33 years, more than a dozen women, thousands touched by their music, one goal: to get listeners to open their minds and hearts. This is Sweet Honey In The Rock, the all female accapella group whose current roster includes: (left to right) top row: Aisha Kahlil, Shirley Childress Saxton, Louise Robinson middle row: Carol Maillard, Arnaé, Nitanju Bolade Casel front: Ysaye Maria Barnwell.

Started in 1973 by Bernice Johnson Reagon at the D.C. Black Repertory Theater Company SHIR have thrilled, awed, inspired and refueled listeners the world over with no signs of stopping anytime soon.I had the pleasure of interviewing one of the members Carol Maillard recently and asked her questions about the past present and future of the group.

T.I.R.M.: What was the reason for starting SHIR?
CLM: In 1973 There was a professional theatre company in Washington, D.C. called the Black Repertory Company. We studied theatre, voice, dance and stage craft. There were very talented performers in the company and two of them, Le Tari and Louise Robinson asked Bernice Johnson Reagon, who was the vocal director for the theatre, if there could be an ensemble to sing the music we were learning in class and performing on stage. After much persistence from the two of them Bernice called a rehearsal of the best singers, male and female. The first song we learned was her version of a very old spiritual, Sweet Honey In The Rock.

T.I.R.M.: What does it mean to be a member of SHIR?
CLM: Many things, from a practical standpoint, I'm a performer who has a place to work and learn and a way to earn a living. That's very important especially when you've been in this business as long as I have. It means opportunities to travel, meet different kinds of people and experience their cultures. The work that is being offered from the Sweet Honey stage is unique and is important to the people who receive the music. Sweet Honey's music touches a very wide range of people in deep and inspiring ways, and we love knowing that listeners use Sweet Honey's music for various aspects of their life journeys-weddings, birthing, celebrations and remembrances of all kinds.

T.I.R.M.: What was the best moment for the group as a whole?
CLM: Most recently I'd have to say when the documentary, "Sweet Honey In The Rock: Raise You Voices" was screened in a good theatre that had great sound and we were all there to enjoy it.

T.I.R.M.: Any pre performance rituals?
CLM: We have a circle of prayer before the concert, and as soon as we leave the stage we gather to say thank you to god for the opportunity to do the work we do.

T.I.R.M.: What is the most interesting place you've gone with SHIR?
CLM: Southeastern Africa in 1990 when I was a sub for a tour the group did in Europe then off to Africa.

T.I.R.M.: what do you think of the current state of music in general and black music specifically?
CLM: That is a seriously big question. Everything is so commercialized, formulaic and money based that truly beautiful and inspired music is hard to find. I do believe that music online is a fantastic way to find new artists and to be introduced to interesting music from all over the world. I do believe that music should be paid for over the internet, it's hard enough for an artist to make a living, so performance royalties and mechanicals for composers is extremely important.

T.I.R.M.: What's next for SHIR?
CLM: We are exploring so many avenues of expression and are looking into collaborations with other artists, dance companies and musicians. We'll be performing at the Carter Baron Ampitheatre in washington D.C. on the same bill as Take 6 and will do a song with them at the end of the show. That same weekend, we'll be at the Ravinia Music Festival in Chicago and at Interlochen with Ladysmith Black Mombazo. We're in the studio working on our next recording which is a children's album. It's full of wonderful and exciting music for young listeners. We're doing what we can to bring more Sweet Honey to the world.