Category: ksplfsam

  • Antarctic Peninsula continental magnesian andesites: indicators of ridge-trench interaction during Gondwana break-up

    first_imgSubduction of young, hot oceanic lithosphere and a major episode of lithospheric extension have been considered as key tectonomagmatic factors in the genesis of ‘Setouchi-type’ continental magnesian andesites. We present data on a new discovery of such andesites from the northern part of the Antarctic Peninsula and propose that subduction of newly created oceanic lithosphere occurred along the proto-Pacific margin of Antarctica during the Middle Jurassic. Continental magnesian andesite magmatism was contemporaneous with the early stages of Gondwana break-up and we suggest that subduction of young, hot oceanic lithosphere and ridge-trench interaction may have contributed to the disintegration of Gondwana by thermally weakening the lithosphere and developing a broad, linear extensional zone along the proto-Pacific margin.last_img read more

  • An analysis of temporal variability in abundance, diversity and growth rates within the coastal ichthyoplankton assemblage of South Georgia (sub-Antarctic)

    first_imgThe study of spatial and temporal distribution and diversity of ichthyoplankton (fish eggs and larvae) can provide fisheries-independent information on the population dynamics and recruitment processes of marine fish species. Ichthyoplankton studies in the Southern Ocean have to date been largely constrained to the summer months. We analysed ichthyoplankton data collected from a year round, long term (2002–2008), plankton trawl sampling programme in a large fjord system (Cumberland Bay) at South Georgia, sub-Antarctic (54.25°S, 36.5°W) to assess temporal changes in larval fish diversity and abundance. Larvae of 22 species, representing nine families, were identified although three, Krefftichthys anderssoni (Myctophidae), Lepidonotothen nudifrons/Trematomus hansoni (Nototheniidae) and Champsocephalus gunnari (Channichthyidae), dominated abundance in all years. Significant seasonal and interannual differences in the larval fish assemblage were revealed by multivariate analyses. Estimates of larval growth are provided for five abundant species. Considerable inter-specific differences in relative larval growth rate were recorded but interannual variability within species was small. However, in the commercially important C. gunnari, multiple larval cohorts, representing a protracted spawning season, were observed to grow at different rates, and this may be related to temperature and/or food availability. A comparison with historical growth data from South Georgia suggests there has been little change in growth rate for the main species over the last three decades.last_img read more

  • Allen Iverson reportedly has half million dollars of jewelry stolen from hotel

    first_img Written by Beau Lund FacebookTwitterLinkedInEmailPhil Ellsworth / ESPN Images(PHILADELPHIA) — Former Philadelphia 76ers superstar Allen Iverson has reportedly had an estimated half a million dollars of jewelry belonging to him stolen from a Philadelphia hotel.The incident occurred on Monday at approximately 10:30 a.m. at the Sofitel Hotel in downtown Philadelphia, according to ABC News’ Philadelphia station WPVI-TV.Sources confirmed to WPVI that the suspect removed an estimated $500,000 worth of jewelry from a backpack belonging to Iverson before making his escape.Iverson was not present at the time of the theft.The suspect has been described by authorities as a 20-year-old man who is about six feet tall with a slim build. He was last seen wearing a red shirt with dark pants and black and white sneakers with a dark-colored jacket.Iverson, 44, was inducted into the NBA Hall of Fame in 2016 after a 14-year career playing for the Philadelphia 76ers, Denver Nuggets and Memphis Grizzlies. He won the 2001 NBA MVP award, was an 11-time All Star and also won Rookie of the Year honors in 1997.ABC News has reached out to the Philadelphia Police Department for comment and there was no immediate response. Copyright © 2020, ABC Audio. All rights reserved.center_img January 28, 2020 /Sports News – National Allen Iverson reportedly has half million dollars of jewelry stolen from hotellast_img read more

  • CNO, MCPON Hold US Navy Birthday All Hands Call

    first_img View post tag: Navy View post tag: americas Authorities Share this article Back to overview,Home naval-today CNO, MCPON Hold US Navy Birthday All Hands Call View post tag: All Hands Call View post tag: News by topic View post tag: Birthday View post tag: Navalcenter_img View post tag: hold View post tag: US Navy View post tag: MCPON The US Navy’s Chief of Naval Operations (CNO) and Master Chief Petty Officer of the Navy (MCPON) will hold a worldwide Navy birthday All Hands Call Oct. 7 at 1 p.m. EST from the Defense Media Activity at Ft. Meade, Maryland.The all hands call will be televised on Direct-To-Sailor (DTS) and will be streamed live online the US Navy’s website and the Navy Live blog.The two top Navy leaders will speak to Sailors from units stationed across the world. Following the remarks, CNO and MCPON will answer previously submitted questions from the fleet and also field questions live from Sailors worldwide.[mappress mapid=”13927″]Press Release, October 02, 2014; Image: US Navy CNO, MCPON Hold US Navy Birthday All Hands Call View post tag: CNO October 2, 2014last_img read more

  • KBR secures $92.6M contract to reinforce US Navy’s C-UAS

    first_imgThe US Department of Defense (DoD) uses these C-UAS to strengthen homeland security and address potential threats in the U.S. and abroad. The systems can scan the skies for enemy aircraft and take appropriate action to deny airspace access. The cost-plus-fixed-fee, indefinite-delivery/indefinite-quantity (IDIQ) contract is for a period of five years. Photo: Pixabay View post tag: US Navy  “Our work through this new win will have wide-reaching impacts within the DoD and international allied community,” Byron Bright, KBR Government Solutions President, said. View post tag: NAWCAD View post tag: counter unmanned air systems “We are excited to join NAWCAD as it advances C-UAS technology and, ultimately, strengthens national security and protects our armed forces around the globe.”center_img KBR’s specific tasks will include the integration and installation of systems; the characterization of system and sub-system components; development of training curriculum and materials, as well as delivery of formal training programs; supply system management and material control; testing and repair of C-UAS; and laboratory maintenance and quality assurance. View post tag: KBR KBR’s services supporting NAWCAD will also benefit programs sponsored by the Naval Air Systems Command; Naval Sea Systems Command; Naval Inventory Control Point – Mechanicsburg; U.S. Coast Guard; commercial and Foreign Military Sales customers; and other DoD and government entities. KBR has won a $92.6 million contract to perform engineering, integration and sustainment services on counter unmanned air systems (C-UAS) for the Combat Integration & Identification Systems unit within the U.S. Naval Air Warfare Center Aircraft Division (NAWCAD). As informed, KBR will provide its expertise to various navy identification and data link systems, which include the Negation of Improvised Non-State Joint Aerial-Threats (NINJA) system; Counter-Remote Control Model Aircraft Integrated Air Defense Network (CORIAN) system; SkyTracker UAS detection and tracking suite; Light Marine Air Defense Integrated System (LMADIS); Marine Air Defense Integrated System (MADIS); and ANDURIL artificial intelligence platforms. Share this articlelast_img read more

  • Governors Ball Organizers Launch New Fall Festival In NYC

    first_imgFrom the organizers of Governors Ball comes a brand new festival event called The Meadows Music & Arts Festival. Scheduled for October 1-2 at Citi Field, The Meadows (a play on the Flushing Meadows neighborhood) will welcome a number of top-notch performing artists, including headliners Kanye West, The Weeknd, Chance the Rapper and Kygo. The full lineup includes sets from Charles Bradley & His Extraordinaires, The 1975, Bryson Tiller, Grimes, Empire of the Sun, Chromeo, Damian “Jr. Gong” Marley, Mac Miller, Cage the Elephant, Zhu, Kamasi Washington and so many more.General Admission tickets start at $230 with presale tickets going on-sale tomorrow morning at 11am for Founders Club members. Public on-sale will begin on Thursday at 11am.Scope the full lineup below and head here for more information.last_img read more

  • Vulfpeck Brings “Centering Fugue” Back To Life, Releases New Video About Minimalist Funk

    first_imgVulfpeck is a band of no rules. Famous for their Internet banter, off-the-wall videos, and minimalist funk arrangements, Vulfpeck maintains their “low volume” status with every piece of work they release. After a relatively long stretch (by their own measures) of content silence, Vulfpeck returned over the weekend with two new videos, “Centering Fugue” and “HOLY TRINITIES /// Minimalist Funk Arrangers.”Vulfpeck’s first viral success came from their Sleepify efforts in 2014, when the band told their fans to play the silent album via Spotify on repeat while sleeping so the band could earn enough royalty money to fund a mini-tour. In 2016, Vulfpeck introduced Flow State as a new plan to get fans paid for attending their shows. With the release of Flow State, which the band noted was the resonant frequency of planet Earth, fans were compensated for streaming the track and attending a show in Chicago. Coupled with this unique release was “Centering Fugue,” a less-talked-about track that also has mysterious powers over the human mind. The Flow State album was taken down several months later with no explanation. Over the weekend, “Centering Fugue” returned to all streaming services and with its own Vulf-y video. Check it out:In another new video, presented by Goodhertz, bandleader Jack Stratton details the holy trinities of minimal funk arrangers with a lesson on Alfonso “Fonce” Mizell, who penned the bass melody of “I Want You Back;” Wardell Quezergue aka the “Creole Beethoven,” who wrote “Mr. Big Stuff;” and Reinhold Mack who invented the bass line of “Another One Bites The Dust.” Jack Stratton then announces himself as the first-ever 4th member of the Trinity, and Rick Rubin as the honorable mention. Enjoy:Vulfpeck has a few dates left in the U.S. before they head over to Europe for an impressive number of sold-out shows. Check out the band’s website for more information.last_img read more

  • Dead & Company Summer Tour 2018: Setlist Stats, Trends, & Predictions

    first_imgWhen Dead & Company commenced their rehearsals for their upcoming 24-date summer tour a few weeks ago, it started a flurry of customary hopes and speculation for the band’s upcoming summer tour, which kicks off on May 30th. Primarily, fans are eager to discuss what the setlists might look like and what songs might be played or debuted by the Grateful Dead spinoff act featuring John Mayer, Oteil Burbridge, and Jeff Chimenti along with former Grateful Dead members, Mickey Hart, Bill Kreutzmann, and Bob Weir.And in 2018, even band members are getting in on the act, with Mickey taking to Instagram to ask his followers what songs people want to hear, while a rehearsal photo of Oteil playing while seated, reading charts on a music stand, spurred speculation as to which song might have been the object of his efforts.Given that Dead & Company are now in their fourth year and have a solid body of 83 shows to their name, it’s worth taking a bird’s eye view of the band’s setlists to date, while also looking forward to what might be in store this summer. And because Dead & Company are a Grateful Dead spinoff band, all comparisons are to the known setlists of the Grateful Dead’s 2,314 shows from 1965 to 1995, with Deadbase 50 (2015; Nixon, Dolgushkin, & Scott) serving as the source.Dead & Company are paying close attention to what songs they are playing, and when.Even a cursory glance over the Dead & Company (hereafter D&C) setlists reveals that someone is taking care to see which songs in their repertoire have been played recently and which ones have gone at least five shows without an appearance. Even more importantly, the second set of every D&C show contains multiple “heavy-hitters”—i.e., obvious fan favorites that frequently and not coincidentally offer space for wide-open improvisation—woven together, and sometimes even first sets have featured multiple heavy-hitters as well.Shows continue to be long affairs with little wasted time onstage.Unlike the final years of the Grateful Dead—where first sets were sometimes reduced to six or seven songs lasting 45 minutes, and second sets were sometimes padded out to 90 minutes via extended drums-and-space sequences—Dead & Company shows are being played by a bunch of guys who are clearly having a great time, are listening closely to each other, and, well, don’t really seem to have anywhere to be after the show. First sets generally run for a bare minimum of an hour and usually clock in between 70 and 75 minutes, but in one case (Pittsburgh ’16), the first set actually ran over 90 minutes. Meanwhile, second sets routinely last 90 to 110 minutes, even with the space segment shortened to less than five minutes on many nights. And on top of that, they’re not spending three to five minutes between songs, tuning up or deciding what to play either.The most popular numbers in the Grateful Dead catalog are getting the most D&C action.After 83 shows, nearly all of the songs in heaviest rotation at Dead & Company gigs are the ones that were far and away the most popular songs from the Grateful Dead (hereafter GD) live repertoire. Unsurprisingly, each of them have built-in jamming mechanisms and usually appear in second sets: “China Cat Sunflower > I Know You Rider” (25), “Playing In The Band” (23), “Scarlet Begonias” (22), “Fire On The Mountain” (23), “Shakedown Street” (22), “Deal” (22), “Dark Star” (21), “Help On The Way > Slipknot” (21), “Franklin’s Tower” (21), “Eyes Of The World” (21), “Estimated Prophet” (20), and “The Other One” (20). Anyone complaining about “too many” versions of these songs in D&C shows is generally going to be seen as one who doth protest too much, and as the semi-famous philosopher Dean Sotille once wrote, “’Not another “Scarlet>Fire!”,’ said no one ever!”Also, getting frequent first-set plays are “Cold, Rain & Snow”(23), “Brown-Eyed Women” (22), “Casey Jones” (22), “Bertha” (21), “Cassidy” (19), “Jack Straw” (21), and “Sugaree” (20)—all of which are time-tested, audience-approved GD classics. Among these songs, only “Cold, Rain & Snow” is not a GD original, but their arrangement is a far cry from its original incarnation as an Appalachian murder ballad.Conversely, many songs that were in heavy GD rotation are being deployed much more sporadically, with positive results.Conversely, some songs that may have suffered in popularity due to heavier rotation during the GD’s career are now popping up a lot less often, with strong results. There were times where numbers like “Throwing Stones”, “Touch Of Grey”, “Hell In A Bucket”, “Samson & Delilah”, and “I Need A Miracle” were played so frequently by GD standards that they each suffered from bouts of fan fatigue (with the first three also receiving added In The Dark-related backlash). Now, these same songs turn up once every couple of weeks, greatly heightening their reception and impact. Also, Bob’s longtime “first set blues” numbers (“Minglewood Blues”, “Little Red Rooster”), “cowboy” numbers (“Me & My Uncle”, “Big River”, “El Paso”), and Bob Dylan covers (“When I Paint My Masterpiece”, “Queen Jane Approximately”, “Desolation Row”), all once a near-certainty in any GD first set, are now each turning up every eight to ten shows or less.Setlists are drawing predominantly from the Garcia/Hunter section of the GD catalog, and there have been no D&C original songs introduced to the repertoire. Yet.Of the 50 most played songs in the Dead & Company repertoire, 34 were co-written by GD lead guitarist Jerry Garcia and his lyricist Robert Hunter, 11 were co-written by Bob Weir and his longtime lyricist John Barlow, and four are covers that were longtime staples in the GD repertoire. “Hey, that’s only 49,” you say. You’re right. “Truckin’” is in a category by itself, as its the only song in the GD catalog co-written by Garcia, Weir, and GD bassist Phil Lesh, along with Hunter.A factor playing no small role in this in this is that Bob, John Mayer, and Oteil are all singing lead vocals on various Garcia/Hunter songs. The old “Jerry sings one / Bobby sings one” pattern is long gone, as are the days of newer original GD songs being heavily deployed in their first year. A few examples of this across GD eras: “Samson & Delilah” was played at 39 of 41 shows in 1976, “Althea” was played at 59 of 86 shows in 1980, “Brother Esau” was played at 34 of 66 shows in 1983, and “Way To Go Home” was played at 22 of 55 shows in 1992. While Bob has stated in interviews that there are currently no plans to record any new D&C material, the introduction of an original song or two into the live shows should not be ruled out.D&C are mostly avoiding GD songs that were not written by Garcia/Hunter or Weir/Barlow.Aside from three versions each of “Box Of Rain” and “Passenger” in 2016 and one performance of the latter in 2017, Dead & Company have not played songs penned by GD bassist Phil Lesh. The “holy grail” known as “Unbroken Chain” still remains on the shelf, along with late-era songs “Wave To The Wind,” “Childhood’s End”, and “If The Shoe Fits”. D&C also have yet to perform any song written or co-written by a GD keyboard player who sang its lead vocal, with some of the more likely candidates in parentheses: Pigpen (“Alligator”, “Caution”, “Mr. Charlie”, “Operator”), Keith Godchaux (“Let Me Sing Your Blues Away”), Brent Mydland (“Blow Away”, “Easy To Love You”, “We Can Run”, “Tons Of Steel”, “I Will Take You Home”) and Vince Welnick (“Way To Go Home”, “Samba In The Rain”).They’ve also avoided the cover songs on which Mydland and Welnick sang lead vocals (“Gimme Some Lovin’”, “Hey Pocky Way”, “Tomorrow Never Knows”, “It’s All Too Much”). And even when former GD vocalist Donna Jean Godchaux-MacKay joined D&C for six shows in the summer of 2016, they did not take the opportunity to dust off either of the GD songs she wrote and sang while she was in the band (“Sunrise”, “From The Heart Of Me”).Lead vocal duties are being spread around a bit more.Another promising trend is Oteil handling lead vocals on a few of the Garcia/Hunter songs, usually the most delicate ballads (“China Doll”, “Comes A Time”, “If I Had The World To Give”, “Ship Of Fools”), but he’s also gotten one of the big rockers in “Fire On The Mountain” and gets a verse in covers, “Goin’ Down The Road Feelin’ Bad” and “The Weight”, too. But for the time being, Bob still handles the vocals on the biggest Garcia ballads (“Stella Blue”, “Peter”, “Days Between”, “Wharf Rat”, and “Morning Dew”, which is a cover).Given this trend, there are several other Garcia/Hunter songs from all GD eras hiding in the weeds that could be revived through Oteil’s vocals, such as “Mountains Of The Moon”, “Lazy River Road”, “Mission In The Rain”, or “To Lay Me Down”. And while keyboardist Jeff Chimenti has yet to sing lead vocals on an entire song, he has also sung a verse of “The Weight” to a great reception each time, so that’s also something to watch.D&C also pull from their jazz collections on hot nights, but so far, only one song has come from band members’ solo material.On some of Dead & Company’s hotter nights, they’ve exited the space segment of the show by transitioning into a few minutes of a jazz standard to great effect each time: Miles Davis’ “Milestones” (Atlanta and Boston, both in ’17), John Coltrane’s “A Love Supreme” (New York, Fall ’17), and the GD’s “Spanish Jam”, which was based on Miles Davis’ “Solea” (Hartford, Fall ’17).But aside from Bob Weir dipping into the Ratdog catalog for two performances of “Even So” in 2016 to memorialize bassist and longtime Weir collaborator Rob Wasserman’s passing, D&C has not performed any songs written or performed by Bob, John, Oteil, or Jeff from their previous or current bands. However, Bob’s Blue Mountain LP from 2016 could still become a source of new D&C songs, and since John Mayer is currently working on his new album for a 2019 release, depending on the album’s style, potentially material being developed for that LP could turn up in a Dead & Company show this summer.There were seven breakouts during the Fall 2017 tour, some of which were very unexpected.One positive development during the last full tour in November 2017 was the introduction of no fewer than seven new songs into the repertoire over 13 shows. After dropping “Greatest Story Ever Told” and “Beat It On Down The Line” on opening night (New York), five more songs made their debuts over the space of the tour: “Deep Elem Blues” (Detroit), “The Weight” (Atlanta), “If I Had The World To Give” (Columbus), and the first “controversial” songs from the GD repertoire: “Corrina” (Boston) and “Easy Answers” (Dallas). Could these latter songs be precursors for the D&C debuts for “Picasso Moon”, “Victim Or The Crime”, or even… “Day Job” (gasp)? Only Bob knows for sure, and you know he ain’t tellin’.What’s next? The 22 Enigma, or at least some educated guesses. Which songs from the Grateful Dead repertoire could make their Dead & Company debuts this summer? After a careful look through Deadbase 50 and weighing a variety of factors, this reporter has compiled a list of 22 songs with a higher probability of a D&C debut this summer and predicts that four to six of them will receive their debuts between the shows in Mansfield on May 30th and Boulder on July 14th: AlligatorBorn Cross-EyedBrother EsauCaution: Do Not Stop On TracksDeath Don’t Have No MercyDupree’s Diamond BluesEternityFoolish HeartGloriaIt Hurts Me TooLazy Lightning > SupplicationMight As WellMission In The RainNew Potato CabooseOn The Road AgainPicasso MoonRevolutionRuben and CeriseSatisfactionThe ElevenTo Lay Me DownWeather Report SuiteView All Dead & Company Summer 2018 Debut PredictionsSafe travels! See you out there.last_img read more

  • Wu-Tang Clan To Release EP Inspired By Showtime Documentary Series ‘Of Mics And Men’

    first_imgWu-Tang Clan will release their first studio release since 2017’s The Saga Continues when a new EP arrives this Friday, May 17th.The album, to be titled Of Mics And Men, was directly inspired by the new Showtime documentary series by the same name which chronicles the New York City hip-hop group’s rise to prominence. The album’s arrival date will coincide with the airing of the series’ second episode on Friday.Related: Wu-Tang Clan Celebrates 25 Years Of ’36 Chambers’ With ‘Tiny Desk Concert’“You’ve seen episode 1/ Wu documentary by now (and if you haven’t, what were you doing last weekend),” the band shared to their Twitter early Tuesday afternoon. “Now listen to the music inspired by the series. On Friday, we’re coming with a new Wu-Tang EP from [36 Chambers] and Mass Appeal, so let your boss know you’ll be in late to work.”The album will feature a total of seven recordings with both solo and collaborative tracks from Ghostface Killah, RZA, Nas, Cheo Hodari Coker, GZA, Masta Killa, Raekwon, Harley, and Cappadonna. The album was reportedly executive produced by Mitchell Diggs and Mustafa Shaikh.The series’ premiere on Showtime last week arrived as the band continued to perform in Europe on the international leg of their 2019 tour celebrating the 25th anniversary of their debut album, Enter the Wu-Tang (36 Chambers). The group will return to this side of the pond to begin the North American leg of the tour on May 31st in Sterling Heights, MI.Wu-Tang was also recently recognized by their native New York City borough of Staten Island when their former stomping grounds were officially re-christened the “Wu-Tang Clan District.”For a full list of Wu-Tang Clan’s upcoming tour dates and information on ticketing, head to their website here.Wu-Tang: Of Mics and Men Soundtrack Tracklisting:1. “On That Sht Again” (Ghostface Killah / RZA)2. “Seen a Lot of Things” (Ghostface Killah / Raekwon / Harley)3. “Project Kids (Skit)” (Nas)4. “Do the Same as My Brother Do” (RZA)5. “Yo, Is You Cheo? (Skit)” (Cheo Hodari Coker)6. “Of Mics and Men” (RZA / Masta Killa / Cappadonna)7. “One Rhyme (Skit)” (GZA / Masta Killa)last_img read more

  • Leading the fight for food justice

    first_img“We always begin by thanking our ancestors,” said Leah Penniman, a Black Kreyol farmer and food justice activist, at the start of her Sept. 17 talk, “Farming While Black: African Diasporic Wisdom for Farming and Food Justice,” at Harvard Divinity School’s Center for the Study of World Religions.Penniman called into the room the memory of her grandma’s grandma’s grandma, who, prior to being kidnapped from her home in West Africa, “made this really audacious and courageous decision to gather up the okra, the millet, the black rice, the molokhia, the sorghum and braid it into her hair.”“They knew that wherever they were going,” Penniman explained, “they believed there would be a future of tilling and reaping on the soil, and there would be some seed we all needed to inherit. That’s what our grandmothers did for us.”The questions of “how we got to the food system we have today” and how to reconnect communities to the lands they have fled or been expelled from are urgent for Penniman. But even as many young people of color seek to get back to farming — the “returning generation,” she calls them — barriers to agricultural education and disparities in ownership of farmland in the United States are as stark as ever.Penniman, who has farmed since 1996, is the 2019 winner of the James Beard Foundation Leadership Award. She co-founded Soul Fire Farm in Grafton, N.Y., and in 2018 published “Farming While Black,” a practical and political how-to guide for aspiring African-heritage growers to reclaim their inheritance as agriculturalists.Penniman traced duel threads in the history of America’s food system: stolen land, both from indigenous people and from black farmers, and stolen labor in the form of slavery and sharecropping.The roadblocks black farmers faced to building intergenerational wealth — like being denied loans in the era of redlining and terror campaigns that drove black families from farms they owned in the South — added up, she said.“There’s some folks of every generation who remembered there’s some seeds left in their hair from their ancestors,” she said, and it is those same folks who pick up and continue the lineage of the black and indigenous land sovereignty movement.Soul Fire Farm has trained people of color in the Afro-Indigenous technologies of regenerative farming, the ways of working the land that are now the go-to methods of sustainable and organic agriculture.Central to her work is integrating the scientific and spiritual dimensions of farming.When they plant seeds at Soul Fire Farm, she said, they dance “to give thanks for the soil and pray for the rain, to sing our ancestors’ songs and feel our ancestors’ movements in our bodies. That’s real, real important because the Earth actually is alive.“The fact is, the land has always had our back,” said Penniman, a Manye, or queen mother, in the Vodun tradition. “When we fled to Pittsburgh and Boston … we left a whole piece of ourselves back there in that soil and I think our generation is realizing there’s something to go pick up to feel whole. Our people are yearning.”Harvard Divinity School professor and Center for the Study of World Religions director Charles M. Stang said Penniman’s work lies at the crossroads of two of the Center’s programming missions. It illuminates the ways religious and racial hierarchies have “wrought great injustice in this world” while also looking “for resources for our ecological imagination in the so-called non-human, or perhaps better, more-than-human world, beings with whom we share this fragile Earth.”last_img read more