KAREN LEE Beat by Beat | In with the New The Female Voice as Resistance Lillian Allen on Vocalized Emotion WENDALYN BARTLEY The year 2017 was one in which women broke barriers in speaking up against abuse, particularly within the powerful corridors of the entertainment industry, political institutions and the media. Time magazine honoured this historical breakthrough by naming their Person of the Year for these women who dared to speak up, calling them “The Silence Breakers.” Yoko Ono Revisited In the autumn of 1961, Yoko Ono created her Voice Piece for Soprano, a conceptual score with instructions to “Scream 1. against the wind; 2. against the wall; 3. against the sky.” In the late 50s, Ono was part of a constellation of creative people connected to composer John Cage, and began experimenting with what she called “instruction works,” meaning “paintings to be constructed in your head.” Her Voice Piece for Soprano was one of these works, and was published a few years later in 1964 as part of her book Grapefruit. She speaks of this work as giving her an opportunity to express her rebelliousness as a woman and the need to scream against certain situations in life. She also saw it as an act of resistance, stating in a 2015 interview connected to a performance of her Voice Piece, that if women don’t express their emotions, they can become ill. This coming February23, in a co-presentation between the Music Gallery and the Gardiner Museum, Ono’s Voice Piece for Soprano will be explored by three local artists who have been invited to respond to Ono’s instructions for screaming. These performers include Lillian Allen, a pioneering voice of dub poetry in Canada; the Element Choir, an improvising choir directed by Christine Duncan; and Mamalia, the former lead singer of the JUNO-nominated contemporary jazz troupe Sekoya. The concert, titled “Voice Pieces,” is being held as a companion event for the Gardiner Museum’s exhibition Yoko Ono: THE RIVERBED, running from February23 to June 3. Ono’s resistance piece remains as timely now as when first created, since the need for women to speak out with force against how they have been treated within patriarchal institutions has reached a tipping point. However, I’m certain that Ms. Ono would not concur with the descriptive phrase used in the Music Gallery’s press release, describing this voice as the “out of control female voice pushed to its supposed limits,” nor with using the word “hysterical” to describe the type of voice that engages in therapeutic screaming. It’s time to reframe how we think of the female voice, long held in contempt, mistrust and Lillian Allen, October 7, 2016 suspicion from the days of early Christianity up to the present. Lillian Allen I approached Allen to speak about her work as a leader in spoken word and dub poetry, her understanding of the voice, and of her plans for the Voice Pieces concert at the Gardiner Museum. Back in 1988, I had interviewed Allen for Musicworks magazine, and so I began with asking her how she would describe the evolution of her career over these past 30 years. She described her work as “helping to innovate, motivate and originate the form of spoken word which has become so important in the worlds of hip-hop and rap. “I went out into the culture, combining words, music and experimentation and this influence can be traced in the work of many people, including Canadian rappers Saukrates and Drake. This hidden influence has given me great satisfaction. As Leonard Cohen says in his song: ‘There’s a crack in everything, that’s how the light gets in.’ I helped to make a crack in a few things. I could have gone the pop commercial route myself, but I stayed with my own work of writing, performing and touring, and also went into teaching at OCAD, which gives me an opportunity to be out there and to give back. I’m still involved in initiating and supporting groups, individuals, and the whole movement of putting voices out in the world.” Allen continues to be both excited and challenged by her work. In 2012 she released her album Anxiety, created through a process of working in her living room with various audio devices to create layerings and sonic manipulations of her voice. She explored pre-language sounds and misconfigurations of the voice while also staying close to language in order to bring out a narrative message. She did it for the love of exploration, and not with any preconceived ideas of whether it would become a product or if it would sell. “I was just grooving with it, listening to it, having a conversation with it, and being there with the totality of it.” Her approach was to simply “work and experiment, and out of that I could then pull something.” On Voice We then turned to speaking about the voice and I asked her to comment on the voice itself and her relationship to her own voice. “Voice is the thing that gives you motion, gives you vibrational motion. It is vocalized emotion that makes you larger than whatever moment you are in, both in sound and in what you have to say. There is a time to be still, and the inner voice is there. But the voice itself is so full of life, it’s almost a symbol for life and growth. It is that channel inside the unknown, it gets into things we don’t know we know, or that we know but forget. It’s like a path in a forest that you either cut or make. In your psyche, the voice makes that path for you, and you can journey with it, see things and go into imaginary places. It’s the power of YOU, its part of your heartbeat, it’s the power of your lungs, your muscles, it’s not just your fingers on a keyboard. You connect with it, it’s floating in and out of you. “The physical resonance of the voice is something I love. The resonating voice is almost like beings existing, as if you are creating beings and they are existing in each note, in each sound. You can feel that vibration in the room, in your body. It’s a beautiful thing, 18 | February2018 thewholenote.com
and is the reason I love performing and being out there. It creates real magic. Everybody connects to sound. They might not connect to a phrase or image in the English language, but they’ll connect to sound. That was so evident when I did a tour in the UK and France with my CD Anxiety. People connected to the sound – it needed no interpretation.” She then spoke about the fears people have around the voice. “I do find that people are scared of sound, scared of hearing their voices, scared of messing with language. They need permission. I find adults to be more like this. They feel confronted because they wonder – what does this new territory mean, where will it take me? But once they get into it, once they’re in the water and the waves are there, they can’t help but smile and be happy.” We spoke about Yoko Ono’s Voice Piece for Soprano, the scream, and so-called uncontrolled sound. “This is an artist construction, highly crafted, highly controlled. There’s a sophisticated thought process in even arriving at that concept, it’s a breakthrough. Then to shape it, to rehearse it at different levels – in your mind, on a mic, in a room – you want to know what the impact is, you want your artistic vision to land in a certain way. Women have always gone outside the strictures of language and the hierarchy of various language forms to express themselves. Maybe that’s where the original scream comes from. Do not control, do not get us to conform to your realities and your knowledge that shapes that reality. We know that more exists and that the emotive parts of our existence are essential and important to our lives. We know it’s important to create and communicate something more meaningful and textured that people can connect to.” Allen is still reflecting on the nature of her contribution to the Voice Pieces concert but plans to include some pieces from her Anxiety album. She will also likely bring in either students or young people from the community to join her, something she now does regularly when performing. She also envisions layering and texturing the sounds, pushing the sound and the conversation into different aspects. “Right now as I prepare, I’m listening and working with my concept, bringing in materials from my own experience as well as researching history.” I may place the students in the space to echo or reverb what I’m producing, and the performance could also include creating a sound improvisation with the audience.” I expect that this event will be another important moment in the reclamation of the female voice. All three invited artists will add their own unique perspective on the power of vocal expression, and in particular, “the scream.” Not So New Creations Other upcoming events include the Toronto Symphony’s New Creations Festival, running this year from March 3 to 10. In a departure from previous years, there will be no featured guest composer or curator. Instead the programming will feature three concerts of TSO music director Peter Oundjian’s personal favourites as a way of celebrating his 14th and final season as music director, which has included the successful New Creations John Adams Festival. We will hear works by Vivian Fung, Larry Alan Smith, Daníel Bjarnason (March 3); Wolfgang Rihm, James MacMillan and the festival composer competition winner (March 7); and Esa-Pekka Salonen, Gary Kulesha and John Adams (March 10). Last year’s festival curated by indie musician Owen Pallett highlighted a diverse array of composers and performers, attempting to address issues of race and gender inclusion. Alas, I note that it appears this initiative was not continued in this year’s offerings. Wendalyn Bartley is a Toronto-based composer and electro-vocal sound artist. sounddreaming@gmail.com. YORK UNIVERSITY Department of Music UPCOMING EVENTS Faculty Spotlight Series: Global Sirens Christina Petrowska Quilico, piano Thursday, Feb. 8, 12:30 p.m. - FREE Tribute Communities Recital Hall llllllllllllllllllllllllllllllllllllll Faculty Concert Series: Catherine Robbin and Friends Thursday, March 1, 7:30 p.m. Catherine Robbin, mezzo-soprano Tribute Communities Recital Hall York University Chamber Choir Mozart Requiem Saturday, March 3, 7:30 p.m. Church of the Redeemer | 162 Bloor St. West York University World Music Festival March 15 -16: Free York University Concert & Chamber Choirs Haydn: The Creation Sunday, March 18, 7:30 p.m. Grace Church on-the-Hill | 300 Lonsdale Rd. York University Jazz Festival March 19 - 22: Free York University Symphony Orchestra Thursday, March 29, 7:30 p.m. Tribute Communities Recital Hall York University Gospel Choir April 6 & April 7, 7:30 p.m. Sandra Faire and Ivan Fecan Theatre York University Wind Symphony with special guests TorQ Percussion Quartet Sunday, April 8, 3:00 p.m. Tribute Communities Recital Hall BOX OFFICE | 416.736.5888 ampd.yorku.ca/boxoffice For complete listings visit music.ampd.yorku.ca thewholenote.com February2018 | 19
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
