Sonny Rollins by John Ziegler

Total Page:16

File Type:pdf, Size:1020Kb

Sonny Rollins by John Ziegler AIRWAVES A Service of Continuing Education and Extension - l5il University of Minnesota, Duluth VOL. I, NUMBER 7 MAY 1980 WDTH Staff Members Speak Out See page 1 1 COVER PHOTO: 1. Larry Peterson 2. Kevin Adams 3. Doug Nesheim 4. Mik Meyer 5. Phil Enke 6. Paul Schmitz 7. Bill Agnew 8. Tom Livingston 9. Craig Greening 10. Peter Petrachek 11. Stan Pollan 12. Stewart Holman 13. Gail Woitel 14. Cathe Hice 15. Jim Kellar 16. Don Rosacker 17. Dave Johnson 18. Julie Cameron · 19. Ellen Palmer 20. Doug Greenwood 21 . Ted Heinonen Comments from the Crew I started li stening to WDTH as a UMD In my one year of service at WDTH, I'm WDTH means music, good people, ex- student. I was never a real hard-core doing my part to clean up the airways of panding my ideas, expanding my interest listener as a student because I always had commercial radio which is destroying the in people, meeting new people to be so much else to keep me busy. A few fragile minds of young Americans. interested in. WDTH includes some weeks before I graduated, I decided to get Doug Greenwood people I truly love and will never give up involved, knowing I would have some as friends. WDTH means keeping my TV spare time after I finished school. I've off at home and not wearing out my To me, working at means being done several different shows both as a WDTH records. able to play what you want and not regular and a fill-in, and I now share having commercials every few minutes. Saturday night's Moondance with Bob WDTH also means sitting in an ugly little Larry Peterson Landfield. There are a lot of exciting room on beautiful Saturday afternoons. happenings in rock music these days, and It means getting sick of UMD on Wed- I enjoy the pure and simple fun I get out WDTH is the only good, consistent pro- nesdays. WDTH is a responsibility, never of the music, and sharing with you gramming around. When I turn off a liability though. listeners is really what makes it great. WDTH, I turn off the radio. That doesn't The programming is democratic, non- Jim Keller mean that I approve of all of the pro- schlock, urban, rural and in-between. All gramming, but there are plenty of topics side by side. WDTH is an enemy to bigotry. DTH means a real chance to experience and musical styles that deserve air time all types of music. The alternative format and if I don't like it I can always turn it I have been with DTH for five years. If is unsurpassed in its ability to reflect our off. you truly want to find out what it means own individual musical tastes and ideas. I Anonymous to me, catch me off guard sometime for feel lucky to be able to bring the listening about a week of dialogue. I could give you a udience in touch with my style, kind of a It'll be what? Four years or almost. I've a hint in that amount of time. one on 100,000 gig! lost track of the time as to how long (time Doug Neshiem Mik Meyer flys when you're having fun I guess). Ever since I started when w~ were only 499 watts there's still a feeling of I began things up at WDTH after I met My experience at WDTH began in 1975. I KUMD, some of these folks ( of all places!) at the have done work in news and public affairs excitement when I open the mike and Winnipeg Folk Festival. Their enthusiasm as well as music shows. The music is what start my show- same then same now- towards the input and output and the I enjoy the most. When I started at the it's been rewarding both music wise and people involved inside and outside the station, my musical knowledge was basi- the friends I met and made (both in studio were uppermost in influencing me cally middle-of-the-road. Since then, I station and listeners). I just hope I can be into checking the place out (not to men- have enjoyed new artists in jazz, folk, around, we all can be around for some tion many warm invites to sit in on a show blues and rock. I also enjoy the relaxed time to come. or two). One day I had a chance to melt free-form format of WDTH. Hearing Ted Heinonen into their former marathon. Thry may from our listeners by letter or phone calls have a time of it melting me back out! is also very important to me. I hope I can I've been on the air since October of 1978, Cathe Hice have the chance to help serve them in the but I've been a listener and fan of tne future. so-called "Alternative/ Progressive" style Stewart Holman for many, many years; ever since I realized that there had to be more depth to music than the Top-40 processed philosophy that dominates AM radio. People must understand just how precious a com- modity terrific music is. Napoleon Bing 2 RECOMMENDED LISTENING: (New records that can't be reviewed because of space and time limitations, but have to be mentioned as superb releases). a.a. King "Now Appearing" At Ole Reoort to ,the Listener Min. - A brand new two-record set that shows you exactly all the love, warmth, and soulful feeling that just pours out of this legendary performer at a typical concert. We've just put the finishing touches on May 16, 17, and · 13, we will be Think of how important WDTH is to a grant request to the Department o{ conducting a weekend fund raising you and make your pledge during the Count Basie and Orch ..tra "On The Energy to fund a wind generator for the marathon. The goal will be $10,000, marathon. Road" - Another recording of a band WDTH transmitter site. The ide~ seems which will go to support the general that can be considered an institution in simple and straightforward-that most operations of the station. Our needs the field of jazz. This L.P. from radio and TV transmitters are on the include new turntables, staff time, and Montreaux 1979 spotlights Basie the highest hill in town, which is also the most importantly, a success will bring Besides spring, May brings the end of way he should be: Swingin' all the way' place where you get the most wind. us closer to membership in National another academic year, and it's Now if only the DOE can recognize the Public Radio. important to remember the Eric Clapton "Just One Nlghf' - From merit of the idea. contribution that UMD students make 1979 and "Live" at The Budokan If you missed last fall's marathon, or if to WDTH. Over the years, literally , Theatre is the latest from E.C. The We are waiting to hear from our choice you have become a listener sinre then, hundreds of UMD students have fingers still don't recall the early ?O's of Chief Engineer whether they are still we need your support! Last fall, 650 of volunteered time to the station, an,d but this is still a fine new release. interested in the position. We will your neighbors and friends pledged each year many of them graduate and hopefully have done the hiring by next over $15,000 to the work of WDTH move on. Roy Bookbinder "Goin' Back To month and be able to report all the (nearly $11,000 has come in so far). Tampa" - A new approach for Roy who details. Membership categories are: To all of you, our thanks, and especially includes instrumentation from clarinet Stewart Holman and Gail Woitel who to euphonium, and the piano wizardry Finally, we are waiting for final word Regular $20 have gotten paid for some of their time, by Knocky Parker (formerly of the on our request for more space from the Low & Fixed Income/ Student $10 but have always given more than Light Crust Dough Boys). UMD administration. The prognosis is Family $30 required of them. a good one. Sustaining $50 Dexter Gordon "The Beat of D.G." - Century Club $100 Columbia Records has come out with a mass of "Best of" collections. This one features Dexter's work for Columbia (late ?O's) and it's outstanding. SUPPORT PUBLIC RADIO Jon Sholle "Catfish For Supper" - TOM LIVINGSTON, STATION MANAGER This one's not quite as new as the others, but it has to be mentioned. This guy is a super guitar player, has great credentials, has outstanding friends helping him, and has chosen good material. What more could you ask for? Rick Kirby & Michael Kline "They Can't Put II Back'' - Two young men Vinyl Blow who grew up in the rich musical culture The of the Appalachian minfng- by Tom Livingston community. These are intense songs performed with extreme sensitivity by two gifted artists. We've recently seen two movies about spend on a studio album) and trying to As I passed the hole where the Long Bar death and drugs and living too hard: put it on the screen. Home movies of used to be I was reminded of that Ernestine Anderson "Sunshine" - "All That Jazz", and "The Rose". They concerts don't cut it, Woodstock attempt to create a first class night club Together with the Ray Brown Trio share more than this broad thematic notwithstanding.
Recommended publications
  • Introduction Chaptar
    NOTES Introduction 1. David T. Bazelon, The Paper Economy (NY: Random House, 1963), p. 64. 2. Peter Newcomb, "The Richest People in America," Forbes (October 11, 1999): 169. 3. Michael J. Mandel, "How the Super-Rich Lucked Out Twice: New Data Show the Top Earners Are Already Enjoying Lower Rates," Business week (May 14, 2001): 52. 4. Erika Btown, Doug Donovan, Joanne Gordon, and Peter Newcomb, "Global Billionaires," ForbesOuly5,1999). 5. Bittlingmayer and Hazlett 2000 coined the expression DOS Capital. See George Bittlingmayer and Thomas W. Hazlett, "DOS Kapital: Has Antitrust Action Against Microsoft Created Value in the Computer Industry?," Journal ofFinancial Economics, Vol. 55, No.3 (March 2000): 329-59. 6. Newcomb, "The Richest People in America," p. 169. 7. United Nations Development Programme, Globalization with a Human Face: United Nations Human Development Report (NY: Oxford University Press, 1999), p. 68. 8. Karl Marx, Capital, Vol. 1 (NY: Vintage, 1977), p. 496. 9. Michael A. Perelman, Class Warfare in the Information Age (NY: St. Martin's Press, 1998). 10. Davoll v. Brown, 7 F. Case. 197 (Circuit Court, D. Massachusetts 1845). 11. Mitchell v. Tilghman, 86 U.S. 287. 12. Supreme Court decision 1949: CIR. v. Wodehouse, 337 U.S. 369. Chaptar Dna 1. Robert P. Merges, "The Economic Impact ofIntellectual Property Rights: An Overview and Guide," Journal ofCultural Economics, Vol. 19, No.2 (1995): 106. 2. Edith T. Pentose, The Economics of the International Patent System (Baltimore: Johns Hopkins University Press, 1951), p. 2. 3. Daniel Defoe, A Plan of English Commerce (London: C. Rivington; Kress Goldsmith Collection, Reel 407, No.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Discography of the Mainstream Label
    Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet
    [Show full text]
  • Smash Hits Volume 34
    \ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5.
    [Show full text]
  • Windward Passenger
    MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden 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, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums.
    [Show full text]
  • American Music Review the H
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Jazz Trio Plays Spanos Theatre Oct. 4
    Cal Poly Arts Season Launches with Jazz Trio Oct. 4 http://www.calpolynews.calpoly.edu/news_releases/2006/September... Skip to Content Search Cal Poly News News California Polytechnic State University Sept. 11, 2006 FOR IMMEDIATE RELEASE Jazz Trio Plays Spanos Theatre Oct. 4 SAN LUIS OBISPO – In a spectacular showcase featuring jazz greats Bill Frisell (guitar/banjo), Jack DeJohnette (drums, percussion, piano) and Jerome Harris (electric bass/vocals), Cal Poly Arts launches its new 2006-07 performing arts season. The trio of master musicians will perform on Wednesday, October 4, 2006 at 8 p.m. in the Spanos Theatre. The evening will include highlights from the acclaimed release, “The Elephant Sleeps But Still Remembers.” Recorded at Seattle’s Earshot Festival in October 2001, “The Elephant Sleeps But Still Remembers” brilliantly captures the collaboration of two unparalleled musical visionaries: Jack DeJohnette -- “our era’s most expansive percussive talent” (Jazz Times) -- and Bill Frisell, “the most important jazz guitarist of the last quarter of the 20th century” (Acoustic Guitar). DeJohnette and Frisell first worked together in 1999. “We immediately had a rapport and we talked about doing more,” DeJohnette recalls. Frisell needed no convincing: “I have been such a fan of Jack’s since the late ’60s when I first heard him,” the guitarist says. “He’s been such an influence and inspiration throughout my musical life.” The two got together the afternoon before the 2001 Earshot concert and at the soundcheck, ran through a couple of numbers, but the encounter was largely improvised. “We had a few themes prepared,” Frisell says, “but it was pretty much just start playing, and go for it.” According to DeJohnette, “Bill and I co-composed in real time, on the spot” for “The Elephant Sleeps...” The album features 11 tracks covering a breadth of sonic territories.
    [Show full text]
  • Bebopnet: Deep Neural Models for Personalized Jazz Improvisations - Supplementary Material
    BEBOPNET: DEEP NEURAL MODELS FOR PERSONALIZED JAZZ IMPROVISATIONS - SUPPLEMENTARY MATERIAL 1. SUPPLEMENTARY MUSIC SAMPLES We provide a variety of MP3 files of generated solos in: https://shunithaviv.github.io/bebopnet Each sample starts with the melody of the jazz stan- dard, followed by an improvisation whose duration is one chorus. Sections BebopNet in sample and BebopNet out of sample contain solos of Bebop- Net without beam search over chord progressions in and out of the imitation training set, respectively. Section Diversity contains multiple solos over the same stan- Figure 1. Digital CRDI controlled by a user to provide dard to demonstrate the diversity of the model for user- continuous preference feedback. 4. Section Personalized Improvisations con- tain solos following the entire personalization pipeline for the four different users. Section Harmony Guided Improvisations contain solos generated with a har- monic coherence score instead of the user preference score, as described in Section 3.2. Section Pop songs contains solos over the popular non-jazz song. Some of our favorite improvisations by BebopNet are presented in the first sec- Algorithm 1: Score-based beam search tion, Our Favorite Jazz Improvisations. Input: jazz model fθ; score model gφ; batch size b; beam size k; update interval δ; input in τ sequence Xτ = x1··· xτ 2 X 2. METHODS τ+T Output: sequence Xτ+T = x1··· xτ+T 2 X in in in τ×b 2.1 Dataset Details Vb = [Xτ ;Xτ ; :::; Xτ ] 2 X ; | {z } A list of the solos included in our dataset is included in b times scores = [−1; −1; :::; −1] 2 Rb section 4.
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • <^ the Schreiber Times
    < ^ The Schreiber Times Vol. XXVIII Paul D. Schreiber High School Wednesday, September 30, 1987 ZANETTI TAKES CHARGE Board Names Guidance Head as Acting Principal by Dave Weintraub When Dr. Frank Banta, Schreiber's principal for eight years, departed at the end (rf the last school year for a different job, he left some large shoes to fill. The school board and Superintendent Dr. William Heebink set out on a search for a new principal over the summer. Many applicants were reviewed, but no one was picked. The board and Dr. Heebink decided to extend the search through the 1987-88 school year. To fill the void Dr. Banta had left, they asked John Zanetti, Chairman of the Guidance Department, to serve as acting principal. He accepted, and was given a ten-month contract, which began in September. Most people who know Mr. Zanetti know him as a soft- spoken and amiable man. He has been in the Port Washington school system for many years, and he had humble beginnings. He started work at Salem School as a physical education teacher in 1958. He stayed there for six years and during that time in- troduced wrestling and lacrosse to the high school. He became the first coach of those teams. After Salem, he taught physical educa- tion at Schreiber for two years. He became a guidance counselor in 1967. He was appointed guidance chairman in 1980. He has now moved to the top of Schreiber's administrative lad- der. Has his transition been smooth? "I have an ulcer," he jokes. "Actually, I think I've ad- justed better than I thought I would.
    [Show full text]
  • CARL ZIMMER Author & Journalist
    CARL ZIMMER Author & journalist carlzimmer.com @carlzimmer BIOGRAPHY The New York Times Book Review calls Carl Zimmer "as fine a science essayist as we have." He is the author of thirteen acclaimed books and a columnist for the New York Times. Zimmer first be- gan writing about science at Discover, where he served for five years as a senior editor, and has gone on to write hundreds of features for magazines including The Atlantic, The New York Times Magazine, Time, National Geographic, and Scientific American. He has also served as a scientific editor for television documentaries, consulted on museum exhibits, and contributed his writing to major science web sites. Zimmer has earned numerous honors for his work. In 2007 he won the National Academies Communication Award, and he has won the American Association for the Advancement of Sci- ences Science Journalism Award three times. In 2015, Zimmer won the Distinguished Service Award from the National Association of Biology Teachers, and in 2016, he won the Stephen Jay Gould Prize, awarded by the Society for the Study of Evolution. In 2018, Zimmer’s book She Has Her Mother’s Laugh was named by Publisher’s Weekly one of the ten best books of the year. The Guardian named it the best science book of 2018 and The New York Times Book Review chose it as a Notable Book of the Year. It was short-listed for the Baillie-Gifford Prize for Nonfiction and a fi- nalist for the PEN/E.O. Wilson Literary Science Writing Prize. His articles have been antholo- gized in both The Best American Science and Nature Writing series and The Best American Science Writing series.
    [Show full text]