Hats off the WordPress community and Matt Mullenweg's insistence to promote open source design. A blog about Movable Type, technology, geek-dom, science-fiction and yes, sometimes my personal life.
Hats off the WordPress community and Matt Mullenweg's insistence to promote open source design. This theme requires Movable Type Pro at is relies on custom fields for many of its advanced features.
Create custom cropped images for placement on the front door, within the slideshow and else. However, when I try to go into any of the blogs on this installation, I get a rather strange error. I'm guessing it's as simple as adding these two custom fields, but shouldn't the plugin take care of that for me? I wonder though - maybe they only get installed when you do a refresh of an existing blog's templates? I experimented and found out that if you move the footer-container outside of the container div (but still inside the body-container) it works great.
Can you provide any insight on replacing the test blog name with a custom (graphic) header? To all Hybrid News beta testers: I wanted to let you all know that I fixed a critical bug in the theme that many of you reported, having to do with unrecognized template tags.
Right now this theme requires MTPro, but I can begin work on a fully open source version soon -- once the MT Pro one is complete. Can you at least say what "type" of custom fields each is supposed to be, so that I can fix this myself? To everyone subscribed to the post, I want to let you know that I just released Hybrid News Beta 0.5. When I go to "System Overview" in the admin section, I can see the there and they are enabled.
Lastly, and I didn't see this one mentioned yet, where is that video pic of the day coming from, lol?
5) The template Global Variables is included in the package but has nothing to do with HybridNews (it appears to be for Chicago Now). 6) Since the CustomCSS plugin is required, I was expecting some of your custom CSS code with the package. 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. Thanks to his philosophy and the courage of designers from the WordPress community, I am able to bring the Hybrid News Theme to Movable Type. Technically these custom fields should be installed automatically when you apply the template set to a blog.
Not sure why I would think that except to offer a suggestion as to what you might try to get these fields installed for you according to the theme's requirements. For example, in the Frontdoor index template, if comes before the last div, instead of the next-to-last div, it looks perfect. My husband is a high school newspaper adviser and he has been wanting me to develop a newspaper website where all the students need to do is write articles, take photos and post them. That seemed to go fine (except I wasn't sure what System Object to put for Bio, there is none listed. I figured out all of the above, and then a few hours later I got a message that there was a necessary update for Hybrid News. I manually modified the templates to hard code those absolutely necessary to get this to work.
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.
This year’s theme: “Cotton Sacks and Freedom Quilt Narratives” substantiates the viability of the sweat equity investment made through labor and cultural contributions by Cotton Pickers and other Plantation Workers.
I did notice that in my installation and in your live demo, the footer was a little "messed up" compared to the WordPress demo (footer doesn't stretch across, margin at the bottom).


It worked best in 4.3, but I couldn't get the images to associate with the entry (but everything else showed up fine).
Also, if one is logged in and then tries to search, its hows the search template but without any content. 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 following evening, Friday November 13, the “Cotton Pickers Ball” shall be held at 7:00pm, in da’ House of Khafre, located at 300 Main Street, Indianola.
Needless to say, my days of being able to spend hours on end working on some web project are behind me (for a time at least). 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.
All are encouraged to attend both events in costume attire worn in the cotton fields, such as “overalls and straw hats, etc.”The 1st Annual Historical Narrative Competition enhances this year’s Symposium. Ok, so I downgraded to 4.2 (which was my previous install--I didn't have any real entries in my database, so I just deleted it and made a new one to avoid any weirdness with downgrading). When I click on any of the Hybrid News templates under Design > Templates, there is nothing there.
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. Mississippi Delta high school seniors and MVSU students will compete for a trophy and gift card provided by Khafre, Inc and Lost Pizza, Company.
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. 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. All projects must be delivered to the MVSU Social Sciences office “T” by 5:00pm November 5th, (or call organizers to arrange for pick up).
Professor, Public Policy, MVSU; Dr Alpha Diarra, National Cotton Spokesman of Mali, West Africa. Local storyteller Helen Sims will pay tribute to “the Spirit of Mama Lula.” Hollandale folk artist Dorothy Hoskins will showcase recent multi-media work on Cotton Pickin’ and Sharecropping in the American South. The University is driven by its commitment to excellence in teaching, learning, service, and research--a commitment resulting in a learner-centered environment that prepares critical thinkers, exceptional communicators, and service-oriented, engaged, and productive citizens. MVSU is fundamentally committed to positively affecting the quality of life and creating extraordinary educational opportunities for the Mississippi Delta and beyond. KHAFRE, Inc. Honoring the legacy of  “grandmamma-nem” in a university setting gives artistic and academic license to the pursuit of gaining more scholarship and international acceptance, of the contributions and sweat equity made by the people who picked cotton throughout the American South,” said Professor C.Sade Turnipseed, Executive Director of Khafre, Inc. As part of Khafre, Inc’s historic preservation efforts, a permanent marker will be placed on the MVSU campus in honor of cotton pickers from the Mississippi Delta, and those who worked the repurposed cotton plantation for higher learning, MVSU.The Symposium is free admission.
Khafre, Inc is all about building monumental programs that allow reflection, reconnection, and renewal. This year’s theme: “Cotton Sacks and Freedom Quilt Narratives” will stimulate a day of discussion about historic preservation, leading-edge research, innovative practices, and foundational values. The agency and resistance of these narratives will also reflect on the subtle and continuing impact of cotton on life in the Delta and throughout the South.
The one-day event concludes with a good old fashion “black-tie” (or period-piece costume) “Cotton-Pickers’ Ball and Ancestral Celebration” at da’ House of Khafre located at 300 Main St. A  I learned something from every man I met or exchanged emails with, and Lou taught me a few words in Spanish.A  Ole!
Julianne Malveaux; and, introduction by award-winning poet Chinaka Hodge the volume offers a balanced view of what our children face day-to-day, on the streets of America. Over two hundred years ago, the Akan Nation (West Africa) established the Adinkra Symbols to visually communicate a system of living for African people to observe and learn. Amazingly, just as with other inspired and spiritual writings, drawings, etc., the symbols are beautiful design concepts with meanings still relevant today.
They bring clarity and resolve to the question, “What do we (the village) have to do to show support and love for each other and ultimately save ourselves and one another?” The experiences of today’s youth culture demonstrate a fundamental disconnect, to most people of previous generations. The young writers selected for this publication masterfully describe the challenge in dealing with today’s world.
We can take a little walk, maybe get our feet wet, and then lie on a blanket and listen to the waves. Because, it offers tribute to the “original” mother and her instinctual knowing of the spiritual paths that her children (all children) must take to find their way out of harm's way. Revealed, in this collection of writings are a wonderful array of short stories, poems and proverbs that present a familial insight born by the great liberator of liberators, Harriet Tubman! I do the same thing myself, when the mood strikes.A  And how about this for being an "in tune with women" kinda guy?A  A few days after I had ordered myself 2 new green dresses and several in black to add to my collection from a mail order company named Newport News, he sent an email asking:A  "So, what are you wearing right now?
By Writers of the 21st Century is an affiliate of Young Publishers Network (YPN) and Khafre, Inc a 501(c)(3) organization working in the Mississippi Delta to improve the welfare and healthy living environments of children in America and around the world.### Thank You Mr. Born in a cabin on a cotton plantation outside Berclair, Mississippi in 1925, his entire life, much like the lives of so many others from the Mississippi Delta, was spent in service to others. Unfortunately, for most of his contemporaries (colleagues, family of friends) they never received the accolades, appreciation, or respect for their life-long work as cotton-pickers in the American South. David Matthews, MS Congressman Bennie Thompson, MS Senator Thad Cochran, National Parks Director Dr Jon Jarvis, Mr. Theodore Turnipseed, Sr., and millions of others understand the importance of sharing, and erecting a statue and National Park dedicated to the countless field workers of the American South. Though unrecognized and unappreciated, these people worked from sun up to sun down tilling, planting, chopping, picking and spinning cotton, in the blazing hot sun … This and many other horrifying conditions of the historic Mississippi Delta evoked the music we call “the Blues.”On May 21, 2014, during the last year of his life Mr. King accepted our call to become the “Honorary Chair” of Khafre, Inc, a Mississippi-based 501(3) not-for-profit organization. A  For Christ Sake!!A  How about saving the Taxpayers a buck?A  In addition to that $6 million you've already blown by hovering and covering me, and scheduling a proper Face to Base meeting in your office; at my convenience? Maya Angelou as the Honorary Chair of the Cotton Pickers of America and the Sharecroppers Interpretive Center project.
The plan is to build a thirty-foot high monument on twenty acres of cotton land along Highway 61, just outside the historic Black town Mound Bayou, MS.
This is a historically rare opportunity to transform many lives in the Delta and engage conversations about race and social inequities in America.
Sade Turnipseed is the Executive Director of Khafre, Inc and teaches American History at Mississippi Valley State University, in Itta Bena, the birthplace of Mr. This year’s theme: “Cotton Sacks and Freedom Quilts Narratives” will stimulate a day of discussion about historic preservation, leading-edge research, innovative practices, and foundational values. Dramatic, but no drama.A  Short black skirt, or long black dress?A  Heels or boots?A  Camo, or commando?
No one has ever “officially” said “thank you” to the people in the American South, who literally tilled the way to the economic greatness for many countries and regions around the world. Somewhere along the way the respect and honor for their hard-earned sweat-equity investment in the wealth of others was lost and buried in the bloodstained, tear-soaked soils of the American South. Something “monumental,” needs to happen…like a National Park named the “Cotton Pickers of America Monument and Sharecroppers Interpretive Center” along the Blues Highway 61.
Once the Monument is installed, the organizers’ plan is to turn it over to the federal government for the protection and honor that only this country can provide. It shall serve as a permanent reminder and ever-present sign of respect for those whose hope for a brighter day wore thin, while working from kin to kain’t (can’t see in the morning to can’t see at night).The world must be reminded of the work ethic held by the people in the South…in most instances it was an honorable legacy … the tragedy is they were never properly compensated, nor thanked.
King, (aka: The King of the Blues) will join the effort to build a National Monument in the Mississippi Delta.
King understands, as do all members of the Khafre, Inc family, that a healing will come through recognition and a true recounting of the history of cotton and its impact in the South.In September, 2009, Khafre, Inc, based in Indianola, Mississippi, embarked upon a journey designed to thank the sons and daughters of the South who helped, albeit it without accolades, fanfare, or even recognition, build the cotton empire that fueled the American economy for nearly two centuries. The impetus for the project: Cotton Pickers of America and Sharecroppers Interpretative Center (hereafter referred to as the Cotton Pickers Monument Complex) is the need to thank those who toiled in the Delta soil for generations without the pay, appreciation, or the dignity they deserved. The Cotton Pickers Monument Complex would not only help heal wounds that have festered for decades, but would also help to empower the generations of family members who have been negatively impacted by this unfortunate era in American history. This is truly a historic endeavor that has the rare opportunity of actually transforming lives, communities, and the conversations about race in America and throughout the world.           These deeply held convictions of education and empowerment are keys to improving the quality of life for all within the Delta. They have helped to catapult Khafre into numerous projects, which are all connected to the vision and mission of this value-driven and movement-oriented organization that is designed to provide historical, health related, and cultural education and outreach to the communities of the Mississippi Delta.


Khafre has already helped young people successfully publish literature, prepare for careers in the television and radio broadcast industry, produce staged events and engage in healthy behaviors through diet and exercise, all with the assistance of grant dollars and strategic partnerships.The crowning work of Khafre remains the Cotton Pickers Monument Complex, a dream, which is coming closer to fruition, day by day, because of the unprecedented support of Mr. Until then, as in the end,there is much more to come.A A A  Once Upon a Time, a little mushroom popped through the moss covered ground of the Southeast Alaska Rainforest. We have also received Congressional acknowledgment and endorsement from United States Congressmen, Bennie Thompson and Danny Davis, official endorsements from United States Senators, Thad Cochran and Roger Wicker, and expressed support from Dr John Jarvis, National Parks Director. Carroll Van West and Rebecca Conard from Middle Tennessee State University’s History Department, along with the ongoing partnership with Mississippi Valley State University, has proven a significant benefit to our overall project. We are now ready to raise the $26 million dollars to make the Cotton Pickers Monument complex a reality.
We look forward to hearing from you and to welcoming your partnership in the building of this long overdue and much needed monument.It is time!Most sincerely,C.
The goal is to obtain as much first-hand information as possible relating to the development of America’s Cotton Kingdom (aka the Delta).In the aftermaths of completing the academic study for a Doctorate in Public History at Middle Tennessee State University (MTSU), Professor C.
Turnipseed’s theory that perceptions of sharecropping, tenant farming, etc, will be altered in ways that are beneficial to the legacy of the American South when the memory of elders are shared.
The monument site is envisioned to become a National Park; and thereby “the place” for memory and community sharing in the Mississippi Delta, for educational, economic development, and international tourism purposes. King and former honorary chair Dr Maya Angelou who are determined to improve the legacy and social-economic status of Mississippi Delta residents. The purpose of the organization is to provide educational, lifestyle and cultural programs, build monuments and memorials to honor, celebrate, and recognize the rich and complex history of the Mississippi Delta and to positively impact the quality of life of those living in the Delta, especially the disproportionately poor African American community. Grant, Attorney at Law, Juneau, AK From Wedding Bells to Tales to Tell: The Affidavit of Eric William Swanson, my former spouse AFFIDAVIT OF SHANNON MARIE MCCORMICK, My Former Best Friend THE AFFIDAVIT OF VALERIE BRITTINA ROSE, My daughter, aged 21 THE BEAGLE BRAYS!
There is no documented official acknowledgment of the people who tilled the path to America’s greatness.
Somewhere along the way buried in the tear-soaked soils of the American South, the respect and honor for their hard-earned investment was lost. The Cotton Pickers of America Monument, Sharecroppers Interpretive Center, and Cotton Kingdom Trail make the case for building a National Park that offers a small token of appreciation for their tireless uncompensated work. Sade Turnipseed is the founder of Khafre, Inc., which has developed the Cotton Pickers of America Monument, the Sharecroppers Interpretive Center, and the Cotton Kingdom Historical Trail, among many other projects.
King Museum and Delta Interpretive Center in Indianola and the former cultural arts director for the Mississippi Action for Community Education--MACE (producers of the MS Delta Blues and Heritage Festival) in Greenville. Turnipseed is the recipient of several community service and arts advocacy awards, and she was an independent candidate for mayor of the city of Indianola in 2013.
For the past eight years Turnipseed was the host of “Delta Renaissance,” a cultural arts talk show focusing on the arts, education, and political issues in the Mississippi Delta.
Winter Building Wednesday, June 18: Former Secretary of State Dick Molpus talks about his experience during the Philadelphia civil rights murders of 1964. Wednesday, July 2: Filmmaker Wilma Mosley-Clopton will show and discuss her new film, "Did Johnny Come Marching Home?" about people of African descent who fought to free themselves in the Civil War. Wednesday, September 25: Author Robert Blade will talk about his book, "Tupelo Man," a biography of George McLean. I whole-heartedly agree with the editor that the African American community has proven to the world an uncanny, though unreciprocated, ability to be forgiving of past deeds of injustice, brutality and cruelty at the voting polls, and socially in their community service groups, churches and everyday lives. This point should not be lost on the fact that many of those injustices happened here, in Indianola, Mississippi, to some amazingly strong and resilient individuals like Fannie Lou Hamer and all those who came before her.
But, I can’t help but wonder why the White community isn’t reciprocating and showing the same confidence and trust in racial relations?As Smith indicates, the incumbent received “between 32 and 37% of the votes in the three wards with large Black majorities, despite going up against two black opponents, with strong followings.
That’s impressive for a white candidate in a city and region with a history of racially divided politics.” I agree.
When we examine the voter polls in the wards that are predominately African American, reflected is a general evenness for all candidates, be they Black or White. The same, however, cannot be said about the two wards that reflect the primarily White community.
I submit to you the following:In wards I, and II, which are the two wards with the largest white population of voters, we see results that reflect an uncompromising resistance to acceptance and change. With an overall total of 952 votes cast: 732 went to the White candidate and 220 for the two Blacks, combined)…check that! HELL'S BELLS: THE TELLS OF THE ELVES RING LOUD AND CLEAR IDENTITY THEFT, MISINFORMATION, AND THE GETTING THE INFAMOUS RUNAROUND Double Entendre and DoubleSpeak, Innuendos and Intimidation, Coercion v Common Sense, Komply (with a K) v Knowledge = DDIICCKK; Who's Gunna Call it a Draw? Surely, it cannot be left up to one segment of the community, and not the other.I truly wish Smith had stressed this very critical point, instead of throwing shade on the outcome of a campaign I have yet to wage.
And for the record, as a citizen, it is my right to be afforded the opportunity to run a fair and unbiased race for mayor, without subtle suggestions that it is a waste of my time, as inferred in his editorial.
But, then again maybe he knows more than I about how citizens of wards I and II will ultimately vote.
And to also trust that the leaders of this community will look out for their best interest, politically, economically and socially.
After all we live in a community that is 84% African American with a poverty rate that is fast approaching 40% and a public school system that is in deplorable condition, both physically and academically, even under the watchful eye of the government, yet there is no outrage…from either the White side, or the Black side of town. And, I have never believed it was necessary to wait until political season to demonstrate my commitment to the people in my community. If, by chance I am truly embraced by all members of all wards of this city, I believe people will witness an amazing transformation in a relatively short period of time.
It’s “almost” like magic…I predict things will begin to unfold in a substantive way like the neighborhoods will brighten, crime decreases and the impoverished mindset disappears.
And I am passionate enough to find the tools to help remedy the concerns that create stagnation and distrust.
Please remember, we are a people who come from a very long tradition of women who made a way out of no way.My overall ambition and hope for this city is to develop a strategic plan that enables a steady stream of culturally enriched projects that insures economic development for the future growth and safety in this city. So programs that not only engage everyone, but present real opportunities for career enhancements and social activities are critical. King Museum that I visualized and administered) Thanks Carver Randle, Sr for that wonderful quote.
I just wish he read my bio, or googled me, before publishing doubts about my abilities for success.
For the past three years, I have been sitting relatively quietly completing the doctorate in history. Now, I am ready to shake up this town with some bold ideas and ever increasing standards for excellence.
I look forward to being a significant force in this community, by helping the White community too recognize the benefits of building relationships that they can trust in leadership positions.
We MUST work together to improve our community—by encouraging EVERYONE to clean on our streets, bayou, parks, etc. We have some huge unmet challenges here in Indianola, and how YOU decide to vote On December 10, 2013, is vital to our success. Also, please be sure to come to this year's event in your overalls, or cotton pickin' clothes. The event is the impetus that gave rise to the “Remigration Home from Chicago to Mississippi” cultural movement organized by music promoters Gus Redmond and Robert Terrell. Legendary blues and gospel performers Otis Clay, Syl Johnson and Marshal Thompson (founder and lead singer of the ChiLites); along with promoter Gus Redmond will lead the way back home to Mississippi in an effort to support the Cotton Pickers of America Monument and Sharecroppers Interpretive Center project in the historical Cotton Kingdom AKA the Mississippi Delta. Though the Ball is a “Black Tie Affair” Overalls or other “cotton pickin” attire are encouraged and expected.“I am so pleased that we have partnered with Khafre to host an event of this magnitude,” said Dr. The discussions and historical presentations will reflect cutting-edge research, innovative practices and foundational values. Additionally, two noted scholars from Mali’s Cotton Manufacturing and Distribution will present via Skype.MVSU participants in the program include Dr. John Jones, interim provost.As part of the celebration, Khafre plans to erect a permanent marker on the site in honor of cotton pickers from the Mississippi Delta and in commemoration of the significance of this historical event. This will be a day of stimulating discussion about historic preservation, leading-edge research, innovative practices, and foundational values. The two-day event concludes with a good-old-fashion “black-tie” (or period-piece costume) “Cotton-Pickers’ Ball,” on October 18, 2013.
This year Khafre, Inc in conjunction with Mississippi Valley State University shall organize the USA’s premier interdisciplinary professional meeting on cotton, sharecropping, and its cultural significance. The deadline is September 6, 2013.Plan to join us in Itta Bena, Mississippi!This is your chance to catch up with old friends and colleagues at The Valley, make important new contacts, discuss the latest in cultural management, stay current with research findings in the historic preservation field, and connect with people who share your core values. We invite all community-based experts in any field to become a part of the challenge to address issues of: unemployment, entrepreneurship, illiteracy, poor self-esteem, teen pregnancy, obesity, hopelessness, communication skills, journalism and creative writing, etc. Situated on the bayou waterfront at 103 and 105 Main Street, in historic downtown Indianola, da' House is the place where folks come together in the spirit of unity and love for Mississippi Delta culture, particularly its blues, spirituals and teacakes! On the historical Wall of Fame are signatures by musicians from Ghana, Senegal, Nigeria, Norway, Belguim, China, Japan, France, Cameroon, Cote d'Ivoire and Mississippi, of course. Beginning Friday, June 1, 2012, at 7 pm, the folks at da' House will be carrying on in grand teacake style, until Sunday June 3rd, around midnight.
Celebrating da love that is shared all around the world for da Delta music, art and culture. The 2nd Anniversary Celebration is dedicated to Deltas own David Honeyboy Edward, David Lee Durham, David Thompson and Mississippi Slim. These legendary bluesmen have recently joined the ancestors and will be honored by several local artists and civic leaders: Mickey Rogers, Dr. These artists and many others will perform on da historical Front Porch stage where the legendary bluesman Sam Chatmons music room door is gracefully hinged.
The door, the traditional quilts, the African art, the sweet smell of Soul Food and the Delta cotton provide a rural sophistication and ambiance that is reminicient of the culture and folk art once owned and coveted by grandmamma-nem. Indeed, it is "The home for artful giving, music and songs," as Chicago-based Blues promoter Lynn Orman Weiss described da' House on her most recent visit to the Delta.
And, since da' House is located at the epicenter of the Cotton Kingdom, visitors can expect that authentic soothing, and often times healing, Mississippi Delta experience to be dosed up in abundantly royal fashion, every time they come to da' House! Co-owners Robert Terrell and C.Sade Turnipseed extend a personal and heartfelt invitation for everyone to come on out to da House and help celebrate two-years of Delta art, music and culture.
She is also the first African-American female president to lead a Mississippi public university. Since assuming her position on January 1, 2009, she has launched The Valley Renaissance, the institutions five-year strategic plan, which is pictorially depicted by the African Adinkra symbol of a Sankofa a bird that flies with his head facingbackwards as he advances forward without getting off track. Grammy-winning blues musician David "Honeyboy" Edwards, believed to be the oldest surviving Delta bluesman and whose roots stretched back to blues legend Robert Johnson, died early Monday, Aug. Maya Angelou agreed to graciously lend her name to the Cotton Pickers of America Monument and Sharecroppers Interpretive Center project that is in development, in the Mississippi Delta. C.Sade Turnipseed, Founder of the Monument project and Executive Director of Khafre, Inc, recently made the announcement in a community meeting held at da House of Khafre, in Indianola. Our teams collective effort honors the sacrifices made by millions of Americans and purposefully gives dignity back to the legacy of those who spent their entire lives working, tirelessly to build this country.Dr.
Smith Reynolds Professor of American Studies at Wake Forest University, joins a long and growing list of American citizens, who have also expressed the desire to support this project and demonstrate their respect and gratitude to every man, woman and child that picked cotton and were never thanked, nor properly compensated as enslaved workers or as sharecroppers, throughout the American south.The Khafre, Inc team is composed of a governing Board of Directors, a Steering Committee, a Board of Advisors and several political and community leaders that include faculty members from the History Department at Middle Tennessee State University (MTSU). The governing Board selected world-renowned monument designer, Ed Dwight, to develop the thirty-foot statue and sculptural park. It offers educational workshops, seminars and conferences for the entire community that celebrate Mississippis culture and its contributions to world history, including music, cuisine, writing, andotherartistic expressions.
Turnipseed is also the host of Delta Renaissance, the number one cultural arts television talk show in the Delta, which airs weekly on WABG-TV, WABG-Radio and Delta Fox-10 television networks.Plans are also underway to incorporate the completed work into the National Parks Services, to insure prosperity and proper maintenance of the Monument.
To help the Cotton Pickers of America Monument and Sharecroppers Interpretive Center be included as part of the National Parks System, please sign the online petition.
To have name(s) of family members included in the Monument, download a Legacy Brick application; both petition and application are available on the Khafre, Inc. Sato returns to the Front Porch Stage solo, on Sunday March 6th, at 6pm, to kick off the Cultural Competency workshop series. These are on-going cultural appreciation classes presented for the first time in the Delta, by Khafre, Inc (a Mississippi-based non-profit organization).Sato, who was born and raised in Japan, will introduce to American audiences his interpretation of Mississippi Delta Blues and perform on one of his traditional instruments called a Samisen.



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