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  The Secret Garden

  Frances Hodgson Burnett, Jeanne...

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  In this L.A. Theatre Works original commission, playwright Jeanne Sakata has created a new audio adaptation of Frances Hodgson Burnett’s beloved classic. Mary Lennox is an orphaned 10-year-old who is sent to live with her uncle in his country house on the moors. Her new life is almost unbearable, but when she hears stories of the estate’s mysterious, abandoned garden she’s determined to discover its secrets.
   
  
   
  Recorded at The Invisible Studios, West Hollywood in June 2024.
   
  
   
  Directed by Jessica Kubzansky
   
  Producing Director: Susan Albert Loewenberg
   
  
   
  An L.A. Theatre Works full-cast recording, starring:
   
  
   
  Jonathan Charles as Colin Craven, British Army Officer
   
  Shannon Cochran as Mrs. Medlock, Regina Crawford, Susan Sowerby
   
  Adhir Kalyan as Archibald Craven, Servant Ramji
   
  Alma Marian as Mary Lennox
   
  Cerris Morgan-Moyer as Martha Sowerby, Rose Lennox, Lily Craven and second Crawford Child
   
  Alastair James Murden as Dickon Sowerby, Captain Lennox, and first Crawford Child
   
  Ian Ogilvy as Ben Weatherstaff, Doctor, Innskeeper, British Army Officer, Pastor Edward Crawford
   
  Lina Patel as Ayah Lakshmi
   
  
   
  Senior Producer: Anna Lyse Erikson
   
  Technical Producer: Mark Holden
   
  Recorded and edited by Neil Wogenson at The Invisible Studios, West Hollywood
   
  Designed and Mixed by: Charles Carroll
   
  Assistant Designer: Chloe Foster
   
  Foley Artist: Mark Holden
   
  Foley Engineer: Chloe Foster
   
  Senior Radio Producer: Ronn Lipkin
   
  Cultural Consultant: Lina Patel

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  Comic Sans - The Biography of a...

  Simon Garfield

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  A compact and charming history of the font we love to hate by the New York Times bestselling author of Just My Type. 
   
   
   
  Since its improvised creation at Microsoft in the mid-1990s, Comic Sans has become one of the most used and talked-about typefaces of the digital age. The subject of April Fools pranks and endless internet discourse, it has spawned a movement to ban it, inspired revivals and spinoffs, and continues to be widely promoted by educators. In this delightful history, bestselling author Simon Garfield tells the story of how Comic Sans emerged from speech bubbles on educational software to become one of the most recognized—and reviled—typefaces on earth. He considers how the computer transformed type into something that anyone could use and have an opinion on, explores how new fonts emerge with changing times and technology, and meets die-hard Comic Sans adherents and haters. He concludes the book by asking the unimaginable: Could Comic Sans now be the coolest typeface ever made?

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  Passion for Compasses - Medieval...

  Sonja Ulrike Klug

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  The architectural history of the Middle Ages is full of surprisesIt is hard to imagine today that relatively few construction plans have been found for the impressive churches and cathedrals of the Romanesque and Gothic periods. Where did most of the drawings go? Were the plans destroyed in Europe or lost over time? Or were they never made at all?Although there are very few architectural drawings, there were numerous compasses. What were they used for and how? Was it possible to design complex buildings such as churches and cathedrals without blueprints?The author takes her readers on an exciting cultural and historical journey through timeShe looks at the spread of papyrus, parchment and paper and traces the ability to write and calculate in Europe. She also looks at the construction process in historical illustrations and draws comparisons with Arabic architecture. Finally, the author presents the various types of compasses that were available and explains how the drawing skills of master builders developed up to the Renaissance.These insights into the history of architecture lead to some surprising discoveries: Architects of the Middle Ages thought and planned very differently from how we think today.Dr. Sonja Ulrike Klug has been studying medieval architecture for over 20 years. She has published several books on Gothic cathedrals.

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  Isn't Her Grace Amazing! - The...

  Cheryl Wills

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  A unique tribute to often overlooked women who have left an indelible mark on Gospel Music—powerful talents who overcame racism and sexism to define the genre, establish its sound, and set the standard for good sangin’ for generations. 
  Nothing in the world soothes the soul better than Gospel music. From the foot-stomping, hand-clapping melodies of yesterday to the head-bobbing, bass-thumping hits of today, Gospel music ignites the spirit and delivers the inspiration that takes us from the rough side of the mountain to the peak of God’s love and grace. That feeling of joy, peace, love, and contentment is amplified when it’s ringing through the voice of a sister who can SANG, Cheryl Wills reminds us. The remedy for a tough day at work can be alleviated with Mary Mary’s uplifting jam Shackles, the answer to your heart’s desires can be found in the harmonies of The Clark Sisters Name It, Claim It, and if you need a reminder of God’s love, there is nothing more timeless that Aretha Franklin’s stirring rendition of Amazing Grace. 
  Some talented performers, like Sister Rosetta Tharpe have faded from history, while singers like Yolanda Adams are at the top of her game. During the twentieth century, Willie Mae Ford spent most of her life encouraging and uplifting Christians both in church and on stage and composed more than 100 Gospel songs, yet it was men like her co-writer, Thomas A. Dorsey, who received the accolades and fame. Many women in the Gospel music industry go unnoticed, unpaid, and under-appreciated for their contributions, yet it is these women who are often the bedrock for songwriting, arranging, directing, and developing singers.  
  Cheryl Wills, the granddaughter of a Gospel singer, at last shines a spotlight on these spectacular women of song. The only book of its kind, Isn’t Her Grace Amazing! showcase the talents, gifts, and skills of women in the Gospel music industry. It celebrates these heroines, chronicles their journeys from the choir loft to the world’s largest stages, and reveals how they revolutionized this sacred music that is beloved worldwide. From the matriarchs of this movement to today’s chart-topping divas, Wills offers in-depth portraits of twenty-five amazing women of Gospel music—based on interviews and extensive research—behind-the-scenes stories of favorite gospel hits, and illuminates what makes each of them shine. 

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  Fleetwood Mac's Tusk

  Rob Trucks

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  After Rumours became the best-selling single album of all-time, Fleetwood Mac asked Warner Brothers Records to buy them a studio (the label refused, costing both Warner Brothers and the band significant cash in the long run) and then handed the reins to their guitarist and resident perfectionist Lindsey Buckingham. “You know,” Buckingham said, “we had this ridiculous success with Rumours. We were poised to do another album, and I guess because the axiom ‘If it works, run it into the ground’ was prevalent then, we were probably poised to do Rumours II. I don’t know how you do that, but somehow my light bulb that went off was, ‘Let’s just not do that. Let’s very pointedly not do that.’ ”Here, Rob Trucks talks to Lindsey Buckingham, as well as members of Animal Collective, Camper Van Beethoven, the New Pornographers, Wolf Parade, and the USC Trojan marching band in order to chart both the story and the impact of an album born of personal obsession and a stubborn unwillingness to compromise.

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  Up from Slavery; an Unfinished...

  Archie Morris III

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  For a period of 85 years, the M Street/Dunbar High School was an academically elite, all-black public high school in Washington, D.C.  As far back as 1899, its students came in first in citywide tests given in both black and white schools.  Over this 85-year span, approximately 80 percent of M Street/Dunbar’s graduates went on to college, even though most Americans, white or black, did not attend college at all. Faculty and students were mutually respectful to one another, and disruptions in the classroom were not tolerated. Yet, in this era of best practices, this public high school, whose founders experienced slavery and segregation firsthand, has received virtually no attention in the literature or in policy considerations for inner-city education.  The purpose of this study is to explore the history of a high school that was successful in teaching black children from families at all income levels to excel and to determine if the learning model employed in the past could be successful in a modern inner-city public education environment.

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