By St_Clinton
The podcast currently has 19 episodes available.
From Her Website: http://www.ShanaTucker.com
With a deep respect for lyrical storytelling, cellist/singer-songwriter SHANA TUCKER delivers a unique voice through her self-described genre of ChamberSoul™. Shana's melodies weave strong hints of jazz, classical, soulful folk, acoustic pop and a touch of R&B into a distinctive rhythmic tapestry.
Touted by JazzTimes Magazine as a jazz talent "...whose imprint and vitality has already been quite visible...” Shana’s style and sound as been described as a blend of Dianne Reeves, Joni Mitchell, and Tracy Chapman, with an efficient complexity that is reminiscent of Bill Withers. ChamberSoul™ best describes what the listener should expect when experiencing Shana's music. "I’m intrinsically drawn to "real" instruments, with resonance, tone and depth that can sound without amplification. Whenever and however possible, I always try to set a tone of acoustic intimacy with my colleagues on stage, and also with the audience, so that the music, performers and audience feel close and tangible, no matter the size the venue."
Growing up on Long Island, NY as a beneficiary of public school arts education, Shana's classical cello and singing talents awarded her a scholarship to Howard University in Washington, DC, where she was first introduced to jazz and other essential musical resources, on campus and around the city. While at Howard, Shana initiated her improvisation chops and honed her songwriting skills, but decided to relocate to NYC to study with master cellist Marion Feldman and complete her undergraduate studies in performance at CUNY-Brooklyn College Conservatory of Music.
An NPR interview about Shana's debut CD, "SHiNE" and her ChamberSoul style prompted an invitation from Cirque du Soleil to join the company as cellist/vocalist for their show, KÀ in Las Vegas, where she stayed and performed for five years before returning to North Carolina. With collaborations as the cornerstone of her artistry, Shana is currently a featured artist performing with legendary jazz saxophonist/composer Bennie Maupin; jazz drummer/composer Shirazette Tinnin and Sonic WallPaper; Grammy-nominated NuSoul collective, The Foreign Exchange. Her newest project, Women's Work, a female-led collective of jazz, soul and pop singer-songwriters and musicians representing both east and west coasts.
Having opened for internationally-acclaimed artists including Norah Jones, Lisa Fischer, Sweet Honey in the Rock, Hamiet Bluett, Javon Jackson, the Blind Boys of Alabama, and Indigo Girls, Shana's vocals and cello are featured on several studio and live recording projects by both independent and signed label artists and producers. She also devotes a considerable amount of her time to working with students in schools & universities, community centers and summer camps throughout the year as part of her mission to promote arts education programming for students of all ages.
Shana is a recipient of two Nevada Arts Council grants, including the prestigious Performing Artist Fellowship for her exemplary work as a singer-songwriter, cellist and teaching artist. She serves on review panels and advisory committees for arts organizations across the country. She is also a board member for Carolina Wren Press, a Durham, NC-based small-press organization that publishes diverse minority writers of quality fiction, poetry, nonfiction, and children's literature.
A front-line advocate for arts education, Shana is a newly-designated A+ (Arts Integration) Schools Apprentice Fellow, and has been a teaching artist with Wolf Trap Institute for Early Learning Through the Arts (NC and NV) since 2015. She has also been a teaching artist with United Arts Council of Raleigh/Wake County NC and The Smith Center for Performing Arts - Las Vegas. Shana incorporates artist-in-residences, workshops and community outreach opportunities wherever in the world her performances take her.
You can buy her album Shine at https://amzn.to/2STs9Ji
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# About The Talent
Edgar Allan Poe (/poʊ/; born Edgar Poe; January 19, 1809 – October 7, 1849) was an American writer, editor, and literary critic. Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre. He is widely regarded as a central figure of Romanticism in the United States and of American literature as a whole, and he was one of the country's earliest practitioners of the short story. He is generally considered the inventor of the detective fiction genre and is further credited with contributing to the emerging genre of science fiction. He was the first well-known American writer to earn a living through writing alone, resulting in a financially difficult life and career.
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"The War of the Worlds" is an episode of the American radio drama anthology series The Mercury Theatre on the Air directed and narrated by actor and future filmmaker Orson Welles as an adaptation of H. G. Wells's novel The War of the Worlds (1898). It was performed and broadcast live as a Halloween episode at 8 p.m. on Sunday, October 30, 1938, over the Columbia Broadcasting System radio network. The episode became famous for allegedly causing panic among its listening audience, though the scale of that panic is disputed, as the program had relatively few listeners.[2]
The one-hour program began with the theme music for the Mercury Theatre on the Air and an announcement that the evening's show was an adaptation of The War of the Worlds. Orson Welles then read a prologue which was closely based on the opening of H.G. Wells' novel but modified to place the story's setting in 1939. For about the next twenty minutes, the broadcast was presented as a typical evening of radio programming being interrupted by a series of news bulletins. The first few bulletins cut into a program of dance music and describe a series of odd explosions observed on Mars. This is followed by a seemingly unrelated report of an unusual object falling on a farm in Grover's Mill, New Jersey. Another brief musical interlude is interrupted by a live report from Grover's Mill, where police officials and a crowd of curious onlookers have surrounded the strange cylindrical object which has fallen from the sky. The situation quickly escalates when Martians emerge from the cylinder and attack using a heat-ray, abruptly cutting off the shouting of the panicked reporter at the scene. This is followed by a rapid series of increasingly alarming news updates detailing a devastating alien invasion taking place around the world and the futile efforts of the U.S. military to stop it. The first portion of the show climaxes with another live report describing giant Martian war machines releasing clouds of poisonous smoke across New York City, after which the program took its first break. During the second portion of the show, the style shifts to a more conventional radio drama format and follows a survivor dealing with the aftermath of the invasion and the ongoing Martian occupation of Earth. As in the original novel, the story ends with the discovery that the Martians have been defeated by microbes rather than by humans.
Welles's' "War of the Worlds" broadcast has become famous for supposedly tricking some of its listeners into believing that a Martian invasion was actually taking place due to the "breaking news" style of storytelling employed in the first half of the show. The illusion of realism was furthered because the Mercury Theatre on the Air was a sustaining show without commercial interruptions, and the first break in the program came almost 30 minutes after the introduction. Popular legend holds that some of the radio audience may have been listening to The Chase and Sanborn Hour with Edgar Bergen and tuned in to "The War of the Worlds" during a musical interlude, thereby missing the clear introduction indicating that the show was a drama; however, contemporary research suggests that this happened only in rare instances.[3]:67–69
In the days after the adaptation, widespread outrage was expressed in the media. The program's news-bulletin format was described as deceptive by some newspapers and public figures, leading to an outcry against the broadcasters and calls for regulation by the Federal Communications Commission.[2] Nevertheless, the episode secured Welles's fame as a dramatist.
Support Our Feature Talent by donating to their Tip Jar: https://tips.pinecast.com/jar/our-feature-talent
Find out more at https://our-feature-talent.pinecast.co
This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-46397e for 40% off for 4 months, and support Our Feature Talent.
Spiritual Poetry Is A Very Emotional Experience as Artwizz Takes You, The Listeners, On A Deeper Journey Into His Heart. Spiritual Poetry Is The Second Chapter Of Artwizz's "The Gathering" & The Emotion & Imagery That He Creates Throughout The CD Is Incredible. All The Instrumentals Are Produced By Artwizz. Every Song Was Mixed Down By Artwizz, In Fact Nearly Everything Was Done By Artwizz Including The CD Covers. The CD Contains Seven Emotional & Hard Hitting Songs That Literally Force The Listener To Stop And Think. In Addition To This, The Topics Within This CD Vary From Dysfunctional Emotions To Child Abuse Etc. The CD In General Is Very Inspiring Because Artwizz Talks About True Stories And Real Events That He's Personally Experienced. That Alone Takes A Lot Of Courage. If You Decide To Listen To Spiritual Poetry Then Give Yourself Some Genuine Time To Listen To It So That You Can Really Experience What Spiritual Poetry Is All About! " One Of The Main Reasons I Had To Make Spiritual Poetry Is Because I Felt That There Was So Much Emotion Inside Of Me That Just Had To Come Out. A Good Friend Had Told Me That I Would Never Be Able To Make A Better CD Than "The Artist Who Had No Paint(2009)", But Now When I Look At Spiritual Poetry It Gives Me The Confirmation That I Finally Proved Him Wrong, And I Think That's Bless...."
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Tshombe Sekou is a literary and oral-poetry expressionist; he became a self-taught musician/producer in his quest in becoming a fully self-sufficient artist, which has facilitated in his construction of Emet Productions and his proficiency in developing quality products in the field of expressive-art. Tshombe has released more than a half-dozen audio compositions of poetry and jazz, and appears in more than a dozen collaborative releases; this is some of his works. Enjoy and please make contact with comments and or deeper dialogue.
Find more at www.tshombeisms.com
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This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-46397e for 40% off for 4 months, and support Our Feature Talent.
Billionaire Brown is an incredible Spoken Word Artist who will make you think. This is an episode that you will want to listen to over and over, plus share with others.
You can find not only the items you heard hear, but more at https://soundcloud.com/rich-before-thirty
If you want to contact him, you can reach him via his Facebook page at https://www.facebook.com/BillionaireBrown/
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Come and listen to one of the best poets in the world, it's Effluence. Effluence has been writing poetry since her early teen-age years and preforms her productions mainly in the form of spoken word drama. Most of her performances stem from her passion about topics regarding woman's rights, racism,violence,religious, and political constraints. You can her stuff at: http://www.reverbnation.com/effluence http://soundcloud.com/effluence-1
Support Our Feature Talent by donating to their Tip Jar: https://tips.pinecast.com/jar/our-feature-talent
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This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-46397e for 40% off for 4 months, and support Our Feature Talent.
# About The Talent
Edgar Allan Poe (/poʊ/; born Edgar Poe; January 19, 1809 – October 7, 1849) was an American writer, editor, and literary critic. Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre. He is widely regarded as a central figure of Romanticism in the United States and of American literature as a whole, and he was one of the country's earliest practitioners of the short story. He is generally considered the inventor of the detective fiction genre and is further credited with contributing to the emerging genre of science fiction. He was the first well-known American writer to earn a living through writing alone, resulting in a financially difficult life and career.
Support Our Feature Talent by donating to their Tip Jar: https://tips.pinecast.com/jar/our-feature-talent
Find out more at https://our-feature-talent.pinecast.co
This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-46397e for 40% off for 4 months, and support Our Feature Talent.
"The War of the Worlds" is an episode of the American radio drama anthology series The Mercury Theatre on the Air directed and narrated by actor and future filmmaker Orson Welles as an adaptation of H. G. Wells's novel The War of the Worlds (1898). It was performed and broadcast live as a Halloween episode at 8 p.m. on Sunday, October 30, 1938, over the Columbia Broadcasting System radio network. The episode became famous for allegedly causing panic among its listening audience, though the scale of that panic is disputed, as the program had relatively few listeners.[2]
The one-hour program began with the theme music for the Mercury Theatre on the Air and an announcement that the evening's show was an adaptation of The War of the Worlds. Orson Welles then read a prologue which was closely based on the opening of H.G. Wells' novel but modified to place the story's setting in 1939. For about the next twenty minutes, the broadcast was presented as a typical evening of radio programming being interrupted by a series of news bulletins. The first few bulletins cut into a program of dance music and describe a series of odd explosions observed on Mars. This is followed by a seemingly unrelated report of an unusual object falling on a farm in Grover's Mill, New Jersey. Another brief musical interlude is interrupted by a live report from Grover's Mill, where police officials and a crowd of curious onlookers have surrounded the strange cylindrical object which has fallen from the sky. The situation quickly escalates when Martians emerge from the cylinder and attack using a heat-ray, abruptly cutting off the shouting of the panicked reporter at the scene. This is followed by a rapid series of increasingly alarming news updates detailing a devastating alien invasion taking place around the world and the futile efforts of the U.S. military to stop it. The first portion of the show climaxes with another live report describing giant Martian war machines releasing clouds of poisonous smoke across New York City, after which the program took its first break. During the second portion of the show, the style shifts to a more conventional radio drama format and follows a survivor dealing with the aftermath of the invasion and the ongoing Martian occupation of Earth. As in the original novel, the story ends with the discovery that the Martians have been defeated by microbes rather than by humans.
Welles's' "War of the Worlds" broadcast has become famous for supposedly tricking some of its listeners into believing that a Martian invasion was actually taking place due to the "breaking news" style of storytelling employed in the first half of the show. The illusion of realism was furthered because the Mercury Theatre on the Air was a sustaining show without commercial interruptions, and the first break in the program came almost 30 minutes after the introduction. Popular legend holds that some of the radio audience may have been listening to The Chase and Sanborn Hour with Edgar Bergen and tuned in to "The War of the Worlds" during a musical interlude, thereby missing the clear introduction indicating that the show was a drama; however, contemporary research suggests that this happened only in rare instances.[3]:67–69
In the days after the adaptation, widespread outrage was expressed in the media. The program's news-bulletin format was described as deceptive by some newspapers and public figures, leading to an outcry against the broadcasters and calls for regulation by the Federal Communications Commission.[2] Nevertheless, the episode secured Welles's fame as a dramatist.
Support Our Feature Talent by donating to their Tip Jar: https://tips.pinecast.com/jar/our-feature-talent
Find out more at https://our-feature-talent.pinecast.co
This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-46397e for 40% off for 4 months, and support Our Feature Talent.
# About The Talent
Bronx, New York native, Roya Marsh, is a nationally ranked poet/performer/educator/activist. She is the Poet in Residence with Urban Word NYC and works feverishly toward LGBTQIA justice and dismantling white supremacy.
Roya’s work has been featured in Poetry Magazine, Flypaper Magazine, Frontier Poetry, Nylon Magazine, the Village Voice, Huffington Post, Blavity, The Root, Button Poetry, Def Jam’s All Def Digital, Lexus Verses and Flow, NBC, BET and the Breakbeat Poets Black Girl Magic Anthology (Haymarket 2018).
Support Our Feature Talent by donating to their Tip Jar: https://tips.pinecast.com/jar/our-feature-talent
Find out more at https://our-feature-talent.pinecast.co
This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-46397e for 40% off for 4 months, and support Our Feature Talent.
The podcast currently has 19 episodes available.