For years, Canada has welcomed waves of newcomers from Latin America and the Caribbean. A thriving music scene has grown out of this migration — like the one at Lula Lounge, a nightclub in a working-class neighborhood of Toronto. The club's co-founder, Jose Ortega, cut his teeth in New York's legendary Latin scene. When he came to Toronto, he found the vibe fresher, more open to experimentation. And he found talent. It was just a matter of time before the country produced great Latin bands.
Students at Westlake High School in Waldorf, Md., participate in an interactive digital conversation with historian Kenneth C. Davis about late 19th and early 20th century American history on Thursday. The school uses a state of the art "telepresence center" for students to connect with experts all over the world.
The hallways at Westlake High School in Maryland are just like thousands of other school hallways around the country: kids milling around, laughing and chatting on their way to class.
On a recent morning, about 30 kids took their seats in a classroom that initially seems like any other. The major difference here is that instead of a chalkboard and a lectern at the head of the class, there are two enormous flat-panel screens and thin, white microphones hanging in four rows across the ceiling.
Margaret Bonds, who died in 1972, is perhaps near the top of the very short list of African-American female composers. Thanks to her partnerships with Langston Hughes and soprano Leontyne Price and others, she's remembered in some circles as an important figure in American composition. But, mostly, she's been forgotten.
"It's amazing that people don't know who she was, although she was quite well known in her time," says Louise Toppin, an opera singer and a voice professor at the University of North Carolina at Chapel Hill.