DOCSLIB.ORG

Spring Weekend Positions Clarified

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spring Weekend Positions Clarified Vol. p, Issue 21 THE TRINITY March 18, 1975 Trinity College Hartford, Conn. MBOG Changes Plans Spring Weekend Positions Clarified by Mark Henrickson 6:30p.m."Small cocktail party in Sporting events will be held "MHBOG is not representing the The THAP proposal is that Various conflicting proposals Wean Lounge open to the College. throughout the day, and an all-day things we want." Spring Weekend should be strictly have been presented concerning Minimal liquor will be served. beer stand will be open. Englund noted that the major BYO. "Students can afford to get the activities of Spring Weekend 8:30 p.m. Dance in the Saturday night: a concert out- student complaint was about the wasted on their own." Hornung (April 25-27). In order to clear up Washington Room with 8 kegs of side on the Quad ($2,000), The total amount of money spent, especially noted that the MBOG allocation of the confusion which exists about beer and band (approx. $400). beer consumption for the weekend for alcohol, for the weekend. beer is based on three 8 oz. glasses Spring Weekend, the Tripod spoke Saturday: balloonist, gas engine will end this night bringing the Counterproposals presented to per person. He agreed with the with representatives of each major airplane demonstration, per- total for the weekend to 24 kegs. the informal organization include: grass roots proposal in that Spring opinion. formances by small groups This, Mindnich noted, was down Friday night-a square dance on Weekend should further campus According to Peter Mindnich, drawing primarily from Trinity from the 50 kegs originally plan- the Quad, with music by the Trinity musicians who are cheaper and chairperson of MBOG, the talent for a Quad talent show. ned. ($600) Folk Society. Englund noted that promote good will." proposal that MBOG will present Mindnich noted that the idea for a Sunday: Bluegrass music for a not only would this save money and' Monday, March 10, THAP went on Wednesday includes the major band has been dropped, square dance on the Quad by the present variety, but also faculty before MBOG to ask that the following: although plans for a barbeque with Trinity Folk Society. Also that day expressed interest in such an alterations be made in the Spring Friday night: 8 kegs of beer has been retained. is planned a marathon ; softball activity. Weekend proposal: game for world food relief. .Mind- (1) That $600 be cut from the nich explained that the Bloody alcohol budget Mary idea has been dropped. Hearing (2) That people have a meatless Mindnich noted that the funding lunch on the Quad for the weekend will come from the The SAC (Student Activities (3) That the money SAC contingency fund ($4600), Committee) will hold a public (3) That the money saved go to returns from the Donald Byrd hearing to discuss the Spring the American Friends Service Concert ($600), fraternities ($300) Weekend Wednesday, March Committee. and the Trinity Folk Society ($200). 19, 7:00 p.m. in the THAP was told by MBOG that a The total for the weekend, Washington Room. referendum would be necessary therefore, is projected to be $5100 Speakers both for and before any changes could be ef- by Mindnich, although Norman against are urged to attend. A fected. Larry Golden, chairperson Luxembourg, concert chairman written statement after of the SAC noted that monies have for MBOG includes an additional remarks, is requested. been "conditionally allocated": $900 from MBOG funds. Mindnich the general idea has been ap- said that MBOG wants to sponsor Saturday-an all-day talent proved. the weekend from, "a unity show, which she feels would also The synthesis of all points of standpoint-a lot of people get a save money. This activity was view will he attempted at the little at. Trinity, but there is no successful last year. Since students • special SAC meeting Wednesday substantial event for every one to apparently want a barbeque, night, March 19, at 7:00 p.m. in the look forward to." Englund proposes a concurrent Washington Room. A grass roots movement, Carillon concert. spearheaded by Jill Englund, '76, She emphasized that the has prepared and distributed a proposals are only a summary of petition for the modification of the individual comments by signers of original weekend proposal. She the petition, but they do not Bockstoce ' • •••'•.! • --V -a..".- ,'„» noted that approximately 375 represent a general consensus. signatures had been collected over Rick Hornung, speaking for the On Sunday, March 16, Clifton a span of 4 meals at Mather Hail. Trinity • Hunger Action Project McCausland. Bockstoce, Vice- Englund stated that the reasons (THAP) feels that the "underlying Presjdentfor Financial Affairs and she had received for demanding assumption is that MBOG can buy Treasurer of Trinity College, died the modification included the fact people a good time." He noted that of natural causes. that Spring Weekend apparently the original proposal included represents one segment of interest plans for $1,300 worth of grain base in the College, that it represents alcohol. The $2,000 proposed for a Migciro the consistent form of en- band on Saturday night, "and a tertainment, and that the Weekend band that isn't even of quality," Pat Migaro, a member of is morally unjustifiable. Asked Hornung feels could go for first the Trinity security force, died Englund, "What statement does rate movies, lectures, etc. "The while on duty Sunday, March this make about the interests and school as a formal institution 16", of a heart attack. concerns of the students of the should not spend money for self "And the road goes ever on and on..." Trinity campus?" She continued, indulgent activities," he stated. THAP Realizes Budget Allocation by Maureen Healy budget request. Because THAP lake student money (and put it also suggested that THAP see if the Office of the Dean of Students. Due to a lack of communication, wanted some of this money very towards a donation) on behalf of college was mailing anything to Dean Spencer feels that THAP is an Trinity Hunger Action Project quickly for a pre-Christmas students when we don't know if it's students' homes so THAP could "important kind of activity and one (THAP) realized only a few days mailing and therefore did not have the will of the student body or even make an enclosure. THAP checked which I would like to encorage." ago that $25 of its budget request time to wait for a constitution to be a majority of the student body." this out and found that no such THAP has been granted as much "ad been approved, according to approved, the SAC made THAP an THAP proposed a mailing to the mailing was being made. as $50 for this semester from this Kick Hornung, 'a THAP "ad hoc" group. This gave THAP home of every Trinity student to Although THAP has not used any discretionary fund. THAP plans to representative. permission to appear before the remind families of the plight of the of its $25 operating expense use this to cover transportation Budget Committee and request an world's hungry and to encourage allocation from the contingency costs for speakers who are coming THAP was under the impression allocation from the contingency donations to appropriate fund, last semester THAP did to the college to talk (for free) with that their budget request was fund. organizations. THAP felt that receive a minimal amount of funds the college community about the totally rejected when, in fact, the The budget proposal itself has Christmastime would be a par- to cover publicity costs from the world hunger situation. Budget Committee allocated to never been presented before the ticularly pertinent time to "small discretionary fund" of the 'hem the $25 which they had SAC. According to (SAC) member remember the needy. A notice in requested for operating expenses. Jim Essey, '78, "The SAC has no student mailboxes would have The budget request made in opinion on the matter; we've not been forgotten in the pre- December did not include any been approached." Essey said that Christmas rush, THAP felt. It fn This issue expenditures for educational (.he SAC would be interested in therefore requested $160 for seminars or lectures. TIIAP hearing a THAP proposal if the postage and $50 for materials for Presented vague ideas about need should arise. an all-school mailing. Page 3 Green Revolution getting speakers to the Budget The third week in December, The Budget Committee denied Committee but nothing was for- Mac Margolis, '77, of THAP this request. The Committee felt malized and no money was brought a budget request which the mailing wold have been Proposed requested for such purpose. totaled $735 before the Budget "ineffective," according to After Chirstmas vacation, THAP Committee. Of this, $25 was to go chairman Eric Wright, '76. Landy "id not propose any concrete plans towards operating expenses, $210 said that the mailing was viewed tor guest speakers because it was was for postage and materials for as, "not worth money from the Page 3 ILA. Select Ion under the mistaken impression an all-College mailing and $500 was Student Activities Fee." uiat its entire budget proposal had earmarked for an outright Landy pointed out that the oeen rejected. TIIAP therefore felt donation. Budget Committee scrutinizes 11 was unlikely that any additional The donation was immediately requests for monies from the •equest would be approved. rejected because the Budget contingency fund especially Page 4? 5 Sfock WeeJr THAP can now submit a request Committee operates under written carefully. This $6,000 fund is a t0 the Budget Committee for policy which prohibits the use of cushion between healthy financial monies from the contingency fund.
Load more

Recommended publications
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • Disability and Emigration; Worlds Apart – the Case of Marion Brown
    1 Disability in nineteenth century Scotland – the case of Marion Brown Abstract. The perception that people with disabilities increasingly became regarded as ‘other’ as the nineteenth century advanced is encouraged by the expansion of institutionalisation, particularly for those with mental impairments, but also for many people with sensory disablement. People with physical impairments were given less prominence in this trend although, as the medicalisation of disablement gained ascendancy, some of them experienced confinements of considerable duration. This paper recognises that many people with disabilities did not spend portions of their lives in institutions, but lived within the family structure and as part of their local community. It explores this experience through the writings of Marion Brown (1844-1916) who lived in Sanquhar, Dumfriesshire. She suffered from a variety of physical and sensory impairments of varying duration that are revealed in correspondence to relatives in Dunmore, Pennsylvania.1 Her letters reveal ways in which disablement was both ‘normal’ and marginalising, and they show how contentment and joy were juggled with yearning and apprehension. This paper offers an interpretation of the ways in which Marion Brown’s impairments were of submerged significance in a society ingrained to encountering a variety of economic and social vicissitudes, while on a personal level being the cause of frustration, unrealised aspiration, and impending loss of security. Keywords: disability, emigration, physical impairment, Sanquhar. The ease of identification of sources relating to charities and philanthropists, asylums and institutions, physicians and surgeons, educationalists and administrators, has resulted in the focus of the study of disability marginalising, if not excluding, people with disabilities, and their families and friends.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • Biography-George-ROBERT.Pdf
    George ROBERT Born on September 15, 1960 in Chambésy (Geneva), Switzerland, George Robert is internationally reCognized as one of the leading alto saxophonists in jazz today. He started piano at a very early age and at age 10 he began Clarinet lessons at the Geneva Conservatory with LuC Hoffmann. In 1980 he moved to Boston and studied alto saxophone with Joe Viola at the Berklee College of MusiC. In 1984 he earned a Bachelor of Arts in Jazz Composition & Arranging and moved to New York where he enrolled at the Manhattan SChool of MusiC. He studied with Bob Mintzer and earned a Master’s Degree in Jazz PerformanCe in 1987. He played lead alto in the Manhattan SChool of MusiC Big Band for 2 years, whiCh earned in 1985 the 1st Prize in the College Big Band Category in the Down Beat Magazine Jazz Awards In July 1984 he performed on the main stage of the Montreux Jazz Festival and earned an Outstanding PerformanCe Award from Down Beat Magazine. In 1985 & 1986 he toured Europe extensively. In 1987 he met Tom Harrell and together they founded the George Robert-Tom Harrell Quintet (with Dado Moroni, Reggie Johnson & Bill Goodwin). The group Completed 125 ConCerts worldwide between 1987 & 1992, and reCorded 5 albums. He remained in New York City and free-lanCed for 7 years, playing with Billy Hart, Buster Williams, the Lionel Hampton Big Band, the Toshiko Akiyoshi-Lew Tabackin Jazz OrChestra, Joe Lovano, and many others. He met Clark Terry and started touring with him extensively, Completing a 16- week, 65-ConCert world tour in 1991.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
    Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York.
    [Show full text]
  • 3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
    “3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • 2007'S Best Albums in Review
    KTRU 91.7 FM SPRING 2008 Houston’s Local Artists: 2007’s Best Albums in Review People often say that there isn’t much good music in Linus Pauling Quartet Bring Back The Guns Houston. They are wrong, and getting wronger by the All Things Are Light Dry Futures minute: 2007 was one of the best years for Houston music Camera Obscura Feow! in recent memory. In no particular order, KTRU runs Linus Pauling Quartet reminds us After changing names and winning down 10 of the year’s most notable releases in this quick that barbarians, aliens, malt liquor, 24- three Houston Press Music Awards guide to a banner year in a burgeoning music scene. hour Mexican food, and motorcycles (Best New Act ‘00, Best Indie Rock all lie at the foundation of rock and roll’s ‘03, Best Indie Rock ‘05), Bring Back Jana Hunter hallowed temple. Don’t call it tongue-in-cheek—every the Guns have finally released a full album, and it was There’s No Home track is backed with dead-serious Jimmy Page-grade easily worth the wait. Their guitar-driven sound is Gnomonsong Marshall-stack ass-kicking. Veterans of Houston’s psych heavy but still quick on its feet, framed by constantly Erstwhile Houstonian Jana Hunter, heyday LP4 mix hard rock imagery with utter electrified shifting time signatures, punctuated with guitar hooks an Arlington native who recently mi- competence, the way unpretentious rock was meant to be. that never end like you’d expect. Vocals are strained, grated to Baltimore, is a key player in overdriven.
    [Show full text]
  • Charlie Haden Page 11 News
    JazzWeek with airplay data powered by jazzweek.com • Sept. 8, 2005 Volume 1, Number 41 • $7.95 In This Issue: J@LC Sponsors Concert to Benefit Katrina Victims . 4 Wynton Marsalis Comments . 4 Harry Connick, Jr., Is Habitat Honorary Chair . 5 McBride Tapped for L.A. Phil Jazz Post . 9 Reviews and Picks . 15 Jazz Radio . 18 Smooth Jazz Radio. 23 Radio LIBERATION MUSIC ORCHESTRA Panels. 28 Q&A With Charlie Haden page 11 News. 4 Charts: #1 Jazz Album – Clayton-Hamilton Jazz Orch. #1 Smooth Album – Richard Elliot #1 Smooth Single – Richard Elliot JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger MUSIC EDITOR e’ve all watched in horror at the destruction caused Tad Hendrickson by Hurricane Katrina and reacted with some re- CONTRIBUTING EDITORS Wlief as friends, colleagues, and admired musicians Keith Zimmerman have been rescued. While our initial reaction may have Kent Zimmerman CONTRIBUTING WRITER/ been anger, and even perhaps focused on blame, now is PHOTOGRAPHER the time to help out and do what we can to help the peo- Tom Mallison ple of New Orleans and the whole affected Gulf Coast – PHOTOGRAPHY Barry Solof an area the size of Great Britain – to recover and rebuild. Founding Publisher: Tony Gasparre One station with a big task ahead is WWOZ in New ADVERTISING: Call (585) 328-3104 or email: [email protected] Orleans. On the station’s web site, wwoz.org, they are keeping a helpful list of musicians and WWOZ staffers SUBSCRIPTIONS: Prices in US Dollars: Charter Rate: $199.00 per year, who have been found. And on WFMU’s web site (the link JazzWeek w/ Industry Access – Charter Rate: $249.00 per year is at wwoz.org) WWOZ station manager David Freed- To subscribe using Visa/MC/Discover/ man is keeping folks updated on the financial situation AMEX/PayPal go to: http://www.jazzweek.com/account/ and the plans for rebuilding the station and getting it back subscribe.html on the air.
    [Show full text]
  • Brian Simpson Again Tops Album and Singles Charts
    JazzWeek with airplay data powered by jazzweek.com • Jan. 23, 2006 Volume 2, Number 9 • $7.95 In This Issue: J@LC, Radio Salute Pittsburgh. 4 Botti In PBS Spring Pledge Special . 5 MakeMusic Offers IAJE Special on SmartMusic . 6 Passings: Bob Weinstock, Phil Elwood . 6 Reviews and Picks . 15 Jazz Radio . 18 Smooth Jazz IAJE 2006 Radio. 25 WRAPUP Radio page 11 Panels. 24, 29 News. 4 Charts: #1 Jazz Album – Houston Person #1 Smooth Album –Brian Simpson #1 Smooth Single – Brian Simpson JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger othing does more to charge my jets than to attend IAJE each MUSIC EDITOR year. While I’m usually exhausted by the end of the conference, Tad Hendrickson Nit’s energizing to catch up with friends and colleagues, to meet CONTRIBUTING EDITORS people face-to-face for the first time, to pick up new ideas, and to be Keith Zimmerman immersed in great music. Getting to spend time at a couple NYC clubs Kent Zimmerman is a big bonus. CONTRIBUTING WRITER/ The most thrilling thing, though, is to see the reactions of young PHOTOGRAPHER Tom Mallison students. The unbridled enthusiasm the young crowd displayed at the PHOTOGRAPHY Stefon Harris and Javon Jackson (with show-stealer Dr. Lonnie Smith) Barry Solof sets was contagious. And it gives me great hope for the vitality and fu- ture health of jazz. Founding Publisher: Tony Gasparre ••• ADVERTISING: Devon Murphy On the subject of young people, I’m watching with great interest the Call (866) 453-6401 ext. 3 or efforts to attract a younger audience at night on WEMU and KUVO.
    [Show full text]
  • Automatic Recognition of Samples in Musical Audio
    Automatic Recognition of Samples in Musical Audio Jan Van Balen MASTER THESIS UPF / 2011 Master in Sound and Music Computing. Supervisors: PhD Joan Serr`a,MSc. Martin Haro Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona Acknowledgement I wish to thank my supervisors Joan Serr`aand Martin Haro for their priceless guidance, time and expertise. I would also like to thank Perfecto Herrera for his very helpful feedback, my family and classmates for their support and insightful remarks, and the many friends who were there to provide me with an excessive collection of sampled music. Finally I would like to thank Xavier Serra and the Music Technology Group for making all this possible by accepting me to the master. Abstract Sampling can be described as the reuse of a fragment of another artist's recording in a new musical work. This project aims at developing an algorithm that, given a database of candidate recordings, can detect samples of these in a given query. The problem of sample identification as a music information retrieval task has not been addressed before, it is therefore first defined and situated in the broader context of sampling as a musical phenomenon. The most relevant research to date is brought together and critically reviewed in terms of the requirements that a sample recognition system must meet. The assembly of a ground truth database for evaluation was also part of the work and restricted to hip hop songs, the first and most famous genre to be built on samples. Techniques from audio fingerprinting, remix recognition and cover detection, amongst other research, were used to build a number of systems investigating different strategies for sample recognition.
    [Show full text]