[Burke]: 我需要我的眼镜，我会马上回来。
[Carter]: 晚上好，朋友和邻居。 我的名字叫特里·E·科特（Terry E. 欢迎使用第一个星期五的文字和音乐的另一个现场版，或者在我们不在第一个星期五时我们称之为flex星期五的文字和音乐。 我们很高兴能够跟踪一个伟大的黑人历史月计划，并提供另一项特殊产品，以庆祝美国的妇女历史。 多亏了马萨诸塞州文化委员会成员梅德福艺术委员会的慷慨赠款，我们准备在阿灵顿街111号再次滚动。 与往常一样，我想提醒您，Covid仍然是一回事，我们仍在努力注意当地的健康需求和疑虑。 因此欢迎掩盖，但不需要。 我们很高兴能在WMCC赞助现场节目，并很高兴看到我们的邻居，我们的朋友和支持者穿过大门。 非常感谢您在这里。 还要感谢凯文·哈灵顿（Kevin Harrington）和梅德福（Medford）社区媒体（Medford Community Media）通过梅德福社区媒体频道（Medford Community Media Channels）向您播放的九个comcast和47 for verizon向您播出。 如果您在外面看电子设备，您的60英寸屏幕（无论是什么可能），欢迎来到演出。 因此，在我作为诗人和艺术大使的旅行中，我很荣幸在人类努力的广泛全景中遇到了一些伟大的老师，领导者和历史创造者。 言语和音乐给了我这个机会，将许多人引起您的注意。 今晚也不例外，所以我希望您准备好做一些特别的事情。 当晚节目的这一部分的客人是我的朋友，也是一个可以被认为是历史创造者的女人。 让我告诉你一些关于她的事情。 两位TS的Sheila E. Nutt博士是牛顿居民，也是哈佛医学院多样性，包容和社区合作伙伴办公室的教育外展计划主任。 我的妻子特雷莎（Teresa）与她合作了很多年，我们通过这种关系见面。 当我每年自愿参加一个名为“反思”的社区学生参与活动时，我们的道路定期跨越，该活动审查了内城的健康差异，并将学生召集在一起，以提高学生的代理和理解，以打击这些不平等。 该计划本身无疑可以被认为是历史的。 然而，希拉博士（Sheila）博士以最亲密和最亲切的著作，在哈佛任职期间很久以来就曾经是历史，这是她从几年前退休的任期。 因此，在1970年，希拉·纳特（Sheila Nutt）成为泛美世界航空公司（Pan American World Airways）工作的第一批非裔美国人的空姐之一。 自希拉（Sheila）帮助创造了这一历史以来，已经过去了50多年。 她是当时被召唤的非裔美国妇女聘为空姐的第一波浪潮的一部分。 半个世纪前，乘客和乘客主要是白人。 在1964年的《民权法》之后，航空公司不得不开始雇用有色人种。 1969年，当希拉博士20岁并居住在费城时，她听说潘·AM（Pan Am）正在招聘并想要进来。 让我们探索希拉（Sheila）的历史，但请确保您的托盘桌子锁定并且座椅处于直立位置。 哦，可能会有一些动荡。 因此，我在举办这些夜晚的习惯也是如此，我想分享一段经文，几年前，她在她的计划上做一些工作，涉及同事和与PNM的历史时，她与希拉博士分享了一段经文。 那诗被称为黑鸟之歌。 我们被称为黑鸟。 它有一个戒指，可以讲我们自然的女人的话。 PIN M说是，并且在巧克力鸽子接受测试时获得了最好的。 不是柳树金发或黑发。 我们黑鸟遗憾地飞了。 我们也装满了这些制服，并回答了那个崇高的空降铃。 要以尊严和区分服务，这样的服务即将接近灭绝。 在空中35,000英尺处，我们是一名超越比较的飞行人员，告诉国家我们不仅是白色。 通过工作和价值，我们都乘飞机。 乌木，棕褐色和焦糖甜，可爱的姐妹。 完整而完整。 尽管可能会发现态度，但我们使我们的传单感到安全和受人尊敬，越来越不屑一顾，努力使我们的卓越表现平淡。 只有富裕的人与我们一起飞行，而有钱人才真正大惊小怪。 我们必须从一开始就保持谦虚。 我们必须变得漂亮，足智多谋且聪明。 像护士一样，我们对患者的治疗也很好，即使是那些给我们地狱的人。 我们会做出的最小的仁慈，例如混合旅行者的冷奶昔或蓬松的野猪枕头，我们必须忍受其无知。 然而，班级和尊严统治了这一天。 那是持久的黑鸟方式。 乘坐飞机超速行驶，绕过世界，尽其所能，探索冬季和春季，夏季和秋季的异国情调港口。 在那个豪华的747上，远离天堂的耳语。 我们向白人展示了他们曾经飞过的所有飞行中的恩典。 Pan Am说，是的，让我们给他们翅膀。 我们将看到他们的颜色带来的。 只需称我们为黑鸟，听到讲述姐姐自然摇摆的戒指。 是的，叫我们黑鸟。 它有那枚戒指。 它与我们自然的女人说话。 给她一个人！ 哦，天哪！ 谢谢。 谢谢。 好的。 我只想说些什么。 潜水。
[SPEAKER_03]: 黑鸟是我于1918年成立的一群人，我们在哈佛医学院举行了一群黑鸟聚会。 我拜访了我的词匠朋友， 特里先生要带一点课，还有更多的班级参加活动，看看他是否可以为我们创作一首诗，这就是他想出的，我认为这很棒，我认为他值得再次掌声。
[Carter]: 好的，让我们深入研究。 Shill博士，您已经接受了包括WBUR和CNN在内的新闻媒体的访谈。 我总是锁定您在20岁的大学毕业生中与Pan AM合作的机会。 那么您可以谈谈您对Pan AM的最初采访吗？
[SPEAKER_03]: 好吧，让我们回去一点。 我于1966年毕业于费城女子高中。 您可以做数学，好的，弄清楚我多大了。 这是当时费城女孩唯一的考试学校。 当时，我们有色的女性很少有有色人种。 我们都被编程为上大学，高中。 但是，当我们受到鼓励或接受采访以及与指导委员会的对话时，我们中的许多人都被告知，哦，您将做一个很棒的 牙科卫生学家。 您将成为一个或其他人的神话般的美容院。 因此，当我们回到父母回家时说，这就是他们指导我们迈向的。 我们的父母就像，哦，不，那不是我们的滚动方式。 我们中的一些人是去过HBCUS的第三代大学毕业生。 他们是专业人士。 就像，哦，不，不，那不是我们的滚动方式。 但是，我一直想当女演员。 在66岁时，我想成为一个芭蕾舞演员。 有人告诉我，黑人芭蕾舞演员没有未来。 那只是Alvin Ailey等舞蹈公司的开始。 所以我相信这一点。 我说，好吧，我将成为一名女演员和模特。 我该怎么做？ 因此，我参加了费城的美国小姐大赛。 1968年，我是唯一参加比赛的黑人，这项特殊比赛是参加9月在新泽西州大西洋城举行的主要小姐大赛竞赛的第一步。 我准备好了，我很兴奋，我在想，哦，男孩，如果我赢了，我会被发现，我会去好莱坞，哦，我只是，我就有了。 因此，晚上来了，我已经做好了准备，我是代表赢家的少数参与者之一。 因此，他们取得了第三名，第二名，我仍然站着。 好吧，有机会。 然后他们获得了第一名，这就是我的名字。 我有点生气，但是你知道，我是黑人。 我很高兴获得亚军。 然后他们宣布了女王。 因此，我们所有人都拍照，我们很高兴和起泡。 因此，当我们离开会场时， 一位法官来找我的父母和我，问他们是否可以私下与我的母亲交谈。 他们把她拉到一边，他们说，我们选择了女王。 我们真的希望希拉赢得胜利，但我们还没有准备好参加黑人女王。 让那一分钟下沉。 他们还没有准备好黑人女王。 不是因为我的才华还不够好。 不是因为我没有专业回答问题。 但是由于我的皮肤颜色，上帝给了我。 所以我有点生气。 我有点生气。 在这里真正发生的事情是，如果女王发生任何事情，我默认情况下会成为女王。
[Burke]: 反正。
[SPEAKER_03]: 所以我明白了。 我很高兴成为第一名。 她说，碰巧的是，友善小姐的人，希拉，我知道你想被发现。 她说，航空公司正在招聘。 也许您会在飞机上发现。 我说，好吧，很好。 所以我的朋友桑迪和我是60年代。 这是越南战争，这是Roe对Wade，这是您的胸罩，这就是肯特州。 这是动荡的时期。 避孕药。 我的意思是，您知道，所以我们真的很活跃，因为缺乏更好的词。 所以桑迪和我看着 您所知道的周日报纸，这相当于Craigslist，因此您可以在一本部分的周日报纸上看，所以我们在航空公司下看，我们看到的唯一的航空公司是Pan American World Airways 所以桑迪和我说，好吧，让我们继续前进。 我们打电话给面试日期。 女士说，在我们给您面试日期之前，您必须通过某些要求。 您必须是一定的高度，一定的重量，没有眼镜，没有牙套，没有痤疮。 我的意思是，那只是一堆没有。 但是，您必须接受大学教育。 您必须有第二语言。 您必须至少21岁，没有结婚，没有孩子。 哦，它不断。 所以我们说，好吧，我们很好。 我们有一个面试日期。 我们两个人去了当地的一家酒店。 当我们进入接待区时，它充满了您所看到的最美丽的女人。 桑迪和我是唯一在房间里看起来像我们的女人。 我们俩都不知道Pan Am，因为当时的Pan American严格是国际化的。 有色人种的非洲裔美国人从底特律到洛杉矶，洛杉矶。 到迈阿密，但我们不是从纽约到巴黎。 我们不是，好吗？ 因此，当我坐在那里等待采访时，我读了小册子。 我看着小册子，我说，巴黎？ 伊斯坦布尔？ 世界各地？ 哦，天哪。 我想要这份工作比我想成为美国小姐的工作更重要。 保持安静。 所以我坐在那里，我想说的很清楚。 我坐在那里，我在那架飞机上看到自己 我非常想这份工作。 因此，我被要求进入采访室，并被告知要坐下，我们进行了交谈。 每个人的问题是，您为什么要成为空姐？ 当时我们是空姐。 你为什么要成为一个空姐？ 当然，答案是，我爱人们。 所以我爱别人。 然后我用我的语言问了一些问题，这是西班牙语。 我在高中时花了四年的西班牙语，并在大学里花了一年的意大利人。 所以我在西班牙语中表现出色。 我的口音很棒，但我对虚拟语言一无所知。 我对有条件一无所知，但是我可以在现在和过去的时态工作，好吗？ 那正是我所做的，好吗？ 我把采访扭转了以前和过去时态。 带着我的口音。 然后他说，穿过房间。 我知道怎么走。 所以我走过房间。 然后他说，很好，非常感谢，女士。 坚果。 我们将与您联系。 他说，如果您被选为一个新的水平， 您将收到一封电报，电报是1960年的短信，好吗？ 因此，他把我带到门口，他说，下次您去面试时，请确保您不咀嚼口香糖。 当我紧张时发生了什么事，我将一小块口香糖放在嘴里，以使我的呼吸新鲜。 您不想接受时髦的呼吸采访。 所以我忘了把它取出。 我可以想象我一定坐在那里 你知道，像牛一样紧张，咀嚼我的cud。 但是无论如何，要简要介绍一下，我收到了电报，我被告知我通过了，我不得不参加体检和眼科检查。
[Carter]: 好的，所以我想您嘲笑了一下，但是我想磨练它。 试图成为空姐的吸引力是什么？
[SPEAKER_03]: 我想被发现。 我想被发现。 这里的美丽是我想成为一名女演员。 我想成为一个模特。 并在60年代，成为模特和女演员 年轻女孩做出某些选择。 因此，我相信上帝不允许我在20岁左右的时候成为模特或女演员，因为他对我有不同的计划。 所以 他对我的计划是从哈佛医学院而不是好莱坞退休。 他告诉我，希拉，你将是一个神话般的女演员和模特，但您必须等待50年。 我说等待50年，因为我有两个Wayfair广告。 我做了停车和购物的广告。 我为星市场做了广告。 所以现在我可以去面试或做我的工作 严格来说，这是我的凭据。
[Carter]: 绝对地。 看这张脸。 看这张脸。 她怎么会不成功？ 绝对，绝对。 因此，培训课程使您准备上飞机，他们是什么样的？
[SPEAKER_03]: 哦，好吧，就像我说的那样，潘姆严格来说是国际化的。 当时，泛美世界航空公司的乘客是外交官，国家负责人，主要公司和组织负责人。 因此，我们受过训练成为女主人。 我们接受了热情好客的培训。 我们在紧急情况下接受了培训，以确保乘客的安全。 鼓励我们阅读。 鼓励我们能够与国家元首，外交官和国际人民进行对话。 我们被要求使用语言 要学习尽可能多的语言，以便我们可以用他们所说的任何语言与乘客交谈。 我最终获得了西班牙和斯瓦希里语的资格。 因为我想去非洲。 我想去肯尼亚和坦桑尼亚。 所以我学会了如何说斯瓦希里语。 在冬季，当时的Pan American非常缓慢。 因此，他们会鼓励我们抓住无薪缺席和环游世界的叶子。 我们可以免费前往斐济。 去伦敦。 我真的很担心，因为我的丈夫是谁，我不能告诉他他的身影，但是无论如何，当我们结婚时，我说，好吧，让我们去伦敦，或者不是，还是不是，让我们去罗马吃晚饭。 哦，希拉，我害怕飞。 如果我去任何地方，我必须停留几天。 我说，成为空姐的美丽是能够戴帽子，去吃晚饭，过夜，然后回家。 因此，他真的无法利用旅行福利。 但是，是的，我们受过训练成为女主人。 我的一个朋友在飞机上 国内飞行，他坐在头等舱，他说，空姐，空姐，来找他，说，哦，您想要红酒还是白葡萄酒？ 他说，嗯，这是什么样的酒？ 她甚至都不知道酒的标签。 我们是侍酒师。 我们知道酒的来源。 我们知道与之配对的。 我们在飞机上煮食物。 我们服务了鱼子酱。 在潘·AM（Pan Am）飞行一流的就像在一流的五星级餐厅旅行一样。 实际上，餐厅马克西姆（Maxim's）是我们头等舱的餐饮服务商。
[Burke]: 哇，哇。
[Carter]: 那你什么时候开始飞行的？ 那些早期的航班对您来说是什么样的？
[SPEAKER_03]: 因此，我在1969年被雇用，但我不得不完成上学。 因此，当我完成五月完成比赛时，他们没有培训课。 所以他们说，我们带来了747。 我们需要从一月份开始培训人们，因为747将在1970年成为Pan AM舰队的一部分。 因此，我于1970年1月12日开始培训学校。 我是班上唯一的非裔美国人。 班上有一些女性从未亲自见过非裔美国人。 因此，他们对非裔美国人的了解是他们在新闻媒体中看到的，他们在《生活》杂志上阅读的内容，那时没有人杂志，或者家人和朋友告诉他们的东西，这并不总是正确的。
[Carter]: 哇。 好的，所以这有点像我的下一个问题。 您是否经历过种族主义，它是怎么来的？
[SPEAKER_03]: 种族主义。 好的。 因此，在培训学校里，每个人都很好，因为您想保留工作，好吗？ 空姐应该是好人，热情好客，非常富有同情心，你知道，与人相处。 因此，在培训学校里，这不是问题。 每个人都很好，好吗？ Pan American鼓励他们的员工从空姐到照顾飞机的人，这些飞机将食物带到飞机上。 鼓励他们拥抱和尊重多样性。 我为成为Pan American的一员而感到自豪，因为那是我的开始 介绍价值和重要性以及多样性对每个人的作用。 因此，在培训学校结束时，我的培训课被分配了。 因此，由于我在培训学校期间与之共处的两个妇女在迈阿密，我们说，为什么我们不继续开设公寓？ 听起来不错。 好的。 因此，我们三个人在公寓下的周日报纸上看了看，我们找到了要退房的公寓清单。 房东说，我们去的第一套公寓，我不租去波多黎各人。 好的。 我不是波多黎各。 我们说，好，很酷。 我们去了下一个地方。 那个房东说，你要我在我的公寓里放黑人吗？ 我说，来吧，走吧。 因此，我们去过的第三位，那位女士非常好。 她说，哦，我很抱歉。 我们刚租了那间公寓。 哦，好。 所以我的一个室友，我不会提到她的名字，因为我以前做过，我做错了，我说错了名字。 我的一位室友看着我说，希拉， 如果不适合您，我们将有一间公寓。 我想，我要和她一起生活吗？ 无论如何，所以我们没有公寓，但是我们确实有时间在住宿的酒店。 所以有一天，我在机场，我在锅里看到一个女人 在这里，我跑到她身边，我说，你住在哪里？ 因此，她告诉我，这恰好是一个公寓大楼，许多航空公司都在这里居住。 因此，我们三个人能够在那里开设一间公寓。 我想要，不，我不会这么说。 无论如何，我们得到了一间公寓，这个女人说，如果不是您的话，我们将有一间公寓，没有经过培训期。
[Carter]: 逗号是...是的。 逗号。 是的。 好的。 好的。 所以... 您觉得自己从PNAM的空姐中获得了哪些特权？
[SPEAKER_03]: 特权。 我有幸环游世界。 我有幸看到我只在历史书籍中读过的国家。 我必须承认，特里， 这确实让我希望我在学校上更多地关注我参加的一些世界历史课程。 但是，是的，特权。 我于1972年去了埃及。 我离开了潘·AM（Pan Am）的休假，然后在非洲大陆旅行寻找我的根源。 我记得在Pan American，我可以花25美元旅行一流。
[Carter]: 哦，天哪。
[SPEAKER_03]: 因此，这只是非洲的一部分。 Alitalia Airline是Alitalia Airline，非洲和欧洲的其他地区和欧洲是Alitalia Airline，我不得不支付125美元来绕过Alitalia Network。 所以我记得去雅典，我是雅典，我要去埃及和埃塞俄比亚，我遇到了加拿大航空的另一个空姐，我想，她说哦，我 你为什么不加入我，我们开车去罗马。 我说，不，不，不，不，我要去埃及。 哦，不，我认为您不应该这样做。 我说，看，我一直想看金字塔。 我一直想看尼罗河。 我要去埃及。 所以我去了埃及，我度过了愉快的时光。 我必须承认，我对尼罗河感到非常失望。 我期望看到小篮子里的小男婴，那没有发生。 看起来像是，看来查尔斯很孩子，好吗？ 但是金字塔很棒。 当时我二十多岁的非洲人和赶时髦的人，你知道，很短 上衣很流行，这就是我穿的。 我没有受过教育，不尊重应该覆盖妇女的文化，但很热。 我觉得自己是，可以按照我想穿的方式穿衣服，但事实并非如此。 因为有一位老绅士在我吃早餐的地方说，哦，希拉，你会感冒，你应该，你应该， 在这里掩盖自己。 他给了我一些面料。 而且我很聪明，可以提示。 但是在1972年的那个时候，埃及妇女并没有独自旅行。 所以我是一个异常。 另外，埃及和美国当时也不是朋友。 所以我是一个异常。 当时在埃及，所以人们凝视着我，好吗？ 但是，当我去埃塞俄比亚时，我融合了，我爱上了埃塞俄比亚，以至于我决定要回来作为老师接受教育，找到埃塞俄比亚丈夫，然后回到埃塞俄比亚和开一所我想居住的学校。
[Burke]: 哇。
[SPEAKER_03]: 我花了13年的时间找到了埃塞俄比亚人，我在马塔潘（Mattapan）找到了他。 我们花了10年的时间在埃塞俄比亚抚养孩子，我们在一起已经39年了。 是的，是的。
[Carter]: 女儿很漂亮。 他们就像妈妈一样。
[SPEAKER_03]: 谢谢。
[Carter]: 绝对地。 好的，太快了。 您在Pan AM结束了什么时候？ 好的。 您是否直接从Pan Am去哈佛？
[SPEAKER_03]: 因此，当我离开潘AM时，我在波士顿大学完成了教育博士学位，并就压力和空姐进行了论文。 我创办了一个名为“空姐网络”的业务 教人们如何被航空公司雇用。 我为空姐或空姐提供了压力管理计划。 然后，如果他们不高兴，我就提供了有关支出的研讨会。 因此，如果您不开心，让我们找到另一份工作。 因为我确实相信 在工作与生活的平衡中。 如此多的人留下来，有些空姐为薪水和旅行福利而留下来，他们很痛苦，他们使乘客痛苦不堪。 好的，所以我的理论是你不必痛苦。 还有另一份工作。 还有另一个地方可以找到快乐。 当您现在旅行时，请查看为您服务的那些服务员的面孔。 看看是否有快乐。 你知道，我只是认为人们应该在工作中找到快乐。 理解。 是的，我离开了Pan AM，我与波士顿的一个非营利组织合作，该组织重新安置了来自世界各地的埃塞俄比亚难民和难民，因为这是埃塞俄比亚饥荒的高峰。 这是当整个非洲战斗，刚果民主共和国等。 所以我们正在这样做。 然后，我在伊曼纽尔学院（Emanuel College）担任多元文化事务主任。 在伊曼纽尔（Emanuel）期间，我对难民妇女如何适应美国感到好奇。 这些难民妇女中有许多已从埃塞俄比亚走到苏丹。 他们中的许多人来自非洲其他地区，已经从自己的国家走到难民营。 我以为，我让学生在这里无法走到马塔潘到达德利车站，好吗？ 这些妇女中有许多被强奸。 好的？ 他们降落在怀孕的难民营中，他们不知道那个孩子的父亲是谁。 他们终于到达了美国，这对他们来说是非常不同的。 因此，当我问这些女人时，您为什么不参与负功能失调的行为呢？ 对这个人来说，他们的回答是，我不能。 我的宗教信仰。 如果我成为酗酒的话，我会不尊重父母。 我不能。 因此，我开始研究宗教在维持文化和维护中的作用 整体。 因此，我从哈佛大学学校攻读了一项神学研究硕士学位，在那里我研究了妇女在埃塞俄比亚东正教宗教宗教基督教中的作用。 而且，如果我可以告诉我们的听众，埃塞俄比亚自325年以来就一直在实践基督教。 使徒菲利普受洗的第一个人 菲利普（Philip）正前往五旬节（Pentecost）时，是埃塞俄比亚太监。 在圣经中提到埃塞俄比亚超过38次。 这是正确的。 因此，我对这种宗教感到好奇，所以这就是我所做的。 我看了哈佛的埃塞俄比亚教会和妇女的角色。 幸运的是，我能够回到埃塞俄比亚 一旦共产党政府被推翻，我们就能在那里抚养我们的孩子，而埃塞俄比亚东正教教会的族长，已故的阿布纳·保罗斯（Abuna Paulos），愿他的灵魂安息， 曾在这里以难民的身份来到这里，并在美国完成了他的硕士和博士学位。 而且我不确定，我认为一个在耶鲁大学，另一个在普林斯顿。 他想将埃塞俄比亚教会（埃塞俄比亚文化）带入埃塞俄比亚教会，他想向前推进他们。 所以他说，希拉， 我希望您能在我们培训牧师的学校教书。 因此，我感到非常兴奋，因为我基本上是一名教育者，并且在宗教和非裔美国人研究方面具有这种背景。 我的第一学位是从事非裔美国人研究。 所以我在学校教了一个学期，因为 主教和其他牧师说，女性教神父，潜在的牧师是亵渎神灵。 所以那是我在那里的经历。 但是一旦我离开潘AM， 我在高级教育中接受了教育，然后我们去了埃塞俄比亚，在那里我在那里的希腊学校任教，并为在美国寻找大学的学生提供了培训。 我做过坐在训练中。 我还在 联合国非洲经济委员会，我教授报告写作技巧，以及如何在劳动力中进行交流。 这是真正发展我的技能和专业知识的另一个机会 在世界上，他们几乎谈论每种语言。 那么，您如何使团队摆脱这么多的多样性？ 好吧，那就是我们在潘·am上所做的。 潘姆（Pan Am）有来自每个国家 /地区的男人和男人。 目的是使要去巴黎的乘客 法国的飞机上会有一个女人，可以告诉这些乘客看什么，怎么做，可以说这种语言，反之亦然。 如果有人离开法国，来到美国，英语有限，法国飞机上有人可以以某种方式进行调整或帮助他们。 是的。
[Carter]: 因此，我想尝试带来，因为我们已经接近我们的时间，我想问几个问题，这是一个完整的圈子。 今天是国际妇女历史日。
[SPEAKER_03]: 是的。
[Carter]: 显然，您是国际开拓者。 我想问你这对你意味着什么。
[SPEAKER_03]: 这对我意味着什么 女人很棒。 我要引用一位著名喜剧演员，他说，他现在正在释义，他说，我怕任何动物 任何可以在其体内携带另一只动物的动物，可以生育，好吗？ 因此，这是我们令人敬畏的一个方面。 但是在国际上，有评论是，如果您可以训练一个女人，如果您可以教育一个女人，如果您可以教育母亲， 您正在教育一个社区。
[Burke]: 这是正确的。 这是正确的。 绝对地。 绝对地。
[SPEAKER_03]: 兄弟，没有冒犯，对你来说。
[Burke]: 我不生你的气。
[SPEAKER_03]: 好的。 没有仇恨者。 但是我们只是糟糕的。 那我可以为女人提供帮助吗？
[Carter]: 好的。 因此，这是我遇到的另一个问题的一个很好的选择。 谈论您的黑鸟小组。
[SPEAKER_03]: 哦，谢谢，谢谢，谢谢。 因此，就像我说的那样，当我从1970年开始参加培训课时，我们中的人很少。 由于该法案，《 1965年的民权法》，数字增加了一点。 所以，我要做的是创建一个社区 在60年代和70年代开始与Pan American一起飞行的有色妇女，直到Pan America破产的时候。 我认为那是91。 而且有很多组成部分导致了Pan Americal的灭亡。 我不会去。 您可以Google。 因此，我们要做的就是创建这一女性，而我将他们命名为Pan Am Blackbirds，因为我们是有色女性。 因此，我们现在要做的事情，特里兄弟是我们2018年9月在哈佛医学院第一次聚会的一部分。 我试图讲这些女人的故事，因为我们是开拓者。 我们是开拓者，因为我们很漂亮，但是我们很聪明。 我想要关于我们如何被雇用的故事，但是黑鸟的美丽是我们在泛美洲之后做了什么？ 我们有教育者，我们有律师。 我的两只黑鸟，一只由比尔·克林顿总统提名 并由参议院确认为西非科特·德瓦尔（Cote d'Ivoire）的非洲发展银行的执行董事，并获得了大使的头衔。 另一个黑鸟是 在约瑟夫·拜登（Joseph Biden）领导下的参议院提名并确认为科特迪瓦（Côted'Ivoire）非洲发展银行的执行董事。 所以我有两只黑鸟是大使。 我的一只黑鸟从一家国际制药公司退休。 我有护士，医生，我有企业家。 我想要世界 听听我们是如何被雇用的年轻女性的，我们已经70岁了，好吗？ 我们在2024年9月举行了一个聚会，我正在尝试创建纪录片，写一本书， 关于我们的书，我希望发起播客来讲述这些女性的故事，让年轻人知道种族主义，歧视存在于50年前。 不幸的是，它仍然存在。 但是我们不能允许它创建我们的叙述。
[Burke]: 是的，是的。
[SPEAKER_03]: 我们是怎么做到的？ 我们需要让年轻人知道我们是如何做到的。 我们是怎么做到的？ 我们这样做是因为我们知道我们是谁。 我们是谁？ 我们不仅很漂亮。 我们是由一个很棒的上帝创造的。 如果有人还没有准备好我们的颜色， 那是他们的问题，而不是我们的问题。 我们有一个神圣的目的。
[Burke]: 在那里。
[SPEAKER_03]: 我们的黑鸟与这个目的保持同步。 我们继续成为本来应该成为pan pan am的人。
[Burke]: 这是正确的。 这是正确的。 这是正确的。
[Carter]: 所以我想给你最后一句话。 您有任何分开的想法吗？
[SPEAKER_03]: 好吧，我退休了，所以我做了很多思考。 但是，我的分开想法是我想讲述我们的故事的原因之一，这是我今晚与你们每个人在一起的原因之一 是因为我拥抱非洲谚语。 它说，除非狮子能讲述他的故事，猎人总是会先告诉他们。 猎人被荣耀。 你看？ 所以，我想要我们的故事。 故事很重要。 我们的个人叙述很重要。 因为我们每个人都有一些有价值的东西可以增加这一生的挂毯。 我们每个人都很重视。 你们每个人都很有价值。
[Burke]: 我喜欢它。 我喜欢它。
[SPEAKER_03]: 因此，我希望每个人都想到。 一个词是因为在我的编程中，我总是让我的学生做一个叫高五个的事情，因为我的学生传统上是来自服务不足社区的学生。 因此，我让他们练习增强自己的积极性。 因此，他们总是必须做一个高五。 那是什么？ 五个不同 关于自己的形容词。 他们必须从我开始。 不是我。 我是。 大胆的。 我有信心。 我有能力。 这些品质将帮助您在生活中取得成功。 一位学生说，哦，这很俗气，希拉博士。 但是在计划结束时，他说，哦，这很有意义。 而且确实如此。 特里先生，这就是结束。
[Carter]: 太神奇了，因为这次谈话可能会在几个小时内进行数小时的数小时进行，因为 这个女人有我的故事，我确实有故事。 但是这个女人在故事的基础上有故事的故事，我们可以从字面上做一个小时，但仍然只刮擦表面。 但是我只是想感谢你，因为你祝福我的人们。 您很吸引人，您的故事真是太神奇了， 我们期待着播客，纪录片，书以及您想做的其他事情来讲述那些精彩的黑鸟的故事。 因此，请为Sheila E. Nutt放弃。
[SPEAKER_03]: 我还想说，我正在与牛顿拉萨尔大学的一位年轻通讯毕业生一起工作，她正试图让我做一些Tiktok。 因此，我认为我可能有一个来自Nuthouse的Tiktok句柄。 因此，也要注意那个。
[Carter]: 现在，您要小心，因为他们在tiktok上有很多混乱。 好的。 好的，伙计们，所以我们要花几分钟。 我们将重置该区域，以便为晚上的音乐表演做好准备。 我会回来一些公告。 背面有一些茶点。 珍妮尔·科尔曼（Janelle Coleman）制作了一些美味的小niblets，所以你可以回到那里，在他们消失之前，你可以去抓住自己的东西。 我们有一些水。 我们还有其他一些小吃。 第二部分，我们将在短短几分钟之内回来 第一个星期五，柔韧的星期五，文字和音乐。 好的，伙计们，如果您可以坐下来，我们将开始。 好的。 我应该看到每个人都回到珍妮尔的食物上吗？ 好的。 那就是它的工作方式。 好的。 因此，我们准备重新开始。 现在，我通常不这样做。 我通常在一开始就做一首诗，然后我们去。 但是我认为在这个特定的情况下，我将再做一件事，因为，您会理解的。 这件作品称为大提琴的棕色女孩。 有一会儿，我眨了眨眼，这是文艺复兴时期的巧克力暗示。 我的耳朵突然充满了声音，使我的感官上升了。 是渴望的哀号还是频谱mo吟？ 它是借来的还是她自己的？ 当她将弓横穿琴弦时，这使我反思了我们人民如何坚持不懈的一千件事，一场比赛立即受到谴责和尊敬。 当她的手指跳舞，如此光线时，这使我回想起我们越过陆地飞往自由灯塔的乐趣，我们一直在寻求自由的火焰。 那个沙漏框架的声音消除了恐惧，伤害和羞耻感。 它使我们摆脱了种族蔑视。 它使我们远离了仇恨前进。 它使我们远离了爱情。 它导致我们到达恩典出生的地方。 和平的灵魂是如何解决的。 没有荆棘，没有野蛮人，没有刺痛的荨麻。 这是一首在夜晚死亡的警笛声还是遥远的地平线招手？ 当她将弓横穿这些琴弦时，精神移动和大提琴唱歌。 我看着一个小女孩在奇迹上看着，在我心中知道她所处的咒语。 我以为我会为她认真的目光哭泣。 乐器的旋律使她跳舞。 这个小小的框架中出生的新信心永远不会一样。 她看到一个像她这样的棕色女孩从架子上拿下交响曲。 在经常放置限制的地方，她目睹了绑架者的谎言被抹去了。 她看到那个大提琴手拔了那些弦，并认为自己是一千件事。 在这个小小的框架中诞生的信心将永远不会一样。 所以， 今晚，我们拥有一位成就良好且高度专业的表演者，获得了巨大的追随者，并在马萨诸塞州和新英格兰创造了一些重要的历史。 我很高兴以Mashunda Smith的名字引入交响乐。 她是作曲家，指挥和高技能的老师，您很快就会看到并听到了令人惊叹的曲目和广泛的音乐词汇。 Mashunda最初来自田纳西州，Mashunda与音乐的结界始于六年级，当时她拿起大提琴 最初，她的热情迅速发展成为对乐器的真正爱。 诺克斯维尔（Knoxville）获得了田纳西大学（University of Tennessee）的艺术学士学位，标志着她的音乐漫游人数的成立。 她首先从事教学生涯，后来获得了缅因州南部大学音乐教育的管弦乐演奏硕士学位，并获得了詹姆斯·费伦鲍姆（James Fellenbaum），维克多·扬莫尔斯基（Victor Yampolsky），罗伯特·莱曼（Robert Lehman），阿德里安·加纳姆（Adrian Ganam）等杰出指挥家的指导。 凭借严肃的音乐荣誉，她的交响乐旅程最终导致了她到达波士顿地区，在那里她在北岸建立了自己，同时保持了缅因州和新罕布什尔州的联系。 Mashunda于2018年共同创立了波士顿开创性的No Name Orchestra。 这种创新的合奏挑战规范，通过将独奏家和乐团成员聚集在一起，进行表演而无需排练，促进了自发和迷人的音乐经验。 现在已经八年了，No Name Orchestra继续以独特的方法吸引了整个波士顿都会区的观众。 她正在做的重要工作。 她现在是洛厄尔爱乐乐团的指挥。 她是有史以来第一个以出色的乐团命名的有色女人。 她正在教书。 她有自己的私人音乐工作室。 她还在公立学校系统中教书，做许多不同的事情。 为了教育儿童音乐，并使他们有信心能够在她玩耍和演奏时玩。 我要走出去，您听到的下一件事将是有光泽的Mashunda Smith。
[SPEAKER_02]: Wow. Well, thank you. I'm going to start with one piece. This is called Folk Suite for Solo Cello. It's by another cellist named Daniel Delaney. And I like this because since I'm from Tennessee, there's a lot of folk music, bluegrass and everything. So this, I found this some years ago and it kind of struck me. So I'm gonna start with that. This is the prelude to his suite. Well, good evening. That was a wonderful introduction. Yes, Marshaunda Smith. I like to do these. I just want to tell you a story of how I got here. Whenever I meet someone, I'm like, oh, you're so fascinating. How did you get here? Like, what is your story? How many times have somebody actually said, how did you get here? And genuinely, want to know. I find it so fascinating to just listen to somebody's stories and hopefully you learn something about yourself. You learn something about the world that you didn't know before. Some lessons learned and just Listen, just be in their presence. Let them tell their story, because odds are no one's asked them, like, how did you get here at this moment in time? We're intersecting right here at this moment, at this time, and this day. How did you get here? What brought you here? So I'm gonna start from the beginning. I was born. I'm from Chattanooga, Tennessee. You'll probably hear my accent come in and out. I've been told when I get upset, it really comes out. I do know that it comes out when I'm articulating for my students, especially if I'm giving them the eye. I'm speaking very clearly, darling. I went to a school called Chattanooga School for the Arts and Sciences, and it was wonderful. It was about 53% white, 46% black, and it was great. It was wonderful. All friends were all friends with everybody. And we got different perspectives from people who lived on Signal Mountain, people who lived on Lookout Mountain, people who lived in the projects, people who just lived in suburbs. It was actually, I found it fascinating just to hear their stories, how they get to school, what they do after school. Yeah, but sometimes there's a little jealousy going on. Why not? Some kids are doing some things that you think are cool and you can't do it or you don't do it. But my school was the first. time that I really saw different people and actually enjoyed their lives, enjoyed their stories, the difference of it. I wasn't jealous by it, but it was fascinating. Like, oh, we can coexist in this same world and have totally different walks of life. I find that very fascinating. So I'm gonna play another thing. And this one is from the same folk suite, Daniel Delaney. And this is his lullaby. Pardon. So I graduated from Chattanooga School for the Arts and Sciences. It was a class of 97, so we knew everybody. And I went to the University of Tennessee in Knoxville. Go Vols. And I went there. Well, actually, first I took one year at the University of Chattanooga. And then I went to the University of Knoxville, and I went there on a full scholarship, which was quite nice. in music, but that wasn't the original plan. I actually liked math and science, but no university was really giving out a scholarship for math and science. I got one easily for music, easily for music. While I was in high school, I kept getting these high marks in music. And I went to Allstate and AllEast, and it was fun. It was really fun doing all this stuff. And during these Allstate things, they checked you on Can they play a scale? Can they play the prepared piece? Can they sight read? And for those who don't know, sight reading is they put a piece of music in front of you and you play it. How perfect can you be at just you're seeing it for the first time? And I was good. I was really good. It was due to my math. It was due to my math, because I knew how to divide and do all the things that music was asking me to do. And so I loved math, but I got a full scholarship, so that kind of made my decision. One of the things back in high school that I think I knew that I was going to go into music, my best friend Lauren and I, we were doing some musical thing in the state for kids. I can't remember. They start to blur together. And we were in middle Tennessee at, a really cute college that looks like Europe, old Europe in a way. And we were leaving, and I have to put my jello down for this, because this is like interactive. So we had just finished Allstate Orchestra, like a few weeks prior, and we played Dvorak Symphony No. 8 or 7, one of those. And we had prepared it and we had played it and we were just like, yes! And she's a violinist, a black violinist. And so we're just like, this is wonderful. And her dad, Mr. Goss, her dad is driving us from these college visits. And it was raining, and we were in his van. And Dvorak came on the radio. And she started singing her violin part, and I'm singing the cello part. And we got to this tumultuous part in it. It's like, da-da-da-da-da-da-da-da-da-da-da. She's singing it, and I know Mr. Goss was just like, well, what are you gonna do? These two girls are just rocking out to this classical music. And so it's raining, he's trying to focus on her, the two screaming girls are ready to scream at this classical music. And then all of a sudden, it got to this, the climax of this movement, and at the same time it got to the climax, It stopped raining, and the sun just shone right there in front of us as we were driving on the road. And we stopped, and we're like, did that just happen? And Mr. Goss was like, yeah, that did just happen. It did just happen. I was like, what? What are the odds? What are the odds that that happened? That was one of the moments that I thought, I like this feeling. I don't know if I brought that on or Lauren brought that on, but this feeling of having fun in the music and feeling good about it, and then having someone next to you just nerding out. You're just nerding out. It was so much fun. And then a couple of months later, we went to Hunter Museum in Chattanooga, was hosting the Chattanooga String Quartet from the Chattanooga Symphony. And they were playing Schubert's The Trout. And at that time, The viola, which is, the violas get so much bad rap in the orchestra. They're like the middle stepchild, and they get so much bad rap. But so we sat right there in front, and of course, you know, two little black girls like sitting right there in front, and everybody's like, oh. okay we're like hi we sat there right there in front we were ready we've been hearing all about the Schubert trial just like okay what is this we get in free let's go Lauren we went set right there in the front and the viola line we were so impressed by the viola we're like violas have things They can play things too? We were so impressed. And so any student right now, or even in my orchestras, they know that I call the viola section the cream of an orchestra, of the string section. Because without the cream in an Oreo, there's just two cookies. You have the cello and you have the violin. That's just two cookies. But the cream, that bridge is the middle part. I love the viola sound. And so just that violist playing the quartet, the trout, and just hearing them just go at it, and we're like, whoa, it changed my mind. And I have so many memories and moments where somebody has done something poignant, somebody has said something poignant, where I'm like, wow. Thank you for that change of perspective. Thank you for that knowledge. Thank you for opening up a door that I didn't even know was closed. Thank you. I love learning about anything, especially things that make people happy. What makes me happy? My bliss. As Terry said, I am a conductor of the Loyal Field Harmonic. And I actually created my own orchestra before I became conductor. I was going out on all these auditions to, you know, they're looking for a new conductor, looking for a new conductor. And I always came up number two, runner up. So I'm like, you want something different, but that's not what you're getting. You're getting the same thing, but 2.0. So I'm like, you know what? I have a network of musicians. Let me just create my own table and orchestra. So I created the Cherry Hill Chamber Orchestra, and I run it the way I want to run it. I run it in a wholesome way, as in, leave your egos at the door. There are no divas. We're gonna play this for us, and then translate it to the audience. Let's first and foremost have fun with this music. I'm a conductor, but I'm not perfect. I will make a mistake. And I will own it. I will own it. Because I'm still learning. I will never cease to learn. And my bliss is actually getting hit with all the music, with all the sounds, any of the sounds. I love it. People who know me, they know that I dance on the podium. My husband here. I dance on the podium because the music moves me. If music moves you, move. And so I invite anyone at my concerts to not only clap in between movements, because you're just like, I need to emote what I just heard. I've gone to symphony orchestra concerts before, and the orchestra has played a poignant piece, and I'm just like, I need to talk to somebody about this right now. Like, this is awesome, but everybody's like, No. My concerts, I actually invite the audience to clap, to sigh, to close your eyes, to emote. In between movements, to ask me a question. I go out to the audience and I ask a question. What did you hear? How did that make you feel? Then I turn to the orchestra. Hey, can you play that thing that you did? Now play it this way. And just have an interactive experience. It's more entertaining that way. Instead of just, you pay your ticket, sit, listen, leave. Like, no, that's boring to me. So I like to do things a little different. Yes, Bach, Beethoven, Mozart, all the great things, but I also like working with living composers because I can talk to them. I can talk to them. And one of my favorite living composers, he lives in Danvers, his name is Charles Turner. Charles Turner, yes. And during COVID, when we were all in our house, twiddling our thumbs, there was this thing going on online, started here in Boston, actually, by a Boston symphony player. It was called these musical minutes. So instrumentalists reached out to composers and said, can you compose a one minute piece? And they would record it, put it online, and it was fascinating. People were working, people were video, it was great. So I asked Charles Turner, because I love his music, I asked him, hey, can you, this is what's happening, can you create something for me? And he did. So I'm gonna play a couple of things. This one was the first thing that he created. It was called The Minute Tango, aka The Lady Walks Away. So in college, University of Tennessee, Knoxville, Dr. Wesley Baldwin, he was wonderful. I loved him. My first cello teacher, bless his heart, he, a developing body in high school, and he said, I don't know what to do with your body as it's developing. I'm like, What's wrong with that? He was good, but I was like, why are you telling me this? But then I got to Dr. Baldwin, and his hands are huge. His hand span is really big. And he was like, he said, Marshanda, you have to do it this way. He speaks like this. Marshanda, it's this way. And I'm like, Dr. Baldwin, your hand is huge. I cannot stretch this way. My body cannot do this. Oh, you're right. I'm sorry. Let's try something else. That's what I wanna hear from a teacher. I don't want to hear, or no student should hear, your body is stopping you from doing what you would like to do. I want a teacher who's gonna say, I see and hear you, let's figure something else out so you can get to where you want to go. I love him. He's awesome. And he was so inspirational that there was one time he was doing a recital. I was so inspired. I had to leave his recital, during his recital, to go practice. It was so inspirational. And teachers liked that. When I told him, he was like, why did you leave, Marsha? And I was like, I was so inspired. Like, I had to practice. He was like, OK. Okay, I'll give you that. He continues to be inspirational. He just published a book of African, Latin, people of color collection of living composers and recently deceased composers. He just published it. He's not a person of color. He's not a person of color, and yet he's like, there's so much out there that has been hidden, and it's wonderful, and I'm glad that he's an advocate to getting it out there. When I was in college and going around town, People would say, oh, you have such life. What do you do? And I'm like, oh, I'm a musician. They were like, oh, you sing gospel. No. Oh, jazz. Your ignorance is showing. No, I play the cello. What's that? You know what a violin is? Yeah, okay, it's big. I even had one time someone tell me that I was too articulate. Yeah, I was too articulate. What does that mean? I'm too articulate. My grandma was a teacher. I love stories and I listen to how people speak. Aren't I clear? Shouldn't everybody be clear if they're trying to communicate? What does that mean, I'm too articulate? That's their problem. They haven't trained their ears to hear the articulation. That's on you, babe. I left Knoxville and came to Maine because I started conducting in Knoxville, and I wanted to find a teacher that didn't have a big ego, because I didn't have time for that. I really wanted to learn. And so I sent out an email to a lot of professors and universities, and I asked them one question. When you are preparing a piece, do you prepare it according to the composer's wishes, dead composer's wishes, to the best of your ability, given that we have different instruments today, or do you do what you want? So many conductors said, oh, they're dead, I do what I want. But my teacher up in Maine, Dr. Robert Lehman, he said, given today's period instruments, I will program things because I respect the composer and what he or she was trying to do. I try to adhere to their wishes, adding my own little flair, and also taking into consideration today's modern instruments. I'm like, oh yes, okay. So you're bringing respect to the artist, the original artist. I really dug that. And so I started working with him up in Maine. Maine is, when I went to Maine the first time, it was dark at four o'clock. Now Chattanooga and Knoxville, we're on the same time zone. And so I got here, I'm like, what is going on? And it was wet and muddy. And so people in Maine was like, yeah, this is mud season. And they're like, yeah, we're so far east on the eastern time zone that we should be in the other time zone. I'm like, oh, okay, that's weird. But I started, studied with Dr. Lehman in Maine. Got everything that I needed. Everything that I needed. But while I was up there, I was the conductor of a local youth orchestra. And I loved it so much. But things change. People evolve. People's egos get in the way and are threatened. When that happens, I noticed that I started, it was a pattern. Apparently I was intimidating. just being, I was just intimidating, asking questions was intimidating. So I'm like, OK, all right, well, bye, Felicia. You do you. I'm going to go over here and just continue to be. I always try to learn from my experiences, whether they're good or bad. I think it's a great thing to do. Another piece that I want to play for you. This composer lives in Gloucester. Tom Fabonio, his wife, Mary Jane, is a cellist and she plays in my orchestra whenever I ask her. And he's pretty popular in the UK, yeah. But he creates and writes these pieces that I love. like as well. This one is called The First of Winter. It's actually dedicated to a friend of ours, Judy, I just saw her today, and her husband. So this is The First of Winter. My first winter here in New England, very different from Tennessee. I was sitting in the North Shore Philharmonic Orchestra. This was 2007. And I had no clue that you all have no humidity during the winter. No humidity. So I wasn't aware that It's going to do things to my cello. I'm sitting in orchestra. Doo, doo, doo, doo, doo. I'm listening to the conductor talk about other things, because I'm a good student. Because what he's saying over there across the orchestra may apply to me. So I'm listening and being like, OK, all right. I'm like, doo, doo, doo, doo, doo. Yeah, yeah, OK, yeah, we have that later on. OK, and then just kind of look down at my cello. And this neck right here was detached from the body. It was like a person walking around with a broken neck. And so I'm sitting there in orchestra, I'm going, oh! And it hadn't snapped. It just had kind of came apart because it was just dry, dry, dry. The wood was just dry. However, I didn't notice it because the strings were still intact. I was playing on it. I mean, this is a lot of pounds per square inch these strings are holding, but I stopped. I couldn't, I was traumatized. I've never seen that before. And then they're like, you don't do a humidifier? I'm like, what is that? I come from Tennessee. I live in the Smoky Mountains. It's humidity everywhere. They're like, yeah, Marshaunda, it's dry here. And I'm like, what is that? And that was a quick, hard lesson to learn. Thankfully, I actually got this cello up here in the Boston area from Rooning and Sons in Boston. And they shipped it down to Tennessee. That was before I knew I was going to come up here to Boston. So I was just like, fix it. And so they fixed my cello. And then life went on and played and kept playing here and there. always trying to find my bliss. So I was trying to find my bliss. There was one time where I was actually homeless. I was actually homeless. I lived on people's couches. I Worked and drove to Maine for three days to Rockport, Maine. I drove there on Sunday nights. Stayed to Tuesday, came back down, stayed with some friends in Somerville for two days, some friends in Medford for two days. One person in somewhere, Arlington, I think. And then rinse and repeat. My goal was to just keep working to pay off my car so I can continue to do music. I was having lessons on the side whenever I can, really just hustling. Teachers don't make anything. Teachers don't make anything. And there was one time where I was tired. I had gotten my degree and I'm like, At this moment, I was house cleaning in the Boston area. I made bank, house cleaning. That was very lucrative. But that's not what I wanted to do, even though I could have kept going and actually bought a house. I was like, this is not what I want to do. I want to wake up every morning and be like, I'm going to. feed my soul somehow. So I decided to go back down to Tennessee because the cost of living is much lower, much lower. Yeah, yeah. And so at that time, I was also on the board of the North Shore Philharmonic and one of the board members, I told the board members, I'm like, yeah, I'm gonna go back to Tennessee and I'm just, I'm tired. I don't wanna do this. And one of the board members said, well, Marshanda, I have a house. I'm like, good for you. He's like, well, it's my mom's house. Good for her. It's empty, Marshanda. OK. OK. um where's your where's your mom oh she's in the nursing home she has low-grade dementia she's about probably about five six years to live i'm like okay he's like well we kind of need someone in the house for insurance purposes it's it's i'm like where is the house he said hamilton winom and i'm like Okay, he was like, oh yeah, it's a four bedroom, two car garage, large backyard, front yard, it's this and this and this and this, and I'm like, ah, I can't afford that. I'm paying $800 for a room with strangers, I can't do that. He was like, no, you don't have to pay, just pay for your utilities, just be in the house. Oh, yeah. Yeah. So blessings come in all different ways. I stayed there for about four or five years. I paid off two student loans. I was not going to let that. I took advantage of that. I took care of bills. I put my car back in working order. I did some more networking, got some more education. I fully took advantage of that. because not too many people have that gift. Oh yeah, at that time, thank you, I started No Name Orchestra. So I had the mental capacity and mental space to start things and actually start my path of finding my bliss. And I started Waldorf at the same time that I moved into that house in Waldorf School. was very close to my school, Chattanooga School for the Arts and Sciences, where they just said, Marshaunda, we just want you to be. You want me to be? They're like, yeah, the kids need to see different people just be. Oh, and for the first time in my life, I felt, wow, this is an organization that was not created for someone who looked like me, but they're saying, just exist. I felt so great to be amongst people that are just like, come as you are, like wholly come as you are. And let's collaborate. Bring your skills. What can you teach my kids? What can I learn from you? And I'm like, really? We could collaborate? I can learn from you? You can learn from me? And there's like no ego in it. Like if I ask you a question, I'm not challenging you. I honestly want to know. They're like, yeah. I loved it, I loved it. I went on and got actually a certificate in Waldorf Music Education. I'm now teaching Waldorf teachers in a couple of weeks. I'm going down to Virginia to actually, to look at some other teachers and evaluate them. So I'm in the Waldorf movement because they are the first organization that just allowed me to be as a black girl. And I loved it, and that allowed me to flourish and find my bliss. I did no name, went on so many auditions, meeting people, and life is fun. Life is fun when you meet these people, when you actually sit down and have these conversations. How did you get here? What do you do? Why did you choose that? And not be offended. when somebody asks you that, because it could be somebody just like me who just actually is interested in people in the world and your walk of life, and they actually want to learn. We always say, oh, you should learn from our mistakes. Oh, I'm taking that to heart. What wisdom can you impart on me? And thank you for your gift. It's fun. It's fun, I try to eliminate as much drama as possible. God, I don't have time for that. Nobody got time for that. And I definitely do hold my boundaries because there's only one life to live and I'm loving all the beautiful things that come at me and all the beautiful people that I learn from, all the new doors in my life. in my head that are opened because I ask people questions. And so when it comes to pieces that I'm playing, I love to ask the composers, why did you do this? Not as, you know, why'd you do that? But just like, what's going through your mind? My professor, Dr. Baldwin, when I was back in undergraduate school, he was, I was studying the Brahms cello sonata in E minor, and he asked me, he was like, Marshana, do you know what this is about? I'm like, no, I'm just playing the notes, because you told me to, you're my teacher, I'm just gonna do that, you know, I'm a good student. He was like, you should look up what's going on with this, and I did. And he wrote this cello sonata after the passing of his mom. And I was like, That makes sense now. Oh, and after realizing that, I played it differently. Because I played it with a heavy heart. I played it as condolences. And it changed. how I look at music. It's more than notes on a pape. Same way I treat people, like, why? Like, how did you get to be who you are, what you are today? What's the inner meaning of the soul of this piece? What's the joy of this piece? And even if I come to a piece that doesn't have a history, I have a vivid imagination. Well, what is it telling me? What am I imagining? Because I want to tell this story to the audience. And if the audience sees that this is a sad part or a happy part, I need to relay that as a performer. I want to bring them into the music. And when I'm talking to people, I want to come into you so I can figure out what makes you move? As a human being, we all move differently. What makes you move? So I'm looking at the time and it is nine o'clock so we're right at the time. I know it's more talking than playing but I'm gonna play one more thing and I invite everybody to sit down and have coffee with your neighbor. When's the last time you actually sat down with your neighbor and just had coffee? just talk to them. What were you doing in 1980? What was that year like for you? And just have a conversation and just listen. It's fascinating, people's journeys. At least I find it fascinating. Like I said at the beginning, I learned so much about myself and the world around me and pieces of the world that I may not touch, but I learn. I'm going to do, see I already did the tango, ah. This is another Charles Turner special. It's from his minute pieces. This is A Minute of Crazy Love.
[Burke]: 爱让我轻松成为空气。 我上下跳下来，但我不会下来。
[SPEAKER_02]: 爬山很容易。 爱让我唱歌。 爱就像游泳瀑布。 或向上瀑布。
[Carter]: 女士们，先生们，大提琴的棕色女孩，马山达·史密斯（Marshaunda Smith）。 非常感谢，Marshaunda。 那真是太好了。 我认为我们在这么短的一段时间内学到了很多关于您的动机的了解，是什么让您在乐队面前站在小说中或与乐队一起坐在乐团中的球员时勾选。你的大提琴。 脖子不再折断。 非常感谢。 因此，只需与您分享一些事情。 西梅德福高级俱乐部的女士和先生们，我们将于3月16日下午2点至4点举办下午茶和筹款活动。 加入他们或我们的茶，娱乐和娱乐。 门票只有20美元，您真的会非常喜欢自己。 这是他们每年都会做的事情，而且总是非常非常美好的时光。 所以利用自己的机会 我知道佛罗伦萨通常有门票，瑞秋（Rachel）有门票，也许雪莉（Shirley）有门票。 建筑物中有门票，因此，如果您有兴趣，那么您一定可以去。 我们一直通过黑色健康系列梅德福·连接（Medford Connects）主持，并于2月21日举行了第一次活动，即心血管健康。 第二个活动是3月27日，是黑人社区的阿尔茨海默氏症。 因此，您知道，通过成熟的阿尔茨海默氏症一直从温和的痴呆症来讨论并讨论全光谱。 您将能够回答问题。 因此，我认为这是人们出来的好机会。 这将于3月27日下午5点在社区中心举行。 因此，如果您对社区中心感兴趣，什么使我们勾选的是什么以及我们如何继续打勾，则可以在线访问wmcc.us，也可以致电781-483-3042，以获取更多信息或 这很重要，要成为会员。 长者，如果您有兴趣，每周，星期二至周四加入我们，提供营养丰富的午餐和充满活力的奖学金，您在谈论的那杯咖啡和对话。 事实上，他们变得非常擅长。 因此，我们在中午12点提供午餐。 并请于4月至4月底加入我们，我们将为即将举行的社区立法论坛发布有关此信息的更多信息。 我们每年都这样做，没有人会做得更好。 您的免税捐款有助于支持WMCC的任务。 与我们合作实现这一任务。 请考虑向这个重要的社区组织捐款。 我要代表我们的董事会丽莎·克罗斯曼（Lisa Crossman），非常感谢Sheila E. Nutt博士。 和大师Marshaunda Smith今晚加入了我们。 希望大家都喜欢自己。 对于西梅德福社区中心，我是特里·卡特（Terry E. Carter）。 再次感谢我的男人凯文·哈灵顿（Kevin Harrington）和梅德福（Medford）社区媒体，以保持我们的生活和生活色彩。 我们将在四月再次见到您。 这是国家诗歌月，所以您知道现在几点了。 好吧，晚上好，在那里安全，我们很快再见。