How Burnt Are You? Too Many Exams, Too Many Classes,Too M Any, Too M Uch, Too Late Ell, It’S That Time of the Year Again

Total Page:16

File Type:pdf, Size:1020Kb

How Burnt Are You? Too Many Exams, Too Many Classes,Too M Any, Too M Uch, Too Late Ell, It’S That Time of the Year Again University of Bridgeport VoL 2, No. 14 December 16, 1982 25 C e n ts How Burnt Are You? Too many exams, too many classes,too m any, too m uch, too late ell, it’s that time of the year again. SCORING KEY 11. feel bored? No, I’m not just ta lk in g about Christ­ O ften -2 12. “need a drink” at the end of the day? W m as! I ’m ta lk in g about finals! It’s ac­ Sometimes-1 13. feel as though what you do makes no tually here, the end of the 1982 fall semes­ N ever-0 difference? ter, and you are probably really burnt out 14. get more satisfaction from work than either from studying or a little too much par­ D o Y o u : from personal life? tying. But whatever the situation may be, 1. feel tired most of the time? 15. feel stale and uncreative in your work? the results are still the same. 2. smoke more? 16. give up on reading the professional W ell, at the Scribe we decided to give you 3. over or under-eat? literature? another test. Don’t worry, you won’t have to 4. suffer from frequent colds? 17. need more sleep than usual? pull any all-nighters to do this one. This test 5. “have to have’’ 3 or more cups of coffee to 18. have trouble sleeping? is called the Burn-out checklist. It was given get moving in the morning? 19. have difficulty concentrating when at an RA inservice meeting. 6. feel angry a lot but say nothing? listening to others? With a score of 14 or less you are a first de­ 7. skip lunch or snatch it on the run? 20. complain alot? gree burn-out. With a score of 15 to 19 you 8. have accumulated vacation days you have 21. see your life as all work and no play? are a second degree burn-out. Above n o t u se d ? 22. Iuivi* ImuMc muling? 20...w ell you better take it easy because you 9. work overtime regularly? luivc Inmlilc muling/ qualify as a third degree burn-out. 10. get headaches? luivc Inmlilc muling'/ Poetry by Dick Allen, Charles A. Dana Professor of English, and Douglas S w ift. • Fiction by George Scombulis, Jacquie Hers, and Diane R. Severance. Photos by Annette Yukash, and George Photo by Annette Yukash Scombulis. See pg. s Dec. 16.1982 2 The Scribe OPA, In LAFAYETTE Christm as SPIRIT SHOPPE Spirit Thanks, Marla, for all By Dlaa* Partly Right Next To Conn. Nat’l Bank Omega Phi. Alpha. OPA, visited The Beardsley Home the time and effort you Come see Tommy about on Tuesday December 7. our monthly specials Approximately fifteen put Into publishing the members from the national service sorority visited the Vodka v*gai. 7.95 Gin liter 6.69 home located right across Scribe. Though we didn’t from the Health Center, a Vodka liter 4.39 Irish Creme 7.39 brown house with a wreath on the front door. It has ten always tell you, your help Rum liter 6.29 Am oretto 5.98 rooms, six of which are occu­ pied. was greatly appreciated. Serving as an alternative to a nursing home for the BEERS women who own it, has a Good luck at your new St. Pauli Girl 3.99 house mother on duty twenty four hours, a cook and a Beck 3.99 yards man. The OPA girls in­ school! troduced themselves, sang M ichelob 6 pak 2.79 Christmas carols and helped decorate the tree. - T h e S t a ff Shaefer 6 pak export 6.99 Both groups enjoyed sand­ wiches, cookies and tea. “We M oosehead 6 pak 3.49 had a great time," said Mary Madden, an OPA member. Always something new and exciting “ The residents are warm and interesting people and 1 en­ call 334-2370 joyed meeting them.” fir ifi First of all, it's not you who gets naked, it's a bottle of Today's Schaefer. What you do is strip off the label and ask a friend to try it. Don't let him (her?) what beer it is. What will happen is the same thing that happened when we tried it on beer drinkers in New York. 8 out of 10 liked it. They said it was smooth, good tasting beer. And when we tried it on more drinkers, they were surprised to find out it's Schaefer beer. No surprise to us, though. Schaefer is being brewed by the Stroh family, who have devoted their 200 years o f brew ing experience to making Schaefer better than ever. Test it yourself before you try it on a friend. Today's Schaefer will make a Schaefer drinker out of you. Tell us about your naked beer test and xve may print it. Write to: Schaefer Naked Beer list, P.O. Box 1703, Grand Central Station, N .Y., N.Y. 10163. © 1982, Schaefer Brewing Company. Lehigh Valley, Pa. Dec. 16.1982 3 to develop and teach a course that involves religion and religious ethics and how they apply to twentieth century literature. “The central problems in the 1980’s and 1990’s are religious problems, and if anything is going to stop the kind of nuclear madness that we’re in, it’s going to be some form of religion—a unified form,” he said. He would like to ap­ proach the religious ques­ tion of how to convince a world to trust and dis­ arm . “We’re facing some­ thing that’s utterly in­ comprehensible,” Allen Prof. Dick Allen’s Poem, ‘Crossing the stars on Now Tears Eve.’ will be printed in the New said. He would study lit­ Yorker, Jan. 1,1983. Photo by Lisa A . Sahalka erature without explica­ ting the text. “I’d really like to know not how the Dynamic, Diverse, Driven author says something, but what does this author by Sae Zavadsky Allen has attempted to his poetry is dedicated to from a somewhat neutral have to say to us that’s get away from this tenden­ science fiction. form of literature to a going to help us survive.” He may have helped you cy, but in doing so. he has highly regarded literary Allen said he feels that overcome your comma' occasionally sacrificed Science fiction is one of b ra n ch . there is a possibility that splice tendency, or he his idea of the perfect im­ the world’s most popular a course of this nature may have taught you age in order to meet the forms of literature, and, And, of course, he is a will be introduced into where a semi-colon really needs of his public. He according to Allen, with teacher. Allen has been the UB curriculum, belongs, but Professor also feels that the lasting good reason. To b egin teaching here at UB for though he is not sure into Dick Allen is much more poems of this century will with, the quality of nearly fifteen years and which department the than a freshman English probably be the lyrics of science fiction literature he is a Charles A. Dana course would be accepted, teacher to most of his folk music, such as the has improved greatly Professor of English. since UB lacks a depart­ students, colleagues, and songs of Bob Dylan, from the “junk” litera­ Allen seems to have an ment of religious studies. fo llo w e rs. which speak to the people ture that it has been in exceptionally sincere con­ Allen has just comple­ He is a poet. In addition and to the times. the past. Although much cern for his students. He ted a new collection of to teaching Modern Bri- of today’s science fiction takes an active interest in poems entitled Overnight tish-Am erican Poetry He is a science fiction is still poor in quality, his students, assisting in the Guest House of the here at UB, Allen is the authority. Not only does said Allen, ’’the good them in pursuits both in M ystic (Louisiana State author of two collections he teach science fiction at stuff is probably the most and out oif Class. He keeps University Press), por­ of poetry, A n o n and UB, but he said he is pri­ important writing that’s a tight correspondence tions of which were pre­ Various Time Machine marily responsible for going on now.” with former students, sented to students and Poem s (Delacorte and making science fiction a many of whom have faculty members at the Delta, 1971), which has respectable and impor­ Many writers are find­ achieved literary honors, recent English depart­ been highly praised by ta n t co u rse of study in ing it necessary to ad­ such as the N a tio n a l E n ­ ment reading, and which poets and critics, and America’s schools. The dress “probably the one dowment for the Arts Na­ should be in print by Regions with. No Proper course that he teaches an­ mqjor issue in the world tional Writing Fellow­ 1 9 8 4 . N a m es (St. Martin’s, nually at UB (English today...the imminent pos­ ship, and the Mademoi­ In addition to his many 1975). Allen’s poetry has 250) is a course which he sibility of nuclear warfare selle Short Story Contest other projects, Allen is also been published in created. The course was and, quite possibly, the First Place in Fiction.
Recommended publications
  • Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Buddhist Revivalist Movements Alan Robert Lopez Buddhist Revivalist Movements
    Alan Robert Lopez Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Buddhist Revivalist Movements Alan Robert Lopez Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Alan Robert Lopez Chiang Mai , Thailand ISBN 978-1-137-54349-3 ISBN 978-1-137-54086-7 (eBook) DOI 10.1057/978-1-137-54086-7 Library of Congress Control Number: 2016956808 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover image © Nickolay Khoroshkov / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Nature America Inc.
    [Show full text]
  • Style and Ascetics: Attractiveness, Power and the Thai Sangha
    Style and Ascetics: Attractiveness, Power and the Thai Sangha Natayada na Songkhla School of Oriental and African Studies Ph.D. Thesis ProQuest Number: 11015841 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is d ep en d en t upon the quality of the copy submitted. In the unlikely even t that the author did not send a com p lete manuscript and there are missing pages, these will be noted. Also, if material had to be rem oved, a note will indicate the deletion. uest ProQuest 11015841 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Abstract The majority of research for this thesis took place during the Thai general election of 1988 when the new religious movements Santi Asoke and Wat Dhammakaya were subject to investigation for political activity despite, respectively, defiance or denial. The relationship between the Thai Sangha and lay devotees is examined in order to discover how it is that Thai monks, whom many researchers find powerless, can be accused of political activity. In the past, monks have been used to legitimate lay political leaders and have taken active roles in local leadership. This thesis aims to determine whether monks in Thailand have power and, if they do, how such power becomes politically threatening to the status quo.
    [Show full text]
  • Eastwood Et Le Culte Des Morts Édouard Vergnon
    Document generated on 10/01/2021 6:34 a.m. 24 images --> See the erratum for this article Eastwood et le culte des morts Édouard Vergnon Clint Eastwood, le passeur Number 145, December 2009, January 2010 URI: https://id.erudit.org/iderudit/62730ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Vergnon, É. (2009). Eastwood et le culte des morts. 24 images, (145), 24–25. Tous droits réservés © 24/30 I/S, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Eastwood et le culte des morts par Édouard Vergnon c hEz EaStwood pLuS quE chEz tout autrE cinéaStE, LES MortS finiSSEnt toujourS par habiter les vivants. Moins à la façon d’un souvenir qu’il serait permis parfois d’oublier qu’à celle d’une véritable hantise, c’est-à-dire un tourment qui devrait continuer d’agir jusqu’au dernier souffle de ceux qui leur survivent. car la mémoire a beau avoir une réalité différente – legs spirituel (Honkytonk Man, A Perfect World, Gran Torino), amour inoubliable (The Bridges of Madison County, Million Dollar Baby), ami sacrifié (Space Cowboys), cœur inconnu qui donne la vie (Blood Work), meurtres (Unforgiven, Mystic River) ou chasse obsédante (White Hunter, Black Heart) –, on voit arriver, dans le hors champ final de chaque film, le permanent retour de l’événement filmé.
    [Show full text]
  • Reggie Workman Working Man
    APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella 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 by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne
    [Show full text]
  • Jersey Boys Di Clint Eastwood
    Jersey Boys di Clint Eastwood. Con John Lloyd Young, Erich Bergen, Michael Lomenda, Vincent Piazza, Christopher Walken USA 2014. Frank Valli (Loyd Young), nel 1951 era un ragazzo di Belleville nel New Jersey e, con grande preoccupazione dei genitori (Kathrine Narducci e Lou Volpe), si era legato a Tommy De Vito (Piazza) con il quale alternava il proprio lavoro di apprendista barbiere a piccole azioni illegali, in collegamento con il boss locale Angelo “Gyp” De Carlo (Walken),e ad esibizioni musicali in localini; una notte i due ragazzi, insieme al fratello di Tommy, Nick (Johnny Cannizzaro), rubano maldestramente una cassaforte e, una volta beccati, i due fratelli scagionano Frank. Gyp lo aveva, peraltro, preso sotto la propria protezione per la sua splendida voce. Frank, Tommy e Nick Massi (Lomenda), formano un complesso e cominciano a girare i locali della provincia con alterna fortuna. Un giorno il loro amico Joey (Joseph Russo), il futuro Joe Pesci, presenta loro Bob Gaudio (Bergen), un giovane compositore pieno di talento, nasce così il quartetto che di lì a poco sceglierà il nome Four Sesons. Il complesso trova un editore in Bob Crewe (Mike Doyle), che, dopo averli sfruttati come coristi di altri musicisti, edita Sherry, il loro primo successo e non li abbandonerà più, firmando anche le parole di molte loro hit. Comincia una stagione di crescente e delirante ascesa ma Tommy, che fa da manager al gruppo, non sa gestire i soldi e, a insaputa degli altri tre ,si indebita pesantemente con il fisco e con un finanziere della mafia, Norm (Donnie Kehr).
    [Show full text]
  • ART FARMER NEA Jazz Master (1999)
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right.
    [Show full text]
  • Clint Eastwood Esordira' Nei Cinema Italiani - in America Arrivera' Due Giorni Dopo - Con Jersey Boys, Film Tratto Dall'omonimo Musical Di Broadway
    SABATO 14 GIUGNO 2014 Ora, a 84 anni compiuti lo scorso 30 maggio, il re degli spaghetti western che negli ultimi anni si e' trasformato in uno dei registi piu' prolifici e apprezzati ha deciso di rompere anche questo tabu' e il 18 giugno Clint Eastwood esordira' nei cinema italiani - in America arrivera' due giorni dopo - con Jersey Boys, film tratto dall'omonimo musical di Broadway. "Mi Mi cimento nel musical interessava fare un musical perche' mi interessa fare cose che non ho mai fatto prima", spiega Eastwood. Il film racconta l'avventura dei Four Season, quartetto di ragazzi italo-americani, composto da Frankie Valli, leader del gruppo, interpretato da John Lloyd Young, Bob Gaudio (Erich CARMEN GUADALAXARA E ANTONIO Bergen), Nick Massi (Michael Lomenda) e Tommy DeVito (Vincent GALLUZZO Piazza). I quattro negli anni Sessanta conobbero la fama internazionale grazie a successi come Sherry, Rag Doll e Big girls don't cry. Dei quattro protagonisti solo Vincent Piazza e' un volto noto della televisione per aver interpretato Lucky Luciano nella serie televisiva Boardwalk Empire. Eastwood, rompendo quella che sembrava una tradizione consolidata a Hollywood, ha deciso di non ingaggiare star famose per il suo musical, ma di portare al cinema gli stessi ragazzi che a Broadway hanno messo [email protected] in scena piu' di 300 rappresentazioni. "Ci sono poche differenze fra lo SPETTACOLINEWS.IT spettacolo teatrale e il film - spiega John Lloyd Young, che nel film interpreta Frankie Valli - e mi piace pensare che Eastwood abbia scelto noi perche' eravamo i migliori per la parte. Quando si prepara un musical al cinema, le riprese vere e proprie vengono precedute da mesi e mesi di prove.
    [Show full text]
  • Eastwood Et Le Culte Des Morts Édouard Vergnon
    Document généré le 25 sept. 2021 06:08 24 images --> Voir l’erratum concernant cet article Eastwood et le culte des morts Édouard Vergnon Clint Eastwood, le passeur Numéro 145, décembre 2009, janvier 2010 URI : https://id.erudit.org/iderudit/62730ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article Vergnon, É. (2009). Eastwood et le culte des morts. 24 images, (145), 24–25. Tous droits réservés © 24/30 I/S, 2009 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Eastwood et le culte des morts par Édouard Vergnon c hEz EaStwood pLuS quE chEz tout autrE cinéaStE, LES MortS finiSSEnt toujourS par habiter les vivants. Moins à la façon d’un souvenir qu’il serait permis parfois d’oublier qu’à celle d’une véritable hantise, c’est-à-dire un tourment qui devrait continuer d’agir jusqu’au dernier souffle de ceux qui leur survivent. car la mémoire a beau avoir une réalité différente – legs spirituel (Honkytonk Man, A Perfect World, Gran Torino), amour inoubliable (The Bridges of Madison County, Million Dollar Baby), ami sacrifié (Space Cowboys), cœur inconnu qui donne la vie (Blood Work), meurtres (Unforgiven, Mystic River) ou chasse obsédante (White Hunter, Black Heart) –, on voit arriver, dans le hors champ final de chaque film, le permanent retour de l’événement filmé.
    [Show full text]
  • Million Dollar Baby
    Filmographie Clint Eastwood Jeudi 8 décembre 2011 (en tant que réalisateur) Médiathèque Gustave-Eiffel - Un frisson dans la nuit (1971) - L’Homme des hautes plaines (1973) Cin’Eiffel présente - Josey Wales, hors-la-loi (1976) - L’Epreuve de force (1978) - Bronco Billy (1980) - Firefox, l’arme absolue (1982) - Honkytonk man (1982) Lutter et résister, un sens à la vie dans - Le Retour de l’inspecteur Harry (1984) le combat - Pale Rider (1985) - Le Maître de guerre (1986) - La Relève (1990) - Impitoyable (1992) - Un monde parfait (1993) - Sur la Route de Madison (1995) - Les Pleins pouvoirs (1997) Million Dollar Baby - Minuit dans le jardin du bien et du mal (1998) de Clint Eastwood - Jugé coupable (1999) - Space Cowboys (2000) - Créance de sang (2002) - Mystic River (2003) - Million dollar baby (2004) Soirée débat en présence de - Mémoires de nos pères (2006) - Lettres d’Iwo Jima (2007) - L’Echange (2008) Christophe de Busillet - Invictus (2009) Champion du monde de boxe - Au-delà (2011) - J. Edgar (2012) Million Dollar Baby Sur Million Dollar Baby Chronic’art : « La déchirante sanction de la fragilité du vivant, la prise en charge à partir d'un simple parcours sportif de toute la complexité des affects humains, tels sont les noeuds secrets, éclatants tours de force, de ce noircissime chef-d'oeuvre. » Les Inrockuptibles : « Si Eastwood parvient à nous passionner pour ce qui apparaît comme une fiction assez classique, c’est aussi parce qu’il le fait avec élégance et style. En situant toujours ses protagonistes et leurs corps dans leur environnement spatial. En n’oubliant jamais de mettre en relation les personnages et les lieux.
    [Show full text]
  • New World NW 271 Jazz Historians Explain the Coming of Bebop—The Radically New Jazz Style That Established Itself Toward
    Bebop New World NW 271 Jazz historians explain the coming of bebop—the radically new jazz style that established itself toward the end of World War II—as a revolutionary phenomenon. The motives ascribed to the young pioneers in the style range from dissatisfaction with the restrictions on freedom of expression imposed by the then dominant big-band swing style to the deliberate invention of a subtle and mystifying manner of playing that could not be copied by uninitiated musicians. It has even been suggested that bebop was invented by black musicians to prevent whites from stealing their music, as had been the case with earlier jazz styles. Yet when Dizzy Gillespie, one of the two chief architects of the new style, was asked some thirty years after the fact if he had been a conscious revolutionary when bebop began, his answer was Not necessarily revolutionary, but evolutionary. We didn't know what it was going to evolve into, but we knew we had something that was a little different. We were aware of the fact that we had a new concept of the music, if by no other means than the enmity of the [older] musicians who didn't want to go through a change.... But it wasn't the idea of trying to revolutionize, but only trying to see yourself, to get within yourself. And if somebody copied it, okay! Were he able, the other great seminal figure of bebop, alto saxophonist Charlie Parker, would probably amplify Gillespie's opinion that the new music arose from inner needs rather than external factors.
    [Show full text]
  • The Golden Triangle 0
    TheUCS n Diego / Volume 48, Number 4 / Thursday, January 13, 1983 The ~I fi" It :::> i " c Golden ~ 1\ ;z g; fi D : 0 Il Triangle II 11 II 11 ~ II \1 ~ il 11 Ie 11 U P il 1\ ~, ~ H" il ~ ~ ]1 ii ]l' \\ h 11 Ii 11 b 11 il 11 "\\ ~ U 11 if 11 ~~ P 11 Ii 11 11 II n "~ J/ it 1\ \\ Local developers send a message to UCSD By EILEEN MO RRIS and STEVE STOY ANOW Staff Writers "There's nothing on a UCSD. are not in the best and High way 52 on the south. - Lake at La Jolla Village. question the traffic \'olume railroad track here," Jim Hare interest of the university. He Developers have" named the 120 acres of residential units intenSl\-e de\"elopment would told six new members of the stresses that the realiza tion of area "the Golden Triangle," surrounding a 9 acre lake at bring (for example, La Jolla U n ivers it y Communit y these developments w ill because of its money-making Nobel and TO\\ ne Center Village Dr. currentl} handles Planning Group Tuesday constitute a betrayal by the potential, a potential. they Drive around 32,000 cars per day night. Hare, a community city of San Diego of an claim, that commercial and - Plaza at La Jolla Village. a With dewlopmem. the \"Illume planner for the city of an agreement entered into with industrial development would commercial residential pro­ would Increase to around Diego , was referring to the the university in 1959, to the serve better than exclusivelv ject at the northeast corner of 65.000 per day).
    [Show full text]
  • POLICE ACADEMY 101 with MICHAEL WINSLOW Join Michael Winslow, Aka Cadet Larvell Jones, for an Epic Marathon Featuring All Seven POLICE ACADEMY Films
    MAY 2017 PROGRAM HIGHLIGHTS HDNET MOVIES showcases the best in box office hits, award-winning films and memorable movie marathons, uncut and commercial free! POLICE ACADEMY 101 WITH MICHAEL WINSLOW Join Michael Winslow, aka Cadet Larvell Jones, for an epic marathon featuring all seven POLICE ACADEMY films. Winslow, the only actor to appear in each of the movies, shares behind the scenes stories and showcases his outstanding ability that famously earned him the nickname: Man of 10,000 Sound Effects. SUNDAY, MAY 7 7/6c & SATURDAY, MAY 20 7/6c WEDNESDAY, MAY 3 6:50/5:50c FRIDAY, MAY 5 9/8c SATURDAY, MAY 6 9/8c KICK IT WITH A KARATE KID TRIPLE BILL & TED’S EXCELLENT ADVENTURE BROKEN CITY Learn important life lessons on patience, balance, and the Spend the night with two bodacious dudes during the network Mark Wahlberg and Russell Crowe star in the network PREMIERE proper way to wax a car from the Mr. Miyagi in THE KARATE KID, PREMIERE of this most epically excellent time-traveling of this political thriller about a corrupt mayor and the ex-cop THE KARATE KID PART II, and THE KARATE KID PART III. adventure film. willing to stop at nothing to get his revenge against him. FRIDAY, MAY 12 9/8c SATURDAY, MAY 13 9/8c SUNDAY, MAY 28 - WEDNESDAY, MAY 31 DAVID LYNCH DOUBLE ENOUGH SAID CLINT EASTWOOD’S BIRTHDAY BINGE Tune in for two signature films from Hollywood’s most innovative Two divorcees take a stab at romance in the network PREMIERE Celebrate the 87th birthday of a living legend with 14 of his hottest director, David Lynch, starting with the network PREMIERE of of this romantic comedy, starring Julia Louis Dreyfus and James titles, including THE GAUNTLET, HONKYTONK MAN, A PERFECT MULHOLLAND DRIVE, followed by BLUE VELVET.
    [Show full text]