The Ithacan, 1978-11-02

Total Page:16

File Type:pdf, Size:1020Kb

The Ithacan, 1978-11-02 Ithaca College Digital Commons @ IC The thI acan, 1978-79 The thI acan: 1970/71 to 1979/80 11-2-1978 The thI acan, 1978-11-02 The thI acan Follow this and additional works at: http://digitalcommons.ithaca.edu/ithacan_1978-79 Recommended Citation The thI acan, "The thI acan, 1978-11-02" (1978). The Ithacan, 1978-79. 10. http://digitalcommons.ithaca.edu/ithacan_1978-79/10 This Newspaper is brought to you for free and open access by the The thI acan: 1970/71 to 1979/80 at Digital Commons @ IC. It has been accepted for inclusion in The thI acan, 1978-79 by an authorized administrator of Digital Commons @ IC. A Weekly Newspaper, Published Independently by the Students of Ithaca College~ ...'"' , . .. ~ . ' Vol 48/No. IO It h,1cc1. NP\\ 't ork . November 2 1978 Hamill;~-L-;ft in the ti~~fi~., · By Chuck Post The house & stage lights Ms. Thue~en explained that decibels stay above 125 jmt lions of these volunteer <;taff & Dave O'Flaherty were flashed towards the end high decibel levels can cause turn 1he po,\er off. "We tur­ members, and he considep; the The power was turned off of the show, however no one ~tructural damage became the ned off the power because we Strand Theater to be "a totally during Jan Hammer's encore was seen playing with the wall of the theater could blow have a legal obligation to unprofessional operation." last Thursday at the Strand lights backstage, and the two out causing the roof to fall in. protect the building and the He <;aid that there may be a theater. Strand staff members who had Thuesen explained that the audience in it." law suit pending. According to Thomas requested the volume be tur­ Fire Marshall ~aid if the Kallman was irate at the ac- Kallman, spokesperson for ned down could not be contac­ McKall Productions, the con­ ted, according to Kallman .. cert"' promoter, the problem Then, during Hammer's en­ Ithacan Center of Controversy started during the concert core, the power to the theater when Michael· Thuesen and was turned off. The stage and another Strand member were houselights went off, the by Chuck Post taking decibel readings in the music suddenly died, the­ Ithaca College, in a1tcmpt theater. The reading~ are to emergency lights came on, and to <,top the New Yorh State make sure the sound did not Hammer stormed off the United Teacher As~ociat ion go over 118 decibels.. The dee stage, apparently giving the from becoming the bargining ibels must stay under 125 finger to someone off stage .. agent for the faculty, has because the building is an According to Kallman, one recently challenged that the historic landmark and to be or both of the missing Strand elecion ~hould be invalidated sure the fire alarms could be staff members had gone into as a re,ult of a ~ta1cment in the heard, should they ring. the basement o_f the theater September 281h is~ue of THE and turned off the power. ITHACAN. THE ITHACAN Strand staff members ap­ Barbara Thuesen, executive quoted Professor· Chester proached the technical person director of the Strand, told the GalasJra. a spoke,person for at the sound-board, asking to promoters later Thursday !he Ithaca College Faculty have the volume turned down evening that the Fire Marshall As~ociation, while he \\a~ uecause the decibel meter had turned off the power, said ,pecula1ing on the meaning of (which the Strand -had Kallman. The promoters in­ a letter ~cnt on September 15 borrowed from Cornell) read sisted that this be verified and w !he administration from 125 decibels. The technical two fire fighters were called to The National Labor Relation person complied with request. -the Strand. After hearing the Board. Later on during the concert, story, the fire fighters denied The Adminis1ra1ion \\a, Pholo hy Gail Lahm sfaff members again requested Chester Galaska. that the Fire Marshall or Fire required by the NLRB 10 fur­ that the volume be turned Sl'ptember 15, ,ent a lct!er to jeopardising I he elcctorial Department had turned the nish an eligibility Ii<;! of tho,e down. The technical person !he Administration that p,occ~-,. power off. The Fire Mar­ faculty who arc eligble to vole for Jan Hammer's tour chose, cautioned the administration The Adminiqration i~ shall had not even been in the in the election. The Ad­ at this point, to ta!<e readings against attempting to reported to have filed a com­ theater at the time. - mini~t ration stated that I hey with his own decibel meter challenge every voter on the plai111 that the election ,hould Later, the Strand put out a would contest each vote in­ which read lower than 118 and eligihlity li\t. Galaska, in not be certified on the ground, statement saying it was indeed dividually on the grounds that he therefore refused to turn ,peculating about the meaning thal Ciala\ha'~ <;tatemcnt rnuld staff members of the Strand the voter held a managerial the sound down, said of that letter, pointed out that have been con'>trued a, a who turned off the power. position. THE NLRB, on Kallman. such challenging may be prejudicial statement hy an regarded a\ ''challenging offical of the eleclion. Walter frivolou~ly." Bo non, Director of Public In- Ithaca-Albany Game on ABC To V. Galaska commented yc\ler- formation of Ithaca Colic!;. day, "it is difficult for me to refu~cd to Ackn<rnledgL' 1hat undcr"1and how the ad- such ·a compbint ha~ bt:'cn The American Broadcasting Maryland game. The game Bomber~ played Bloomsburg mini'1ration could interpret filed. Company has announced that has also been moved to State (Pa.) in the ~cason this speculation as seriously it will televise Saturday's Blecker Stadium (capacity opener, aired by WNEP Ithaca College vs. Albany 10,000) which has lights. (Scranton/Wilkes-Barre). State football game on a Two major ABC-affiliates, Local station WICB, owned regional basis, as part of a WIXT (9)in Syracuse and and operated by Ithaca Col­ college football doubleheader WTEN( 10) in Albany will lege. has also televised many Who's Who ·k carry the game live beginning of Ithaca's games this year on pac age. h k' k ff The Ithaca-Albany contest, at 4:00p.m.. wit . ic 0 a tape-delayed basis. The 1978-79 edition of nstein, Michele Bo~ko, Walter originally scheduled for · scheduled for approxn~?tely Ithaca, 8-0 and rankca tmru Who's Who Among Studenrs Bradhering, Thomas Burlin, I :OOp.m. at Albany State's 4: JOp.m. O!hcr ".',BC-afhhates nationallv in Division Ill. will in American Universities and Brian Campbell, Arthur Carr, .Universitv Field will be may also air the contest. mc'ct.Albanv, 5-2. for the third Colleges will carry the names Alexander Cortcselli, ~ill moved b·ack to 4:00p.m. to It will _b~ Ithaca's second time. lth~ca has won both of 40 Ithaca College students Denburg, Margaret DeYoe, acc·ommodate ABC's .national live telev1s10n appearance of prcviou!> contests by scores of who have been selected as Faith Domin~·, Steven Girelli, coverage of the Penn State vs. the 1978 season. The 33-0 (1975) and 24-0 (I 976). being among the country's Steven Goldstein, Robert most outstanding campu~ Halbran and Da,·id Hansen. leader~. Aho named were: .Joanna Campus nominating com­ Hinton, Mark Lamphier, mittees and editors of the an­ .James Lish, William Mc­ nual directory have included Donald. Diane Meirr. Mat­ the name~ of the~e student~ thew Morris, Scott '.'larrir, based on their academic Daniel Nr,·illc, Throphih1, achievement, ~ervice to the Nix, Maurn O'Dea, Da,id community, lcader,hip in ex­ Pcttee, Thomas Pla,tara!>,, tracurricular acti,itie, and Teresa Prinn·, .Jo,l'Jlh future po1e11t1at Rako'iki, Da,id Ro,enhl'rg. They ,,ill join an .:lite group Rosemary Sdrndl'r, ll:n id of students selected from more Sherman. Barhara ~hort. t ha n I , 000 i n q it u t ion, o f Dehra Simmon,, '\anr, higher learning 111 .50 \!ates, Smith, \\ a) Ill' Sturman, Pnn the l)iqncr tif Columbia and Tl•mrhin, Pl'ler I hro1>p, 'L'\L'ral l'nrc1gn ;1a11,111,. Chri,tina l'rojanr/\l- :ull: Stt1Lkili' twrwrcd thi, \c'.J, .h-anncttr Wil,on . t!C: Sman lh,,rtl. ·1 odd Her- -- 1·1,:,: ·,::'I Page 2 THEITHACAN November 2, 1978 ITHACAN EDITO Being that Ithaca College is closed on most holidays and many people leave school for other holidays, it is l!,Ood to know that members of Ithaca Collel!,e can sri/1 have one holiday INQUIRER to celebrate togerher. Halloween brings people lo?,elher and raises spirits unlike any other day 011 the Ithaca By Bette Ann Sacks Colle{!.e calendar. More so than a Bomber foorba/1 game, more so that a Ben Light Concert, Halloween 1:<; one of the last 'ilrongholdsfor "spiri( and unity among the/. C. community. Photos by Linda Melman, After unionization and CCLOP and Jewish rallies, it is refreshinf!. to realize that we can srtl/ unify in a lil!,ht, positive vain. and Gail Lahm Halloween festivities have been traditionally capped off at Ne/son·Road. There, gathered Queslion: around bonfires and beer, haloed anl!,els to lubricated diaphrams parade around with smiles and good cheer. This week, the Ithacan In­ It is· a loss to th<He who feel H(illoween activities are childish or beneath them. Halloween quirer I0ol1s at new faces on is one of the few times we can step out of our molds, be creative, and enjoy the creativity campus.
Recommended publications
  • Ebook / John Mclaughlin and the Mahavishnu Orchestra
    RCRGU0FGTS \\ John McLaughlin and the Mahavishnu Orchestra: Score Edition, Score (Paperback) » eBook Joh n McLaugh lin and th e Mah avish nu Orch estra: Score Edition, Score (Paperback) By Professor of Land Studies John McLaughlin Alfred Music, 2007. Paperback. Condition: New. Language: English . Brand New Book. John McLaughlin and the Mahavishnu Orchestra was the most influential band of the 1970s fusion jazz movement. Fresh from turning the jazz world upside down on Miles Davis immortal In a Silent Way, John McLaughlin teamed with Jan Hammer, Rick Laird, Billy Cobham, and Jerry Goodman to form the Mahavishnu Orchestra, an amazing fusion of jazz, blues, rock and Indian music. This book contains John s own miniature scores to 28 classic Mahavishnu songs. Titles: A Lotus on Irish Streams * Awakening * Be Happy * Birds of Fire * Celestial Terrestrial * Commuters * Dawn * Dream * Earth Ship * Eternity s Breath * Faith * Hope * If I Could See * Lila s Dance * Meeting of the Spirits * Miles Beyond * Noonward Race * On the Way Home to Earth * One Word * Open Country Joy * Opus I * Pastoral * Resolution * Sanctuary * Sapphire Bullets of Pure Love * The Dance of Maya * Thousand Island Park * Vital Transformation * You Know, You Know. READ ONLINE [ 1.53 MB ] Reviews It is an amazing ebook i actually have at any time study. We have read and so i am certain that i will likely to read through yet again once again later on. Your way of life period will likely be change when you complete looking at this pdf. -- Cristina Rowe Extremely helpful to all class of individuals. It really is writter in straightforward terms instead of diicult to understand.
    [Show full text]
  • Jerry Goodman (Chicago, Illinois, March 16, 1949) Is an American Violinist Best Known for Playing Electric Violin in the Bands T
    Jerry Goodman (Chicago, Illinois, March 16, 1949) is an American violinist best known for playing electric violin in the bands The Flock and the jazz fusion Mahavishnu Orchestra. Goodman actually began his musical career as The Flock's roadie before joining the band on violin. Trained in the conservatory, both of his parents were in the string section of the Chicago Symphony Orchestra. His uncle was the noted composer and jazz pianist Marty Rubenstein. After his 1970 appearance on John McLaughlin's album My Goal's Beyond, he became a member of McLaughlin's original Mahavishnu Orchestra lineup until the band broke up in 1973, and was viewed as a soloist of equal virtuosity to McLaughlin, keyboardist Jan Hammer and drummer Billy Cobham. In 1975, after Mahavishnu, Goodman recorded the album Like Children with Mahavishnu keyboard alumnus Jan Hammer. Starting in 1985 he recorded three solo albums for Private Music -- On the Future of Aviation, Ariel, and the live album It's Alive with luminaries such as Fred Simon and Jim Hines—and went on tour with his own band, as well as with Shadowfax and The Dixie Dregs. He scored Lily Tomlin's The Search for Signs of Intelligent Life in the Universe and is the featured violinist on numerous film soundtracks, including Billy Crystal's Mr. Saturday Night and Steve Martin's Dirty Rotten Scoundrels . His violin can be heard on more than fifty albums from artists ranging from Toots Thielemans to Hall & Oates to Styx to Jordan Rudess to Choking Ghost to Derek Sherinian. Goodman has appeared on four of Sherinian's solo records - Inertia (2001), Black Utopia (2003), Mythology (2004), and Blood of the Snake (2006) In 1993, Goodman joined the American instrumental band, The Dixie Dregs, fronted by guitarist Steve Morse.
    [Show full text]
  • The Synth Issue
    THE SYNTH ISSUE KORG ARP ODYSSEY REDUX REVIEWED HANDS ON PREVIEWS Sequential Prophet-6 Moog System 55 Modular Modal Electronics 002 MODES DEMYSTIFIED No Sheet Music Required FAKE IT ’TIL YOU MAKE IT Bigger Samples Aren’t Always Better ROLAND JD-Xi SPACESTATION 3 ARTURIA Meet the Mid-Side Stereo iPROPHET SLOW BLUES MASTER CLASS Mini-Synth to Beat from One Amp Vector Victory Get the Real-Deal Feel 5.2015 | $5.99 A MUSIC PLAYER PUBLICATION 40 YEARS OF GROUNDBREAKING SYNTHS Grammy® winner and MIDI co-creator Dave Smith has designed more groundbreaking synths than anyone. Ever. Whatever your musical need or budget, Dave’s award-winning line of analog and analog/digital hybrid instruments has the right tool for you. Pro 2 · Prophet 12 · Prophet ’08 Mopho · Mopho x4 · Mopho SE Tetra · Tempest · Evolver THE PROPHET-6 IS COMING SOON! www.davesmithinstruments.com Designed and built in California CONTENTS MAY 2015 KNOW TALK 32 SYNTH SOLOING CÞ 8 Voices, tips, and breaking news from the Keyboard community. 4 œ œ We’ve explored his sound; now dive &4 œ œ œ Jan Hammer NEW GEAR SYNTH EDITION into the playing style of . D minor pentatonic 34 BEYOND THE MANUAL 10 In our special synthesizer-focused issue, we bring you first-look Learn tweaks to get more soft synth coverage of the Dave Smith Instruments Prophet 6, Modal mileage from your computer. Electronics 002, and Moog’s Modular systems, plus ten more new synth releases. 36 DANCE Making classic sounds with the ARP. HEAR REVIEW 16 ROAD WARRIORS In NRBQ’s 50th anniversary year, keyboardist 38 ANALOG SYNTH and founding member Terry Adams discusses Korg ARP Odyssey his touring gear, and the Monk tribute he’s always dreamed of making.
    [Show full text]
  • Was Macht Eigentlich Jan Hammer?
    Q2 Leute Was macht eigentlich Jan Hammer? Der Tscheche schrieb den legendären Sound zur Krimi-Serie „MIAMI VICE“ und wurde mit zwei Grammys ausgezeichnet Jan Hammer, 64, Jan Hammer mit Key- mit Hund Dascha in New York board 1983 bei einem Konzert in Dallas ZUR PERSON Es war ein modernes, höchst at- traktives Produkt, und die Musik Jan Hammer wurde 1948 nahm eine prägende Rolle ein. in Prag geboren. Seine Lange Passagen ohne Dialog – Re- Mutter war Sängerin. gen, Nacht, eine Straße, Neon- Schon mit vier Jahren lichter und ein paar coole Typen. begann er, Klavier zu spie- Das hatte was. len. Mit 14 gründete er ein Und Ihr „Miami Vice Theme“ auf Jazztrio, später studierte Platz eins der Charts … er an der Prager Musik- Fantastisch. Es fühlte sich an wie hochschule. Während des die Mischung aus einem Lotto- Einmarschs der Sowjets gewinn und einer Goldmedaille. in sein Heimatland 1968 Und dann bekamen Sie auch noch war er in München, von Grammys. Wie war die Nacht? dort ging er in die USA. Ich war gar nicht da. Hammer wurde einer der Wie bitte? besten Keyboarder der Im Jahr davor waren wir für einen Welt. Er trat unter anderem Emmy nominiert. Die ganze Crew mit Jeff Beck, Eric Clapton, war angereist. Don Johnson, Mi- Joe Cocker und Mick chael Mann, ich. Doch wir gingen Jagger auf. Heute schreibt ie kamen Sie zum Auf- bing. Als im August 1968 russi- leer aus. Als dann die Grammys er hauptsächlich Film- trag Ihres Lebens? sche Truppen in Prag einmar- anstanden, dachte ich: ‚Ohne und TV-Musik.
    [Show full text]
  • Carlos Santana & John Mclaughlin's 1973 Masterpiece Love Devotion
    Sound Colour Vibration Carlos Santana & John McLaughlin’s 1973 Masterpiece Love Devotion Surrender Reissued As Gatefold LP With Speakers Corner | Music Reissues Posted by Sound Colour Vibration on May 5, 2015 · Leave a Comment Carlos Santana & John McLaughlin’s 1973 Masterpiece Love Devotion Surrender Reissued As Gatefold LP With Speakers Corner | Music Reissues by Erik Otis When I first read the John McLaughlin biography Go Ahead John, author Paul Stump gave the 1973 LP Love Devotion Surrender a fairly bad review and it was shortly after this lasting impression that I was exposed to the collaborative record between guitar icons Carlos Santana and John McLaughlin. Many reviews upon its release were in a more negative slant then positive and it was a shock after initially hearing it, considering how soulful, spiritual and sophisticated the music is and how much I fell in love with the album right away. In a world full of expectations and concrete view points, I can see how this album would fly over some heads during the day, taking on a much different route then pop structures spoke for of the era and even going beyond the fusion voyages of many musicians around them. An enactment of the full spiritual awakening both musicians were finding through guru Sri Chinmoy, these teachings brought them together in a unique way and they executed on stunning levels with a cast that included Larry Young (org), Doug Rauch (b), Armando Peraza (cga), Billy Cobham, Don Alias, Jan Hammer and Mike Shrieve. The incorporation of John Coltrane covers and themes inspired form his works is a staple of the record’s identity, produced and released for those who were tapping into energy far outside of the radio waves of the day.
    [Show full text]
  • University of Alberta 'Indo-Jazz Fusion'
    University of Alberta ‘Indo-Jazz Fusion’: Jazz and Karnatak Music in Contact by Tanya Kalmanovitch A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music Edmonton, Alberta Spring 2008 Abstract An inherently intercultural music, jazz presents a unique entry in the catalog of interactions between Indian music and the west. This dissertation is situated in a line of recent accounts that reappraise the period of Western colonial hegemony in India by tracing a complex continuum of historical and musical events over three centuries. It charts the historical routes by which jazz and Karnatak music have come into contact in the twentieth and twenty-first centuries, both in India and abroad. It presents a detailed account of the history of jazz in India, and Indian music in jazz, and examines jazz’s contact with Karnatak music in three contexts—jazz pedagogy, intercultural collaboration, and the Indian diaspora in the United States—illustrating the musical, social and performative spaces in which these musics come into contact, and describing the specific musical and social practices, and political and social institutions that support this activity. Case studies in this dissertation include an educational exchange between the Jazz and Contemporary Music Program of the New School University (New York, NY) and the Brhaddhvani Research and Training Centre for Musics of the World (Chennai, India), directed by the author in December 2003 – January 2004; a 2001 collaboration between Irish jazz/traditional band Khanda and the Karnataka College of Percussion; and analyses of recent recordings by pianist Vijay Iyer, saxophonist Rudresh Mahanthappa and drummer Ravish Momin.
    [Show full text]
  • Jazz Rock Fusion Surviving Four Decades and Counting…
    1 of 38 Jazz Rock Fusion Surviving Four Decades and Counting… By, Rick Calic www.jazzrockworld.com March 2006 Writing an article about Jazz Rock Fusion these days might seem as pointless as debating the benefits of Hi-Fi equipment with vacuum tubes vs. transistors to someone that uses an iPod. The only people that would care are older folks who even remember tubes and dedicated enthusiasts. On the other hand, while Jazz Rock Fusion might be older or seem equally pointless to many reading this article, there remains a large but scattered segment of the world’s population that sees the genre as a vibrant and legitimate art form. Sadly though, the musical perspective regarding Jazz Rock Fusion was narrow from the beginning and will probably always be that way. Jazz Rock Fusion, in terms of the entire world of music, constitutes just a tiny fraction of interest. Yet, if we accept this as fact, which most fans, musicians and certainly “big business” does, the generation of any interest at all is meritorious. In order to discuss the music with integrity, a ground rule needs to be established. This ground rule is required due to the unsolved, long lasting, and ongoing mysteries of the music and its unique identity. Mysteries such as: What is Jazz Rock Fusion? Who started Jazz Rock Fusion? What should it be called? And finally, with no major media support why is there still a market? So, what are the answers you ask? Quite simply these mysteries will remain mysteries. Answering the questions definitively will end up as trivial as the facts regarding the creation and development of the gut bucket.
    [Show full text]
  • Czech Music Quarterly
    czech music quarterly Ondřej Štochl Music Archives Tiburtina Ensemble Czech Film Composers SEASON 2011/12 AT THE NATIONAL THEATRE OPERA 2TGOKGTGU %QPEGTVU ANTONÍN DVOŘÁK MAGDALENA KOŽENÁ THE JACOBIN Conductor:#PFTGC/CTEQP Conductor: Tomáš Netopil Orchestra:%QNNGIKWO Stage Direction:,KĮÉ*GĮOCP CPF1EVQDGT Sets:2CXGN5XQDQFC CVVJG0CVKQPCN6JGCVTG Costumes:#NGZCPFTC)TWUMQX½ Premiere performances:CPF1EVQDGT OPERA GALA CONCERT CVVJG0CVKQPCN6JGCVTG Eva Urbanová UQRTCPQ Ivan Kusnjer DCTKVQPG .WF÷M8GNG DCU MARKO IVANOVIĆ Conductor:4QDGTV,KPFTC ENCHANTIA 0CVKQPCN6JGCVTG1TEJGUVTC 0QXGODGT AN OPERA FOR CHILDREN CVVJG0CVKQPCN6JGCVTG AND THEIR PARENTS Libretto:+XCP#TUGPLGX2GVT(QTOCPCPF4CFGM/CNÙ ADVENT CONCERTS 2011 Conductor: /CTMQ+XCPQXKã 5QNQKUVUQHVJG0CVKQPCN6JGCVTG1RGTC Stage Direction:2GVT(QTOCP Conductor: &CXKFjXGE Sets & Costumes:/CV÷L(QTOCP#PFTGC5QFQOMQX½ 0CVKQPCN6JGCVTG1TEJGUVTC Premiere performance:,CPWCT[ 0QXGODGTCPF&GEGODGT CVVJG0CVKQPCN6JGCVTG CVVJG0CVKQPCN6JGCVTG BENJAMIN BRITTEN MOZART’S BIRTHDAY 2012 GLORIANA 4CFGM$CDQT½M JQTP Conductor:<D[P÷M/ØNNGT 0CVKQPCN6JGCVTG1TEJGUVTC Stage Direction:,KĮÉ*GĮOCP ,CPWCT[CVVJG'UVCVGU6JGCVTG Sets:2CXGN5XQDQFC Costumes:#NGZCPFTC)TWUMQX½ GOOD FRIDAY CONCERT Premiere performances:CPF/CTEJ Conductor:/CTGMjVT[PEN CVVJG0CVKQPCN6JGCVTG Orchestra:/WUKEC(NQTGC #RTKN W. A. MOZART CVVJG'UVCVGU6JGCVTG DON GIOVANNI Conductor: Tomáš Netopil Premiere performances:CPF,WPG CVVJG'UVCVGU6JGCVTG Dear Readers, apart from the traditional interviews, this time with the composer Ondřej Štochl and the leader of the remarkable women’s vocal Tiburtina Ensemble, Barbora Sojková, the most prominent feature in this issue is the extensive guide to archives and similar institutions in the Czech Republic that are partly or wholly concerned with preserving music materials. We believe this will be a valuable aid for researchers, artistic directors of ensembles specialising in Early Music and members of the non-professional public who have a strong interest in the music of Central Europe.
    [Show full text]
  • The Wire / March
    muso in the promisedland By Paul Stump (Reprinted from The Wire magazine: March 1996) What’s going on? Fusion, that most despised of musical genres, has suddenly become an essential reference point for musicians such as Goldie, LTJ Bukem and Howie B. In turn, a first generation fusion head like John McLaughlin is revitalising his career by exploring the new technologies of drum ’n’ bass. Paul Stump talks to McLaughlin, and discovers that everything in the jungle is rosy It’s one of the more curious phenomena of recent developments in musical taste. The movers and shakers and cutting-edge crusaders of the sonic millennium, upon whose subversions of past practice and performance rest so many needs and desires, appear more concerned with recreating the music of earlier epochs. Moreover, they are taking their cues from music which, by common consent, has long been branded as culturally and musically irredeemable (or so we thought). For instance: fusion, it seems, still counts. Even in the futuristic forests of drum ’n’ bass, the past protagonists of this most vilified of musical genres exert a powerful hold: LTJ Bukem cites Return To Forever’s Romantic Warrior as a definitive influence; Goldie goes for The Yellowjackets as his current group-of-choice. Meanwhile in these pages Howie B and The Durutti Column’s Vini Reilly have recently solemnly stated their allegiance to John McLaughlin, perhaps the greatest bête noire of that whole 70s cheesecloth-clad bacchanalia of speed, solos and Marshall amps. And so as bêtes noires go, John McLaughlin is a pretty happy one right now.
    [Show full text]
  • Of TISZIJI MUÑOZ
    THE MASTER DANCE of TISZIJI MUÑOZ THE AUTHORIZED BIOGRAPHY PART NINE – TISZIJI AS PROGENITOR by Nancy Muñoz & Lydia R. Lynch the illumination society presents: The Master Dance of Tisziji Muñoz The Authorized Biography Part Nine Tisziji as Progenitor Written By Nancy Muñoz (Subhuti Kshanti Sangha-Gita-Ma) & Lydia R. Lynch (Sama-dhani) Initial Typing & Editing By Jacob Lettrick (Jinpa) Revisions By Karin Walsh (Tahmpa Tse Trin) & Janet Veale (Kshima) Cover Photo by James J. Kriegsmann “The Master Dances To Its Own Music.” —Tisziji I The Master Dance of Tisziji Muñoz: The Authorized Biography, Part Nine.By Nancy Muñoz & Lydia Lynch. Copyright © 1990 by Tisziji Muñoz & The Illumination Society, Inc. All rights reserved. No part of this book may be used or reproduced in any manner without written permission from the authors. The Illumination Society, Inc. Newburgh, NY USA www.heartfiresound.com The Master Dance of Tisziji Muñoz: The Authorized Biography Part Nine Tisziji as Progenitor By Nancy Muñoz (Subhuti Kshanti Sangha-Gita-Ma) & Lydia R. Lynch (Sama-dhani) Copyright © July 1990 by Tisziji Muñoz & The Illumination Society, Inc. All rights reserved. No part of this book may be used or reproduced in any manner without written permission from the authors. II The Master Dance of Tisziji Muñoz: The Authorized Biography, Part Nine.By Nancy Muñoz & Lydia Lynch. Copyright © 1990 by Tisziji Muñoz & The Illumination Society, Inc. All rights reserved. No part of this book may be used or reproduced in any manner without written permission from the authors. Table of Contents Part Nine – Tisziji as Progenitor Introduction 490 chapter 82 Bhapuji Tisziji Muñoz As Father in Blood and Spirit 491 chapter 83 The Holy Ground Discourse 527 chapter 84 Tisziji’s Re-creative Purification of T.I.S.
    [Show full text]
  • Electronic Music
    ELECTRONIC MUSIC Definitions Electronic music refers to music that emphasizes the use of electronic musical instruments or electronic music technology as a central aspect of the sound of the music. Basics Electronic music refers to music that emphasizes the use of electronic musical instruments or electronic music technology as a central aspect of the sound of the music. Historically electronic music was considered to be any music created with the use of electronic musical instruments or electronic processing, but in modern times, that distinction has been lost because almost all recorded music today, and the majority of live music performances, depends on extensive use of electronics. Today, the term electronic music serves to differentiate music that uses electronics as its focal point or inspiration, from music that uses electronics mainly in service of creating an intended production that may have some electronic elements in the sound but does not focus upon them. Contemporary electronic music expresses both art music forms including electronic art music, experimental music, musique concrète, and others; and popular music forms including multiple styles of dance music such as techno, house, trance, electro, breakbeat, drum and bass, industrial music, synth pop, etc. A distinction can be made between instruments that produce sound through electromechanical means as opposed to instruments that produce sound using electronic components. Examples of electromechanical instruments are the teleharmonium, Hammond B3, and the electric guitar, whereas examples of electronic instruments are a Theremin, synthesizer, and a computer. History Late 19th century to early 20th century Before electronic music, there was a growing desire for composers to use emerging technologies for musical purposes.
    [Show full text]
  • No One Had Ever Heard a Guitar Played Like That Before: the Assimilation of Jazz Aesthetics in the Work of Post 1970'S Electri
    1 No one had ever heard a guitar played like that before: The redefinition of the jazz aesthetic in the work of post 1970’s electric guitarist composers Paul Carr, University of Glamorgan This article addresses the often underrated role jazz guitarist composers have played in redefining the jazz aesthetic, specifically through fusing jazz with other music forms. Most publications and broadcasts on jazz history have a tendency to overlook this issue, Ken Burns’ most recent TV series being an indicative example, omitting arguably four of the most influential and experimental jazz musicians of the last 40 years – Pat Metheny, Bill Frisell, Larry Coryell and John McLaughlin. Additionally, although there have been numerous ‘non academic’ texts written about the technical proficiencies of many electric jazz guitarists, there is no academic material examining their compositional impact on the jazz canon. During the late 1960s – early 1970’s, it will be suggested that the guitarists’ assimilation of jazz with the emerging rock genre was more an expression of cultural and social paradigms than an overt attempt to fuse the two styles. In direct contrast to the pervasively quoted pioneer of fusion, Miles Davis, who incorporated the rock aesthetic into his music to ‘reach the people’, or ‘Third Steam’ musicians such as George Russell and John Lewis who fused classical and jazz musics for intellectual reasons, the post 1970’s guitarist/composers were often natural embodiments of both styles, simply being products of their generation. A good example of this paradigm can be seen in the work of Jazz-Rock pioneers John McLaughlin and Larry Coryell, who could both be considered authentic practitioners of both Jazz and Rock traditions during their work prior to the fusion movement.
    [Show full text]