Latest news with #SundaySchool
Yahoo
4 days ago
- Entertainment
- Yahoo
PICTURES: Picnic in the park hailed huge success for Port Glasgow New Parish Church
HUNDREDS of people of all ages from a Port Glasgow Church had fun in the sun at their annual park picnic last weekend. On Saturday, July 12 up to 100 people gathered at Coronation Park to enjoy a day in the sun at the Port Glasgow New Parish Church picnic in the park – on one of the warmest days Scotland has had this year. Not only did families enjoy lunch under the sun, but also badminton, crafts, parachute games and even some line dancing. (Image: alex craig) (Image: ALEX CRAIG) (Image: alex craig) (Image: ALEX CRAIG) (Image: ALEX CRAIG) (Image: ALEX CRAIG) The picnic has been running for four years having started after the Covid pandemic when church members where reminiscing on Sunday school trips down the coast and wanted to host day's out for the whole church community. Reverend William Boyle says the day is always a huge success with both young and old, and that last weekend the warm temperatures and bule skies made the day even more special. He said: 'We have such great assets on our doorstep so why not make the most of the beautiful outdoor area we have in Inverclyde. (Image: ALEX CRAIG) (Image: ALEX CRAIG) (Image: ALEX CRAIG) (Image: ALEX CRAIG) (Image: ALEX CRAIG)'We are very much a community church, and we are always finding ways to connect with the Port Glasgow community. 'For us it is about finding things for families to take part in that doesn't cost a lot of money and the picnic in the park is a perfect event which is fun for everyone but also completely free." (Image: alex craig) (Image: ALEX CRAIG) (Image: ALEX CRAIG) (Image: alex craig) (Image: ALEX CRAIG) The church is open to the area seven days a week and Rev William says that running events like the picnic and the fun day held at the start of the month are all part of keeping up community spirit. He added: 'We have a brilliant church family of a variety of ages, from babies up to members who are 100 years old. 'It is wonderful to be a part of such a welcoming community of people. 'It was great to see families of all ages from within the church and the wider Port Glasgow community come together.' (Image: ALEX CRAIG) (Image: ALEX CRAIG) (Image: ALEX CRAIG) (Image: alex craig) (Image: ALEX CRAIG) Rev William thanked everyone who helped make picnic in the park possible and says it will 'most definitely' be returning for its fifth year in a row next summer.
Otago Daily Times
5 days ago
- General
- Otago Daily Times
Historic building given new life
A small wooden church built in 1870 with hopes of serving a booming port town has found new life in the 21st century thanks to the dedicated efforts of two passionate owners. The former Kakanui Presbyterian church, a modest Carpenter Gothic building designed by renowned Scottish-born Dunedin architect Robert Arthur Lawson, has undergone a significant transformation in recent years. Once the spiritual heart of Kakanui, the timber church had weathered decades of change before its final service in November 2019. Designed to seat 100 worshippers, the church was constructed in just three months during a period of ambitious development. Hopes were high that the newly built port would turn the coastal settlement into a major export hub. While those dreams faded, the church remained a part of the community's life for nearly 150 years. When Michael Simpson and Anna Miles first saw the church listed for sale, it was the building's historical and architectural significance that drew them in. "We like that it's Robert Lawson's smallest, most modest surviving building," Mr Simpson said. Mr Simpson, a carpenter with heritage expertise, and Ms Miles, equally hands-on, saw the church as more than just a building. "We never had a particular plan except to restore it. There was no timeframe, no budget — and that's why it's been such a pleasure," Mr Simpson said. Since buying the property in 2019, the couple have steadily restored the structure, replacing sub-floor bearing joists, corner studs and weatherboards, improving drainage, restoring windows and repainting the interior. Their restoration has extended to the church's outbuildings — including the bible class hall added in 1933, two small buildings acquired in 1955 for the growing Sunday School and even a Brownies den. Ms Miles said the emotional connections uncovered during the restoration had made the project even more meaningful. "The more we've got to know the building, the more we've realised it's a special space that means a lot to a lot of other people. "We see ourselves as stewards of the building." Keeping the church's doors open has become part of the couple's philosophy. Visitors frequently drop in to share stories and memories or simply admire the restored space. Since 2019, the church has hosted weddings, musical performances, art exhibitions and carol services. Mr Simpson said it did not need to be a commercial space. "But we've realised it should have a life of its own and a reason to exist. We get quite emotional seeing all the life in the building." Now a listed category 1 historic place with Heritage New Zealand Pouhere Taonga, the church has received official recognition of its architectural and social significance. — APL
Otago Daily Times
5 days ago
- General
- Otago Daily Times
Historic building given new life Historic building given new life
A small wooden church built in 1870 with hopes of serving a booming port town has found new life in the 21st century thanks to the dedicated efforts of two passionate owners. The former Kakanui Presbyterian church, a modest Carpenter Gothic building designed by renowned Scottish-born Dunedin architect Robert Arthur Lawson, has undergone a significant transformation in recent years. Once the spiritual heart of Kakanui, the timber church had weathered decades of change before its final service in November 2019. Designed to seat 100 worshippers, the church was constructed in just three months during a period of ambitious development. Hopes were high that the newly built port would turn the coastal settlement into a major export hub. While those dreams faded, the church remained a part of the community's life for nearly 150 years. When Michael Simpson and Anna Miles first saw the church listed for sale, it was the building's historical and architectural significance that drew them in. "We like that it's Robert Lawson's smallest, most modest surviving building," Mr Simpson said. Mr Simpson, a carpenter with heritage expertise, and Ms Miles, equally hands-on, saw the church as more than just a building. "We never had a particular plan except to restore it. There was no timeframe, no budget — and that's why it's been such a pleasure," Mr Simpson said. Since buying the property in 2019, the couple have steadily restored the structure, replacing sub-floor bearing joists, corner studs and weatherboards, improving drainage, restoring windows and repainting the interior. Their restoration has extended to the church's outbuildings — including the bible class hall added in 1933, two small buildings acquired in 1955 for the growing Sunday School and even a Brownies den. Ms Miles said the emotional connections uncovered during the restoration had made the project even more meaningful. "The more we've got to know the building, the more we've realised it's a special space that means a lot to a lot of other people. "We see ourselves as stewards of the building." Keeping the church's doors open has become part of the couple's philosophy. Visitors frequently drop in to share stories and memories or simply admire the restored space. Since 2019, the church has hosted weddings, musical performances, art exhibitions and carol services. Mr Simpson said it did not need to be a commercial space. "But we've realised it should have a life of its own and a reason to exist. We get quite emotional seeing all the life in the building." Now a listed category 1 historic place with Heritage New Zealand Pouhere Taonga, the church has received official recognition of its architectural and social significance. — APL
IOL News
13-06-2025
- Entertainment
- IOL News
'It all started with the recorder'
Chad Hendricks, resident conductor of the KZN Philharmonic Orchestra and Charl van der Merwe, principal bassoonist and conductor of the Durban City Orchestra whip out their batons as they nurture Durban's many talented musicians. Two conductors, two Durban orchestras, and both coming out of the same Cape Town church recorder group. For both their first recording was in the church choir singing Christmas carols. The city is blessed to have the talents of Chad Hendricks, resident conductor of the KZN Philharmonic Orchestra and Charl van der Merwe, principal bassoonist in the KZNPO and leader of the Durban City Orchestra. The Independent on Saturday caught up with the two friends ahead of the start of the orchestra's new season next week. And yes, despite them leading different orchestras, there's no animosity. When I suggest it's a battle of the batons, they both laugh and then shake their head. It was actually Hendricks who persuaded van der Merwe to make the move to Durban when the principal bassoon seat was on offer, a move he has never regretted. And vice versa last year when Lyk Temming retired as the resident conductor. Hendricks, who studied trumpet, relished the move to Durban last November. 'It's a great change of pace and the city has a different feel. It suits my style. It also has great potential and so many untapped projects. I feel I can contribute and make an impact.' For both their love of music started at Cape Town's New Apostolic Church on the Cape Flats. For Hendricks it was a case of being blessed with opportunities. 'It all started as kids in the mass recorder programme. There were many congregations that were part of the church, but each had its own choir and orchestra. From recorder you would progress to other instruments, then you could try out for the Cape Town Philharmonic Youth Orchestra. It was only in high school I was comfortable with the idea of music as a career and went to UCT,' he says Van der Merwe remembers singing in Sunday School 'with our red hats like little Christmas elves'. The Sunday School produced an album, Christmas in Cape Town, which went on to be a community hit. He sang in the first album, Hendricks, some six years younger, in the second. 'Our choirs are the best,' Van der Merwe said. 'But it all started in church learning the recorder. If it wasn't for that I wouldn't be here today.' He learnt to play piano and then the flute. 'My brother was given a flute, but you know the flute is sometimes thought of as a little fem, and he was the butchest boy in the class. So I tried it, and it's similar to the recorder, and easy to play. Then another friend introduced me to the bassoon, and I was hooked on that sound.' But he couldn't afford the instrument. 'I borrowed one from the Beau Solail Music centre until my dad could buy me one,' He says. He still has it, using it for teaching at the Durban Music School. Hendricks likens being part of an orchestra to being part of a family. But having played in professional orchestras around the country, leading one is different. 'It's not just about maintaining musical standards, but you need to be open to musicians' lives. You also need to make the audience feel welcome and engaged. ' 'We've enjoyed working with him,' van der Merwe says. 'He's a new person with a vibrant energy and a fresh look at things. I hope he stays,' he jokes. Hendricks also wants to engage with new audiences. 'We have a lot of beautiful grey-haired people who love and understand the music. But we need to pass that understanding on to younger audiences, get it across to the new generation. There's a lot of potential in that with popular and accessible stuff. Van der Merwe points to the Star Wars Imperial March that young musicians are going to play with professionals on Father's Day tomorrow at the Let's Band Together Concert at Durban Girls College. (See Page 4). Van der Merwe is thinking along similar lines with his Durban City Orchestra, which is funded by the Mzansi National Philharmonic Orchestra. 'There's a lot of opportunity to spread music making." Which quickly leads to their playlists, which Hendricks says would surprise readers. 'It's anything from Mozart to Tupac,' he laughs. He also enjoys the KZNPO's schools outreach programme. 'The amount of talent, the innate rhythm, innate musicality in those kids is amazing,' he says. 'And music really is a great tool. It teaches discipline, teaches team work, and teaches creativity. You don't have to be a professional musician to benefit from those guiding principles in life.' Hendricks is also impressed with the potential and musical tradition in and around Durban. The KZNPO is looking to put on small Sinfonia concerts at venues around the province. 'They give a more intimate experience, and orchestra musicians can be soloists in smaller works. It's part of taking music to the people.' Initiatives like the Park and Ride buses are bringing people to the main symphony season from Umhlanga, the Berea and the Highway area. (Tickets from Quicket). The KZNPO starts its two-concert Winter Season this week with concerts at the Playhouse on Thursday June 19 and 26, both starting at 7pm. (Tickets from Quicket) See Page 4.
Yahoo
02-06-2025
- Entertainment
- Yahoo
Hometown Heroes and Cross-Genre Icons: Seven Takeaways from Roots Picnic 2025
Another Roots Picnic is in the books. For two days, thousands of music lovers descended upon Philadelphia's Fairmount Park to check out a wide array of acts, from R&B and pop stars such as Maxwell, Miguel, and Tems to rappers like Meek Mill, GloRilla, Latto, and everything in between. Though the rain on May 31 threw a massive monkey wrench into the festivities, drawing an apology from Questlove to fans, things got better on June 1 (for the most part). Here are seven of the biggest takeaways from the weekend. It's no surprise that a festival with a lineup at least partially based on Questlove's taste reflects the wide spectrum of Black music. Lenny Kravitz, Kaytranada, and Meek Mill — three very different artists — were the three closing sets on Sunday, and it all made sense. There were in-demand rappers like GloRilla and Latto. Acts such as Cece Peniston and Crystal Waters (both hosted by Rich Medina) and Kaytranada demonstrated the long history of house music. Multi-instrumentalist Adam Blackstone was joined by Total and Jagged Edge, giving their early-'00s pop/R&B hits the live treatment. R&B was well accounted for throughout the weekend, with stellar sets from the likes of Maxwell, Tems, and Miguel. Concertgoers could even give praise at Kirk Franklin's Sunday School. There are many festivals that offer a particular vibe for a particular audience, but increasingly, the Roots Picnic is becoming one of the music world's better 'something for everyone' events. More from Rolling Stone Questlove Apologizes for Extreme Delays at Roots Picnic: 'Today Wasn't Ideal' Clipse Set Summer Release Date for New Album, 'Let God Sort Em Out' D'Angelo Cancels Roots Picnic Performance Over Medical Issue Maxwell headlined the Fairmount Park stage on Saturday night as a last-minute replacement for D'Angelo, who pulled out the week before the show because of health concerns. He wished his R&B brother a speedy recovery from the stage, but expressed gratitude for the opportunity to perform in front of thousands of concertgoers. Saturday's rain cleared up right in time for him to give an unimpeded showcase of his extensive catalog, including 'Ascension (Don't Ever Wonder),' 'This Woman's Work,' and 'Fortunate.' The fans who braved the unseasonable June chill got a reminder of Maxwell's greatness, though one fan spoke for many when she lamented, 'He didn't play 'Pretty Wings'!' Maxwell was joined onstage by comedian Dave Chappelle, who commended the singer and told the crowd that they first met years ago, when Maxwell was a bartender. Hometown hero Meek Mill closed out the festival on night two, running through an almost hourlong set of his hits. He came to the stage in dramatic fashion, with a video montage of himself and friends seemingly pulling onto festival grounds on bikes as Phil Collins' 'In the Air Tonight' played. Once he took the stage, he delved into the Collins-sampling intro to his heralded Championships album, and other hits such as 'Uptown Vibes' and 'All Eyes On You.' He also brought out a couple of up-and-coming rappers from the Philly area, Skrilla and Fridayy. Meek performed 'Proud of Me' with the latter artist, though backing vocals unfortunately distorted Meek's incredible verse. After almost every song, Meek offered motivational advice to the crowd, referencing his rags-to-riches come-up and imploring the crowd to remember that they're capable of the same, despite the naysayers. It's pretty well-known that Meek has a polarizing relationship with social media, and his annoyance with skeptics was apparent throughout the night, as the screen behind him showed several clips of adages such as 'Don't Believe Everything You See,' and an image of sheep with glowing eyes (a shot at the 'internet sheep') who spark his ire. Toward the end of the set, Meek was about to go into his 'Dreams And Nightmares' intro, but stopped twice when he felt the crowd wasn't giving him the necessary energy. There were definitely moments where the crowd felt disconnected from Meek. Sensing the malaise, he then asked for someone to come onstage to give a 'Philly speech.' Rapper Gillie and media personality Wallo (from podcast Million Dollaz Worth Of Game) walked centerstage to rouse the crowd. Wallo told Meek he should remind the crowd who he is by running through his early hits before closing out with the intro. The crowd rapped every word to early-2010s tracks such as 'Rosé Red' and 'Levels,' in a moment that matched his prior rendition of 'I'm a Boss,' which also turned the crowd up. That run of Philly classics primed the crowd for his festival-closing 'Intro.' GloRilla was the first big star to grace the Fairmount Park stage on Saturday. Boasting long teal hair and bedazzled jeans, she looked every bit the star she's become over the past several years. She went through her steadily growing catalog, with four dancers in tow augmenting renditions of 'Yeah Glo,' 'FNF,' and 'Hollon.' GloRilla and DJ Digital Dynasty frequently addressed the crowd, dropping the music so concertgoers could finish her lines. But unfortunately, she wasn't getting much reciprocation. Maybe the lack of call-and-response was about the number of older people in the crowd, or the dreary weather sapping everyone's energy. But the moment reminded me of seeing Sexyy Red's performance at last year's Roots Picnic. Though Sexyy, like Glo, was an unconventional fit for a traditional bill at this festival, her set succeeded it part because it occurred in the park's TD Pavilion amphitheater, a closed-off environment in the far corner of the grounds. For Sexyy, that venue-within-the-venue served as a space strictly for young fans who wanted to get ratchet. Instead of getting the same placement, Glo played the mainstage, which, with the Saturday schedule being a mystery, was stocked with attendees who didn't seem to resonate with her high-octane sound. It's cool that Roots Picnic is widening their selection of artists, but perhaps the more younger-skewing acts should play the amphitheater. The walk toward its stage is steep — you'd only take it if you know exactly who you're coming to see. As someone who loves to hear MCs bar up, producer DJ annual Live Mixtape was my highlight of the weekend. Esteemed rap journalist Sway opened the set and introduced Black Thought, calling him 'bar-for-bar the illest MC on the planet.' The Roots MC delved into a couple of freestyles before Pusha T took the stage. He played singles like 'If You Know You Know' and 'Games We Play,' before inviting his brother Malice out, marking the Clipse's Roots Picnic debut. They performed hits like 'What Happened to That Boy,' and 'Cotdamn' (with their longtime Philly associate Ab-Liva), with Black Thought occasionally jumping in at the end of the beat to get off some bars. Clipse didn't play their just-released 'Ace Trumpets' single, but they gave the crowd a dose of nostalgia to prime them for their upcoming, long-awaited album Let God Sort Em Out. Next, Black Thought had rappers D West and Lena L, a pair of students from his School of Thought master classes, spit some bars over 'Grindin.' Then, things went to Atlanta as 2 Chainz came onstage and performed hits like 'No Lie,' 'Rich As Fuck,' and the eponymous track from his Life Is Beautiful album with Alchemist and Larry June. Black Thought, who stayed onstage the entire time (and had a full set with the Roots just an hour later), offered some bars to 2 Chainz' classics as well. 2 Chainz spoke for many when he called Black Thought a 'magician' and a 'rappin'-ass nigga,' but he deserves props as well. Seeing Philly's Thought and Atlanta's 2 Chainz trade bars over the beat from Camp Lo's quintessential uptown New York hit 'Luchini' (right after Virginia's Clipse tore down the stage) is the kind of thing that shatters any regional or aesthetic demarcations people place on rap. For if you can spit, you can jump onstage for the Live Mixtape. In 2000, Philly musician Musiq Soulchild released his debut album, Aijuswanaseing, on Def Jam. The project made waves, so much so that 25 years later he filled the amphitheater with fans looking to celebrate its silver anniversary with him. He started the hometown set by letting his band play, getting the crowd ready to two-step before he jumped into a top-to-bottom rendition of his debut. He also took a beat to humbly thank the crowd for 'supporting your own.' Later that day, Jeezy celebrated the 20th anniversary of his own major-label debut, Let's Get It: Thug Motivation 101 — the rap classic that elevated him from a mixtape maestro into a bonafide rap star. He tore through hits such as 'Soul Survivor,' but he also gave a full reminder of the rest of his iconic catalog, performing his 'Dey Know' remix before closing out with 'Put On.' Kendrick Lamar, currently on his Grand National tour, wasn't at the Roots Picnic, but his presence was felt. Several DJs played GNX hits such as 'Squabble Up,' 'TV Off' — and yes, 'Not Like Us' — during their sets. The momentous Drake diss also garnered what may be a hip-hop first: Philly soul band SNACKTIME performed a cover of 'Not Like Us,' with lead singer Nico Bryant belting Kendrick's venomous first verse over their raucous live instrumentation. Aside from occasional bar and hook references, cover songs don't often make it to rap, so their choice to cover a diss song might have made history. The day before, Musiq Soulchild went viral for transitioning out of his 'Just Friends (Sunny)' hit into the chorus of Kendrick Lamar's 'TV Off.' An artist being covered by contemporaries is the true sign of an instant classic. On Saturday, Philly had to contend with Mother Nature, and thousands of attendees dealt with the unknown. After on-and-off rain for the previous 24 hours, festival organizers had to mulch parts of the festival's grassy area to make things more walkable. But they weren't very communicative about the process with attendees, many of whom took to social media to share their dismay with their lengthy wait. The festival opened its gates at 2 p.m. (instead of the previously announced noon opening), leaving some people waiting in line for as many as four hours with no indication of what was going on. Commenters on the Roots Picnic's IG recounted medics having to assist people who had been waiting for too long with no water (eventually the account closed its comments). All of the Saturday sets were pushed back, and no one knew when to expect which act. The festival issued an apology on its Instagram page on Sunday morning, noting 'today is a new day and we will do better'; Questlove later added a personal note of his own, thanking fans for their 'understanding and patience through this adversity.' I spoke to multiple people who said they had a smoother entry Sunday, but there was still an hour delay at the Mann Stage, which left it unclear which acts were playing at what time. SNACKTIME were set to play at 2 p.m., but didn't get into their set until after 3 p.m.; the Roots started near 7:30 instead of the scheduled 6:30. Going forward, the festival has to be more forthcoming with attendees, whether that's relaying messages to between-set DJs, hiring hosts who can keep attendees abreast in between acts, or simply offering change-of-plan notices on their Instagram page. Best of Rolling Stone The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked The 500 Greatest Albums of All Time
