DOCSLIB.ORG

Moog: Electronic Marvel That

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Moog: Electronic Marvel That S I A Ï f » i h i s i U i t T Y L I The lAWRENTIAH. 8 11 a T A T t 9 T b \ * I Vol. 90, No. 14 Lawrence University, Appleton, Wisconsin Friday, Feb. 5, 1971 I 57i Editorial The Lawrence community is a commonwealth com­ prised of faculty, administration and students. All factors must work together in order to obtain the common good for all. Taking into account the fact that the faculty con­ trols quite a bit of the power of decision making in regard to the academic life of the student, I cannot understand why Mr. Stowe “ . frankly does not understand why stu­ dents want the minutes from faculty meetings.” Most, not all, pertinent information is released in the Lawrentian, and there may be some information not print­ ed in the paper that would be pertinent to some students. It seems rather strange to me that the actual minutes of the faculty meetings would be released to only those authorized to attend the meetings, for they more than anyone else know what takes place at the meetings. It must also be noted that not only academic subjects are discussed at the faculty meetings. There is also much de­ liberation about committee reports; committees which are comprised of students and faculty. By suggesting that the statements made at faculty meetings would be “misinterpreted,” Mr. Stowe indicates a lack of intelligence in the Lawrence community; for if the statements were made clearly and not subject to as­ sumption or doubt, there would be little, if any chance of misinterpretation. Since faculty members are invited and encouraged to attend student meetings, I see no reason why students should not be invited to faculty meetings. This way there would be no reason for anything to be misinterpreted, mis­ understood or missed. If students are the primary subjects of discussion at faculty meetings I see no reason why the presence of stu­ dents at these meetings would inhibit the discussion. And, Mr. Stowe, don’t you think that since faculty meetings are so boring maybe student attendance would liven up the action a little? Trying to keep the students away from the faculty meetings is like trying to keep a plumber out of the bath­ room, or a baker out of the bakery. H o w would you feel if you were excluded from a meeting of the French De­ partment? — Debbie DuVemay “IGNORANCE IS BLISS!" Petition calis upon faculty by Jon Mook “ Hie present attitude cannot but minutes are distributed. lead one to suspect that the fac­ ‘‘Students therefore, always ulty does have the desire to with­ know what occurs at the faculty hold useful and necessary inform­meetings long before the minutes ation from the students.” stated come out,” Stowe added. LUCC president Walter North in The actual minutes of faculty in regard to faculty meetings,” mittee the “personal embarrass­ a recent memorandum to Presi­meetings, however, may not be also be hesitant to speak freely, Stowe declared. ment” of having to judge, and al­ dent Smith, regarding the faculty released to anyone except persons said Stowe, if there was a chance North in his memorandum to lows for the privacy of the stu­ policy of withholding the minutes authorized to attend the meetings. that their statements would be President Smith stated a number dent being evaluated. of their meetings. An exception was made only for released to the whole Lawrence of reasons why “ if not legally, Besides being exempted from As a result, North is initiatingthe minutes cf the special meet­ commun'ty a'nd subject to misin­ then morally, the faculty has the certain considerations, North said a petition to be signed by the stu­ ings devoted to the Povolny Re­ terpretation. Information that is obligation to open their delibera­ that “ the rights of the student dents that ‘‘the minutes of all port. released, therefore, includes only tions to the community ” members of the university com­ a general summary of the discus­ faculty meetings be made avail­ Th?se meetings are not releas­ “Faculty are allowed and en­ mittees are not at present equal sion. able to The Lawrentian. LUOC, ed, said Stowe, for three main couraged to attend all student of those of the faculty since, unlike Not generally distributing the and the general community.” reasons: to keep certain deliber­meetings ( . with the possible the faculty, they are not privy to minutes also preserves the person­ Two other petitions are also be­ations confidential until they have exception of Wilson House),” sand first consideration of their com­ al privacy of those who are invol­ ing circulated concerning students been acted upon; to insure priv­ North, although students are for­ mittee’s action.” ved in individual questions which on faculty committees. One is a acy for both the faculty who speak bidden to attend faculty meet­ By being able to attend faculty come before the faculty. Such as request that the duties of studentsand those who are spoken about; ings. meetings in an ex-officio position, the determination cf honor, waiv­ on university committees should and for the practical purposes of students would be present at all Since faculty meetings are large­ ers, and grade changes. be expanded to include the albility avoiding “ enormous waste” of deliberations on their committee’s ly concerned with committee re­ Even if the mrnutes were re­ to help interpret policy in indivi­ time, paper, and money. motions. North remarked that he ports, students by virtue being onleased, “ I don’t think most stu­ dual oases. The faculty did approve a pro­ was “ not implying that the faculty university committees are alsodents would read them,” remark­ The other would allow student posal in 1966 empowering the is not representing students views responsible for much of the ag­ ed Stowe. “ After reading one or representatives on UniversityPresident and V-P of Academic at their meetings,” but was just enda of the meetings. North add­ two sets no one would bother to commitees to be present in an ex­ Affaiirs to make available to the being “ logically consistent ” ed therefore, he “would surmiseread them anymore.” officio status at faculty meeings, President of LUCC, the editor of Stowe, however, disagreed with that in actuality there is now The other two petitions concern­ thus giving them the right to the Lawrentian and “ such ether North since he said that when little that could not be deemed ing university committees would speak but not to vote. Both of students as they deem appropriate students are present faculty mem­ appropriate for the student body also require changes in previous these petitions being signed by summaries of those faculty ac­ bers are placed in a more “ expo­ to know about.” faculty resoluiions. According to present committee members would tions that the President or Dean sed” position which inhibits dis­ a proposal passed last spring, apply to next year’s student repre­considers appropriate for the stu­Some discussion at faculty cussion. Students would also be “ students on university commit­ sentatives. All the petitions will dent body to know about.” (bold meetings, according to Stowe, liable to interpret remarks by a tees participate fully in all com­ be presented to President Smithfac? added.) should be kept confidential, in­ faculty member in a different cluding recommendation from the mittee business except the con­ and voted on by the faculty. This motion, said Stowe, “in no manner than would other faculty faculty to the trustees 'until the sideration of individual cases be­ “ I quite frankly don’t under­ way reflects a desire to withhold members. Because of these reas­ recommendations are acted upon), fore the committee on Administra­ stand why the students want the useful or necessary information ons, according to Stowe, “there announcements of student awards tion. admission and Foreign Study, minutes,” remark'd Richard S- from the students.” has always been quite a decisive or prizes, and discussion aboutand the academic evaluation ot Stowe, faculty secretary, ‘‘since In practice, information about vote opposed to the idea'’ of stu­ certain policy negotiations in pro­ students by the committee on they don’t give any information most deliberations may be ob­ dents observing faculty meetings. gress which should not be releas­Honors.” that is not already known.” All tained from the faculty secretary Furthermore, Stowe added, “ at ed until they have “ reached a This proposal, remarked Stowe, pertinent information, he said, isor any faculty member. There is, most of the faculty meetings, stu­ certain point.” spares the students on the com­ released to the Lawrentian which therefore, no communications gap dents would be bored to death.” Some faculty members would prints the information before thebetween the faculty and students W aring presents foreign studies proposals at faculty ‘non-m eeting’News Briefs bv Douglas Davidson many; one from the German de­ In an open '‘non-meeting” mod­ intended as one just for Germanpartment, and the other to teach Ripped- off records erated by Professor E. Grahamstudies, and, because enrollment courses “ relevant to the European Waring, chairman of the Commit­ W L F M declares that Monday, Feb. 8, is general am­ in the German department has situation.” In place of the third tee on Foreign Studies, the faculty dropped in the absence of a Lang­ nesty day for all “borrowed” station records. Return them faculty member, two seminars assembled Wednesday, February to the station or to the box in the stairwell and there will uage requirement. would be established dealing with 3, to “talk about what the com­ be no questions asked— and we will be eternally gratefu .
Load more

Recommended publications
  • NCRC Award Brian Docs
    NCRC 2012 Radio Awards Application, Documentary Bio and Program Note Producer: Brian Meagher Bio: It all began when I was six years old and I heard `Popcorn` for the first time. I remember being at the A&W Drive-In, the waitresses arriving at our car on roller skates, and this incredible song providing the soundtrack. Electronic music has provided my soundtrack ever since. Program: Synthumentary (episodes 1-3) Description: Synthumentary is a five-part look at the evolution of the electronic instruments and their place in popular culture, from the earliest electromechanical musical devices to the Moog explosion of the late 60`s and early 70`s. Synthumentary presents a survey of the landmark inventors, instruments, artists and recordings of each era. In each episode, we look at a different scene, discuss the era`s principle actors and play some of their music to illustrate the style of music made at the time. The evolution of electronic music technology is explained to frame each episode. Our aim is to provide the casual listener of electronic music with an appreciation of its possibilities and the more knowledgeable fan with at least a few nuggets of novel information. Among the subjects covered are: The Telharmonium, Theremin, The ”Forbidden Planet” Soundtrack, Raymond Scott, The Ondioline, Jean-Jacques Perrey and Gershon Kingsley, Bob Moog and the Moog music phenomena, Silver Apples, and the Canadian scene: Hugh LeCaine to Bruce Haack to Jean Sauvageau. The intro and outro theme is an original composition written and performed by members of The Unireverse for Synthumentary. The audio submitted contains excerpts from all three episodes.
    [Show full text]
  • Worldnewmusic Magazine
    WORLDNEWMUSIC MAGAZINE ISCM During a Year of Pandemic Contents Editor’s Note………………………………………………………………………………5 An ISCM Timeline for 2020 (with a note from ISCM President Glenda Keam)……………………………..……….…6 Anna Veismane: Music life in Latvia 2020 March – December………………………………………….…10 Álvaro Gallegos: Pandemic-Pandemonium – New music in Chile during a perfect storm……………….....14 Anni Heino: Tucked away, locked away – Australia under Covid-19……………..……………….….18 Frank J. Oteri: Music During Quarantine in the United States….………………….………………….…22 Javier Hagen: The corona crisis from the perspective of a freelance musician in Switzerland………....29 In Memoriam (2019-2020)……………………………………….……………………....34 Paco Yáñez: Rethinking Composing in the Time of Coronavirus……………………………………..42 Hong Kong Contemporary Music Festival 2020: Asian Delights………………………..45 Glenda Keam: John Davis Leaves the Australian Music Centre after 32 years………………………….52 Irina Hasnaş: Introducing the ISCM Virtual Collaborative Series …………..………………………….54 World New Music Magazine, edition 2020 Vol. No. 30 “ISCM During a Year of Pandemic” Publisher: International Society for Contemporary Music Internationale Gesellschaft für Neue Musik / Société internationale pour la musique contemporaine / 国际现代音乐协会 / Sociedad Internacional de Música Contemporánea / الجمعية الدولية للموسيقى المعاصرة / Международное общество современной музыки Mailing address: Stiftgasse 29 1070 Wien Austria Email: [email protected] www.iscm.org ISCM Executive Committee: Glenda Keam, President Frank J Oteri, Vice-President Ol’ga Smetanová,
    [Show full text]
  • Electronics in Music Ebook, Epub
    ELECTRONICS IN MUSIC PDF, EPUB, EBOOK F C Judd | 198 pages | 01 Oct 2012 | Foruli Limited | 9781905792320 | English | London, United Kingdom Electronics In Music PDF Book Main article: MIDI. In the 90s many electronic acts applied rock sensibilities to their music in a genre which became known as big beat. After some hesitation, we agreed. Main article: Chiptune. Pietro Grossi was an Italian pioneer of computer composition and tape music, who first experimented with electronic techniques in the early sixties. Music produced solely from electronic generators was first produced in Germany in Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called MAX. August 18, Some electronic organs operate on the opposing principle of additive synthesis, whereby individually generated sine waves are added together in varying proportions to yield a complex waveform. Cage wrote of this collaboration: "In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. Other equipment was borrowed or purchased with personal funds. By the s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the s, in Egypt and France.
    [Show full text]
  • Krautrock and the West German Counterculture
    “Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
    [Show full text]
  • Michael Isaacson Collection
    MICHAEL ISAACSON COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gail E. Lowther, spring-summer 2018 1 Photograph of Michael Isaacson with Samuel Adler (ca. 1972). Photograph by Louis Ouzer, from Michael Isaacson Collection, Box 31, Folder 13 Photograph of Michael Isaacson conducting the Israel Pops Orchestra during recording session for the Museum of Jewish Heritage (1997). From Michael Isaacson Collection, Box 31, Folder 14. 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 8 INVENTORY Series 1: Manuscripts and Sketches Sub-series A: Numbered Works . 14 Sub-series B: Orchestral Arrangements . 58 Sub-series C: Unnumbered Manuscripts . 62 Series 2: Papers Sub-series A: Correspondence. 95 Sub-series B: Composition Projects . 101 Sub-series C: Lectures and Pedagogical Materials . 119 Sub-series D: Writings . 124 Sub-series E: Professional Papers . 128 Sub-series F: Milken Papers . 159 Sub-series G: Milken Recording Project . 166 Sub-series H: Photographs and Images . 174 Series 3: Publicity and Press Materials Sub-series A: Scrapbooks . 179 Sub-series B: Concert Programs . 187 Sub-series C: Press Clippings . 190 Series 4: Library Sub-series A: Study Scores . 200 3 Sub-series B: Literature. 232 Series 5: Audio-Visual Materials Sub-series A: 5” Reel-to-Reel Audio Tapes . 233 Sub-series B: 7” Reel-to-Reel Audio Tapes. 233 Sub-series C: 10.5” Magnetic Tape. 236 Sub-series D: 12” LPs . 236 Sub-series E: 7” EPs . 237 Sub-series F: Cassette Tapes . 238 Sub-series G: Compact Discs (CDs) . 253 Sub-series H: Digital Audio Tapes (DATs) .
    [Show full text]
  • 2006 Pennsylvania 10-1
    in y jinsk Ni on of a Faun no r e Aft y b d e t a n Do e g Ima Corbis–Bettmann 3, 2006 Pennsylvania 10-1 h, t g ur 34th annual convention of 34th convention annual The National Flute Association Association Flute The National ittsb ugus P A ICONS The National Flute Association 34th annual convention Pittsburgh 2006 ICONS The National Flute Association, Inc. PRSRT STD 26951 Ruether Ave., Suite H US POSTAGE PAID Santa Clarita, CA 91351 PERMIT NO. 312 SANTA CLARITA, CA 34th annual convention of The National Flute Association ICONS August 10-13, 2006 Pittsburgh, Pennsylvania Nijinsky in Afternoon of a Faun Image Donated by Corbis–Bettmann August 2006 Dear Fellow Convention Attendees: On behalf of the officers, board, and staff of the National Flute Association, it is my distinct pleasure to welcome you to Pittsburgh and our 34th convention, ICONS! Please take every opportunity to greet and meet the many ICONS of our flute world gathered together to celebrate music and the flute. Absorb teaching ideas; discover new performers, flute-related products, and repertoire; renew and make new friendships while exchanging ideas with the vast family of flutists that is our National Flute Association. Begin your convention experience by attending either the meeting for first-time convention goers or the meeting for convention volunteers. Get involved right away while meeting new members. We need you! Begin Thursday morning with our official Annual Meeting so you may greet your officers and board members, meet candidates for office, and hear the latest news of our association.
    [Show full text]
  • Cover Art Celebration of Israel a MESSAGE from the MILKEN ARCHIVE FOUNDER
    Cover Art Celebration of Israel A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews fi rst arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of specifi cally Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture.
    [Show full text]
  • Shlomo Carlebach (B
    UNIT 4 APPENDICES A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC UNIT 4: THE TIMES THEY ARE A-CHANGIN…. 1 APPENDIX A: DEBATE POINTS UNIT 4: THE TIMES THEY ARE A-CHANGIN…. 2 For Art Music • Music of the synagogue should represent, reflect and elevate the beauty of Shabbat/Holiday worship. • Music of the synagogue should be sophisticated and inspiring, elevating the heart and soul. • Prayer is an art form, and art can also be prayer. As with any art form, such as poetry, literature, architecture, and even music, we should bring our greatest talents and training to create the most beautiful expression of prayer we can. • Music of the synagogue should be reflective of and responsive to the “nusach” of the various holidays and Shabbat, carrying forward the theme of these celebrations and observances through music. • The music of the synagogue should invite the listening worshipper to moments of reflection and meditation. • Responsibility for curating, selecting and composing the music of the synagogue lies with the cantor. • Importance of tradition - connection to our past, reverence for past of Jewish music For Communal Participation Music • Music of the synagogue should represent, reflect and elevate the beauty of Shabbat/Holiday worship. • Music of the synagogue should be sophisticated, elevating and inspiring the heart and soul. • Music of the synagogue should invite congregational participation. • Music of the synagogue must be in a key that all can sing. • Music of the synagogue should connect worshippers to the broader Jewish and secular world.
    [Show full text]
  • Looking Forward to the Past: Baroque Rock's
    LOOKING FORWARD TO THE PAST: BAROQUE ROCK’S POSTMODERN NOSTALGIA AND THE POLITICS OF MEMORY by Sara Gulgas BA Music History and Literature, Youngstown State University, 2011 MA Popular Music Studies, University of Liverpool, 2012 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Sara Gulgas It was defended on February 16, 2017 and approved by Dr. Deane L. Root, University of Pittsburgh, Music Dr. Emily Zazulia, University of California Berkeley, Music Dr. Joyce Bell, University of Minnesota, Sociology Dissertation Director: James P. Cassaro, University of Pittsburgh, Music ii Copyright © by Sara Gulgas 2017 iii LOOKING FORWARD TO THE PAST: BAROQUE ROCK’S POSTMODERN NOSTALGIA AND THE POLITICS OF MEMORY Sara Gulgas, PhD University of Pittsburgh, 2017 In the mid-1960s, baroque rock music blended the sound of string quartets, harpsichord ostinatos, and contrapuntal techniques with rock instrumentation. This contemporary representation of the distant past presents an ironic anachronism that is humorous in its novel affect while allowing this dissonance to alert the listener about constructions of memory and the perception of time. Some of the biggest names in rock and roll were influenced by the Early Music revival but took a non-linear approach to history rather than undertaking “historically informed performance.” They cultivated what I call postmodern nostalgia: a symptom of crisis and progress that is simultaneously reflexive in its detached interpretation of history and imagined in its participants’ ability to reference a past they have not themselves experienced.
    [Show full text]
  • Strange Sounds Strange Sounds This Page Intentionally Left Blank Strange Sounds
    Strange Sounds Strange Sounds This page intentionally left blank Strange Sounds Music, Technology, &Oulture TIMOTHY D. TAYLOR ROUTLEDGE NEW YORK LONDON Published in 2001 by Routledge 270 Madison Ave, NewYorkNY 10016 Published in Great Britain by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group. Transferred to Digital Printing 2010 Copyright © 2001 by Routledge All rights reserved. No part of this book may be printed or reproduced or utilized in any form or by electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publisher. The publisher and author gratefully acknowledge permission to reprint the following: An earlier version of chapter 7 appeared as "Music at Home, Politics Afar" in Decomposition: Post-Dis­ ciplinary Performance, edited by Sue-Ellen Case, Philip Brett, and Susan Leigh Foster, © 2000 by Indiana University Press. Example 4.1, an exceprt from "Moon Moods," music by Harry Revel, © 1946, reprinted by permission of Michael H. Goldsen, Inc., and William C. Schulman. Figure 4.5 used courtesy of Capitol Records, Inc. Figure 7.2 and figure 7.3 reprinted by permission of Geert-Jan Hobijn. Figure 8.1 and figure 8.2 reprinted by permission of Synthetic Sa:dhus. Figure 8.3, figure 8.4, and figure 8.5 reprinted by permission of Tsunami Enterprises, Inc. Cataloguing-in-Publication Data is available from the Library of Congress. ISBN 0-415-93683-7 (hbk.) - ISBN 0-415-93684-5 (pbk.) Publisher's Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original may be apparent.
    [Show full text]
  • Section Cello
    n YOUR UNION STAFF LOCAL 802 OFFICERS ORGANIZER IN THE Adam Krauthamer, President Lily Paulina Karen Fisher, Financial Vice President AFTERNOON Andy Schwartz, Recording Vice President FIELD REPRESENTATIVES Theresa Couture JAZZ EXECUTIVE Board Marisa Friedman Janet Axelrod, Lynne Cohen, Tuesday, Feb. 27 @ Local 802 www.Local802afm.org Shane Gasteyer Monica Davis, Pete Donovan, Elise Frawley, Kyle Hoyt, Morris Bob Pawlo Kainuma, Caryl Paisner, Bobby Shankin Todd Weeks LOU CAPUTO & TRIAL Board LOCAL 802 MUSICIANS HEALTH FUND THE NOT SO BIG BAND Cenovia Cummins, Sylvia D’Avanzo, Administrator Come relax between gigs and enjoy live music at Local 802! The 12-piece Javier Gándara, Bill Hayes, Gloria McCormick “Not So Big Band” is the brainchild of talented multi-instrumentalist Joanna Maurer, Mary Ann McSweeney, Warren Odze, Louise Owen, Dan Peck Allegro Lou Caputo. This working band, which has been together for over 15 Mikael Elsila (Editor, Advertising years, combines the spontaneity of free-blown small-group jazz with Delegates to AFM Convention Manager and Graphic Designer) the power and gravity of a big band. Their varied musical library covers Adam Krauthamer, Pete Donovan, a wide range of styles that still falls into the category of modern jazz. Javier Gándara, Bill Hayes, Dean LeBlanc, HEADQUARTERS: 322 West 48th Street, Join us on Tuesday, Feb. 27 at 5 p.m. at Local 802. Your donations will Caryl Paisner New York, NY 10036 support the Local 802 Musicians’ Emergency Relief Fund, which helps Delegates to NEW york City Phone: (212) 245-4802 musicians in need. For more information, contact Bettina Covo at (212) CENTRAL LABOR CounCIL Web site: www.Local802afm.org 245-4802, ext.
    [Show full text]
  • The Transmolecularization of [Black] Folk: Space Is the Place, Sun Ra and Afrofuturism Nabeel Zuberi
    IASPM03 - MONTREAL The Transmolecularization of [Black] Folk: Space is the Place, Sun Ra and Afrofuturism Nabeel Zuberi n the longer version of this paper, I examine how colony. Ra engages in no less than a struggle for the Ithe film Space is the Place has been remediated souls of black folk against an archetypal pimp/mack/ (along with its star Sun Ra) in emergent techno-centric player/business figure called the Overseer. The medium or media-centric writing on popular music as well as of combat is a magic card game and Ra’s most potent science fiction film. I also examine and critique notions weapon is his music. In the film, the Arkestra performs of the ‘post-human’ in debates about Afrofuturism in the many pieces of diegetic and non-diegetic music in its African diaspora as they appropriate the figure of Sun effort to uplift the race to outer space. Ra also encounters Ra in Space is the Place1. But given the limited time the largely corrupt media network system, using it to here I’ll focus on the unstable generic status of the film, spread his message despite the fact that black radio as well as its music—in particular, the use of the Moog in the form of announcer Jimmy Fey is compromised synthesizer as an agent of transformation. by the evil Overseer’s influence. Ra also contends The musical science fiction film Space is the Place was with the surveillance and violence of the United States directed by John Coney in Oakland, California in 1972, government.
    [Show full text]