gypsy music, Jewish music and folk music from the four corners of Turkey. What started as a private art gallery now offers an introduction to the whirling dervish ceremony and the Sufi community in Turkey as well as courses in painting, henna, paper-marbling and calligraphy (along with a permanent exhibition of paintings, statuettes and art at the Sultanahmet address). Les Arts Turcs recently opened a second gallery and a travel agency near the TopkapA± Palace and prides itself on appearing in many travel guides. Art and history are everywhere," exclaims AzengA?ler, his gaze now overlooking the streets of Sultanahmet, which vibrate three stories below his gallery. I advise those travelers to read a lot beforehand, to watch documentaries and movies from or about Turks.
The first are travelers who heard about Les Arts Turcs and visit the gallery -- occasionally buying some objects on display -- and then return home. For example, the French magazine Elle was looking for female whirling dervishes and we helped them find some. Turkey sees itself as European, he agrees, but Turks are increasingly protective of their own identity.
CNN TA?rk, Sky TA?rk, Kola TA?rk, a€¦ I am obviously not the only one who strives to affirm the Turkish identity." Then why did he give his art gallery a French name?
Our plan is to invite foreigners who have been writing about A°stanbul -- a movie, a book, a documentary a€¦ -- and ask them to write again about Turkey. 11, we have received many inquiries from Westerners, particularly Americans, about Sufism and [Muhammed Jelaluddin] Rumi.
He may be thinking about his current research on the hippies, his partnership with painter AyAYe TA?remiAY or with American illustrator Trici Venola.



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