A Million Dreams concert program

RWC Staff Ruth Huber - Co-Artistic Director Composer-in-Residence Ruth Huber was instrumental in founding both RWC and Tapestry Singers of Austin Texas. She holds three music degrees, and has studied conducting at San Jose State University. A national award-winning composer, she also enjoys writing music for RWC. She is a member of the Music Teachers National Association, and serves as Music Director for Campbell United Church of Christ.

Vist Ruth’s website to learn more.

Betsy Wagner - Co-Artistic Director Choralographer Betsy Wagner has a Bachelor’s degree in Music Education with a dual major in voice and piano. she has finally retired after 35 years of teaching an awardwinning middle school choir program.

Betsy has been singing with Rainbow Women’s Chorus since 1997 and has been co-director since 2000. She creates the choralography for RWC performances.

Doug Forsyth - Accompanist Doug Forsyth joined RWC as accompanist in 1998. He graduated from Willamette University in Salem, Oregon, with a Bachelor of Arts degree in Music, concentrating on piano performance.

Doug has performed as a singer and pianist with many other performance groups. He is appreciated by both singers and directors for his unfailing musicianship and his ability to read our minds.

Our Mission Rainbow Women's Chorus (RWC) works together to develop musical excellence in an atmosphere of mutual support and respect. We perform publicly for the entertainment, education, and cultural enrichment of our audiences and community. We sing to enhance the esteem of all women, to celebrate diversity, to promote peace and freedom, and to touch people's hearts and lives.

Our Story RWC formed in 1996 under the direction of Lynn McLaughlin and Ruth Huber.

Betsy Wagner became co-director in 2000.

We are a nonprofit corporation governed by the Action Circle, the board of directors.

In addition to presenting two concerts a year, we perform at special events and are also for hire to sing at your event.

Rainbow Women’s Chorus is a member of the Gay and Lesbian Association of Choruses (GALA). GALA holds their Festival every four years in a different city and since 2000, RWC has attended every one. We look forward to attending GALA Festival in Minneapolis in 2024 (Festival 2020 was canceled due to Covid).

We have also performed in Carnegie Hall in New York, and a Sister Singers festival in Chicago. But we like it best when we are here.

Love to Sing? Join Us! We are a non-auditioned chorus that strives for musical excellence We are a welcoming & inclusive community* We love to sing We sing for: Fun Community Inclusivity Social justice/empowerment *Welcoming all gender identities including LGBTQIA+ and allies rainbowwomen.org

contact@rainbowwomen.org

Songs of Justice, Hope and Community

First Half Stand in the Light Words and music by Stephan Moccio and Lauren Christy, arranged by Roger Emerson, recorded by Jordan Smith.

They May Tell You Music by Andrea Ramsey, text by Isabella Cook.

Na Na Na Words and music by Avriel Kaplan, Kevin Olusola and Taylor Parks, arranged by Mac Huff. Solo: Jennifer Doering - Descant: Karen Parker, Lindarae Polaha, Ruth Huber They Can’t Steal Our Joy Written by Ruth Huber, inspired by Cory Booker and Ketanji Brown Jackson.

Let’s Get Loud Words and music by Gloria Estefan and Mike Santander, arranged by Kirby Shaw.

What Baking Can Do Words and Music by Sara Bareilles, arranged by Mark Bremer, performed by Sara Bareilles in the musical, Waitress.

Rise Words and music by Katy Perry, Max Martin, Ali Payami and Savan Kotecha, arranged by Mac Huff. Solo: Taetum Simms, Maria Rojas You Need to Calm Down Words and music by Taylor Swift and Joel Little, arranged by David Madden.

Musicians Trumpet: Christopher Wilhite Bass: Jennifer Kambeitz Percussion: Dori Shimer Fiddle: Faye Yang

Second Half Spirit From Disney’s The Lion King Written by Timothy McKenzie, Ilya Salmanzadeh and Beyoncé, arranged by Mac Huff, performed by Beyoncé. Solo 1: Karen Parker, Solo 2: Jalayne Forrester We Shall Be Known Written by MaMuse, arranged by Thrive Choir (now Wildchoir).

A Million Dreams Words and Music by Benji Pasek and Justin Paul, arranged by Roger Emerson Solo: Alyssa Haroldsen - Descant: Ruth Huber, Roxanne Arnold Hope is the Thing with Feathers Music by Susan LaBarr, poem by Emily Dickenson.

Armor Words and music by Sara Bareilles, arranged by Audrey Snyder, performed by Sara Bareilles. Solo: Kim Wallace, Clio Myklind Stronger (What Doesn’t Kill You) Words and music by Greg Kurstin, Jorgen Elofsson, David Samson and Alexandra Tamposi, original GLEE arrangement by Adam Anders and Peer Astrom. Solo: Kathy Wasowski Crowded Table Words and music by Natalie Hemby, Lori McKenna and Brandi Carlisle, arranged by Andrea Ramsey. Solo: Erin Dunning Production Staff Sound: Rob Karr Live Streaming: Luis Pedro Castillo Pictures Production Volunteers Stage Manager: Brian Singer Slides: Clio Mykland Graphic Design: Maria Rojas Concert Program: Maria Rojas, Laurie Willis and Eileen Hamper Concert Production: Laurie Pepin and Maria Rojas Wardrobe: Jan Blossom Volunteer Coordinator: Laurie Pepin Piano tuning: Brenda Meng Website and social media: Laurie Willis Ushers/Lobby Volunteers Kim Daniel, Suz Floethe, Tanya Kamp, Merilee Lawson, Catherine Konrath, Erika Grant, David Pope, Dave Ganz, Shellie Benavidez and friends, family and our singers

Singers Soprano 1

Alto 1

Alto 2

Clio Myklind

Alyssa A. Weatherston

Alyssa K. Haroldsen

Jennifer Doering

Angie Hexum

Jalayne Forrester

Jessica Ganz

Aurora Olivares

Kathy Wasowski

Karen Parker

Deva Luna

Kim Wallace

Marjorie Pearson

Evelyn Vigil

Laurie Pepin

Roxie Arnold

Lani Hamel

Laurie Willis

Taetem Simms

Lily Kuo

Meg Sanders

Liz Vogel

Nancy Arvold

Soprano 2

Marnie Singer

Amanda McClure

Staci Dayley

Angie Metcalf

Floater

Asya Namsaraeva

Erin Dunning

Deirdre McNamara

Lindarae Polaha

Eleanor Grant Strong

Patty McIntyre

Jan Blossom

Sally Cooperrider

Maria Rojas Sheila Kamp

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Program Notes First Half Stand in the Light “ S t a nd in the Li g h t ” b e c a m e po p u l a r i n 2 0 1 5 w h e n J o r d a n Smith won the c o m petition on T h e V o i c e a n d r e c o r d e d i t a s h i s f i r s t s i n g l e . The soul-stirring m e l o dy and emo t i o n a l l y i n s p i r i n g l y r i c s c h a l l e n g e p e o p l e t o take the “greatest r i s k ” to be true t o t h e m s e l v e s a n d e m b r a c e t h e i r u n i q u e n e s s – to step into the s p o t light, being s e e n a n d h e a rd , b r e a k i n g f r e e f r o m t h e s h a d ows of judgment a n d expectations o f o t h e r s . T he s o n g r e p r e s e n t s J o r d a n ’ s o wn struggles with s e l f -acceptance a n d f e e l i n g s of i n a d e q u a c y . H e h o p e d t h e s ong would resonate e s p e cially with t h o s e w h o f e e l m a r g i n a l i z e d o r j u d g e d f o r b e ing different due to r a c e , gender, se x u a l o r i e n t a t i on . N a n cy

They May Tell You T h i s is an a cap p e l l a ( u n a c c o mp a n i e d ) w o r k w r i t t e n b y A n d r ea Ramsey with w o r d s by Isabell a C o o k . C o o k w r o t e t h e p o e m i n h i g h s c h o o l , inspired by her tr e b le choir. Sh e d e s c r i b e d h er f e l l o w s i n g e r s a s “ l o v e l y , k i n d, and strong” and w a n ted to hono r t h e s i s t e r h o o d t h e y h a d t o g e t h e r a s a c h o i r . The mountain, r i v e r, and meado w w o m e n d e sc r i b e d i n t h e s o n g a r e a l l b a s e d on specific fr i e nds, while o c e a n w o m a n i s a r e m i n d e r t o C o o k o f h o w i t is ok to make m i s t akes. She ho p e d t h a t l i s t en e r s w o u l d s e e t h e w o m e n i n their lives in a new ligh t after listen i n g , r e c o g n i z i n g t h e i r s t r e n g t h , f e r o c i t y , a nd value. We, as a c h o r us, love the m e s s a g e t o w om e n e v e r y w h e r e t h a t t h e y a r e worthy and strong ju s t as they are . J e n n ifer

Na Na Na “ N a Na Na” was w r i t t e n a n d c o m p o s e d b y A v r i e l K a p l a n , K e v in Olusola, and T a y l a Parx in 20 1 5 . T h e u p b e at s o n g w a s r e c o r d e d b y P e n t a t onix (PTX), an A m e rican a cap p e l l a g r o u p f r o m A r l i n g t o n , T e x a s . P e n t a t o n ix is characterized by th e i r pop-style a r r a n g e m e n t s wi t h v o c a l h a r m o n i e s , b a s s l i nes, riffing, p e r c ussion, and b e a t b o x i n g . Ka p l a n ( f o r m e r P T X b a n d m a t e ) walked into the s t u d io one day s i n g i n g t h e 1 9 86 B a n g l e s h i t " W a l k L i k e A n Egyptian" and in s p ired a jam s e s s i o n t h a t r e su l t e d i n t h i s f u n s o n g . " I t ' s l ike playground c h a n ty," Grassi s a i d o f t h e s o ng , " d o n ' t t a k e u s t o o s e r i o u s l y ." L i l y

They Can’t Steal Our Joy In M arch of 2022 , I w a t c h e d th e S e n a t e h e a r i n g s t o c o n f i r m Ketanji Brown J a c k son as a Sup r e m e C o u r t Ju s t i c e . A s j o u r n a l i s t K i a r a A l f o nseca reported in a n online art i c l e : “ D e s p i t e a l o n g l i s t o f c r e d e n t i a l s , J a c kson… faced a b a r r age of quest i o n s f r o m R e pu b l i c a n s t r y i n g t o b r a n d h e r record as ‘soft on c r i m e’ or entren c h e d i n l i b e r al a c t i v i s m . S o m e R e p u b l i c a n s continuously in t e rrupted Jack s o n ' s r e s p o n se s t o t h e i r q u e s t i o n s o r y e l l e d in their a r g u ments agai n s t h e r c o n f i r m a t i o n o r c r e d e n t i a l s . S o u t h C a rolina Sen. L i n d sey Graham s t o r m e d o u t o f t h e h e a r i n g a n d A r k a n s a s S e n.Tom Cotton c a l l ed her a liar d u r i n g t h e i r q u e s t i o n i n g . ” O n t he third day o f t h e h e a r i ng s , S e n a t o r C o r y B o o k e r g a v e an impassioned s p e e ch.As Jack s o n w i p e d a w a y t e a r s , B o o k e r a p p l a u d e d h e r historic n o m ination to be c o m e t h e f i r st B l a c k w o m a n o n t h e n a t i o n ' s highest court, a n d her path to g e t t i n g t h e r e , s a y i n g : “ I t ' s h a r d f o r m e n o t t o look at you and n o t see my mom , n o t t o s e e m y c o u s i n s - - o n e o f t h e m w h o had to come here a n d sit behind y o u ; s h e h a d t o h a v e y o u r b a c k . I s e e m y a n c e stors and y o u r s.” “Nobod y ' s g o n n a s t e a l t h a t j o y , ” h e c o n t i n u e d , “ N o b ody’s taking this a w a y from me.”

I wr ote They Can ’ t S t e a l O u r Jo y i n h o n o r o f S e n a t o r C o r y Booker and J u s t ice Ketanji B r o w n J a c k s o n.

R u t h Huber

Let’s Get Loud T h i s song was wr i t t e n b y G l o r ia E s t e f a n a n d K i r k S a n t a n d e r . It was o r i g inally writt e n f o r E s t e f a n t o s i n g , b u t s h e t h o u g h t i t w a s “too similar to h e r previous rec o r d i n g s . ” E s t ef a n g a v e t h e s o n g t o J e n n i f e r Lopez, stating th a t she would h a v e " m o r e f u n w i t h i t " a n d w o u l d p u t " a n e w spin" on it. The ly r i cs encourage p e o p l e t o b e th e m s e l v e s , t o m a k e t h e m s e l v es heard, and to e m b race physic a l i t y a s a m e a n s o f c o m m u n i c a t i o n . T h e m u sic blends salsa a n d mambo rhyt h m s w i t h m o d e r n p o p . I t c e l e b r a t e s c u l t u r a l diversity and th e vibrant natu r e a n d e n e r g y o f L a t i n c u l t u r e . T h e s o n g w on Lopez her s e c o nd consecu t i v e G r a m m y n o m i n a t i o n f o r a m u s i c a l d a n c e recording and is c o n s idered by ma n y t o b e L o pe z ’ s i g n a t u r e s o n g . M a r ion

What Baking Can Do In 2 007 a small i n d e p e n d e n t mo v i e w r i t t e n a n d d i r e c t e d b y Adrienne Shelly c a l l ed The Waitr e s s w a s r e l e a se d s t a r r i n g K e r i R u s s e l l . I t w as about a smallto w n waitress wi t h a k n a c k f o r m a k i n g p i e , s t u c k i n a n a b u sive marriage, and d r e a ming of gett i n g f r e e . J u s t a s s h e t h i n k s s h e h a s f o u n d a way out, she find s out that s h e i s p r e g n a n t . T h e m o v i e h a d a b i t t e r s w e e t release as just 3 m o n ths before, t h e w r i t e r a n d d i r e c t o r A d r i e n n e S h e l l y w a s murdered.

In 2 010 a musi c a l o f T h e W a i t r e s s m a d e i t s B r o a d w a y d e b u t with the music a n d lyrics writt e n b y s i n g e r - s on g w r i t e r S a r a B a r e i l l e s . I t w as nominated for s e v e ral Tony awa r d s b u t w a s up a g a i n s t a n o t h e r s m a l l m u s i c al by LinM a n uel Miranda c a l l e d H a m i l t o n . T h e s o n g w e s i n g t o n i g h t comes at the b e g i nning of the m u s i c a l a n d ha s t h e m a i n c h a r a c t e r , J e n n a , remembering h e r mother and h o w s h e u s e d b a k i n g t o f i n d s o l a c e i n a n u nhappy marriage ju s t as Jenna do e s . J e n n a e v e nt u a l l y f i n d s t h e l o v e s h e i s s earching for in th e baby that sh e h a s . E v e n t ho u g h t h e s t o r y ’ s o r i g i n a l c r e a tor is no longer h e r e , I hope her o w n c h i l d c a n f i n d s o l a c e i n t h e f a c t t h a t A d rienne created a s t o r y that has g r o w n p a s t h e r o r i g i n a l v i s i o n a n d h a s b r o u g h t joy and h a p p iness to m i l l i o n s o f p e o p l e a r o u n d t h e w o r l d .

K a r en

Rise " R i s e" was recor d e d b y A m e r i ca n s i n g e r K a t y P e r r y . S h e c o - wrote the song w i t h Savan Kot e c h a a n d i t s p r o d u c e r s M a x M a r t i n a n d A l i P ayami. Perry said s h e wrote it aft e r y e a r s o f f e e li n g t h e w o r l d “ n e e d e d t o u n i t e .” The song was firs t released in J u l y , 2 0 1 6 w i t h t h e v i d e o f o l l o w i n g i n A u g ust. NBC selected it t o be the son g f o r t h e 2 0 1 6 R i o O l y m p i c s , w i t h s y n c s p l a n ned across the n e t w ork’s platfo r m s . P e r r y a p pl a u d e d t h e i r d e c i s i o n , r e f e r e n cing the O l y m pic athletes ' i n s p i r i n g s t re n g t h a n d p e r s e v e r a n c e . M a n y Olympians m a k e appearanc e s i n t h e m u s i c v i d e o , i n c l u d i n g s w i m m e r Michael Phelps, g y m nast Simone B i l e s , s w i m m e r M i s s y F r a n k l i n , a n d s p r i n t e r Usain Bolt.

P e r r y found this t o b e i n t e r e s ti n g s i n c e t h e O l y m p i c g a m e s b egan as a tribute to t he Greek god s w h i l e P e r r y 's s o n g i s a b o u t “ h o n o r i n g o n e's self and a c k n owledging a n d e n c o u r a g i n g o n e ' s o w n p o w e r t o a c c o m p lish and o v e r come.” Inter e s t i n g l y , “ R i se ” b e c a m e t h e n u m b e r o n e s o n g in Australia, r e a c hed the top t e n i n t h e C z ec h R e p u b l i c , F r a n c e , H u n g a r y , Scotland, and S p a i n, and was a m o n g t h e t o p t w e n t y i n A r g e n t i n a , C a n a d a , Lebanon, S w i t zerland, and t h e U n i t e d St a t e s . M a r ion

You Need to Calm Down I sp ent the bett e r p a r t o f l a s t ye a r e i t h e r g e t t i n g , a n t i c i p a t i n g, or going to T a y l or Swift’s E r a s t o u r . I h a ve b e e n a f a n s i n c e “ T i m M c G r a w” and when I saw th a t she was com i n g t o S a n t a Cl a r a , I s i g n e d u p s w i f t l y . A f riend and I were a m o ng the luck y o n e s w h o g o t t i c k e t s . T a y l o r w a s m a j e s t i c a nd a true performer th a t evening. “Y o u N e e d t o C al m D o w n ” i s s i g n i f i c a n t i n h e r repertoire because it w as the first s o n g t h a t t r u l y e x p r e s s e d h e r f e e l i n g s o n t h e LGBTQIA+ c o m munity. Yes , s h e t a l k s a b o u t h e r o w n e x p e r i e n c e s w i t h the haters, but she e x p l icitly advoc a t e s f o r t h e c om m u n i t y w i t h l y r i c s s u c h a s “ you can be GLAAD.” H e r performanc e w a s c o n f i d e n t a n d e n c o u r a g i n g . I w a s s u r r ounded by Swifties s i n g ing and danc i n g a l o n g . J e s s ica

Second Half Spirit In 2 019 Disney r e l e a s e d a p h o t o - r e a l i s t i c v e r s i o n o f T h e L i on King based on the 1 9 9 4 cartoon v e r s i o n . T h e s t o r y c e n t e r s a r o u n d a y o u n g l i o n named Simba and h i s journey to a d u l t h o o d . T h e m o v i e h a d m a n y f a m o u s f o l k s doing the voices of th e characters. N a l a , S i m b a ’ s l o v e i n t e r e s t , w a s v o i c e d b y t he famous recording a r t i st Beyoncé. A n e w s o n g w as r e q u i r e d f o r t h e e n d c r e d i t s of the movie. When B e y o ncé came i n w i t h “ S p i r i t , ” i t w a s t h o u g h t t o b e t o o g o o d for just the credits a n d it was place d i n a c r u c i a l s c e n e w h e n S i m b a r e t u r n s h o me. In Beyoncé’s v e r s ion, the son g o p e n s w i t h ma l e v o i c e s s i n g i n g i n S w a h i l i , “Long live the K i n g .” Spirit is a g o s p e l b a l l a d i n w h i c h B e y o n c é c a n s h o w o ff her amazing p i p e s. Today we s i n g S p i r i t k no w i n g w e c a n n e v e r r e a c h t h e heights of The Q u e en Bey but h o p e t o c a p t u r e j u s t a l i t t l e b i t o f h e r S p i r i t . K a r en

We Shall Be Known T h e composer, M a M u s e , a w o k e f r o m a d r e a m a b o u t o l d m u sical friends with the firs t phrase of th i s s o n g s i n g i n g i n h e r h e a d . I t h a u n t e d h e r , the rest of the w o r d s came to h e r i n h e r j o u r n a l , a n d t h i s b e l o v e d s p i r i t u a lly uplifting song w a s born. “We S h a l l B e K n o w n ” i n s p i r e s u s t o l e a r n t o l e a d in love during these time s on our pla n e t t h a t a r e s o c h a l l e n g i n g a n d h e a r t b r e a k i n g, a time many call “ T h e Great Tur n i n g ” o f o u r w o r l d f r o m g r e e d a n d v i o l e n c e t o ward s u s t ainability. I t c a l l s u s t o a pp r e c i a t e o u r l o v i n g c o m m u n i ties and to go deep in t o “the well” – o u r s o u r c e o f c r e a t i v i t y a n d c o n n e c t i o n – to thrive. N a n cy

A Million Dreams “ A M illion Dream s ” ( f r o m t h e f i l m T h e Greatest Sho w m a n ) wa s written an d c o m posed by Os c a r , G r a m m y , T o n y , a n d O l i v i e r A w a r d - w i n n ing songwriters B e n j Pasek and J u s t i n P a u l . T h e p o w e r o f d r e a m i n g a n d i m a gination in the fa c e of hardship t a k e s c e n t e r st a g e i n t h i s s o n g w i t h a m e m o rable melody and in s p irational ly r i c s . T h e s o n g wr i t e r s w a n t e d t o h e l p m o v e t h e story along w h i l e showing th e d r e a m a l i v e i n t h e m a i n c h a r a c t e r , P . T . Barnum. Per Paul, " H e (Barnum) a l w a y s w a n t e d l i f e t o b e l a r g e r a n d [ m o r e ] c olorful than it was.

W e w anted to s h o w t h a t ’ s t h e k i n d o f t h i n g t h a t r a n t h r o u g h the character fr o m when he w a s a k i d t o b e i n g a n a d u l t . B u t f o r t h e s t o r y , we thought it w o u ld also be in t e r e s t i n g a n d i r o n i c t h a t h e e x p r e s s e s t h i s dream as a kid a n d when we me e t H u g h J a c k m a n ( B a r n u m ) a s a n a d u l t n o w. He still has that s a m e dream and h e s t i l l h a s n ’ t f o u n d t h a t t h i n g . ”

Lily

Hope Is the Thing With Feathers T h e lyrics for " H o p e I s t h e T hi n g W i t h F e a t h e r s " a r e b a s e d o n the poem by E m ily Dickinso n w i t h t h e s a m e n a m e . T h e p o e m u s e s t h e m etaphor of a bird to r epresent hop e . E m i l y D i c ki n s o n i s n o w c o n s i d e r e d a n i m portant early A m e rican poet, b u t m o s t o f h e r p o e m s w e r e n o t p u b l i s h e d d uring her life t ime. In 189 1 , a f t e r h e r d ea t h a f e w y e a r s e a r l i e r , h e r s i ster discovered h e r cache of poe m s , i n c l u d i n g t h i s o n e , a n d h a d t h e m p u b l i shed.

H o p e is the thin g w i t h f e a t h e rs T h a t perches in t h e s o u l , A n d sings the tu n e w i t h o u t t h e w o r d s , A n d never stop s a t a l l .

A n d sweetest in t h e g a l e i s h e ar d ; A n d sore must b e t h e s t o r m T h a t could abash t h e l i t t l e b i rd T h a t kept so man y w a r m .

I've heard it in t h e c h i l l e s t l a n d , A n d on the stran g e s t s e a ; Y e t , never, in e x t r e m i t y , It a s ked a crumb o f m e .

Sally

Armor “ A r m or” is the f i r s t s i n g l e o f f o f S a r a B a r e i l l e s ’ s s i x t h s t u d i o album. It was r e l e ased before t h e a l b u m w a s r e l e a s e d b e c a u s e , g i v e n t h e political a t m osphere in 20 1 8 , s h e f e l t it w a s i m p o r t a n t t o g e t i t o u t sooner. Through it s h e laments the i n j u s t i c e s a g ai n s t w o m e n i n s o c i e t y a n d e n courages all w o m en to stand i n s o l i d a r i t y w i t h o n e a n o t h e r , f i n d i n g s o l a ce and inspiration th r o ugh the lyri c s . E v e l yn

Stronger “ S t r onger” was w r i t t e n i n 2 0 1 0 w h e n o n e o f t h e c o m p o s e r s h ad been betrayed b y a lover. Her m o t h e r q u o t e d N i e t z s c h e , “ W h a t d o e s n ’ t k i l l you is going to m a k e you stron g e r . ” A l t h o u g h i t s e e m e d c h e e s y , t h e g r o u p made it the theme o f t he song they w r o t e t h a t d ay – w h i c h b e c a m e a h i t w h e n Kelly Clarkson r e c o rded it in 2 0 1 2 a n d w a s f ea t u r e d i n t h e p o p u l a r T V s e r i e s GLEE the fo l l owing year. W i t h a d r i v i n g b e a t , “ S t r o n g e r ” i s a b o u t s t r ength, e m p owerment, a n d r e c o v e r y – t o s t a n d u p f o r o u r s e l v e s , t o leave what d o e s n’t support u s e v e n w h e n i t i s h e a r t b r e a k i n g a n d d i f f i c u lt. N a n cy

Crowded Table T h e group The H i g h w o m e n w a s f o r m e d i n 2 0 1 9 , p e r f o r m i n g and releasing a d e b u t album in c l u d i n g “ C r o w d e d T a b l e . ” T h e H i g h w o m e n b r ing together 4 k i c k -a** singer- s o n g w r i t e r s , ea c h o f w h o m i s a s u c c e s s f u l a r tist on their own, r e a d y to take on g e n d e r e q u a l it y i n c o u n t r y m u s i c . R o l l i n g S tone says this s o n g is the grou p ’ s t h e m e , “ a pl a c e a t t h e t a b l e f o r e v e r y o n e.” The piece s p e a ks to me as a d e s i r e f o r f am i l y a n d f r i e n d s t o f e e l s a f e i n my house, “ e v e ryone’s a li t t l e b r o k e n a n d e v e r y o n e b e l o n g s . ” A s f o r “ Let us take on the w o r l d while we ’ r e y o u n g a n d a b l e , ” a t 7 4 , I ’ m a s y o u n g a s I will ever be and p r o b ably as able a n d I h o p e a lw a y s “ t o b r i n g u s b a c k t o g e t h e r when the day is d o n e.” L o v e , J a n

Thank you to Flo Galvez and Ken True, on the staff at UCC Campbell, for their assistance in providing the space and equipment to rehearse and bring you this concert.

Support Us Please consider supporting RWC with your donation as we prepare to travel to Minneapolis in July to take part in GALA Festival 2024. We have participated in five festivals starting in 2000 and always return with renewed excitement, new techniques and new music, sharing it all with our beloved audience — YOU!

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