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A credo (pronounced [ˈkɾeːdoː], Latin for "I Believe") is a statement of religious belief, such as the Apostles' Creed. The term especially refers to the use of the Nicene-Constantinopolitan Creed (or less often, the Apostles' Creed) in the Mass, either as text, Gregorian chant, or other musical settings of the Mass.

History[link]

After the formulation of the Nicene Creed, its initial liturgical use was in baptism, which explains why the text uses the singular "I ... instead of "we...." The text was gradually incorporated into the liturgies, first in the east and in Spain, and gradually into the north, from the sixth to the ninth century. In 1014 it was accepted by the Church of Rome as a legitimate part of the service. It is recited in the Western Mass directly after the homily on all Sundays and Solemnities (Tridentine Feasts of the First Class), and in the Eastern Liturgy following the Litany of Supplication on all occasions.

Probably because of its late adoption, and the length of the text (the longest in the Ordinary of the Mass), there are relatively few chant settings of it. What is identified as "Credo I" in the Liber Usualis was apparently widely considered the only authentic credo, and it is the element of the ordinary that was most strongly associated with a single melody. The Liber Usualis contains only two other settings, designated as "Credo V" and "Credo VI," which is far fewer than for other settings of the Ordinary.

In musical settings of the credo, as in the Gloria, the first line is intoned by the celebrant alone (Credo in unum Deum), or by a soloist, while the choir or congregation joins in with the second line. This tradition continued through the Middle Ages and Renaissance, and is even followed in more recent settings. In Stravinsky's Mass, for example, a soloist intones the first line, which is from the plainchant Credo I. In Mass settings of the Classical and Romantic period (for example the High Mass in b minor of Bach, the later Masses of Haydn, and the Missa Solemnis of Beethoven) the Credo line is usually set for whole choir.

The melody of Credo I first appears in eleventh-century manuscripts, but it is believed to be much older, and perhaps Greek in origin. It is almost entirely syllabic, probably because of the length of the text, and consists of a great deal of repetition of melodic formulas.

In polyphonic settings of the Mass, the Credo is usually the longest movement, but is usually set more homophonically than other movements, probably because the length of the text demanded a more syllabic approach, as was seen with chant as well. A few composers (notably Heinrich Isaac) have set Credos independently from the rest of the ordinary, presumably to allow their insertion into missae breves or their omission where a said or chanted credo is the custom.

Text[link]

This is the original Latin text used in chants and most modern settings of the Mass:

Credo in unum Deum, Patrem omnipoténtem, factorem cæli et terræ, visibílium ómnium et invisibílium.

Et in unum Dóminum Iesum Christum, Fílium Dei unigénitum, et ex Patre natum, ante ómnia sæcula. Deum de Deo, lumen de lúmine, Deum verum de Deo vero, génitum, non factum, consubstantiálem Patri: per quem ómnia facta sunt. Qui propter nos hómines et propter nostram salútem descéndit de cælis. Et incarnátus est de Spíritu Sancto ex María Vírgine, et homo factus est. Crucifíxus étiam pro nobis sub Póntio Piláto; passus et sepúltus est, et resurréxit tértia die, secúndum Scriptúras, et ascéndit in cælum, sedet ad déxteram Patris. Et íterum ventúrus est cum glória, iudicáre vivos et mórtuos, cuius regni non erit finis.

Et in Spíritum Sanctum, Dóminum et vivificántem: qui ex Patre Filióque procédit. Qui cum Patre et Fílio simul adorátur, et conglorificátur: qui locútus est per Prophétas.

Et unam, sanctam, cathólicam et apostólicam Ecclésiam.

Confíteor unum baptísma in remissiónem peccatorum. Et expecto resurrectionem mortuorum, et vitam ventúri sæculi. Amen.

Settings of alternative texts as a Credo outside the Mass, as a motet, are extremely rare. The first published polyphonic settings of the Symbolum Apostolorum were settings by the French composer Le Brung in 1540, and two further settings by the Spanish composer Fernando de las Infantas in 1578.

See also[link]

• Articles of Faith
• Creed

References[link]

• Hoppin, Richard. Medieval Music. New York: Norton, 1978. Pages 136-138.

v t e Gregorian chants of the Roman Mass Ordinary Kyrie · Gloria · Credo · Sanctus · Agnus Dei · Ite missa est , Benedicamus Domino or Requiescant in pace Proper Introit · Gradual · Alleluia or Tract · Sequence · Offertory · Communion Accentus Collect · Epistle · Gospel · Secret · Preface · Canon · Postcommunion

v t e Order of Mass in the Roman Rite Forms Pre-Tridentine Mass · Tridentine Mass (extraordinary form) · Mass of Paul VI Types Missa Cantata · Coronation Mass · Chapter and Conventual Mass · High Mass · Low Mass · Nuptial Mass · Papal Mass · Pontifical High Mass · Red Mass · Requiem Mass · Missa sine populo · Votive Mass Introductory rites Vesting prayers · Asperges · Introit · Penitential Rite / Confiteor · Kyrie · Gloria · Collect · Dominus Vobiscum · Oremus Liturgy of the Word First Reading · Responsorial Psalm · Epistle · Gradual · Tract · sequentia · Alleluia · Gospel · homily · Credo (Nicene Creed) · General Intercessions Liturgy of the Eucharist Offertory · Orate fratres · Secret prayer · Eucharistic Prayer · Canon of the Mass (texts & rubrics / history) · Preface (Sursum corda / Sanctus / Hosanna) · Words of Institution (Transubstantiation) · Elevation · Memorial Acclamation / Mystery of faith · Epiclesis · Lord's Prayer · Embolism · Doxology · Sign of peace / Pax · Agnus Dei · Fraction · Holy Communion · Communion (chant) · Ablutions · Postcommunion (Thanksgiving) · Dismissal (Ite missa est / Benedicamus Domino) · Last Gospel Participants Acolyte · altar server (female) · bishop · boat boy · cantor · choir · crucifer · deacon · Extraordinary minister of Holy Communion  · laity (Eucharistic Congress) · lector · priest · subdeacon · usher Parts of the Sanctuary/Altar altar crucifix · ambo · altar rails · Credence table · lavabo · tabernacle · misericord · piscina · kneeler Altar cloths altar linens · corporal · pall · purificator · lavabo towel · burse · chalice veil · antependium Candles and lamps altar candle · altar candlestick · Paschal candle · sanctuary lamp · triple candlestick · votive candle Liturgical vessels aspergillum · ciborium · chalice · cruet · paten · pyx Liturgical objects altar bell · collection basket · flabellum · funghellino · holy water · incense (use) · processional cross · sacramental bread (wafer) · sacramental wine (or must) · thurible · water Liturgical books of the Roman Rite collectarium · evangeliary · lectionary (revised) · Roman Missal · Roman Pontifical · sacramentary Vestments (pontifical) Alb · chasuble · dalmatic · episcopal sandals · headcover · humeral veil · mantilla · manuterge · pallium · stole · surplice · tunicle · vimpa Concepts and actions Antiphon · Blood of Christ · Body of Christ · church etiquette · closed communion · commemoration · Communion and the developmentally disabled · Communion under both kinds · Crucifixion of Jesus (atonement) · ecclesiastical Latin · Eucharistic discipline · music · Eucharistic fast · First Communion · General Instruction of the Roman Missal · genuflection · grace (ex opere operato) · Host desecration · infant communion · In persona Christi · intercession of saints · intinction · Koinonia · the Last Supper · liturgical colours · liturgical year (proper) · Melchizedek priesthood · Order of Mass · prayer (effects of prayer) · Ordines Romani · Real Presence · reserved sacrament · responsory · Sign of the Cross · Sunday (Lord's Day) · viaticum Related Agape feast · benediction of the Blessed Sacrament · Catholic liturgy · Congregation for Divine Worship and the Discipline of the Sacraments · Council of Trent · church music (Mass) · Corpus Christi (feast) · Ecclesia de Eucharistia · Epiousios · Eucharistic adoration · Eucharistic miracle · Eucharistic theology · Fourth Council of the Lateran · historical roots of Catholic Eucharistic theology · Holy day of obligation · Liturgical Movement · Missale Romanum · Mysterium Fidei (encyclical) · origin of the Eucharist · Pope Pius XII Liturgy Reforms · Pro multis · Quo Primum · Roman Catholic theology · Sacraments of the Catholic Church · sacristy · Summorum Pontificum · traditionalist Catholic · Tra le sollecitudini · Vatican II (Sacrosanctum Concilium) · Year of the Eucharist Catholicism Portal

Salzburg Airport W. A. Mozart Airport LOWS — Salzburg Airport — W. A. Mozart
From the air
IATA: SZG – ICAO: LOWS SZG Location of airport in Austria
Summary
Airport type		Public
Operator		Salzburger Flughafen GmbH
Location		Salzburg
Elevation AMSL		430 m / 1,411 ft
Coordinates		47°47′40″N 013°00′12″E / 47.79444°N 13.00333°E / 47.79444; 13.00333 (Salzburg Airport)
Website		www.salzburg-airport.com
Runways
Direction	Length		Surface
	m	ft
16/34	2,750	9,022	Concrete
Statistics (2009)
Total Passengers			1,552,154
Aircraft Movements			19,456
Sources: EUROCONTROL[1] Passenger and Movement Statistics from Salzburg Airport[2]

Salzburg Airport or W. A. Mozart Airport (IATA: SZG, ICAO: LOWS) is the second largest airport in Austria.

The airport, named after Salzburg-born composer, Wolfgang Amadeus Mozart, is located 1.7 NM (3.1 km; 2.0 mi)^[1] west-southwest from the centre of Salzburg and 2 km (1.2 mi) from the Austrian-German border.

The airport is a gateway to Austria's numerous and vast ski areas, including the Ski Amadé region, the largest network of linked ski resorts in Europe.

The airport is jointly owned by the City of Salzburg (25%) and The State of Salzburg (75%). As of 2001 it was valued at € 22,000,000.

Salzburg trolleybus lines 2 and 8, each with service every 10 minutes, connect the airport to the rest of Salzburg's public transportation system. The main station is reachable in about 25 minutes and the inner city in about 30 minutes.

History[link]

Pre-World War II[link]

In 1910, the first powered aircraft taxied on to the new race track in Salzburg-Aigen for the very first time. In 1926, Deutsche Luft Hansa inaugurated the Munich-Salzburg-Bad Reichenhall route. In 1927, the Vienna-Salzburg-Innsbruck route was started by ÖLAG (Austrian Aviation AG). In one of the earlier incidents Luft Hansa, which flew the London-Brussels-Frankfurt-Munich-Vienna route with Sabena, made a forced landing in Salzburg. 1939 saw the introduction of the Berlin-Prague-Salzburg-Venice and Munich-Salzburg-Klagenfurt-Ljubljana-Rijeka routes which were planned for the summer schedule.

The war years[link]

At the start of World War II, on 1 September 1939, Salzburg Airport was seized and in 1943 the "Luftgaukommando VII" in Munich was put in charge of it. In the autumn of 1944 the newly developed fighter jet Messerschmitt Me 262 appeared. When the United States Air Force first bombed the city of Salzburg on 16 October 1944, with a subsequent 15 air attacks on the city, the airport remained undamaged. Salzburg Airport was the first Austrian airport which managed to become a part of European scheduled traffic again.

Post war[link]

On 1 August 1958, a control tower was put into operation after a 15 month construction period and a new terminal was opened in 1966. While 1978 saw the first landing of a McDonnell Douglas DC-10 it was in 1984 when the first Boeing 767 (Braathens from Norway) and an Air France Concorde first appeared at the airport. The airport reached the target of 1,265,000 passengers in 2000, and British Airways announced flights to Salzburg from London. These flights were cancelled a year later. Also in 2001, low-cost carrier Ryanair landed at Salzburg, its first Austrian destination. This was also the first time an Austrian airport hosted a low-cost carrier. Aer Lingus commenced flights to Salzburg from Dublin for their winter schedule in 2005. In 2006, Ryanair started services to Charleroi, which ended in 2007, and Dublin. They also announced routes to Rome and Istanbul. British Airways restarted flights to London Gatwick Airport on 1 December.

Transportation[link]

The airport is located 3 km from the city-center. Regional buses to take you to the city are: Salzburg trolleybus no.2 to Salzburg Hauptbahnhof, Salzburg trolleybus no.8 to Salzburg city centre and Salzburg bus no.27 to Wals/Viehhausen. The route map is available to download here. Salzburg Hauptbahnhof is approximately 10–15 minutes away by bus. In winter Salzburg is a popular getaway for winter sports. The airport offers many transfer services to popular resorts, visit airport website to get contacts.

Facilities[link]

The airport provides these passenger services: left-luggage office and luggage lockers, play area for children together with baby changing failities, an exchange and post offices, a small health centre. Wireless internet service is provided free of charge.^[3]

Traffic statistics[link]

Passenger statistics for Salzburg Airport^[2]

Year	Total Passengers	% change
2005	1,695,430
2006	1,878,266	10.8
2007	1,946,422	3.6
2008	1,809,601	7.1
2009	1,552,154	14.3

Parking[link]

Indoor and outdoor parking facilities are available. There is a parking garage offering 1,921 roofed spaces. Additional 1,230 parking spaces are within 5 minutes from the terminals. Detailed info, parking plans and fees can be found on the airport website.

Future developments[link]

Indoor view of the Hangar-7 at Salzburg Airport

A new terminal for winter ski charter operations (Terminal 2) which only operates on Saturdays has been opened. The new terminal 2 however has very limited passenger facilities both landside and airside and is rather sparse, compared to the original more vibrant terminal 1 offering better facilities. There is a small shop located in the airside of terminal 2. A new 100% hold baggage screening facility and the installation of a brand new baggage sorting system is under development and the airport is now concentrating on landside developments, including the extension of the existing car park structure, which has been doubled in size to accommodate 1,900 cars.

Airlines and destinations[link]

References[link]

	Aviation portal
	Austria portal

1. ^ ^{a b} EUROCONTROL basic
2. ^ ^{a b} Passenger Statistics for Salzburg Airport
3. ^ Salzburg airport facilities
4. ^ https://www.laudaair.com/book/StartHtml.aspx?a=3&fplan=y&L=0&lang=DE Lauda Air timetable (retrieved 2009-08-31)

External links[link]

Wikimedia Commons has media related to: Salzburg Airport

• Salzburg Airport website (English)
• Salzburg Airport website (German)
• Salzburg AviationSpotter more informations about the traffic on the airport, available in German and English

v t e Airports in Austria Graz Innsbruck Klagenfurt Linz Salzburg Vienna Wels Wiener Neustadt

Mary Lou Williams
Background information
Birth name	Mary Elfrieda Scruggs
Born	(1910-05-08)May 8, 1910
Died	May 28, 1981(1981-05-28) (aged 71) Durham, North Carolina, U.S.
Genres	Classical Free Jazz Hard bop Swing Third Stream Big Band Gospel
Occupations	Stride pianist, Composer, Bandleader
Instruments	Piano
Years active	1920s–1981
Labels	Atlantic, Asch, Brunswick, Circle, Decca, Inner City, Folkways, King, Pablo, Victor, Vogue
Website	Mary Lou Williams at rutgers.edu

Mary Lou Williams (May 8, 1910 – May 28, 1981) was an American jazz pianist, composer, and arranger. Williams wrote hundreds of compositions and arrangements, and recorded more than one hundred records (in 78, 45, and LP versions).^[1] Williams wrote and arranged for such bandleaders as Duke Ellington and Benny Goodman, and she was friend, mentor, and teacher to Thelonious Monk, Charlie Parker, Miles Davis, Tadd Dameron, Dizzy Gillespie, and many others.

Early years[link]

Born as Mary Elfrieda Scruggs in Atlanta, Georgia, she grew up in the East Liberty neighborhood of Pittsburgh, Pennsylvania, one of eleven children. As a very young child she taught herself to play the piano (her first public performance was at the age of six). She became a professional musician in her teens. She cited Lovie Austin as her greatest influence.^[2] At age six, Williams was already helping to support her ten half-brothers and sisters by playing for parties. She began performing publicly at the age of seven, when she became known admiringly in Pittsburgh as "the little piano girl of East Liberty".

Career[link]

In 1924, at age 14 she was taken on the Orpheum Circuit. The following year she played with Duke Ellington and his early small band, the Washingtonians. One high and learned salute to her talent came when she was only 15. One morning at three she was jamming with McKinney's Cotton Pickers at Harlem's Rhythm Club. Louis Armstrong entered the room and paused to listen to her. Mary Lou shyly tells what presently happened: "Louis picked me up and kissed me."^[3]

In 1927, Williams married saxophonist John Williams. She met him at a performance in Cleveland where he was leading his group, the Syncopators, and moved with him to Memphis, Tennessee. He assembled a band in Memphis, which included Mary Lou on piano. In 1929 he accepted an invitation to join Andy Kirk's band in Oklahoma City, leaving 19-year-old Mary Lou to head the Memphis band for its remaining tour dates. Williams eventually joined her husband in Oklahoma City but did not play with the band. The group, now known as Andy Kirk's "Twelve Clouds of Joy", relocated to Tulsa, Oklahoma, where Williams spent her free time transporting bodies for an undertaker. When the Clouds of Joy accepted a longstanding engagement in Kansas City, Missouri, Williams joined her husband there and began sitting in with the band, as well as serving as its arranger and composer. She provided Kirk with such songs as "Walkin' and Swingin'", "Twinklin'", "Cloudy'", "Little Joe from Chicago" and others.

From the first sides Kirk made in Kansas City, Williams was on board as pianist and arranger. (Six sides were recorded in Kansas City during 1929 and remaining 17 sides were recorded in Chicago in 1930, and a further two were recorded in New York in 1930.) During one of those trips to Chicago in 1930, Williams recorded "Drag 'Em" and "Night Life" as piano solos. Williams took the name "Mary Lou" at the suggestion of Brunswick's Jack Kapp.^[4] The record sold briskly, raising Williams to national prominence. Soon after the recording session she signed on as Kirk's permanent second pianist, playing solo gigs and working as a freelance arranger for such noteworthy names as Earl Hines, Benny Goodman, and Tommy Dorsey. In 1937 she produced In the Groove (Brunswick), a collaboration with Dick Wilson, and Benny Goodman asked Mary to write a blues for his band. The result was "Roll 'Em", a boogie-woogie piece based on the blues, which followed her successful "Camel Hop", Goodman's theme song for his radio show sponsored by Camel cigarettes. Goodman tried to put Williams under contract to write for him exclusively, but she refused, preferring to freelance instead.^[5]

In 1942, Williams, who had divorced her husband, left the "Twelve Clouds of Joy" band, returning again to Pittsburgh. She was joined there by bandmate Harold "Shorty" Baker, with whom she formed a six-piece ensemble that included Art Blakey on drums. After a lengthy engagement in Cleveland, Baker left to join Duke Ellington's orchestra. Williams joined the band in New York, and then traveled to Baltimore, where she and Baker were married. She traveled with Ellington and arranged several tunes for him, including "Trumpets No End" (1946), her version of Irving Berlin's "Blue Skies".^[6] She also sold Ellington on performing "Walkin' and Swingin'". Within a year she had left Baker and the group and returned to New York.

Mary Lou Williams in her apartment with Jack Teagarden, Tadd Dameron, Hank Jones and Dizzy Gillespie

Williams accepted a regular gig at the Café Society Downtown, started a weekly radio show called Mary Lou Williams's Piano Workshop on WNEW, and began mentoring and collaborating with many younger bebop musicians, most notably Dizzy Gillespie and Thelonious Monk. In 1945, Williams composed the bebop hit "In the Land of Oo-Bla-Dee" for Dizzy Gillespie. "During this period Monk and the kids would come to my apartment every morning around four or pick me up at the Café after I'd finished my last show, and we'd play and swap ideas until noon or later", Williams recalled in Melody Maker. Although closely aligned with the bop musicians during her time in New York, Williams also staged a large-scale orchestral rendition of her composition Zodiac Suite at New York's Town Hall in 1945, with bassist Al Lucas and drummer Jack "The Bear" Parker, and the New York Philharmonic.^{[citation needed]} She recorded Zodiac with Lucas and Parker on the Asch label: the recording is available today on Smithsonian Folkways Recordings.

In 1952, Williams accepted an offer to perform in England and ended up staying in Europe for two years. When she returned to the United States she took a hiatus from performing, converting in 1956 to Roman Catholicism. Her energies were devoted mainly to the Bel Canto Foundation, an effort she initiated to help addicted musicians return to performing. Two priests and Dizzy Gillespie convinced her to return to playing, which she did at the 1957 Newport Jazz Festival with Dizzy's band. Father Peter O'Brien became her close friend and personal manager in the 1960s. Together they found new venues for jazz performance at a time when no more than two clubs in Manhattan had jazz full-time. In addition to club work, Mary played colleges, formed her own record label and publishing companies, founded the Pittsburgh Jazz Festival and made television appearances. Throughout the 1960s her composing focused on sacred music - hymns and masses. One of the masses, Music for Peace, was choreographed and performed by the Alvin Ailey Dance Theater as “Mary Lou's Mass”. She performed the revision of "Mary Lou's Mass" on the television, The Dick Cavett Show in 1971.^{[citation needed]}

She wrote and performed religious jazz music like Black Christ of the Andes (1963), a hymn in honor of the St. Martin de Porres; two short works, Anima Christi and Praise the Lord. In this period Williams put much effort into working with youth choirs to perform her works, including mass at St. Patrick's Cathedral in New York before a gathering of over three thousand. She set up a charitable organization and opened thrift stores in Harlem, directing the proceeds, along with ten percent of her own earnings, to musicians in need. As a 1964 Time article explains, "Mary Lou thinks of herself as a 'soul' player — a way of saying that she never strays far from melody and the blues, but deals sparingly in gospel harmony and rhythm. 'I am praying through my fingers when I play,' she says.'I get that good "soul sound," and I try to touch people's spirits.'"^[7] She performed at the Monterey Jazz Festival in 1965, with a jazz festival group.

Throughout the 1970s her career flourished, including numerous albums, including as solo pianist and commentator recorded The History of Jazz. She returned to the Monterey Jazz Festival in 1971. She had a two-piano performance with avant-garde pianist Cecil Taylor at Carnegie Hall in 1977. She accepted an appointment at Duke University as artist-in-residence (from 1977 to 1981), co-teaching the History of Jazz with Father Peter O'Brien and directing the Duke Jazz Ensemble. With a light teaching schedule, she also did many concert and festival appearances, conducted clinics with youth, and in 1978 performed at the White House. She participated in Benny Goodman's 40th-anniversary Carnegie Hall concert in 1978.

Later years[link]

Her final recording, Solo Recital (Montreux Jazz Festival, 1978), three years before her death, had a medley encompassing spirituals, ragtime, blues and swing. Other highlights include Williams's reworkings of "Tea for Two", "Honeysuckle Rose", and her two compositions "Little Joe from Chicago" and "What's Your Story Morning Glory". Other songs include "Medley: "The Lord Is Heavy", Old Fashion Blues", "Over the Rainbow", "Offertory Meditation", "Concerto Alone at Montreux", and "Man I Love".

In 1981, Mary Lou Williams died of bladder cancer in Durham, North Carolina, aged 71. She was buried in the Roman Catholic Calvary Cemetery in her native Pittsburgh.^[8] As Mary Lou Williams said, looking back at the end of her life, "I did it, didn't I? Through muck and mud."^[9]

Awards & honors[link]

• Guggenheim Fellowships, 1972 and 1977
• Nominatee 1971 Grammy Awards, Best Jazz Performance - Group, for the album Giants, Dizzy Gillespie, Bobby Hackett, Mary Lou Williams^[10]
• Honorary degree, from Fordham University in New York in 1973
• In 1980 Williams founded the Mary Lou Williams Foundation
• Received the 1981 Duke University's Duke's Trinity Award for service to the university. In 1983, Duke University established the Mary Lou Williams Center for Black Culture
• Since 1996, The Kennedy Center in Washington, D.C. has an annual Mary Lou Williams Women in Jazz Festival
• Since 2000, her archives are preserved at Rutgers University's Institute of Jazz Studies in Newark.^[11]
• A Pennsylvania State Historic Marker is placed at 328 Lincoln Ave., Lincoln Elementary School, Pittsburgh, PA noting here accomplishments and the location of the school she attended.^[12]

Discography[link]

As leader[link]

As sideman[link]

With Dizzy Gillespie

• Dizzy Gillespie at Newport (Verve, 1957)
• Giants (Perception, 1971) - with Bobby Hackett

References[link]

Wikimedia Commons has media related to: Mary Lou Williams

External links[link]

• Mary Lou Williams Collection, Institute of Jazz Studies, Dana Library, Rutgers University, Newark, NJ
• Jazz Girl: A Novel of Mary Lou Williams' Early Life by Sarah Bruce Kelly, 2010 Bel Canto Press ISBN 978-0-615-35376-0
• Jazz Archive at Duke University
• JazzPolice.com review of "Zodiac Suite Revisited" by the Mary Lou Williams Collective
• Linda Dahl Collection on Mary Lou Williams at Duke University
• Mary Lou Williams Biography
• Mary Lou Williams Center for Black Culture at Duke University
• Mary Lou Williams (huge selection)
• PBS biography on Mary Lou Williams
• Mary Lou Williams concert for children, Vancouver 1977 (includes 60-minute audio recording)
• Mary Lou Williams on Piano Jazz

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2010)

Mary Lou (born March 15, 1992) is an American actress. She is known for playing Mary Ferry on the Nickelodeon television series Unfabulous.

Career[link]

At age 8, she chose to pursue a career in television and film.

Mary Lou’s show business career started at age six when she entertained as a member of Singing Solo (a children's singing group located in La Mesa, CA) at a local street fair with a rendition of The Good Ship Lollipop. After this performance, she chose acting as her career. Over the next few years, Lou went on to sing at over two dozen venues throughout Southern California, Texas and Tennessee, winning multiple local, state, regional, national and world championship titles.

Mary Lou also filmed a guest-starring role on Phil of the Future, as a math-nerd named Alex, in Good Phil Hunting. Mary also appeared on Future Girls: Adventures in Marine Biology and Bad Mother's Handbook and guest starred on What should you do?. More recently Mary was on Glee. She continues to audition daily for feature films, television and voiceover.

Personal life[link]

She is the cousin of actress Danneel Harris. Mary Lou was born in California.

Today, Mary Lou is a featured artist at charity events with her live country-western show^{[citation needed]}.

Filmography[link]

External links[link]

• Mary Lou at the Internet Movie Database
• Unfabulous Official Site

This article about a United States film and television actor or actress born in the 1990s is a stub. You can help Wikipedia by expanding it. v t e

Kjartan "Kjarri" Sveinsson (Icelandic pronunciation: [ˈcʰar̥tan ˈsveinsɔn]; born 2 January 1978) is a keyboardist of the Icelandic post-rock band Sigur Rós. He joined the band in 1998.^[1] Being something of a multi-instrumentalist, he has also played such instruments as the flute, tin whistle, oboe and even the banjo, as well as many of the unorthodox instruments that contribute to Sigur Rós's distinctive sound. He also plays the guitar.

Kjartan has performed under the pseudonym "The Lonesome Traveller" with Sigur Rós band-mate Orri Páll Dýrason and Amiina violinist María Huld Markan Sigfúsdóttir (whom Kjartan married^[2] in 2001). "The Lonesome Traveller" covered Sigur Rós songs acoustically in an alt-country style.^[3]

Kjartan also composed the score for the 2005 Academy Award nominated short film Síðasti bærinn (The Last Farm), for award winning director Ramin Bahrani's 2009 short film Plastic Bag which features the narration of legendary filmmaker Werner Herzog, and for the 2009 film Ondine directed by Neil Jordan. Kjartan also contributes to Sigur Rós's orchestral and string arrangements, along with the group Amiina. He is also featured heavily on The Album Leaf's album, In a Safe Place, playing a wide variety of instruments.

Kjartan is a member of the advisory board for Kraumur Music Fund,^[4] which aims to "strengthen Icelandic musical life, primarily by supporting young musicians in performing and presenting their works."

On November 16, 2010, Kjartan Sveinsson performed in The Whitelight Festival, along with Jonsi & Alex and The Hilliard Ensemble. Kjartan composed Sonnets of his own, as well as the world premiere of his new piece entitled Credo. Credo is Latin for "I believe". The performance was streamed live on NPR's website.

On 17 April 2011, Q2 - a listener-supported, New York City-based Internet stream devoted to the music of living composers - along with NPR named Kjarten Sveinnson in a list of "100 Composers Under 40".^[5]

References[link]

This article on a keyboardist is a stub. You can help Wikipedia by expanding it. v t e