Featuring: Phi Kappa Phi Member Focus

• Wish You Well Foundation • Seeger, Springsteen, and American Folk Music • Chapter News • David Thurmaier • Member News • Jazz Yesterday and Today: So Much Music for One Small Word • Bookshelf • David E. Aaberg The Quest for Country Music Jocelyn R. Neal The Songs Remain the Same…Sort of Philip Chang The Tale of Two Witches: Reflections on an Unlikely Friendship in Wicked Kevin Clifton American Music Education: A Struggle for Time and Curriculum David Conrad The Honor Society of Phi Kappa Phi was founded in 1897 and became a national organization through the Board of Directors efforts of the presidents of three state universities. Its Paul J. Ferlazzo, PhD primary objective has been from the first the recogni- National President tion and encouragement of superior scholarship in Northern Arizona University Dept. of English, Box 6032 all fields of study. Good character is an essential sup- Flagstaff, AZ 86011 porting attribute for those elected to membership. The motto of the Society is philosophia krateit¯o ph¯o t¯o n, Robert B. Rogow, CPA, PhD which is freely translated as “Let the love of learning National President-Elect rule humanity.” Eastern Kentucky University Phi Kappa Phi Forum Staff College of Business and Technology 317 Combs Building Guest Editor: Richmond, KY 40475 DAVID THURMAIER Donna Clark Schubert National Vice President Editor: Troy University 101-C Wallace Hall AMES AETZ J P. K Troy, AL 36082 Associate Editors: Wendell H. McKenzie, PhD STEPHANIE BOND SMITH Past President Phi Kappa Phi encourages and recognizes academic Dept. of Genetics LAURA J. KLOBERG 312 Gardner Halll excellence through several programs. Through Box 7614 Book Review Editor its awards and grants programs, the Society each NC State University triennium distributes more than $1,700,000 to Raleigh, NC 27695 NEIL LUEBKE deserving students and faculty to promote academic excellence and service to others. These programs Gilbert L. Fowler, PhD Marketing and Member Benefits Director: Vice President, South Central include its flagship Fellowship program for students TRACI NAVARRE Region entering their first year of graduate study, Study Arkansas State University Honors Design Intern: Abroad grants for undergraduates, and Literacy College Initiative service grants. For more information about P.O. Box 2889 State University, AR 72467-2889 JACQUELINE URDA how to contribute to the Phi Kappa Phi Foundation and support these programs, please write Perry A. Ronald E. Johnson, PhD Snyder, PhD, Executive Director, The Honor Society Vice President, of Phi Kappa Phi, Box 16000, Baton Rouge, LA Northeastern Region Phi Kappa Phi Forum Old Dominion University Mission Statement 70893 or go to the Phi Kappa Phi Web page at www. Dept. of Ocean, Earth & PhiKappaPhi.org. Atmos. Sciences The purpose of the Phi Kappa Phi Norfolk, VA 23529 Forum is to enhance the image of the Honor Society of Phi Kappa Phi Sandra W. Holt, PhD Vice President, and promote the pursuit of academic Southeastern Region excellence in all fields through a Phi Kappa Phi Forum (ISSN 1538-5914) is published Tennessee State University quality, intellectually stimulating quarterly by The Honor Society of Phi Kappa Phi, 3500 John Merritt Blvd., Box 9545 Box 16000, Baton Rouge, LA 70893. Printed at R.R. Nashville, TN 37209-1561 publication for its membership. Donnelley, 1600 N. Main, Pontiac, IL 61764. ©The Honor Society of Phi Kappa Phi, 2006. All rights Terry Mathias, PhD Vice President, reserved. Nonmember subscriptions $25.00 per year. North Central Region Single copies $8.50 each. Periodicals postage paid 130 Sasamac Road The views expressed in this at Baton Rouge, LA and additional mailing offices. Carbondale, IL 62901 publication are not necessarily Material intended for publication should be addressed Penny L. Wright, PhD those of the staff of Phi Kappa to James P. Kaetz, Editor, Phi Kappa Phi Forum, 108 Vice President, Phi Forum or the Board of M. White Smith Hall, Mell Street, Auburn University, Western Region Directors of The Honor Society AL 36849-5306. 13844 Avenida de la Luna Jamul, CA 91935 of Phi Kappa Phi. Nancy H. Blattner, PhD Regent Reprint Permission: Written permission Fontbonne University to reprint articles may be obtained 6800 Wydown Blvd. St. Louis, MO 63105 by mail or FAX to the following: The Honor Society of Phi Kappa Phi Mission Statement: Permissions Department, Phi Kappa Phi Marya M. Free, PhD Forum, 108 M.White Smith Hall, Mell Director of Fellowships Street, Auburn University, AL 36849- Recognizing and Promoting Academic Excellence 185 Oakland Way 5306; FAX: 334/844-5994. Copying for in All Fields of Higher Education Athens, GA 30606 other than personal or internal reference and Engaging the Community of Scholars use without permission of Phi Kappa Phi in Service to Others Perry A. Snyder, PhD Forum is prohibited. 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Please check one: ______MEMBER ______NONMEMBER SUBSCRIBER Name: ______I.D. Number (members only): ______Old Address: ______New Address: ______ISSN 1538-5914 2006Fall American Music Today PHI KAPPA PHI FORUM, Volume 86, Number 4

______Regular Features ______Articles 2 President’s Page Paul J. Ferlazzo 11 Seeger, Springsteen, and American Folk Music 3 Forum on Education & David Thurmaier Academics Terry Palardy 15 Jazz Yesterday and Today: So Much Music for One Small Word 4 Forum on Business & David E. Aaberg Economics Charles K. Davis 19 The Quest for Country Music Jocelyn R. Neal 6 Forum on Science & Technology 23 The Songs Remain the Same…Sort of John Knox Philip Chang 8 Forum on the Arts George Ferrandi 27 The Tale of Two Witches: Reflections on an Unlikely Friendship in Wicked 10 A Note from the Editor Kevin Clifton 38 Letters to the Editor 31 American Music Education: A Struggle for Time and Curriculum David Conrad

______Member Focus

39 Wish You Well Foundation ______Book Reviews 41 Phi Kappa Phi Chapter News 35 Richard Crawford’s America’s Musical Life: A History 43 Phi Kappa Phi Bookshelf reviewed by Neil R. Luebke 44 Member News 35 Bill Crow’s Jazz Anecdotes: The Second Time Around reviewed by Ellis L. Marsalis, Jr. 47 In Memoriam 36 Arthur Kempton’s Boogaloo: The Quintessence of 48 Phi Kappa Phi Merchandise American Popular Music reviewed by Shane Porter President’s Page Paul J. Ferlazzo President of The Honor Society of Phi Kappa Phi

Although we are in the process campus faculty member who is also of updating and revising the Ritual being honored for achievements in of Initiation and hope to have a new scholarship. But, I also have heard document available very shortly, I presentations made by academic lead- have been impressed at how chapter ers from within the institution’s senior leaders have modified and adapted administration, by alumni invited for have had the unique privilege of par- the text of the Ritual and the vari- this special occasion, and by a local Iticipating in many initiation ceremo- ous recommendations for creating an business person and government offi- nies for new Phi Kappa Phi members appropriate and successful event to cial who enjoyed strong relationships at our chapters in colleges and uni- suit local needs, preferences, and tra- with the chapter or campus. The latter versities across the country. Although ditions. I have every confidence that categories of speakers had the added our Society Bylaws do not require new such creative alternatives will continue benefit of demonstrating for initiates members to participate in a chapter’s to flourish, as indeed they should. the relationship between academic Ritual of Initiation to become a mem- achievement and professional success. As a guest at many initiation cer- ber, the vast majority of newly elected emonies, I have witnessed a number of Other effective elements I have members do so with great enthusiasm. common elements that prove effective. seen are those that fall under the The presence of family members, I suggest a few here for chapter lead- broad category of “the ceremonial spouses, and special guests who fre- ers to consider as a way of enhancing environment.” Many chapters call quently have to make long car trips the dignity and relevance of the event. attention to the start of proceed- to share the happy occasion with the ings by having the officers and the initiate adds to the special nature of For example, many chapters platform party file in procession into the event. require officers and members of the the hall accompanied by appropriate platform party to wear academic rega- I know how difficult it is to sched- music (frequently “The Phi Kappa Phi lia. Wearing the gown and hood (cap ule an initiation on a busy campus March”). Having the room decorated optional) is the traditional, authorita- with competing activities and limited with baskets of flowers, table candles tive uniform of our profession. We space. Most campuses are occupied as appropriate, and moderated light- wear it only on special and significant sixteen hours a day with classes, extra- ing helps to enhance the stateliness of occasions, such as at commencement. and co-curricular activities, and com- the event. Finally, the Phi Kappa Phi It is also appropriate at our initiation munity and other public events. Busy banner and the chapter’s charter are ceremony. Wearing academic regalia faculty also must parcel out their days usually on prominent display. affirms our disciplines and our partici- among many expectations and obliga- pation in the heritage of learning. We These and other suggestions will tions, not the least of which include distinguish ourselves as practitioners likely be a part of our revised Ritual their teaching, advising, and research. of the honorable work of teaching of Initiation. I hope our chapter lead- Invited staff and academic administra- and scholarship that transcends time ers will consider how incorporating tors have to juggle busy and complex and locale. We link ourselves and a few of them may enrich their own schedules to find time to share in rec- our new initiates with all those who events. ognizing our outstanding student and have preceded us and with all those faculty initiates. who will follow us. It is a sign of the Nevertheless, through hard work respect that we hold for the initia- and persistence, chapter officers have tion ceremony in which we recognize been able to arrange halls, music, scholarly achievement among students Paul J. Ferlazzo, PhD, is a professor of receptions (even banquets!), programs, and colleagues. English at Northern Arizona University. He long lists of invitations, and countless can be reached at [email protected]. Another common element many other details every year to sponsor the chapters share as part of their initia- Ritual of Initiation. I salute their dedi- tion programming is to have a noted cation and service to students and to scholar, speaker, or distinguished guest Phi Kappa Phi, and I offer our chapter make a presentation on a subject of leaders my sincere gratitude for mak- interest and importance. These pre- ing these campus events important sentations are frequently made by a and memorable experiences.

2 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 Forum on

Terry Palardy

The following is a hypothetical conversation that will no doubt occur in some fashion in many good schools, where teachers are focusing on strengthening adolescent literacy to help students meet the growing communications demands of our information-based society. Although the speaking characters in this script are fictional, resemblance to actual teachers is fortunately inevitable.

Place: A middle school faculty dining room “All the world’s a stage And all the men and women merely players.” Time: A few quiet moments between morning and afternoon classes — William Shakespeare Date: Not quite winter, but showing signs of it about their roles, which is why I Books in that effort. I remember the separate the groups and give them district purchasing multiple copies of ary opened the microwave cau- space. Daniels suggests having one classic literature. We didn’t know then tiously, leaning away from the M student identifying vocabulary, one that those were the financial ‘good-old rising steam escaping the door. “So choosing passages with interesting days’ — but apparently they were. the plan is to pilot these readings and or memorable language, one making questions in your classes, and then “Copeland suggests using shorter connections between the literature and what?” Having burned her fingers reading selections to allow for more the students’ own lives, one illustrat- once already this week on a smiliar lit- frequent dialogue and more frequent ing a passage and inviting speculation tle black tray, she gingerly cradled the practice of collaborative behaviors. about the elements in the illustration, edges of the dish and walked toward The model that he recommends and one working as a facilitator of the table. divides the class into two groups, the group’s discussion — that’s the which he calls the inner and outer “Then, optimistically, I’ll see an coveted role for many of them! I have circles. The circles carry out two dif- improvement in both their reading them exchange roles as they move ferent roles; midway through the ses- comprehension and their collabora- through the beginning, middle, and sion, they switch roles. He chooses tive skills. The inner circle of students end of a book. The books they’re readings that invite the kids to make opens up true dialogue; they challenge reading are titles they’ve selected from connections to their own lives and to each other’s comments and interpre- the old sets of novels we used to read find some deeper meaning that they tations.” Bill tore off a paper towel, in the 90s: Paulsen’s Hatchet, O’Dell’s can continue to talk about and build wiped the knife and the countertop, Island of the Blue Dolphins. We still on throughout the year.” and took his orange and sat opposite have multiple copies of so many good her at the table. “And the outer circle books. The kids are grouped with “What kind of short readings? Are listens quietly and then provides feed- students who’ve chosen the same title. they things you have to go looking for back on the group’s reading behaviors They do eventually get past the roles outside of your curriculum?” asked and interactions.” and discuss the specific interpretations Jim, beginning to pack up his thermos. and perspectives that they’ve brought “Or is this something the English The teacher he sat next to looked to the group, and they can be pretty department will supply for you?” up from her salad, smiled hello, and creative in later putting on skits to then asked, “Are you talking about “This is a model that a teacher in entice the other groups to try their those reading circles? I see some of any department can use,” said Bill, book next. your kids out in the corridor, sitting eating the last slice of his orange. knee to knee, having great fun argu- “But Mary and I were talking “Copeland gives a great list of ideas ing about the roles they’re playing, the today about another type of circle. I for many content areas in his book. responsibilities they’re supposed to be joined a summer workshop this year It’s very easy to find appropriate piec- ‘fulfilling’ — but what are they read- and read Matt Copeland’s book, es on the Internet, and many of the ing?” Socratic Circles, also published by old classics are in public domain.” Stenhouse. Copeland refers to the “That’s a different model, Helen. The room was quiet for a moment work that Mortimer Adler had done Harvey Daniels’ book, Literature as teachers glanced at the clock and more than twenty years ago; do you Circles, published by Stenhouse, realized that their afternoon ses- remember the Paideia Proposal? Adler describes that model, and I have a sions would begin soon. The noise of modeled seminars, using Socratic copy if you want to borrow it. I’ve lunch-bag zippers and chairs scraping questioning, to bring students to used that model for a few years now. ‘enlarge their understanding’ of ideas And yes, they do a lot of wrangling and values. We used some of the Great (continued on page 7)

FALL 2006 3 Forum on

Charles K. Davis Spread Spectrum: A Protocol with a Past and a Future nformation can be transmitted a high priority for any army. During across a wider range of frequencies; Ithrough the air using radio waves World War II, the U.S. government, the same code is used at reception to or microwaves, through copper wires realizing this, quickly snapped up the return the signal to its original form. using electricity, or through glass or patent and classified it as “top secret.” Spreading the signal in this manner plastic filaments (called fiber optics) uses more bandwidth for transmis- Ms. Lamarr was raised in Austria using light. All of these carriers use sions. Therefore, on the surface, this and, as a young woman, was mar- parts of the electromagnetic spectrum approach would appear to waste a ried for four years to a much older that propagate signals of various critical resource. But spreading the industrialist who built armaments for wavelengths (measured in cycles per signal has very significant advantages. Adolf Hitler’s war machine. He was second) and that can be modulated Spread spectrum can provide the mili- jealous and refused to let her out of (or modified) in various ways to carry tary with immunity from jamming, his sight, thus requiring her to attend information. To transmit in this man- yes, but these same characteristics many of his business meetings each ner, one can allocate a specific band provide commercial networks with day. So, she was a quiet observer in of frequencies in the electromagnetic valuable immunity from various forms the background. Most of these meet- spectrum to carry an appropriate of interference, noise, and distortion. ings focused on war machinery, and signal pattern. In the center of that Spread spectrum protocols also can be she was therefore well-schooled in band is the “carrier frequency” for used for hiding and encrypting signals such matters. She came to despise the signal, and the signal patterns are because a receiver cannot decode the the Nazis and her husband. As a standardized between sending and incoming signal without the original result, in the late 1930s, disguised as receiving devices to make signaling spreading code. Most importantly, a maid, she escaped from her hotel possible. The range of frequencies several users can use the same range room while they were on a business allocated to a given signal is called the of high-bandwidth frequencies at the trip. She went to London and then “bandwidth” of that signal, and the same time with very little effective made her way to Hollywood, where wider the bandwidth, the higher the operational interference. These proper- she became a major movie star. One information-carrying capacity. Logic ties make spread spectrum especially afternoon in 1940, while gazing at rules that govern the communication desirable for cellular telephony appli- the Pacific Ocean, she was playing a process, called protocols, are also cations. piano. As her fingers moved from key standardized between devices so that to key on the piano, she realized that they can communicate effectively with hopping from frequency to frequency one another. FHSS while transmitting radio communica- tions on a battlefield would make it here are three forms of spread SPREAD SPECTRUM much harder to jam the signals. It Tspectrum: frequency hopping would make wartime transmissions spread spectrum, direct sequence pread spectrum is probably today’s much more secure. Eventually, her spread spectrum, and code division Smost important wireless network- ideas were applied to torpedo guid- multiple access. With frequency hop- ing protocol. As unlikely as it sounds, ance systems for submarines, as well. ping spread spectrum (FHSS), the a twenty-six-year-old Hollywood Hedy Lamarr never made a cent from signal is broadcast over a seemingly movie star, a screen siren named Hedy inventing spread spectrum. But today, random series of radio frequencies, Lamarr, invented spread spectrum. various forms of spread spectrum are hopping rapidly from frequency to In 1942, she and a partner (who was among the most important concepts in frequency at fixed intervals (tiny frac- a composer and music producer) wireless communications, and her pro- tions of a second). A receiver, hopping received a U.S. patent (#2,292,387) tocol is now imbedded in numerous between frequencies in synchroniza- for the invention. The essential insight wireless products. tion with the transmitter, picks up the in spread spectrum is to spread a Every telecommunications protocol message. The sequence of channels signal over a wider bandwidth than standard has its own language and used is dictated by the spreading code, normally would be used, which makes terminology, and this one is no excep- and both the transmitter and receiver jamming or intercepting that signal tion. The concept of spread spectrum must use the same code to synchronize much more difficult. This idea has is based on a sequence of digits known transmissions. Any would-be eaves- military significance because secure as a spreading code. At the source, droppers can hear almost nothing, a communications on the battlefield are this code is used to spread a signal few blips and pops maybe. Attempts

4 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 BUSINESS & ECONOMICS to jam the transmission on one or cell phone) is dynamically assigned a that user code and the received code several frequencies only knock out a unique user code when a connection pattern, it is really multiplying that few bits of the signal, but for voice is established. This code is typically user code by itself. It will get either transmissions, loss of a few bits here more than a hundred digits in length. +k or -k. That result cannot happen and there is of no consequence in an The number of digits used in the code with any other user code, and that overall communication. FHSS is the is called the spreading factor. The code identifies the sender. If the result was oldest form of spread spectrum and is uses binary digits, with the digits being +k, then the sender transmitted a one; the one that the movie star invented. interpreted as plus or minus ones. if the result was -k, then the sender So, each active device in the system is transmitted a zero. So, these dot-prod- associated with a unique code made ucts identify who sent the transmission DSSS up of a long sequence of plus ones and and what it was. Thus, the bandwidth minus ones. can be shared among users and is he other two forms of spread spec- used efficiently, which is one of the When a cellular device communi- Ttrum are more sophisticated. Both great benefits of spread spectrum. If cates with a cellular tower, the user allow users to share the same band- the cellular tower’s computer is fast code is transmitted across multiple width simultaneously without interfer- enough, it can handle all of the traf- channels to indicate a one, and its ing significantly with one another’s fic flowing to it using this scheme for complement is transmitted to indicate signaling. For direct sequence spread many, many users. The computer also a zero. (The complement of the user spectrum (DSSS), the transmission can assign user codes so that the other code is the same kind of code with all for each bit in the original bit stream dot-products will result in very small the pluses and minuses reversed.) Both actually is done over multiple channels numbers compared to k. These are the device and the tower use the user simultaneously using a different kind called orthogonal (or near-orthogonal) code and its complement to communi- of spreading code. This code is a fixed vectors. pattern of bits; it is used with an algo- cate with one another. The number of rithm and one bit from the original channels used for transmission is the Another great benefit of using bit stream to create a different pattern same as the spreading factor, which is spread spectrum is robustness. For of bits that is transmitted in parallel, the number of digits in the user code, example, if during transmission, one bit on each channel, to a receiving so the entire pattern of plus and minus interference problems block receipt of device that is set up to monitor each ones arrives at the destination for each some of the minus ones or plus ones of these channels. Any authorized transmission, in unison. The receiver that were sent, then the dot-product receiver will have the same algorithm then decodes the incoming signal to for the sender’s code might be +89 and will know the spreading code, so get back the original bit. A stream of (because of missing data) even if k is the receiver will be able to reconstruct these transmissions effectively sends a (say) 101. But all the other dot-prod- the original bit from the transmitted bit stream between the cellular device ucts will be very small numbers by spread pattern. The beauty of this sys- and the tower, as required. comparison, probably between plus and minus twenty. So, the computer tem is that even if some of the chan- But wait a minute! The cellular (by selecting the user whose code gives nels are blocked by interference or airways can be jammed full of traf- the largest absolute value) still knows by others using those channels at the fic. Using spread spectrum means that who sent the transmission and what same time, the receiver still can recon- channels are shared and allocated bit was sent! The information still gets struct the original bit from the portion bandwidth is overlapped. How does a through, even if part of the signal has of the transmission that succeeded receiver figure out if a message it hears been destroyed in route. So, this is a in getting through. DSSS improves in the air is meant for it, and what is very powerful protocol indeed. network reliability dramatically over being sent? This is the ingenious part previous approaches. of CDMA. All it requires is a bit of Historically, one of the greatest mathematics. The computer in the cel- problems with cellular telephony has CDMA lular tower knows the user codes for been finding a way to share band- all active devices in its area because it width efficiently. Failure to share he last, and most important, form assigned those codes originally. The dramatically limits the capacity of a Tof spread spectrum is code divi- codes are just sequences of plus or cellular system and severely restricts sion multiple access (CDMA), which minus ones; they can be treated as the number of devices that an individ- is used in cellular telephony. This tech- vectors and manipulated using vec- ual cell tower can support at any one nique is relatively new and employs tor algebra. When a transmission is time. Spread spectrum protocols are and extends the DSSS approach. received, the computer can quickly changing all of this. And these limita- CDMA systems mix a long binary calculate a dot-product between the tions are lifting. The future of cellular spreading code called a user code with received code pattern and each of the telephony lies with spread spectrum. a small amount of communications user codes for all the active devices in And to think that it all began with data to produce a combined signal its area to answer these questions. Hedy Lamarr! that is then spread over a very wide Call the spreading factor “k.” frequency band. The same user code Among all of those dot-products, is used at the destination to recon- one will be with the user code for the Charles K. Davis is a Professor of struct the original digital signal. In this transmitting device. When the com- Management Information Systems at the approach, every device that connects puter calculates a dot-product using (continued on page 9) to the system (such as a digital mobile

FALL 2006 5 Forum on

John Knox Alfred Woodcock, A Natural Scientist

ou probably never have heard of landed a spot on the Woods Hole example, his celebrated expedition to Ythe scientist Alfred Woodcock. crew. measure vertical temperature changes He would have been a hundred and in tropical cumulus clouds revolution- Woodcock’s new boss was the one years old this past September 7, ized how meteorologists understood ship’s captain, Columbus Iselin, who and he almost lived that long, leav- the formation and development of later became the WHOI director. On ing us at age ninety-nine and a half. clouds. Our knowledge of phenomena their first journey, an entirely new His life story is not well known, but as diverse as hurricanes and El Niño- dimension of Woodcock emerged. As Woodcock surely ranks as one of the Southern Oscillation is predicated on one author recounted about one of most intuitively gifted, natural-born Woodcock’s discovery. Woodcock’s later cruises, “he chose to American scientists of the twentieth spend hours standing watch. Huddled For the last few decades of his century. Furthermore, his story might in the bow or clinging halfway up life, Woodcock was most interested in just help us understand where tomor- the mast, he watched all that moved rainmaking processes, an area of mete- row’s would-be scientists are hiding through sea or air.” Years later, Iselin orology that is still rife with uncer- today. commented, “From the outset it was tainties and not a little controversy. Woodcock’s life violates nearly obvious that Woodcock was much Told by a flight attendant that “God every current professional stereotype more than a young sailor…. He has makes it rain,” Woodcock responded of the scientist. Not only did he never been scientifically… productive…. In with wit rather than a scold: “Oh complete a PhD, Woodcock also did fact, he is a remarkable person.” no, that answer’s too easy. But if God not even finish high school — drop- does make the rain, we want to know Woodcock found his calling at ping out at age fifteen without evinc- exactly how he does it.” sea, observing and intuiting the work- ing any interest in science. A native ings of nature. Three of his first six And that is the essence of Alfred of Atlanta, Georgia, he was bored scientific papers were on seabirds. His Woodcock, a natural scientist and a with school and fled into the world of third paper, “Convection and Soaring natural at science. work as soon as he could. Woodcock over the Open Ocean,” became an then held twenty-five jobs in ten years But the story doesn’t end there. international classic, cited and read instead of developing his scientific Let’s ask, “Where are the Alfred by generations of physical scientists acumen at a university, finally travel- Woodcocks of today? And will they be (including myself as a graduate stu- ing to Massachusetts to become a fruit tomorrow’s leading scientists?” dent a half-century later). The high farmer. It is hard to imagine anyone school dropout was now a scientist, I posed questions similar to these less likely to become a successful sci- and he was a natural at his work. to Woodcock’s close friend and col- entist by modern yardsticks than the league Duncan Blanchard, himself twenty-five-year-old Woodcock. By 1942, Woodcock joined the a distinguished atmospheric physi- WHOI staff. His innate curiosity But then serendipity struck. cist and emeritus professor in the led him to investigate all manner of Woodcock’s boss at the fruit farm Atmospheric Sciences Research Center unsolved scientific problems during loved the sea and invited him to be at the University of Albany in New the next fifty-five years. Woodcock a crew member on his yawl. During York. Blanchard replied, “I don’t published more than eighty scientific one of their boat trips to Woods Hole, think a 2006 version of Woodcock papers in esteemed journals such as Massachusetts, Woodcock went to could get into science today, at least Science, Nature, the Journal of the get a haircut and asked about the not without a struggle. At Woods Atmospheric Sciences, and Tellus on a large brick building under construc- Hole… enthusiasm was what counted diverse range of subjects: marine biol- tion across the street. It just so hap- [not academic degrees]. Not so ogy, chemistry, geophysics, physical pened that the building was to be the today…. Competition is fierce…. Yes, oceanography, ocean engineering, and home of the brand-new Woods Hole a great many Woodcocks are lost to in particular meteorology, especially Oceanographic Institution (WHOI), science today.” cloud physics. The breadth of subjects which shortly would become one of makes sense when you consider the Do today’s bored high-school- the world centers for oceanographic world from the observational perspec- ers, many of them young men, ever research. Woodcock learned that the tive of a seafaring scientist: the ocean, get the chance to jump into science institute needed a crew to travel to the marine life, and the clouds domi- feet-first the way that Woodcock did? Copenhagen, Denmark, to bring back nate the scene. Most pre-college science programs the laboratory’s new research vessel cater to the classic high achievers, not that was being constructed overseas. Time and again, Woodcock’s the sullen dreamers staring out of the On the strength of his experience on research opened new vistas in the window. Do our would-be Woodcocks his boss’s small sailboat, Woodcock earth sciences. To cite but one

6 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 SCIENCE & TECHNOLOGY

instead enlist in the military, or (continued from page 3) play video games, or land in prison? against the floor drew Bill’s attention, well spent, and much of that time Furthermore, like another and he began to stand. happens outside of class time, on American original, Ben Franklin, those long winter nights of reading Woodcock’s scientific inspiration But Helen spoke up again, and and responding in a focused role. It’s was the outdoors. Most parents asked, “How do you know which nice to anticipate that they’ll redis- today will tell you that their chil- pieces are in public domain? I read a cover a love of reading and that those dren spend less time outside than lot of science articles, but I’d be ner- warmer afternoons in spring and they did as children and that their vous about reprinting any of them.” fall could find them reading outside, children’s grandparents spent “I’d be careful about reproducing truly a wireless activity. I’m going even more time outside than they anything new without asking permis- to keep both models going this year. did. The next apple that falls for sion from the publication. Ken was ‘Adolescent Literacy’ is the buzzword a Newton may hit the ground in the summer workshop, too, and in educational literature right now, instead, because young Sir Isaac is he searched copyright law on line and the current research reaffirms inside on his (Apple?) computer. to find the answer to that question; that reading more extends a student’s Finally, the tedious apprentice- he found good information on ‘Fair general fund of knowledge, which in ship process of science — ten to Use’ for educators. He can do a bet- turn opens the door to deeper under- fifteen years of academic degrees ter job of explaining the law than I standings. I’d like to trust that with and temporary post-doctoral can; I’m sure it will come up at the today’s emphasis on literacy, we may appointments — stifles as much as faculty meeting next week. Still, a be entering a period in which money it edifies. Few modern Woodcocks, lot of material is available. Don’t be will again be allocated for extending even if he or she somehow infil- afraid to read down to the copyright classroom libraries, bringing in multi- trated the scientific world, would note of an article; you might find that genre and multi-level accessible text, waste that much time so far away it says, ‘May be used for educational, so that teachers in all content areas from nature. The lack of formal non-profit purposes.’” Bill stood and can use these circles.” training did not hinder Woodcock’s wiped the table in front of him. They walked into the energetic abilities, according to Duncan Mary looked up and asked, flow of students exiting the cafeteria Blanchard; I posit that a decade or “You didn’t get a chance to answer and knew that their discussion would two of it could have snuffed out my question, Bill, ‘What next?’ You have to continue on another day. As Woodcock’s passion. Is this part of sound enthusiastic about these circles they rounded the corner into a quieter the reason for the “pipeline prob- — both types, Literature and Socratic. corridor, they heard quick footsteps lem” of attrition in today’s would- But will you have time to use both approaching from behind. Bill turned be scientist ranks? in your classroom? I know we’re and saw Agnes, a senior teacher, Alfred Woodcock held no heading into the depths of winter, moving at her usual break-neck pace, degrees, not even a high school and kids spend more time reading on still carrying her unfinished tea in diploma. Yet for his life’s work these long dark nights, freed of sports one hand, a novel in the other, and he was named a fellow of the activities, but in the classroom, won’t he smiled and held the corridor door American Meteorological Society you have to back off and return to open for her. and awarded an honorary doctor- your curriculum’s scope and sequence, “Charles Dickens is responsible ate by Long Island University. His given the state testing that will come for instigating copyright law here in research continues to inspire today. with spring?” She lifted the now-cold America,” Agnes offered to the pair. The next time you look at the sea black plastic tray and dropped it into “He was justifiably annoyed that or sky, think of Woodcock — and the trash can, returning to the table work he had produced in England ponder where his successors might to pick up the stack of math tests still was being reprinted here without any be. awaiting correction. financial benefit for him.” She smiled “The Socratic circles can happen up at them and added, “I wonder within half an hour, which is one way whether you might find that story in that they differ from the more formal public domain somewhere, and share Socratic or Paideia seminars. And the it with your students?” John Knox is an associate research pieces I chose for my students relate scientist in the Faculty of Engineering to my scope and sequence, and to the Terry Palardy is a public school teacher at the University of Georgia. He earned theme we’ve chosen this year. The rich in Massachusetts, where she has enjoyed a PhD in atmospheric sciences from the dialogue and respect for each other’s more than twenty-five years of teaching University of Wisconsin-Madison and perspectives, and the collaborative English, Math, Social Studies, and Science served as Science & Technology colum- behaviors that the kids are building in special education, elementary, middle nist for Forum during the 1990s. are an important part of the larger picture of their education. And the school, and graduate school classrooms. Literature circles — they build enjoy- She is a former columnist for the Phi Kappa ment and appreciation of what groups Phi Forum and happily contributes articles can bring to each other — that’s time on education.

FALL 2006 7 Forum on

George Ferrandi Drawing Lessons

DRAWING FRIENDS She keeps looking down. You are of herself that she might be erasing the both quiet for a few minutes, so you only memory — tangible or otherwise his is such a lovely interplay. work on her lips, which have a loose- — of those events. Those two selves TThere is a required stillness in ness to their volume that you had not never synchronize enough to actually exchange for a kind of intimate atten- noticed in your everyday interactions stop the erasing, but that disconnect tion, and also a type of surrender with her. She talks about the pinch- and its coy tricks on memory are — sort of like getting a haircut. And ing game that she and her brother familiar, however inefficient. It is how there is a mutual independence in played when they were little, decades we are able to hide money from our- the gazes of the participants. You are before he would start locking himself selves in old pants pockets or keys on looking at Mindy, observing the shape in his room for days, tapping methodi- virtually any surface in the house. But of her face with careful scrutiny but cally, coming out only to ask her if it can hide bigger things, too. oblivious to the fact that she is rigor- she could see the alien in their living Mindy still feels that when she and ously watching you look at her. There room. her boyfriend broke up, he left with is more accuracy, but less recognition. You are trying to “get” her glasses the only existing memories of some An essay comes to mind by a girl who now. What is happening with that events they experienced together. She insisted on posing for her painter boy- cat-eye shape at this angle? You have had trusted that she would always friend, thinking that the looking might been looking at her without the kind be able to access her grandmother somehow be desirous. In reality, it was of connectedness that comes with eye through his memories of their time not at all this kind of gazing, and she contact. Suddenly her eyelids lift and, with her. Her own mind did not hated the objectivity with which he and because you are working on the record things in such a grounded and regarded her. There should be different area around her eyes, she looks right reliable way. She had imagined him to words for this kind of seeing, know- at you, which seems somehow miracu- be her record — her drawing. ing, and recognizing. lous in this instance. The sentience Now you are studying the angle behind the shapes is startling, and you of Mindy’s cheek as her eyes are look- almost look away, as if you have been DRAWING FAMILY ing down at her cell phone. She can caught staring. She speaks to you and, do whatever she wants with her eyes although you were having a conver- ome time ago I really wanted to for most of the drawing because you sation only minutes ago, now there Sdraw my parents. I wanted to look will “do” them last. She talks about is something disarming in this, too at them with a cool eye and have her family and her cousin named Shy. — that these silent but specific forms a record of that looking. I did not you were intently rendering can have the nerve to ask them if I could; blossom with the abstractness I thought that the idea of it might of sound. It is as if the charac- make them self-conscious, which they ter on the screen in the movie usually were not. Initially I thought you were watching were to I might just like to draw their hands. direct her lines down at you in It seems that much of who some your scratchy red theater seat. people are rests in their hands, yet my memory wrestled in vain for any “Do you ever think that image of theirs. Later, I also wanted maybe you’re not the best his- to draw their faces. Whenever they torian for your life?” Initially it were talking to me, I would be think- feels like a psychic accusation, ing about drawing them, and they until you realize that she is talk- always noticed I was “looking at them ing about herself. She has been weird.” erasing her cell phone messages and recognizing with part one Eventually, I wanted to draw their of herself that she did not recall whole bodies, especially my Dad’s, the events being mentioned in whose body seemed to be changing the messages and with part two so rapidly. For thirty-five years, the image of him in my head had been

8 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 THE ARTS

I snuck into the patiently as they could, until it was funeral home early in their turn, fixing each other’s hair the morning, an hour and brushing the dried mud from ahead of my family. I had their faces while they waited. They wanted to be alone one were planning on giving my crappy last time with my Dad, ballpoint pen portraits to their par- or at least with the body ents for Christmas, still six months of my Dad. I pulled a away. One boy ran the several chair close to the casket blocks to his home and changed and began to draw his from his tattered t-shirt to a light profile. Ancient funereal blue, too big, button-down shirt, traditions — death masks and a too small, way too hot, yellow and encaustic portraits crewneck sweater. He barely blinked — made empirical sense or even breathed as I drew him, to me in that instant. holding his stillness like a bowl of I remember feeling the soup, with both hands. constant; now there was so much kind of calmness that variation. Every time I came home, accompanies action born of neces- he had changed again. Without fair sity; I feared that I could forget what George Ferrandi is an artist and writer warning, the texture of his skin shifted he looked like and hoped that tracing from terra cotta to porcelain. Most on paper the lines of his face would in Brooklyn, NY. Examples of her work of his black hair slid away, and what commit them to my memory. I noted can be seen at CindersGallery.com and remained slipped transparent. He had the long straightness of his nose, the at Blackbird.VCU.edu. She runs a small been a towering form — a six and a dimple in his pillowy earlobe, the angle business called Saints Alive!, which half foot solid structure — but now of the downward turn at the corners of specializes in the restoration of statues his bent knees below the hospital sheet his mouth. for churches, and she is a vice president made for flimsy, brittle teepees. And of the City Reliquary Museum and Civic his color — he completely switched I recalled several years before, in Organization in Williamsburg. She is also palettes. He went from fertile dirt to a small Peruvian town, when I had the desert, from warm umbers and found myself drawing quick portraits a former “Forum on the Arts” columnist. ochres to faint yellows and pale, trans- of unthinkably poor kids. A mob of lucent greens. That last week there them gathered around, fidgeting as was a bruise on his neck the size of my whole hand, opaque and the color of eggplant. Phi Kappa Phi Awards and Grants Deadlines

(Spread Spectrum continued from page 5) Don’t miss these important deadlines for the Phi Kappa Phi Grants and Awards programs! University of St. Thomas in Houston, Texas. He is an authority on the use of informa- Fellowship Program tion technology in business. In addition to Applications due to your Local Chapter on February 1, 2007 authoring more than a hundred articles, monographs, books, and reports, he has Study Abroad Grants held numerous technical and managerial positions with IBM Corporation, Chase Applications due to Society Headquarters on February 15, 2007 Manhattan Bank, Occidental Petroleum Literacy Grants Corporation, Pullman Incorporated, and Deloitte & Touché. He received a PhD in Applications due to Society Headquarters on February 1, 2007 MIS from the University of Houston, an MBA Phi Kappa Phi Scholar and Artist Awards from Columbia University, an MAT from Harvard University, and a BS from Oklahoma Nominations due to Society Headquarters on February 2, 2007 State University. Dr. Davis has also served Emerging Scholar Awards as a Fulbright Senior Specialist with the Universidad del Valle de Guatemala and is Applications due to Society Headquarters on June 30, 2007 an Information Management Fellow of the AIB Centre for Information and Knowledge Love of Learning Awards Management at the University of Limerick, Applications due to Society Headquarters on June 30, 2007 Ireland. For more information, go to PhiKappaPhi.org and click on Scholarships and Awards. FALL 2006 9 James P. Kaetz

IN THIS ISSUE The other, and the biggest, change doing the same thing. David, an is with the editorial focus of the immediate past “Forum on the Arts” ormally I use this space to pre- magazine. A majority of individuals in columnist, is responsible for the excel- Nview the issue. Briefly, in this each survey expressed a preference for lent contributors to this issue on issue we have articles on American going away from the single-theme ori- “American Music Today” and also music: rock, jazz, country, an interest- entation to a multiple-topics-per-issue found the time to do an article for us. ing phenomenon called the “mashup,” format. We greatly appreciate his help. musical theater, and a thought-pro- The challenge of going to such an And a big thank you to the colum- voking piece on music education. It editorial focus is how to organize our nists appearing in this issue. Our most is an excellent issue; we here at the issues when any topic, any discipline recent columnists finished their com- Forum offices certainly have learned is fair game for inclusion. After think- mitment to the Forum in the Summer something new from each piece. ing it over, we came up with fifteen 2006 issue. Because we wanted to very broad topic areas, based gener- begin a new group in a new volume NEW DIRECTIONS ally on different academic disciplines. year, we were left without columns for FOR THE FORUM Thus, in the future we will feature five this issue. So, we contacted some of main articles per issue from entirely our former columnists to see if they his one time, however, I want different areas in each of our three would like to do something for old Tto devote this space to signifi- major issues (one of our issues is now time’s sake, and everyone whom we cant changes coming soon in the Phi devoted solely to the recipients of Phi contacted readily agreed to contribute. Kappa Phi grants and awards pro- Kappa Phi Forum, changes resulting We hope that you enjoy this, our grams). from your feedback in two recent last theme issue of the Forum, and we member surveys. The challenge of In addition, while maintain- welcome your feedback on the chang- doing the Forum always has been that ing our four longstanding columns es to come. Phi Kappa Phi is not associated with (Forum on Education and Academics, any specific field, as are most schol- Business and Economics, Science arly and professional organizations. and Technology, and the Arts), we Because of the all-discipline nature of are adding two new ones: Forum on Member Benefits the Society, our audience ranges from Individual and Organizational Ethics, people in their twenties to people and Forum on the Workplace. Of Check out the discounts and seventy and older, with professions as course, every issue will continue to privileges you get from these diverse as the university curriculum carry member and chapter news so Phi Kappa Phi strategic partners itself. The results that we received in that you can see what your fellow Phi just for being an active member: the member surveys were as widely Kappa Phi members are doing. varied as one would expect. We are excited about the possibili- Dell Computers That said, a couple of trends ties for these changes; please send us Enterprise Rent-A-Car emerged. For one, many of you think your feedback after the Winter/Spring it is time for a fresh look in the maga- 2007 issue appears. SunTrust Bank zine. Accordingly, we have worked Liberty Mutual Insurance with an Industrial Design class here Barnes&Noble.com at Auburn University to present us SEVERAL APPRECIATIONS with several different redesigns of The Princeton Review the magazine. After deliberating the want to give a special thanks to Becker CPA Review proposed changes and getting input Iour guest editor of the this past from Phi Kappa Phi staff and Board summer’s issue on “Founders,” Ray WOMEN FOR HIRE Network of Directors members, we have come Raphael. Ray, who apparently knows up with a look that maintains the everyone in his field, put together an Just go to PhiKappaPhi.org Forum’s integrity and at the same outstanding slate of writers for us, and and log on to the secure mem- time moves in a more graphical and the issue turned out to be one of the bers-only site, then click on best we have ever done. So thank you colorful direction. We will be debut- Member Benefits for ing the new design (and also the other sincerely, Ray, for your efforts. the complete details. changes below) with the Winter/Spring Also, we thank David Thurmaier, 2007 issue. our guest editor for this issue, for

10 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 cited above, the pairing of Seeger and Springsteen may seem peculiar. What could Seeger, the eighty- n the liner notes to his new album We Shall seven-year-old folk singer and political and environ- I mental activist, have in common with Springsteen, the Overcome: The Seeger Sessions, Bruce Springsteen recounts how the recording took place the first day fifty-seven-year-old rock star known for his enormous his band arrived at his home: “’Till that moment commercial success? As it turns out, many things. In we’d never played a note together. I counted off the the course of examining Seeger’s and Springsteen’s opening chords to ‘Jesse James’ and away we went. music and lives, I wish to explore three areas: first, It was a carnival ride, the sound of surprise and the how each singer’s background influenced his musical pure joy of playing.” The “sound of surprise” is one path; second, the issues concerning American his- of the most powerful aspects of performing music, tory and music raised by several songs on The Seeger and usually results in the “pure joy of playing” Sessions; and finally, what Springsteen’s album tells us (unless the performers are having an off night!). For about folk music and America in 2006. example, consider jazz musicians, who, while impro- vising, are not always sure where their solos will lead. FOLK MUSIC AND “GRASS ROOTS” This interaction between musicians and their sources spawns creativity, culminating in a joyous and mean- hat is “folk music?” In a recent interview ingful emotional experience. Win Guitar World Acoustic magazine, Seeger Surprise and joy also translate to the performance explains that the term “was invented in the middle of of folk music. In this essay, I will focus on American the nineteenth century to mean ‘the music of the peas- folk music, and specifically the efforts of two antry class, ancient and anonymous.’” He also sug- seminal American musicians: Pete Seeger and Bruce gests that thinking of folk music as a process may be Springsteen. For those unfamiliar with the recording more fruitful to its understanding; for instance, con-

FALL 2006 11 SEEGER, SPRINGSTEEN, AND AMERICAN FOLK MUSIC sider the standard practice where a musician writes folk singers in the twentieth century who share simi- new words over preexisting music (often hundreds lar concerns, including Woody Guthrie, Ramblin’ of years old). In addition to this fluid interchange Jack Elliott, Bob Dylan, Joan Baez, and many others. between words and music, most folk music shares Springsteen has also written about the “aver- some common thematic threads. The lyrics often age person” throughout his career. Unlike Seeger, draw from experiences of everyday people, includ- Springsteen’s work combines more diverse musi- ing those who may be subjugated in society (women, cal elements, including rock, blues, and folk, but children, workers, the poor). Moreover, these lyrics his subject matter remains consistent regardless of can convey subtle — or not so subtle — political genre. Interestingly, he is probably best known for his messages or thoughts on morality. To complete the completely misunderstood song “Born in the USA,” songwriting process, these lyrics are combined with which actually fits well into the aforementioned sub- simple, repetitive tunes and basic harmonic structures ject of forgotten or neglected people in society (in to allow the lyrics to be heard prominently. This that case, a Vietnam veteran). His oeuvre contains fusion of words and music that continues today is several albums that could be considered “folk music,” hardly a new one; in medieval France, performers or at least folk-derived. His 1982 album Nebraska known as troubadours and trouvères journeyed from features tales of loners, criminals, and heartbreak, all city to city, singing secular songs written in vernacular delivered with a minimal accompaniment of guitar French. Their songs usually contained a refrain (what and harmonica. In 1995, Springsteen returned to this we would call a chorus) and were constructed with formula on The Ghost of Tom Joad, again penning clear, short phrases that accentuated the lyrics. stories about immigrants in desire of a better life, I would argue that Pete Seeger’s greatest contribu- society’s outcasts, and forgotten folks. Devils and tion to folk music is his integrity and honesty in sing- Dust, the 2005 album immediately preceding The ing songs about those forgotten or ignored in society. Seeger Sessions, is largely acoustic and paints a land- This ability to empathize with and organize on behalf scape of people struggling to survive, often relying on of others was ingrained in Seeger as a child by his love and self-determination to make their way. What father, the eminent musicologist and activist Charles these three albums share is a generally bleak view of Seeger. Charles wrote the following in a 1939 essay life as viewed from those subjugated by the powerful, entitled “Grass Roots for American Composers”: and the sparse musical accompaniment of the songs underscores the dismal lives of those portrayed. Yet Music is unquestionably the most highly beneath the surface gloom usually resides a hopeful, developed of our native arts, excepting optimistic spirit that seems uniquely American. only speech. It is a dynamic folk art: while it continually loses old songs, it continually adds new ones . . . . If, therefore, a com- THE SEEGER SESSIONS poser is going to sing the American people anything new . . . he must first get on a he Seeger Sessions consists of thirteen songs common ground with them, learn their T that Pete Seeger performed and popularized musical lingo, work with it, and show he throughout his career. But it is not strictly a tribute can do for them something they want to album; David Corn observes that the album “is not have done and cannot do without his help. so much a tribute to Seeger as it is to the history of American song and its assorted stylings.” The topical The songs that Pete Seeger writes and performs content touches on several issues raised earlier in this follow this charge closely. Combining a distinctive essay, including civil rights (“We Shall Overcome”) singing voice with his own accompaniment on banjo and protest songs (“Mrs. McGrath”). In between, and twelve-string guitar, Seeger forged a style of folk there are working songs (“Erie Canal”), love songs music that speaks directly to his listeners in their (“Shenandoah”), and songs about quirky or legend- “musical lingo” on “common ground.” The sheer ary figures in American history (“Jesse James” and diversity of his repertoire cuts across social and cul- “Old Dan Tucker”). tural lines. He continues in a long line of American

12 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 SEEGER, SPRINGSTEEN, AND AMERICAN FOLK MUSIC

What makes Springsteen’s performances contrast This process of newly arranging old songs con- with Seeger’s are his musical arrangements. Seeger’s tinues with the Negro spiritual “O Mary Don’t You versions consist of voice and banjo or guitar, while Weep.” Dave Marsh points out that the song predates Springsteen and his band — an “unplugged” ensem- the Civil War but was used as a “freedom song” dur- ble consisting of standard instruments such as acous- ing the civil rights movement of the 1950s and 1960s. tic guitar and drums, as well as “folk” or “country” In his words, the Biblical references contained in the instruments such as the mandolin and accordion song refer to “the struggle against bondage and the — present a sonorous, harmonious journey through hope of liberation.” Seeger recorded “O Mary Don’t the annals of American music. At times the music You Weep” in 1957 on the album American Favorite conjures up the sound of Dixieland jazz, Irish shan- Ballads, Volume 1. The recording is exuberant, with ties, and American hymns. To explore this rich musi- emphatic singing and banjo playing, sounding like cal stew further, let us compare and contrast Seeger’s it was intended for the masses to sing. Interestingly, and Springsteen’s interpretations of three traditional Seeger performs an abbreviated version, omitting tunes. some of the more Biblical stanzas. On the other hand, Springsteen’s arrangement sounds intricate and elabo- rate, incorporating numerous instruments including a prominent fiddle passage that begins and ends the song. Once again, Springsteen sets the tune in a minor key with a slower tempo and highlights the serious nature of the text. Seeger expressed astonishment at Springsteen’s treatment of the tune, comparing it to “singing ‘America the Beautiful’ in a minor key!” Yet the performance never becomes too “Mrs. McGrath,” written in the early nineteenth serious, as most of the instrumentalists get a chance century, depicts a boy who fights in a war and returns to solo and contribute to the loose sound. As in home maimed (“Then came Ted without any legs/ “Mrs. McGrath,” Springsteen changes some of the And in their place two wooden pegs”). The song lyrics, including one notable example: Springsteen is told from his mother’s point of view and can be sings “Well Mary wore 3 links of chain/On every link interpreted as a commentary on the negative facets was Jesus’ name,” while Seeger substitutes “freedom” of war. Seeger’s version from his 1963 Carnegie Hall for “Jesus.” One plausible reason for this could be concert features a sprightly tempo, some fancy banjo the timing of his recording, coming in the midst of picking, and an emphasis on the catchy chorus, com- the civil rights battles of the late 1950s. Seeger was a plete with audience participation. This performance prominent ally in the struggle for African-American is in a major key and is generally upbeat, despite the civil rights, and his lyric change reflects his interpreta- poignant and sad lyrics. By contrast, Springsteen’s tion of the song’s contemporary meaning. version favors a minor key and different meter, a Let us consider one final song from The Seeger somewhat slower tempo, and an emphasis on the Sessions: “Old Dan Tucker,” a song about a hap- song’s Irish origins in its rhythmic lilt. Additionally, less man who gets drunk, rides a goat, “lands on a he changes some of the lyrics slightly. Perhaps in an stump,” and “died with a toothache in his heel.” Of attempt to update the song for 2006, he substitutes the thirteen songs on the album, “Old Dan Tucker” “America” for “France” in the couplet “I’d rather sounds the most similar in Springsteen’s and Seeger’s have my son as he used to be/Than the King of hands. The tune has been attributed to Daniel France and his whole navy.” Given the song’s protest “Decatur” Emmett, the nineteenth-century entertainer roots, as well as Springsteen’s recent political state- and composer of “Dixie,” but it is almost certain that ments, this modified lyric resonates strongly in light he did not write the music. Instead, he wrote a set of of current events. lyrics that he performed in blackface with his group,

FALL 2006 13 SEEGER, SPRINGSTEEN, AND AMERICAN FOLK MUSIC the Virginia Minstrels. The Seeger performance, of old songs that go back centuries in some cases recorded in 1961 on American Favorite Ballads, (“Froggie Went A Courtin’” dates from the sixteenth Volume 1, features a lively tempo and begins with a century) and creating new arrangements, Springsteen snappy introduction of the tune on banjo (and con- injects life into the practice of adapting and renew- tains some terrific banjo playing overall). The version ing source material. Second, Springsteen illustrates of “Old Dan Tucker” on The Seeger Sessions also America’s diversity, both in the choice of songs and starts with a banjo playing the tune over a light per- the instrumentation. Songs of social justice appear cussive background, perhaps as an homage to Seeger. side by side with humorous tales, all performed with After Springsteen sings the verse a cappella, the back- a colorful and unique musical accompaniment that ground singers enter and establish the tempo for this encompasses instruments of rural America. Third, wonderful romp. The brass players perform a coun- and most importantly, the album presents a multifac- termelody in between each chorus, while the banjo eted view of American life in the twenty-first century, continues playing in the background. Springsteen’s as seen through the songs of the past. Unfortunately, version contains minor lyric discrepancies with some of the difficult and divisive topics on the album Seeger’s, but none that affect the meaning of the song. — racism, class inequality, and poverty — still linger “Old Dan Tucker” serves as a striking performance with us today. After listening to this music, we may by both men, fueled by energy and enthusiasm in wonder if the human race has learned anything from singing about this quirky figure. history. Folk music has the capacity to transcend genera- CONCLUSIONS AND FINAL THOUGHTS FOR TODAY tions, and Seeger and Springsteen are two artists who confront the neverending struggle to achieve the pringsteen crafts an album that expresses the American dream by telling the stories of fascinating S“pure joy” and “surprise” found in collabora- characters through their music. Despite insurmount- tive music making. It sounds as if the musicians are able obstacles, these people usually retain a glimmer enjoying themselves, regardless of the sometimes of hope for a brighter future. This spirit seems to pro- serious subject matter. But what else does We Shall claim the following: “We shall overcome someday.” Overcome: The Seeger Sessions tell us about folk music in America in 2006? The album accomplishes three additional goals. It reintroduces the public to many old songs that David Thurmaier is an assistant professor of music may have become lost or forgotten if not perpetu- theory at the University of Central Missouri. His musi- ated through the oral tradition. For multiple reasons, cal interests include Charles Ives, American music of all traditional folk music — the type of songs found on types, and the Beatles. He is also an active composer and The Seeger Sessions — has struggled to remain in performer on horn and guitar. the American consciousness. By recording an album

14 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 in which numerous performers contributed concur- rent improvised lines, was commonly featured. New Jazz refers to a diverse music with a rich his- Orleans is considered the birthplace of jazz, although tory. The music we know as jazz began its develop- similar music was undoubtedly being performed in ment in black American music around the turn of other cities. Louis Armstrong, the first great jazz the twentieth century, combining elements of African soloist, was born in New Orleans. Cornetist Buddy and European music. Improvisation, or simultaneous Bolden, another New Orleans native, is considered by composition and performance, is a defining element many to have been the leader of the first jazz band. of jazz for many. At one time jazz was associated Unfortunately, no known recordings of Buddy Bolden with music played in a swing feel, which meant both exist. The earliest surviving instrumental jazz record- a particular way of interpreting a musical line and ing is from 1917 and was recorded by a white group, a specific accompanying rhythmic figure. Although the Original Dixieland Jazz Band (ODJB), in New much of jazz is still played in a swing feel, a sizable York. segment is made up of music influenced by rock, Chicago was the center of jazz in the early 1920s. funk, and the music of Latin America. Numerous black New Orleans jazz musicians relo- cated to Chicago around this time, including Joe WHERE WE’VE BEEN “King” Oliver and Louis Armstrong. These trans- planted musicians continued developing the music n its early days, the first twenty or thirty years of that they had pioneered. A new style, often referred Ithe twentieth century, jazz referred to music played to as Chicago jazz or Chicago Dixieland, evolved by relatively small groups. Typically with five to with important contributions from a group of young seven members, the groups used much improvisa- white musicians. The new music had a smoother feel tion with little planning. Collective improvisation, and often employed a string bass rather than a tuba,

FALL 2006 15 JAZZ YESTERDAY AND TODAY and a guitar rather than a banjo. The saxophone third stream, a blend of jazz and classical elements, was more commonly added to the instrumentation. appeared. Saxophonist Frankie Trumbauer and cornetist Bix Hard bop and cool jazz continued to develop into Beiderbecke are notable musicians of this style. These the early 1960s. The bossa nova, a dance music from first two periods of jazz are often referred to collec- Brazil, came to the United States in the early 1960s tively as “early jazz.” and is often associated with cool jazz. Modal jazz Swing Era appeared on the scene at the very end of the 1950s into the 1960s. Miles Davis and John Coltrane were The swing era of the 1930s and early 1940s was important figures in this movement. At the same the next major development in jazz. This period is time, alto saxophonist Ornette Coleman recorded an often referred to as the “big band era” because of its abstract form known as free jazz. Even among jazz association with big bands, although small groups fans, this style appealed only to a very small number and solo styles continued to evolve. Jazz enjoyed its of people. greatest popularity in the swing era. The big bands of Duke Ellington, Count Basie, Fletcher Henderson, Fusion and Jimmy Lunceford are associated more with the Jazz of the 1970s and 1980s became even more jazz tradition than those of Glenn Miller, Tommy eclectic and diverse. “Fusion” or “jazz-rock fusion,” Dorsey, and Jimmy Dorsey. The latter bands were a style that incorporated instruments and rhythms more closely associated with dance music. The big common to rock, became very popular at the end band format proved to be very restrictive in terms of of the 1960s. Weather Report, led by Josef Zawinul improvisation, even in bands steeped in the jazz tradi- and Wayne Shorter; Return to Forever, led by Chick tion. The combination of World War II and a record- Corea; the Mahavishnu Orchestra, led by John ing ban severely affected the big bands. By the late McLaughlin; and The Headhunters, led by Herbie 1940s, many had disappeared. While a few played Hancock, were some of the most influential of these on, the 1940s heralded a new small-group-oriented groups. Their leaders were all former Miles Davis jazz called bebop. sidemen. At the same time, quiet chamber jazz was Bebop, Cool, and More being promoted by the newly launched ECM, a German record label. Further development in the Bebop, also known as bop, is generally considered bop and hard bop traditions, primarily identified in the beginning of modern jazz. Bop began in after- the music of Wynton Marsalis (trumpet), Branford hours clubs in New York where some of the most Marsalis (tenor and soprano saxophone), Jeff Watts important bop innovators, such as alto saxophonist (drums), and others, emerged as progressive bop or Charlie Parker, trumpeter Dizzy Gillespie, and pianist neo-bop. These talented young black performers were Thelonious Monk, played a more complex, solo-driv- known as the “Young Lions.” Wynton Marsalis has en form of jazz. Bop was the first style of jazz that been especially important in raising international had no association with dancing. Instead, the focus awareness of the importance of jazz. A new breed of was on improvisation and music for musicians rather big bands that focused more on music for the concert than for the general public. Consequently, bebop hall than the dance hall sprang up, and free jazz con- groups did not enjoy great financial success. tinued to be a factor. Two different styles of jazz existed concurrently in the 1950s. The beginning of cool jazz was essentially “WHAT IS THIS THING CALLED JAZZ?” announced by innovator Miles Davis’s 1949/1950 recording, The Birth of the Cool. A reaction to bop, o, what exactly does “jazz” mean today? It means cool jazz tended to be less frantic and sometimes Sthe continuing development of the style by musi- featured instruments not normally associated with cians from their Hard Bop, Free Jazz, and Jazz-Rock jazz, such as flute, oboe, and French horn. Some Fusion roots. It includes Latin jazz, a continuation of cool-jazz artists, notably Dave Brubeck, enjoyed third stream jazz, contemporary big bands, and jazz greater financial success than bop artists, but a new reflecting world music influences. Some may debate wave of players continued to develop music rooted in whether or not it includes those artists following a bop. Trumpeter Clifford Brown and drummer Max “smooth jazz” path. However, some very fine musi- Roach led an important hard-bop group, the Clifford cians are associated with smooth jazz. In addition to Brown/Max Roach Quintet. Miles Davis made all of the above, a significant segment of recent CD important contributions to hard bop, as well as to sales has included the reissue of older jazz recordings, cool jazz and other styles. Funky jazz, a sub-category previously available only on LP. of hard bop, featured an earthier, sometimes gospel- tinged music. Pianist Horace Silver is often cited as The common theme, to this point, has been that a founding father of funky jazz. Later in the 1950s, more and more styles and sub-styles of jazz continue

16 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 JAZZ YESTERDAY AND TODAY

to emerge and develop. This small word “jazz” con- Orchestra, the Gordon Goodwin Big Phat Band, the tinues to mean more things to more people. Consider Bill Holman Band, The Bob Florence Limited Edition, that Miles Davis, who served as an important innova- the Kim Richmond Concert Jazz Orchestra, and the tor of many styles of jazz, was working on a hip-hop Clayton/Hamilton Jazz Orchestra. Some outstanding project with rapper Easy Moe Bee at the time of his regional groups can be found in larger cites around death. That project yielded the Miles Davis CD Doo- the country. These groups perform not only standard Bop. big band literature but also outstanding arrange- ments/compositions (referred to as “charts” in the It would take a good deal of time and space to dis- jazz world), often written specifically for the group by cuss current happenings in all areas of jazz, so I will the leader or other key members. instead focus on a few that are especially interesting to me. I especially enjoy the Vanguard Jazz Orchestra and the Maria Schneider Orchestra. Their charts are BIG BANDS masterfully written, orchestrated, and performed. The Vanguard Jazz Orchestra began its existence as the Thad Jones/Mel Lewis Big Band. The band, y first real exposure to jazz was listening to made up of top New York players, has played recordings of the big bands of Stan Kenton and M Monday evenings at New York’s Village Vanguard Buddy Rich as a teenager. Big band is the jazz genre since February 1966. Thad Jones was initially the most likely to be encountered as part of a secondary primary arranger for the group. When Thad Jones school instrumental music program. The powerful left in 1979, the group became known as the Mel playing and fine arrangements on the 1961 Kenton Lewis Jazz Orchestra and featured the writing of Bob recording Adventures in Jazz and the 1968 Buddy Brookmeyer, Bill Holman, Jim McNeely, and Bob Rich recording Mercy Mercy Mercy made me a real Mintzer. Mel Lewis continued with the band until big band fan. Although most people associate big his death in 1990. Today, the band bears the name bands with dance music from the swing era, some of the club where it all began and where it still per- big bands played a progressive style suited more to forms. Outstanding pianist/composer/arranger Jim the concert hall. By the early 1950s, the Stan Kenton McNeely continues to provide much of the mate- Orchestra was heavily involved in this progressive rial for the group, including two complete albums. movement. Recent recordings of the group include: Lickety Outstanding big bands still exist today. A few Split — Music of Jim McNeely (1997), Thad Jones big bands still tour regularly, such as the Count Legacy (1999), Can I Persuade You (2002), The Way Basie Orchestra, but most groups perform together — Music of Slide Hampton (2004), and the new- semiregularly, occasionally playing a very short tour. est recording, Up From The Skies — Music of Jim Examples of the contemporary big band include McNeely (2006). the Vanguard Jazz Orchestra, the Maria Schneider

FALL 2006 17 JAZZ YESTERDAY AND TODAY

I find the Maria Schneider Orchestra to be espe- pet, creating a kind of chamber music sound. Douglas cially appealing to listen to. Maria Schneider is an is an artist who seems to be constantly exploring new outstanding composer/arranger whose band boasts sounds. top musicians. Her most recent recording, Concert in the Garden (2004), accomplished an amazing feat. AND SO MUCH MORE… This past year it became the first recording not dis- tributed through industry channels to win a Grammy ianist Danilo Perez has become a major force in Award. The recording is available only through the the jazz substyle influenced by world music. His artist online. Written for essentially standard big band P 2000 recording, Motherland, features interesting instrumentation, the group’s sounds mimic many ethnic grooves, wordless vocals, violin, orchestral different kinds of ensembles. Schneider’s orches- sounds, and more. Till Then (2003), on the other trations evoke the essence of a chamber group, a hand, is closer to a straight-ahead jazz recording fusion group, or an orchestra, as well as a big band. featuring outstanding supporting players. The group Unusual elements, such as the use of wordless vocals Medeski, Martin & Wood continues to be one of and accordion contribute to the effect. To me, Maria the top producers of the popular “jam jazz” style. Schneider has been a major force in expanding the Uninvisible (2002) features danceable funky grooves, boundaries of the big band. In addition to Concert attracting a new group of young jazz fans. Tenor sax- in the Garden, other fine recordings by the group ophonist/bass clarinetist David Murray records both include Evanescence (1994), Coming About (1996), experimental work such as We Is Live at the Bop and Allégresse (2000). Shop (2004) and music from the bop tradition such as The Kiss That Never Ends (2001). WYNTON MARSALIS THE ISSUE OF THE REISSUE ynton Marsalis’s accomplishments in music during the past twenty-five years place him in W he fact that reissued material makes up a notable a category of his own. Marsalis has earned multiple segment of current sales could be seen in either Grammy awards in both jazz and classical music dur- T a positive or negative light. To the negative, reissues ing his distinguished career as a performer. As artistic may displace some emerging artists’ ability to have director of Jazz at Lincoln Center, Marsalis has been material released by record companies. A positive an important figure in jazz education through the impact of reissued albums is that young musicians Essentially Ellington program. His work as a compos- have the opportunity to learn from important record- er is equally impressive. In 1997 he became the first ings that otherwise might not be available. I recently jazz composer to receive the Pulitzer Prize in music listened to a selection from the 2005 reissue of trum- composition for his major work Blood in the Fields. peter Lee Morgan’s 1964 recording Tom Cat that All Rise (2001), a twelve-movement work scored for stopped me in my tracks. The specific selection was orchestra, big band, chorus, and vocal soloists, exem- a ballad by McCoy Tyner called “Twilight Mist.” I plifies his continued growth as a composer. listen to a good deal of music and, as a trumpeter, am very familiar with Lee Morgan’s playing. When I DAVE DOUGLAS put the CD on a couple of weeks later and “Twilight Mist” came on, the tune again commanded my com- rumpeter Dave Douglas is one of the more plete attention. This is one recording that I am glad Tintriguing and difficult to classify performers in was reissued. jazz today. As an artist, he has organized various ensembles as his vehicle of expression. His diverse A FINAL THOUGHT contribution includes twelve years in The Tiny Bell Trio, an interesting combination of trumpet, guitar, azz today offers many concurrent styles and thus and percussion, playing a melding of jazz and Balkan has something nearly anyone might enjoy. Jazz music. This group can be heard on the 1997 record- J styles are constantly moving in new and unexpected ing The Tiny Bell Trio. Douglas has performed and directions. If nothing appeals to you today, travel recorded in numerous other settings. Freak In (2003) back to yesterday and listen to a reissue, or just wait combines rock influences, electric guitar and electron- until tomorrow. ics, ethnic percussion, and acoustic guitar, with a swinging hard bop approach. Douglas’s 2005 record- ing, Rue De Seine, is a duo setting (trumpet and piano) of jazz standards. Mountain Passages (2005) David E. Aaberg is a professor of music at the University adds cello, woodwinds, and drums to Douglas’s trum- of Central Missouri.

18 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 “But that’s not real country music!”

My friends, colleagues, and students regularly utter that phrase in an attempt to rationalize their listening prefer- ences. Yet the musical styles to which different individu- als apply the phrase vary wildly. Fans of acoustic music in the old-time and bluegrass traditions use it to dismiss mainstream commercial country; fans of mainstream country use it to discredit alternative country; fans of the honky-tonk and alt styles use it to deride pop-country crossover acts and their astounding sales figures; and fans who claim not to like country music of any sort use it to defend their allegiance to individual singers or bands. Implicit in such a phrase is the idea that some other music must, in fact, be “real country,” but where that identity lies and what delineates country from other musical genres are puzzling questions.

SEARCH FOR SELF

ne of the most identifying features of country music Ois its perennial search for its own elusive, authen- tic self. The traditions and roots that are so fondly described in song lyrics and the rhetoric surrounding the songs are primarily imagined, for even the earliest days of country recordings featured a hodge-podge of musical styles in an overtly commercial entertainment

FALL 2006 19 THE QUEST FOR COUNTRY MUSIC enterprise. But the quest continues to mythologize Americana, from Ralph Stanley’s haunting Primitive country’s past, then bemoan its apparent absence Baptist vocals to the folk-trio sounds of Gillian from the present scene. In October 2000, the Country Welch, hillbilly gospel numbers, bluegrass, old-time Music Association (CMA) gave the “Vocal Event of ballads, and one vintage recording from 1928. The the Year” award to an unlikely candidate, “Murder soundtrack garnered tremendous attention and on Music Row,” sung by country superstars George racked up impressive sales of more than seven million Strait and Alan Jackson. The song’s lyrics accuse an copies in about two years. It also launched a public unnamed someone from “Music Row” of cutting debate about the state of country music at the start of out the very heart and soul of real country music and the new millennium. In the subsequent media frenzy, murdering it in cold blood. “Music Row” is the mon- the predominant theme was that this soundtrack rep- iker for 16th Avenue in Nashville, the iconic home to resented the real heart of country. Finally, declared the country music industry’s major businesses, so the some of the album’s most devoted fans, there was a accusation struck at the heart of the industry. Gone musical antidote to the homogenous commercial clap- are the sounds of steel guitars, Hank Williams, and trap of contemporary country. George Jones from contemporary radio, the song The voice of this opinion sprang from the pages cries, and what an awful situation it is! of The New York Times, interviews aired on NPR, The irony of two enormously successful con- and other revered sources, but certainly not everyone temporary artists, whose many hit songs epitomize agreed with that dire depiction of the state of country 1990s commercial country music, singing “Murder music. To its numerous fans, commercial country at on Music Row” was not lost on fans, but Jackson the turn of the twenty-first century was the natural and Strait certainly were not the first to eulogize the product of its own complicated evolution and inter- mythical good old days of country music. In this nar- esting past. Twenty years earlier, in the wake of John rative, the country music industry, represented by Travolta’s film, Urban Cowboy, country music had faceless record labels, radio stations, and the abstract enjoyed a boom period when songs such as “Islands notion of commercial enterprise, is painted as the in the Stream” were every bit as much pop as coun- culprit who interferes with and threatens the heartfelt try. But as that hybrid style faded from prominence, honesty and artistry of the country musician. This country retrenched itself in the sounds and styles of particular tale has been told in country music for its own past. years. In 1973, Willie Nelson penned a slow waltz The late 1980s featured a revival of many of the about a cheating lover who broke his heart, but in a most hard-edged and roots-oriented sounds from pre- bitter stroke of irony, the lyrics explain, “no one will vious decades. As the neo-traditional movement took hear it, ’cause sad songs and waltzes aren’t selling root, styles that had been kept alive by local bands, this year.” Almost thirty years later, The Dixie Chicks festivals, and small, local scenes were once again scored an enormous hit with a radio single titled woven into mainstream commercial radio. Western “Long Time Gone,” whose lyrics announce, “We lis- swing, the staple of the Texas dance hall in the 1940s, ten to the radio to hear what’s cookin’ / but the music was reincarnated by George Strait. The Bakersfield ain’t got no soul.” DJs giddily (or obliviously) spun sound, with its shuffle rhythms and Telecaster gui- the song up the radio playlist charts. tars that Buck Owens and Merle Haggard had pio- Both “Murder on Music Row” and “Long Time neered in the 1950s and 1960s reappeared in Dwight Gone” are products of a thriving songwriting scene Yoakam’s recordings. The Judds brought back family that coexists with mainstream commercial country, harmonies and nostalgic, rural themes like those of and both were recorded and performed in acoustic the Carter Family, while Ricky Skaggs resurrected versions long before they landed on radio. Bluegrass interest in bluegrass and Randy Travis scored a string artists Larry Cordle and Larry Shell penned “Murder of hits with straightforward, beer-drenched honky on Music Row,” and from their acoustic bluegrass tonk. It was from this musical environment that band’s vantage point, the song stood outside of its Garth Brooks launched his meteoric career. own line of fire. Nonetheless, the songwriters’ world is inextricably intertwined with the commercial indus- THE POP COUNTRY EXPLOSION try. As reviewer William Rulhmann commented, “The people who [Cordle] claims murdered country rom the arrival of his eponymous debut in 1989, music record his songs and pay his rent.” FBrooks offered fans the sounds of country music The same year that “Murder on Music Row” took packaged with global ambitions and rock-star appeal. home a CMA award, Lost Highway Records released Country always has expected its artists to pay tribute the soundtrack to the Coen Brothers’ Odyssean to their musical predecessors, and in keeping with epic, O Brother, Where Art Thou? Producer T- that tradition, Brooks talked about his musical idols Bone Burnett’s soundtrack assembled an array of George Strait and George Jones, along with rodeo

20 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 THE QUEST FOR COUNTRY MUSIC star Chris LeDoux. But he also acknowledged his Even country fans who were wisely skeptical of admiration of rockers Foreigner, Journey, Styx, and the O Brother phenomenon and its accompany- Dan Fogelberg, a move that challenged the status quo ing interest in retro roots styles of country were for country music at the time. aware that country-pop had run its natural course. Mainstream country styles have always cycled Into the staid traditionalism of country perfor- through trends between more crossover styles, mance Brooks injected the aesthetics and attitude broader audience acceptance, and more sonic hybrid- of those 1970s arena rock bands. His concerts ity with pop music on one extreme, and more roots- were designed as full sensory experiences with light oriented, traditionalist, twang-centered styles on shows, pyrotechnics, and special effects while Brooks the other. For instance, the early 1960s featured the catapulted himself around the stage. He promised heavily orchestrated recordings of Patsy Cline and newfound fans a brand of modern country music Jim Reeves, whose acceptance on the pop charts was that was accessible to all, reflective of their dreams unprecedented; only a decade later, the mainstream and ambitions, and devoid of its hayseed history. country industry was once again embracing the Whatever the negative or limiting stereotypes of overtly minimalist honky-tonk sounds of the Outlaw country music had been, Brooks wiped them away artists such as Willie Nelson. Through the 1980s and and instead paid homage only to the grass roots ide- 1990s, this trend continued. ologies and values. Of course, it is no coincidence that Brooks’s overwhelming popularity and the relat- ed dramatic expansion of country music in general ALT COUNTRY coincided with what some historians have described as a “Southernization” of America. As a southerner uring the country-pop phases, it is not uncom- moved into the White House, a generic social conser- Dmon for critics to predict the permanent demise vatism swept the nation, and country music offered of country music, but at the same time, counter the ideal accompaniment. In the hands of Garth movements are usually gathering momentum to Brooks and his contemporaries, country music was push the marketplace toward a hard-edged honky- transformed into everyman music. tonk retrenchment. Such was certainly the case in the late 1990s: while Garth Brooks, Shania Twain, As its popularity grew, country music once again and company were racking up unprecedented sales began to embrace more pop-culture references, hybrid with country-pop cross-over hits, an entirely con- musical sensibilities, and crossover commercial suc- trary movement known as Alt Country was reviving cess. Gospel, pop, rock, and dance beats settled into the songs of the Carter Family, channeling the ghost the grooves of the most popular country hits. This of Gram Parsons, and adopting an alienated, anti- formula for commercial stardom was picked up by establishment attitude from the Outlaw movement. Canadian chanteuse Shania Twain and legendary Grunge-influenced country bands and independent rock producer Robert John “Mutt” Lange about the singer-songwriters found eager alternative audiences same time that Brooks’s stardom crested. Twain and on college campuses, in roadhouse clubs, and on the husband Lange personified the transition and new internet. identity of country music in the 1990s. She was an import from far outside Tennessee; he had mastered With the alt country scene and its counter-culture the sonic worlds of stadium crowds and screaming attitude, burgeoning interest in bluegrass festivals, an teens with Def Leppard and others. Together, they economic downturn brought on by the dot-com bust, created country-pop albums with a polished sheen, and the natural cycle of country-pop waning, all cata- savvy musical craftsmanship, and an image far sexier lysts were in place to send mainstream country music than anything country music had tolerated in its in a new direction. Change was not instantaneous, sweet southern past. but it began to register in 2002 and 2003. Under the pressures of economic recession, global terror, and Shania Twain offered a “lite” version of a third- political unrest, plenty of fans found musical ground- wave feminist ideology (“Honey I’m Home,” “Man! ing in down-home, roots-based country songs. For I Feel Like a Woman,” “That Don’t Impress Me a brief period of time, even the themes and stories Much”) that resonated with a younger, female audi- in country’s radio hits reflected that change. Fewer ence, and other artists such as Faith Hill followed drinkin’ and cheatin’ songs, and more heartfelt tales suit. By the end of the decade, country fans were line of family relationships and love-gone-right reached dancing to an endless string of country hits that were hit status. essentially indistinguishable from pop. At the height of this trend, stylistic boundaries blurred to the point Throughout Nashville’s recording studios during that DJs in even the most rough-and-tumble country these years, banjo and mandolin were heard more bars were regularly spinning Santana’s smooth, Latin- often, and the stylistic revivals by artists such as Josh rock album Supernatural. Turner and Brad Paisley won attention. Also in this

FALL 2006 21 THE QUEST FOR COUNTRY MUSIC vein, The Dixie Chicks’ third album, Home (2002), prefers beer to champagne, proudly shops at Wal- featured mostly acoustic treatments and a focus on Mart, and punctuates her enthusiasm for the southern individual singer-songwriters, packaged in cover art rock of Lynyrd Skynyrd, Charlie Daniels, and Hank and rhetoric evoking the long, open roads of Texas, Williams, Jr., by shouting, “Hell yeah!” This was an the journey yet to be taken, and the folk-idealism of open affirmation of working-class life, a theme that “home.” It was on this album, of course, that their had always resided in country music (in songs such lyrics lambasted country radio for selling its soul, as “Lifestyles of the Not So Rich and Famous”) and and reminisced about the meaningful music of Hank was now once again in the spotlight. Wilson’s debut Williams, Merle Haggard, and Johnny Cash. album celebrated the most stereotypical themes in country music and shook up the scene with a strong No cultural institution as broad as country music dose of the music’s own colorful, redneck-hillbilly moves in lockstep, however. During these same years history. But equally important, she launched her when musical reflection and sonic traditionalism national career from a highly publicized underground were once again prominent in commercial country, music scene known as MuzikMafia. This conglomer- stagnating record sales plagued the industry, and ate of songwriters and musicians embraced a motto several hallowed traditions faded away. In 2001, the of “muzik without prejudice” in an attempt to break Country Music Hall of Fame and Museum relocated down barriers between rock, country, jazz, hip hop, from historic, tree-lined “Music Row” to a brand and other genres. Their rhetoric, of course, resonated new building in an urban downtown setting. Fan with what was already happening in the larger musi- Fair, the annual meet-and-greet ritual that reaffirmed cal world, where Dolly Parton and Elton John sang a the intimate bond between country stars and fans, duet on the CMA Awards and country singer Jennifer was plucked from its longtime home and ensconced Nettles and rockers Bon Jovi enjoyed a number-one in downtown Nashville, picking up a new name (the hit country song. But “underground” is hip, and for CMA Music Fest) along the way and winding up Wilson, that hipster identity provided a modern bal- in a sports arena. And in 2005, the CMA Awards ance to her honky-tonk image. show exited Nashville for the first time in its history, transplanted itself to New York City, and featured Mainstream country music continues to define performances by Bon Jovi, Elton John, and Paul itself in relation to its own past, but that past is com- Simon, while Australian Keith Urban (albeit now prised of a wide range of musical styles and tradi- firmly ensconced in Nashville’s establishment) won tions, and so is its present. What brings the different Entertainer of the Year. styles together are shared themes, a shared ideology, a shared mythological history, and an interdepen- NEW STARS dence. Contemporary country radio artists need the singer-songwriters; the roadhouse honky-tonk bands pay the bills by covering the radio hits; the alt coun- hat country music sought during the years try bands channel the dead troubadours of country’s after 2002 was a new, fresh star. Toby Keith, W past for inspiration; the bluegrass festival artists Sara Evans, Rascal Flatts, and Keith Urban all filled lambaste commercial country, which then co-opts that role to some extent, but the two artists in that those bluegrass songs to renew its own authenticity; era who most shaped the direction of country were and occasionally, everyone needs a tropical vacation. Kenny Chesney and Gretchen Wilson. Chesney’s Within the traditions of country music, everything old main contribution to country was a new setting. With is made new again, and the cycle and circle remains hits such as “No Shoes, No Shirt, No Problem,” unbroken. “All I Want for Christmas Is a Real Good Tan,” and “When the Sun Goes Down,” Chesney transplanted country songs to a sun-drenched tropical island, echoing with steel drums and the hint of a Reggae Jocelyn R. Neal is an assistant professor at the University beat. Other songs contributed to the trend, most of North Carolina at Chapel Hill, where her research notably Alan Jackson and Jimmy Buffett’s duet, “It’s and teaching address many aspects of American popular Five O’Clock Somewhere,” which fantasizes about music. She received her PhD in music theory from the a Jamaican vacation, and Blake Shelton’s “Some Eastman School of Music. Beach,” which imagines palm trees and tropical drinks as the ultimate escape from daily drudgery. Gretchen Wilson’s breakthrough hit, “Redneck Woman,” on the other hand, effectively channeled Loretta Lynn’s feisty honky-tonk spirit into a modern, tough-talking, sexy redneck icon. The song’s heroine

22 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 simply don’t appreciate their favorite’s attempts to explore other styles. On tour to support her new, he myriad “reality” television shows current- more pop- and urban-flavored album Wikked Lil’ T Grrrls — a surprise to some of her fans, accustomed ly infesting the airwaves emphatically demonstrate Fred Allen’s gibe that imitation is the sincerest form to the trip-hop electronica of her previous Breath of television. And one can hardly overlook that this from Another — Esthero mockingly lamented at a sentiment holds true for the pop/rock music industry show last summer, “Can’t an artist grow?” as well (and practically for all other entertainment Artists in any creative field grow by sampling, media besides). Mainstream pop/rock thrives on non- adapting, or rejecting available styles. “Non-inno- innovation: what’s safe is what sells. Interchangeable vative” admittedly characterizes pop/rock music copycat acts abound. Producers and impresarios dress unfairly; pop/rock does change through evolution and new artists in older styles — formerly the province of hybridization. Older styles beget differently focused outré or “alternative” listeners — tweaked for wider offspring: ska into reggae, garage into two step, appeal. Retailers, radio stations, MTV, and Internet grunge into emo. Leonard Meyer’s image of idioms listening sites coax consumers to buy into new artists as “molecules actively rushing about in Brownian who sound like old favorites. In turn, artists stay their movement” aptly describes the common practice of stylistic course or cruise the inlets of the past: wit- style hybridization. Just as songs are remixed, making ness the slew of post-punk-style “The” bands (Killers, new versions, so musicians and producers mix genres Hives, Strokes) or those that incorporate 80s New together. Some form polished blends, such as trip-hop Wave-tinged synthesizers (Le Tigre, Fischerspooner, (hip-hop + jazz + an optional dollop of electronica); Ladytron). Fans themselves hesitate to accept or in contrast, other hybrids slice up a base genre into

FALL 2006 23 THE SONGS REMAIN THE SAME…SORT OF

numerous niches: the metal scene has splintered there’s basically like one note in the whole song,” and into, among others, classic metal, heavy metal, pop there is a kernel of truth to that. metal, speed metal, rap metal, nü metal, goth metal, Of course, it’s rare to find two songs with the Christian metal, death metal, black metal, sludge exact same key, tempo, phrase structure, metrical metal, and more. Newer hybrids have yet to prove phase, and duration, so DJs assemble mashups on their appeal to audiences: rap and country (Cowboy a computer with various programs (for example, Troy’s “hick-hop”), anyone? Acid, GarageBand, Pro Tools) that help cut and paste sections of songs, change tempos, alter pitch, MASHUPS and remove or isolate vocals. Indeed, the exploding number of mashups over the past several years could ut no other pop/rock genre to date more gleefully have happened only with the aid of technology. “The Brevels in hybridization than the mashup. Mashups mashup scene is the first cultural movement of the shamelessly slap together several songs at once, most Internet Age,” says Los Angeles-based experimental- often in a quite unlikely style combination and with- ist Mr. Fab, in an on-line documentary titled A + B by out any copyright clearances. Mashups are not med- Joel Kuwahara. The mp3 sound format compresses leys, in which songs follow successively, and while tunes into a convenient size for dissemination. The the mashup technique parallels sampling in rap and Web and peer-to-peer networks make world-wide file- hip-hop, there is a difference in scale. The paramount sharing and communication easy and fast: one can characteristic of mashups is the simultaneous mix- freely download not only original tunes for fodder, ing of substantial portions — if not the entirety — of but also the software programs used for editing. Both two or more preexisting recorded songs together. manipulation and distribution are technically illegal: Mashing tunes together is hardly a practice invented there is a strong streak of nose-thumbing, antiestab- in the twenty-first century, as composers have inserted lishment rebellion in the mashup scene. Indeed, an already-composed music into their own compositions alternate term, “bastard pop,” highlights the sense of throughout history. Numerous Renaissance compos- inappropriate musical coupling, while another, “boot- ers based masses on secular tunes. Johann Sebastian leg,” points to the flouting of copyright law. Bach wove at least two secular songs and a chorale theme into a quodlibet for the last Goldberg varia- CONTRAST AND IRONY tion; two centuries later, Charles Gounod wrote his “Ave Maria” over Bach’s C Major Prelude from the his irreverent — indeed, punk — attitude has first volume of The Well-Tempered Clavier. In his dis- suffused mashup culture since its growth into tinctively American music, Charles Ives layered and T a worldwide community starting around 2000. overlapped quotations from American folksongs, pre- Contrast and irony are the primary sensibilities that ceding the mashup technique by a century. Of course, have inspired mashups since their inception: the great- a more direct lineage for the mashup can be traced to er a perceived opposition between the songs mashed, musique concrète and electronic music experiments the greater the thrill of aural incongruity. Capturing beginning in the 1940s. this perfectly is Evolution Control Committee’s In the simplest kind of mashup, called an “A + B,” “Rebel Without a Pause” from 1994, pairing the one tune serves as an instrumental bed for the other politically provocative rap group Public Enemy with tune’s a capella vocal or rap track. Mashups are pos- the sprightly and inoffensive Herb Alpert and the sible due to formulaic features of pop/rock music: a Tijuana Brass. Fatuous pop ear candy hitched to relatively small chord vocabulary, stock chord pro- earnestly raging rock songs has birthed 2 Many DJs’ gressions, generally slow harmonic changes, energetic “Push It/No Fun” (The Stooges plus Salt-n-Pepa), in riffs or ostinati that nevertheless essentially occur which Salt-n-Pepa become downright intimidating; over a single chord, the near-ubiquity of duple or Conway’s “Lisa’s Got Hives” (Lisa “Left Eye” Lopes, quadruple meter, limited vocal ranges, and melodies “Block Party” plus The Hives, “Main Offender”), which rely on only a few notes. This last feature the most anarchic block party ever heard; and allows pitches to behave in a chameleon-like fashion, Freelance Hellraiser’s “Smells Like Booty” (Nirvana, suitably heard over two or more different chords. On “Smells Like Teen Spirit” plus Destiny’s Child, his website, San Francisco Live 105 radio host Party “Bootylicious”), transforming a seductive dance club Ben quips that “[i]t’s easy to make these things when come-on into a mosh-worthy thrashfest. Wackiness

24 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 THE SONGS REMAIN THE SAME…SORT OF aside, several writers have observed that these mash- synthesizer instrumental track? None other than ups illuminate, however indirectly, the racial and gen- Depeche Mode’s “Just Can’t Get Enough.” Freelance der lines that curtain off pop/rock performers from Hellraiser’s mashup thus comments not only on D12’s each other, divisions that mashups routinely cross. love of drugs, but also goes further and suggests that DJs also find incongruity in pop/rock authenticity they are consuming mass quantities. The mashup’s (fluffy pop tart Britney Spears and weighty prog-rock- title makes this clear: “Just Can’t Get Enough Pills.” ers Muse), sexuality (gay alternative icon Morrissey Musical recontextualizations include the change and mainstream homophobe Eminem), and appear- from minor to major mode, utterly inverting a vocal’s ance (beguiling bodacious blonde Gwen Stefani and emotional effect. The chilly and strangely sinister bearded backroads bluesmen ZZ Top). kiss-off of TLC’s “No Scrubs” is transformed into a sunshiny and playful girl-group ditty with the FAMILIARITY BREEDS CONTENT Cure’s “Close to Me” as its new instrumental back- ing in Cheekyboy’s “Close to Scrubs.” This happens he frisson of delight that comes from catching through the centuries-old linking of cheerful feelings Tthese clashes hinges on the listeners’ knowledge to the major mode. But “No Scrubs” has not simply of pop/rock music and its milieu. Discussing his own switched to the major mode. Rather, “Close to Me” mashup “Love Will Freak Us” (Joy Division, “Love recasts it in its relative major key, that is, the major Will Tear Us Apart” plus Missy Elliott, “Get Ur key which shares the same key signature. The melody Freak On”) for the Chicago Tribune, Australian DJ stays the same, but the pitches shift to different scale Dsico notes that “[i]f you don’t know either of [the degrees. In music theory parlance, a key and its rela- songs], it’ll be kind of meaningless. You don’t get that tive major (or minor) key is the closest relationship sense of dislocation.” Dsico’s statement encapsulates two keys can have. So in a sense, “Close to Scrubs” is the twin fundamental concepts that generate the plea- as close as TLC and the Cure can get. sure of mashups: familiarity with the songs involved and their unexpected juxtaposition. The advantage of BRINGING GREATER MEANING knowing the songs recalls the Renaissance tradition of musica reservata, music (according to musicologist inally, intertextual allusions can bring greater Edward Lowinsky) “reserved” for connoisseurs who meaning to an apparently quotidian mashup. would be aware of expert compositional techniques. F On “This Healing Love” by fuTuRo, emo funka- For listeners lacking that knowledge, the music may teers Maroon 5 collaborate with one their forebears, pass pleasantly enough, but they unfortunately miss Marvin Gaye: the mashup metaphorically repays out on hidden significances. The same applies to the band’s stylistic debt to R&B. Maroon 5’s “This mashups: some songs will be recognized only by Love” recounts the final break-up of a much-ban- those “in the know.” It can be frustrating to listen to daged romance (“This love has taken its toll on a mashup and not “get it,” or get only some of it, like me / She said good-bye too many times before”); hearing one side of a phone conversation. When that Gaye’s contribution (the instrumental bed, with lyrics magic of recognition is lost, all intertextual juiciness unsung) is, perhaps unsurprisingly, “Sexual Healing,” drains from the mashup. which expresses sexual desire in a time of emotional Informed associations can be superficial or lead to need. There is a narrative disparity between the two deep interpretations and can occur through various songs, so will the couple of “This Love” rekindle musical or extramusical parameters. An extremely romance through sexual healing, or remain apart? nominal case is DJ Jay-R’s “My Other Car Is a The answer lies in the seamless insertion of a snip- Beatle,” which mixes tunes about cars: L’Trimm’s pet from a third song, “She Will Be Loved,” also by “Cars with the Boom,” the Beatles’ “Drive My Car,” Maroon 5. “She Will Be Loved” is a tender song of and Gary Numan’s “Cars.” In another mashup, courtship, in which the boy doesn’t “mind spending the vocal track is “Purple Pills,” in which Eminem everyday / Out on your corner in the pouring rain / and his homies D12 expound on the joys of ingest- Look[ing] for the girl with the broken smile.” These ing mind-altering pharmaceuticals. The bouncy images, when set amid the very present, accusatory

FALL 2006 25 THE SONGS REMAIN THE SAME…SORT OF text of “This Love,” become a bygone memory; for discretely. Compared to non-mashed “regular” songs, the protagonist, this love is truly lost. The relaxed which are imagined as having been composed organi- and soothing rhythms of “Sexual Healing,” in con- cally from an original idea, mashups, constructed trast to the more aggressive and defiant original from a number of other peoples’ ideas, come across music of “This Love,” reinforces the sense that “This as schizophrenic. They are “abnormal” and thus seg- Healing Love” is a poignant, last farewell to a girl regated from “normal” songs. Here again is mashup once adored. Perhaps she will be loved, but by some- as novelty, but not novelty as gimmick: rather, it is one else. novelty as nonconformity.

SEEDS OF DESTRUCTION MASHUPS ARE POSTMODERN

he mainstream press certainly has done its part n playing with juxtaposition and collage, mixing Tto promote mashups as startling and fascinat- I“high” (authentic) and “low” (calculated) forms of ing creations with a controversial illegal pedigree. pop/rock music, telescoping chronological distance, Articles have appeared in The New Yorker, Esquire, ignoring conventional social divisions, and above all Wired, Rolling Stone, and major regional newspa- making listeners always (self-)aware of process and pers; mashups even garnered an entry in the 2004 artifice, mashups truly embody the postmodern age. edition of “The Year in Ideas” in the Sunday New They reflect today’s accelerated lifestyle, the Zeitgeist York Times Magazine. But mashups may never gain of scattering one’s energy and thoughts among more notoriety than this, however, not solely because more numerous work duties, personal obligations, of cease-and-desist orders from record labels that and entertainment choices. Also appearing in A + B, keep mashups from mainstream radio airplay, but DJ Mysterious D, one of the founders of Bootie, a rather from the perception that mashups are a mere monthly mashup dance event that readers of the San fad, trifles that are amusing but neither valued nor Francisco Bay Guardian voted best dance club of cherished according to precepts of pop/rock “respect- 2006, observes: “Our society has ADD, so why listen ability.” Mashups, as the old saw goes, contain the to two songs in a row when you can listen to them at seed of their own destruction. For familiarity — the the same time?” “You can hear twice as much music key factor that makes a mashup a mashup — para- in half the time,” adds her partner, DJ Adrian. And doxically also prevents them from escaping the ghetto for aging Gen-Xers, who seem to constitute mashup of novelty. Recognizability elbows one’s conscious- culture’s largest demographic, mashups, as familiar ness and makes one aware of the disparate origins wines in new bottles, satisfy both the regressive tug of the songs in a mashup. It is akin to the cinematic of nostalgia and the never-ending pursuit for hipster and theatrical effect of “breaking the fourth wall,” prestige. when the narrative calls attention to itself: viewers Whither the mashup? A live element has entered: cannot but be reminded of the artifice of the proceed- there are now mashup bands, and anyone can do ings. This awareness momentarily distances viewers mashup karaoke. DJ Riko’s “P-Funk Is Playing at from the narrative. So it is with the mashup, but to My House” features newly performed vocals; Apollo a greater extent, since recognizability never relents. Zero reperforms some of the tunes in a mashup, gain- Throughout the tune, that conscious distance persists, ing complete control over the material and avoiding a separation that listeners can never ignore. Two con- digital manipulation. Every day more individuals dis- sequences arise that contribute to the trivialization of cover mashups and try to create their own, so in spite the mashup. of the marginalization described here, mashups are First, this distance is similar to Linda Hutcheon’s not going away anytime soon. Hear them as strange “ironic distance,” which she associates with parody. and wonderful transmissions from an alternate real- While Hutcheon observes an all-encompassing defini- ity, musical chimeras that could never, would never tion of parody that spans esteemed homage to ridicul- — and in some cases, should never — happen in our ing satire, the fact that mashers mine a specific vein own universe. of pop/rock music — slick, manufactured, disposable — inclines listeners toward a humorous rather than serious ethos. Hearing a mashup is like hearing a par- Philip Chang teaches music theory at the University of ody, and even though parody may have been furthest Colorado at Boulder. For those interested in learning from the DJ’s mind, the mashup nevertheless ends more about mashups, the Web sites www.m-1.us, www. up regarded as a frivolous novelty tune. Second, the sfbootie.com, and www.mashuptown.com all provide songs in the mashup maintain their individual identi- good information. View the video A + B at www.uutest. ties and never completely fuse into a unified whole. blogspot.com. The songs, as familiar objects, have been memorized, and so the mind monitors the events of each tune

26 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 Photographs for this article are used by permission. Copyright © Joan Marcus.

SETTING THE STAGE Witch of the West, in the current Broadway musical hit Wicked (first premiered at the George Gershwin Theatre on October 30, 2003, in New York City). Like Elphaba, I too have often thought of myself as a Since my father’s death earlier this summer, square peg. I have been thinking a lot about the meaning of unlikely friendships. By all accounts, we were as dif- The musical, featuring music and lyrics by Stephen ferent as night and day (or, in the Clifton household, Schwartz and book by Winnie Holzman, is a loose as different as Dallas Cowboys and Washington retelling of Gregory Maguire’s sensational novel Redskins fans on a Sunday afternoon). He, a tough- Wicked: The Life and Times of the Wicked Witch of as-nails Texas cattle rancher, lived his life as a model the West (1996). In his revision, Maguire presents a for authentic masculinity, rugged and emotionally very different version of Oz from the one first pre- unavailable. I, on the other hand, have always lacked sented in L. Frank Baum’s Wonderful Wizard of Oz his ability of detachment. For better or worse, I wear (1900). Baum’s Oz is an almost utopian world, while my heart on my sleeve. And, unlike my father, I am Maguire’s is characterized by political and economic musical and gay. hardship. The teaser at the top of the Broadway poster also provides a hint of narrative revision (and These innocuous traits never seemed to fit with secrecy): SO MUCH HAPPENED BEFORE DOROTHY my father’s brand of masculinity. From an early age DROPPED IN. The musical, thus set before Dorothy’s I thought of myself as an outsider in my own family, arrival, focuses on the unlikely friendship between an alien. Perhaps it is because of my outsider status roommates at Shiz University: Elphaba, green-skinned that I see so much of myself in Elphaba, the Wicked and intelligent, and Glinda, beautiful and ambitious.

FALL 2006 27 A TALE OF TWO WITCHES

It is against the trajectory of their enduring friend- to be an insider. She wants to belong. But Glinda ship, a friendship that crystallizes one girl as wicked thinks Elphaba is a lost cause, writing to her parents and the other girl as good, that I want to consider that her green-skinned roommate is “unusually and Schwartz’s spellbinding musical adaptation. exceedingly peculiar and altogether quite impossible to describe.” On the contrary, Elphaba doesn’t mince “SHE’S…BLONDE !” words in her description of Glinda, distilling her char- acterization to one monosyllabic word: blonde! he musical begins with a debauched celebration. The song from Wicked that best exemplifies TIt is noisy outside of the Wizard’s palace in the Glinda’s shallowness, or her blondeness, is “Popular.” Emerald City. The first musical number, “No One Here, Glinda attempts to give Elphaba a dramatic Mourns the Wicked,” is loud, discordant, and rhyth- makeover after a night of roommate bonding. Their mically volatile. During the song, the Wicked Witch, dialogue, arguably, exemplifies the beginnings of a “the wickedest witch there ever was, the enemy of all friendship, as both lower their guard to each other. of us here in Oz,” is pronounced emphatically dead. In discussing the evolution of the song, composer The musical style soon relaxes a bit as Glinda, in a Schwartz considers the broader implications of the mechanical bubble complete with spewing soap bub- song’s teen sensibility: bles, makes her show-stopping entrance. She confirms I wanted to write something that had the story of Elphaba’s death with a mature operatic no depth whatsoever. It’s empty calories. singing style: “Let us be glad / Let us be grateful / Let That’s who Glinda is at this point. At one us rejoicify that Goodness could subdue / The wicked point, Winnie [Holzman] had the idea of workings of you-know-who.” Glinda stands as a per- Glinda trying to dress up Elphaba to look sonification of feminine virtue. Not only is she beauti- like her. And Marc Platt realized that it ful, dressed to impress in her pageant-style gown and was a parallel to Emma, the Jane Austen tiara, but she also sounds like an angel, with a high book, or as we used to call it Clueless, soprano singing voice. To put it another way, Glinda because of the Alicia Silverstone movie. looks good and she sounds good, so clearly she must So we call this the Clueless section of the be good. Or is she? show, where Glinda, because she’s a con- It is during her early days at Shiz University that trol freak, decides to transform this girl a more complex side of the good witch is exposed. into somebody like her – which is absurd As the incoming students reverently sing their alma to do to the Wicked Witch of the West. mater, “Dear Old Shiz,” an archaic four-part chorale, (2005, 78–79) Galinda (who would later change her name to Glinda “Popular” is a bouncy, catchy song served up for after the death of a teacher) breaks ranks with her shameless enjoyment. In it, Glinda is portrayed as a classmates. No longer constrained by the rules and country-western-style singer, captured flawlessly by regulations of the harmonious four-part chorale style, Kristen Chenoweth on the original Broadway cast she instead showboats and sings an unaccompanied recording. No longer does she sound highfalutin, as melody. In other words, she solos during the school traces of a southern drawl can be detected, especially song! By asserting her independence from the group, as she yodels on the word popular. Surprisingly, a and by singing once again in a higher register than more serious tone surfaces toward the end of the the rest of the singing voices, she single-handedly song, during what is referred to in common parlance elevates her social status as the most popular girl in as the “final reveal” of the makeover. Glinda confess- school. es that she thinks Elphaba is beautiful, a description On the other side of the Shizian social spectrum that takes both of them completely by surprise. is Glinda’s unusual roommate Elphaba, an outcast who, despite her prickly manner, secretly yearns to LEARNING TO FLY be accepted and loved. She simply wants to fit in. Her desire to be accepted and even to be admired he musical number “I’m Not That Girl” features because of her unique ability to do magic is con- Elphaba in a new light. The once self-aware girl, veyed in “The Wizard and I,” an energetic song that T who relied more on her intellect than her emotions, captures her zeal for unlimited possibilities. And it allows herself to get caught up in the moment. She is easy to get caught up in her youthful naiveté. Her falls for the new guy in school, the handsome Fiyero, optimism is contagious, with lines such as “Once I’m who is already paired with Glinda, the most popular with the Wizard / My whole life will change / ‘Cuz girl at Shiz — after all, they’re “perfect together” once you’re with the Wizard / No one thinks you’re (“Dancing Through Life”). Realizing that she’s not strange.” More than anything else, Elphaba yearns good enough, or pretty or perfect enough, Elphaba

28 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 A TALE OF TWO WITCHES

self-confesses, “Don’t dream too far / Don’t lose sight all too clear as she sings, “And if that joy, that thrill of who you are / Don’t remember that rush of joy / / Doesn’t thrill like you think it will.” In true Glinda He could be that boy / I’m not that girl.” The musical fashion, however, she pushes forward with chin up, style is generally restrained, calm, and melancholic, “Because happy is what happens / When all your mirroring Elphaba’s self-conscious emotional contain- dreams come true.” But even though her words and ment. Her vocal delivery is wrought with heartache, public persona may suggest a positive outlook, the effectively expressed by singing pitches from the very musical setting suggests a more realistic unhappy bottom of her contralto vocal range. Her last sung ending. Schwartz effectively conveys Glinda’s ambiva- pitch, on the line “I’m not that girl,” is the E below lence by the strategic use of minor chords that sound middle C on the piano. This submerged pitch articu- melancholic. For instance, on the last word of the lates, in musical terms, as it were, how Elphaba sees aforementioned phrase, “dreams come true,” the herself as a girl, a world away from Glinda’s high expected major chord of resolution, which should soprano register. undoubtedly sound happy, is deceptively harmonized by a sad-sounding minor chord. The music, there- It is toward fore, echoes her earlier fears that she will not get her the end of the dream after all. first act, after a disastrous meeting The subsequent reprise of the sorrowful “I’m Not with the unethi- That Girl,” now sung by Glinda, comes as a shocker cal Wizard of Oz, because it is Elphaba, and not Glinda, who ultimately that Elphaba’s couples with Fiyero. The romantic musical number singing voice “As Long as You’re Mine” is their love song, and grows more con- it sounds sexy — Elphaba even admits toward the fident: it literally end of the song that for the first time in her life she moves higher (and feels wicked, the titular word that is used consistently © Joan Marcus, photographer higher) in register. throughout the musical as a pejorative term. This The powerful clos- moment can be interpreted as a double bind as she ing number, “Defying Gravity,” climaxes as Elphaba, effectively reclaims the word, uniting for the first time now crystallized as the iconic Wicked Witch of the in the musical her head and her heart, or her mind West, flies through the air on her enchanted broom, and her body. But underneath the passionate music her unbounded voice soaring with confidence: “And is a subtle hint of gloominess, mirroring the ill-fated nobody in all of Oz / No Wizard that there is or was / lovers’ fugitive status. Schwartz effectively conveys Is ever gonna bring me down!” And while the citizens the drama of their situation with the use of major of Oz do attempt to “bring her down,” what can be chords that mutate into minor chords when they interpreted as a hostile means both of stopping her think about their future as a pair. and of lowering her singing voice to her original con- tralto register, Glinda offers her a tender good-bye: MUSICAL MATURITY AND FRIENDSHIP “I hope you’re happy.” This moment articulates an important shift in their friendship, one in which they he penultimate musical number, “For Good,” is are no longer following the same path, as Elphaba the heart of the show. In it, Glinda and Elphaba chooses to go against the grain, to be defiant, and to T meet to say good-bye for the very last time. With take a stand against all that is wrong in Oz. respect to its title, Schwartz has written, “I love phrases that mean more than one thing. Obviously, THE MELANCHOLY OF HAPPINESS the phrase ‘for good’ is a double entendre: It means both ‘forever’ and ‘for good as opposed to bad.’” he second act begins with a joyful celebration (2005, 87) The song chronicles how each has effec- Toutside the Wizard’s palace in the Emerald City. tively changed the other’s life “for good” in signifi- On the surface the mood is cheerful, altogether fit- cant ways. ting for Glinda’s engagement party to Fiyero. The In the first verse Glinda establishes the notion of real surprise comes, of course, when we learn that he mutual growth: “I’ve heard it said / That people come has no idea that he is getting married. It seems that into our lives for a reason / Bringing something we by hook or by crook, Glinda will stop at nothing to must learn / And we are led / To those who help us get her man. The song “Thank Goodness” effectively most to grow / If we let them / And we help them in conveys a more complex look at the good witch. In return.” Similarly, in the second verse Elphaba agrees: her heart she knows that Fiyero does not love her and “So much of me / Is made of what I learned from you that the celebration is a fraud. She desperately tries / You’ll be with me / Like a handprint on my heart.” to convince herself that she is truly happy, that this In the bridge section Elphaba asks Glinda for forgive- is her happy ending, but her self-awareness becomes

FALL 2006 29 A TALE OF TWO WITCHES ness. Even though she does not make clear what she voices can teach us how to be better people, how to has done, she probably feels guilty for taking Fiyero be better friends ourselves. And in this day and age, away from Glinda. After all, friends don’t date their their lesson couldn’t come at a better time. friends’ exes. Glinda also feels remorse for the past We all know that people are different. It is how as she confesses, “But then, I guess we know there’s we choose to deal with such differences daily that blame to share.” But willing to forget these injustices I believe is a true mark of our character. Not a day to each other, united, they both agree that “none of it goes by that I do not think about my father and seems to matter anymore.” wish that I still had the chance to learn from him, to The musical setting for the last line of the song harmonize with his voice. For now I can only say, teaches an important life lesson, if we are willing to because I knew him, I have been changed “for good.” listen. At the beginning of the phrase, Elphaba and Glinda sing together in unison, “Because I knew you . . . / I have been.” Their unified voices signify a shared vision of mutual respect and love for each Kevin Clifton is an assistant professor of music theory other. On the next word of the phrase, “changed,” at Ithaca College. He received a BA degree from Austin their voices appropriately split apart. No longer sing- College and a PhD from the University of Texas at ing the same pitch, they harmonize each other in a Austin. His research interests include music theory peda- profound way. Elphaba now takes the lead and sings gogy, the music of Francis Poulenc, and popular music. in a high vocal register, while Glinda, the quintes- sential high soprano, sings below her in a supporting role. This musical moment highlights an important Works Cited theme in Wicked: namely, that “everyone deserves a Cote, D. Wicked: The Grimmerie. New York, NY: Hyperion, chance to fly.” In the end, both girls have changed. 2005. The once self-absorbed Glinda has learned to let go of her ego in support of others, while Elphaba’s voice Acknowledgements: has grown steadily more confident. The concluding words of the phrase, “for good,” appropriately bring Special thanks to Dr. Marianne Tatom Letts, their voices back to unison. This simple yet pro- University of Texas at Austin; Gregory Kulessa, found act stands as a musical testament for solidarity Cornell University; Dr. Jairo Geronymo, Ithaca between two unlikely friends. Consequently, their College.

© Joan Marcus, photographer

30 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 David Conrad American Music Education: A Struggle for Time and Curriculum

middle school principal. During a two-year period, we cut one full-time staff position, eliminated our usic teachers are normally an optimistic beginning band instruction, and canceled the school M musicals and two performing groups. Our earned and progressive group. Over the past few years, how- ever, I have heard more and more of my public school reputation as a school that supported music educa- music colleagues say that they feel worn-out and tion did not stop these program cuts from becoming frustrated by recent developments affecting American reality. music education. What is the current state of American music In Illinois, where I teach, school districts have cut education? From my perspective as a public school fine arts funding and even have eliminated music practitioner, I believe that music education programs and fine arts programs altogether. Poorer and richer are in jeopardy nationwide. Aside from issues directly schools alike have experienced these cuts; few music related to funding — issues that are vast, complex, programs have gone unhurt, including the district and largely tied to the funding mechanisms provided where I have taught music and currently serve as a by states and local school boards — I believe that

FALL 2006 31 AMERICAN MUSIC EDUCATION music education must solve two lingering issues relat- Lyndon Johnson to establish the role of the federal ed to time and curriculum. government in local schools. The reauthorization, which has become known as No Child Left Behind A NATION AT RISK? (NCLB), established the new goals of high standards and achievement accountability for all children. as the American education system at risk of States were required to test all students in lan- Wfailure? In 1983, the National Commission on guage arts, mathematics, and science. While most Excellence in Education released its landmark report, states were already testing their students, the law A Nation at Risk, chronicling myriad problems in added new accountability standards that imposed America’s schools. Among the findings, the report sanctions upon schools which failed to meet pre- concluded that American children spend much less scribed benchmarks by the deadlines. These sanctions time in school than their international peers. For might include a reduction or cancellation of federal example, American students attend for approximately funding. Schools also risk closure, and entire school one hundred and eighty days for six or seven hours districts could face total dissolution or takeover. per day, while students in England may spend up to In response to the mandates of NCLB, many eight hours per day and twenty more days per year in schools felt the need to increase the number of school than their American counterparts. The report instruction minutes for students in language arts, sci- also questioned the elective curriculum philosophy ence, and mathematics, the three subjects with the whereby students would choose their own course highest testing accountability. Meanwhile, schools schedule and individual curriculum path in junior have reduced the amount of time available for music high and high schools. The report advocated a more and arts education. prescriptive curriculum that focused on language arts, math, and science. The widespread result of NCLB has been a time assault on the subjects that are untested, subjects A Nation at Risk spurred a decade of addi- such as music, foreign languages, arts, and physical tional studies and reports attempting to address education. Each of these disciplines has suffered mas- these issues. Music and fine arts education were not sive cuts and, in some cases, elimination altogether. immune. In 1988, the National Endowment for the Accounts of these cuts were appearing in the mass Arts released its own ambitious study of arts educa- media throughout the nation, which prompted then- tion in American schools, Toward Civilization. The Secretary of Education Rod Paige to respond in July study found that American music education focused 2004. In this letter to all of America’s school super- mainly on performance ensembles and performance intendents, he responded to criticisms of NCLB from skills, while largely ignoring musical understand- fine arts advocates: ing. It appeared to the authors that music education programs were providing talent education for a few It’s disturbing not just because arts pro- children, instead of reaching a broader audience by grams are being diminished or eliminated, teaching musical understanding to all children. but because NCLB is being interpreted so narrowly as to be considered the reason The ultimate impact of these reports was to ques- for these actions. The truth is that NCLB tion the amount of time needed to provide children included the arts as a core academic sub- with a well-rounded education. They also sparked ject because of their importance to a child’s discussions of what kind of content should be taught education. No Child Left Behind expects by music educators. teachers of the arts to be highly qualified, just as it does teachers of English, math, NO CHILD LEFT BEHIND: science, and history (http://www.ed.gov/ MUSIC BATTLES FOR TIME policy/elsec/guid/secletter/040701.html). This letter did little to help music programs. The n 2001, President George W. Bush successfully won missing variable in school reform — time — was not Ireauthorization of the Elementary and Secondary changed by NCLB. Schools have cut music and other Education Act (ESEA), a law first passed by President

32 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 AMERICAN MUSIC EDUCATION

subjects to make more time for the tested subjects history, music theory, or music appreciation. Why under NCLB, putting our nation’s arts education at have music educators been slow to adopt Fowler’s risk. perspective? Many fine music educators have devel- oped successful performing groups. They have fine- “Although NCLB actually includes the arts in its tuned their skills in recruiting and training young definition of core subjects, the law doesn’t require musicians to perform in these groups, and they have testing in those areas,” states Carolyn Crowder, an established professional reputations built largely on Oklahoma music teacher and executive committee their performance success. Changing to an under- member for the National Education Association. standing-based teaching philosophy is a difficult risk “The law’s focus on reading and math doesn’t leave for many music educators. much time for students to be creative and develop a love for music and the arts in school” (personal inter- However, many have found a compromise in view with author). bridging the gap between musical understanding and musical performance. One successful approach Time continues to be a fixed variable in the school is known as comprehensive musicianship. The phi- reform game because adding extra time to the school losophy of comprehensive musicianship is entrenched year requires increased funding for salaries and relat- in the belief that students can experience a rich and ed expenses. American schools are still based on the diverse music curriculum within the vehicle of a tra- same agrarian calendar criticized more than twenty ditional performance group (such as the school band, years ago in A Nation at Risk. School reform efforts choir, or orchestra). usually fall short of increasing the time available to teach, simply because the money is not there . . . and What does a comprehensive musicianship class- few politicians risk asking voters to pay for more. room look like? When a school orchestra prepares for a performance of Appalachian Spring by Aaron “In times when school budgets are tight, fine arts Copland, you would expect the teacher to rehearse programs are the first to be cut,” says Crowder. the correct notes and rhythms to help the group sound its very best. In a comprehensive musicianship MUSIC BATTLES FOR CURRICULUM classroom, however, students learn beyond the notes on the page; they experience a deeper and richer usic education continues to struggle with the understanding of music and its context. A history Mfindings of Toward Civilization and whether lesson might teach students about the relationship music education should be primarily performance- between the music and the historical context of the based or understanding-based. With limited resources American frontier. Students might study the rela- for time and budgets, should music teachers devote tionship of rhythmic energy and Martha Graham’s their time teaching students to perform or teaching choreographic design by creating body movements in students to understand? rhythm with the music. Students also might write a reflective essay on how the chords and harmonies cre- Dr. Charles Fowler, a noted arts educator and ate an emotional impact in the work. author, wrote that “when music education concen- trates solely on performance, its educational potential is compromised and its impact is diluted” (p. 130). MODEL PROGRAMS Performance education might provide training only for the talented few whose families will support isconsin houses one of the nation’s most devel- instrument purchases, music lessons, and uniform Woped comprehensive musicianship training expenses. By reaching only these select students, programs for teachers. Each summer, the Wisconsin music education fails to reach a broader audience of Comprehensive Musicianship through Performance learners. (CMP) program hosts week-long workshops to train teachers in the philosophy and to provide them American music education still remains a perfor- hands-on support in the creation of new teaching mance-based enterprise. Most high schools offer a materials. Teachers learn the techniques of teach- band or chorus, but few offer course work in music ing musical understanding within the performance

FALL 2006 33 AMERICAN MUSIC EDUCATION classes by creating lessons that they will implement in OPPORTUNITIES their own schools back at home. Additional supports include in-service training and publications through- f American music education can thrive, we must out the school year. The comprehensive musicianship Ifind answers to the dilemmas of time and curricu- model is a major change in music programs; having a lum. Policy-makers must weigh the costs and benefits structured training program helps teachers build con- of adding minutes and days to the American school fidence and success. calendar, with an eye toward accommodating all sub- jects and disciplines to be taught. This additional time Another successful model is the BandQuest project resource might help schools meet the goals of NCLB spearheaded by the American Composers Forum. The while also strengthening the music and fine arts pro- project places accomplished American music compos- grams. Time no longer can be an excuse for excluding ers in residencies with students in middle and high the arts from a child’s education. school bands. The selected composer composes a new work during this residency, rehearsing the students Policy-makers and music educators also must and involving them in the compositional process. At decide whether to emphasize performance training, the conclusion of the residency, the composer pre- musical understanding, or both. By excluding a large pares the students for a public premier of the new segment of learners, we are limiting the reach and work. impact that music education can have. BandQuest has been able to attract many first-rate Ultimately, why should music education programs composers into the residency. Michael Colgrass, Tania exist? As Carolyn Crowder puts it, “Fine arts educa- León, Libby Larson, and Michael Daugherty are tion — including music education — is fundamental among the thirteen composers who have published for the social, intellectual, cognitive and emotional under the BandQuest program. In September 2006, development of students.” BandQuest released its fourteenth title, Nature’s Way, a new work composed by Gunther Schuller, the Pulitzer Prize-winning composer, conductor, and David Conrad is principal of Manteno Middle School musicologist. in Manteno, Illinois. A former music teacher, he has According to Carey Nadeau of the American worked extensively in assessment, school marketing, and Composers Forum, both students and composers ben- music advocacy. He serves as the Music Director for the efit from the program. “It’s a way to bring new music River Valley Wind Ensemble. He can be reached by e- to the band music genre, and for established compos- mail at [email protected]. ers to challenge their writing and thinking by writ- ing for young students just starting out who do not References necessarily have the full grasp of music theory,” says Fowler, C. Strong Arts, Strong Schools: The Promising Nadeau. “It becomes a learning experience for both Potential and Shortsighted Disregard of the Arts in American Schooling. Oxford University Press: New York, parties” (personal interview with author). 1996 The project shows how students can be immersed National Commission on Excellence in Education. A Nation at in the composition process within the context of a Risk: The Imperative for Educational Reform. Government performance ensemble class. BandQuest benefits stu- Printing Office: Washington, D.C., 1983. dents in other schools by making these high quality National Endowment for the Arts. Toward Civilization: A compositions available for purchase from a commer- Report on Arts Education. Government Printing Office: cial music publisher. The music includes ready-made Washington, D.C., 1988. instructional materials and lesson plans for teaching Paige, R. Letter to Superintendents Regarding the Arts as a musical understanding. Core Academic Subject Under No Child Left Behind. http:// www.ed.gov/policy/elsec/guid/secletter/040701.html, July 2004.

34 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 Richard Crawford. America’s Musical Life: A History. New In America’s Musical Life, performance rather York: W. W. Norton, 2001. 976 pages. $23.95. than composition is the starting point. Composers are by no means slighted here. But in a chronicle n line with the theme of starting in the 1500s and seeking at every point to this issue of the Forum, I portray the historical conditions in which music I have taken my liberty has been made, they share the stage with sing- as fl edgling book review ers, players, conductors, teachers, entrepreneurs, editor, general reader, and and even writers, not to mention composers from musically challenged for- overseas. mer trombonist to recom- mend Richard Crawford’s Fittingly, Crawford dedicates the book to his wife Penelope, large, well-written, highly herself an accomplished teacher and performer on the forte- regarded, and inexpensive piano. history of American music. Because of my related interests, I found the chapters on Although originally pub- American church music, slave songs, and American musi- lished in 2001, America’s cal theater especially illuminating. I also learned about the Musical Life became avail- late-nineteenth-century musical prodigy Amy Beach, the able in paperback in late fi rst American woman to compose major works for the 2005. concert hall. Unfortunately, Crawford’s coverage effectively The author of ten concludes in the mid-1990s and so includes virtually noth- books in the area of American music, Richard Crawford ing on more recent Country, “crossover,” and various sorts is the Hans T. David Distinguished University Professor of Hispanic music. The opportunities for social tie-ins are Emeritus at the University of Michigan and has served as the clearly there. president of the American Musicological Society. America’s Musical Life might be regarded as the culmination of a Neil R. Luebke is a former Society president of Phi Kappa Phi lifetime of superb scholarship and musical experience. His and the current Forum Book Review Editor. He is an emeritus thoroughly readable writing style can be called “relaxed aca- professor of philosophy at Oklahoma State University. demic lively,” moving quickly but comprehensively through his subject with a minimum of sometimes necessary musico- logical jargon. Bill Crow. Jazz Anecdotes: The Second Time Around. Oxford There is no need to establish the work’s bona fi des. In ad- University Press, 2005. 416 pages. $17.95. dition to many glowing professional reviews, it has received at least two prestigious national honors: in 2001 the Society When to the sessions of sweet silent thought for American Music’s Irving Lowens Book Award and in I summon up remembrance of things past … 2002 ASCAP’s Deems Taylor Award. Kirkus Reviews calls it —Shakespeare “the best one-volume history yet on the subject for musi- cians and enthusiasts, professional or amateur.” Publishers hile reading Jazz Weekly calls it a “defi nitive history of music in the U.S.” WAnecdotes, I was that is “sure to delight music afi cionados and history buffs reminded of the opening line alike.” of Shakespeare’s sonnet 30 that I learned quite by ac- In forty chapters, all but the fi rst seven split about equal- cident as a college freshman. ly between the nineteenth century and the twentieth century, However, these anecdotes are Crawford covers the scene from sixteenth-century Native more about remembrances of a American music to recent rap. Black and white illustrations select group of people who are reinforce the text, ranging from an 1803 shaped-note score commercial musicians (Glenn to an 1899 sheet-music page of Scott Joplin’s “Maple Leaf Miller, Fred Waring, and oth- Rag” and photos from Stephen Foster to Wynton Marsalis. ers), jazz musicians (Lester Throughout the work, Crawford connects the diverse forms Young, Roy Eldridge, and so and styles of American music to the diverse social, religious, on), managers, agents, and and political contexts in which they were developed, per- teachers; the places that they formed, and experienced. This approach is not superfi cial or played, and the people with whom they interacted; and the accidental, but intrinsic to Crawford’s focus. As he puts it on many pranks, practical jokes, insults, put-ons, and numerous page xii of the Introduction, other devious activities in which they engaged.

FALL 2006 35 BOOK REVIEWS

Commercial musicians, as I see them, are musicians bands, while Duke Ellington’s and Cab Calloway’s bands whose total motivation for performing is the dancing traveled in the luxury of Pullman rail cars. But through it all, entertainment of their public. This statement is intended they were jazzmen and women living the American Dream as a description and not a condemnation or an evaluation from both sides of the spectrum. of anyone’s musical abilities. And very often it is the com- Jazz Anecdotes allows the musicians to speak unabash- mercial musician who hires the jazz musician because of a edly, even with pride about their contributions to twentieth- specifi c need of the jazz musician’s improvisational skills. century American music. While Jazz Anecdotes is the title of Unlike the commercial musician, jazz musicians seek this book, the individuals and their stories paint a picture of to challenge the listener’s ear rather than limit their perfor- an America seldom seen and always hidden in plain view. mance. The musical character of jazz musicians is the key to their individuality. They constantly strive for a unique sound Ellis L. Marsalis, Jr. is an internationally renowned jazz pianist that separates one from another, even if they play the same as well as the father of several prominent jazz musicians. In 2001 he retired from twelve years as the Coca Cola Professor instrument. Jazz is their raison d’être. of Jazz Studies at the University of New Orleans, where he is Bill Crow has a gift. He is an urban storyteller who an Active-for-Life member of Phi Kappa Phi. can stitch together these stories that can only come from someone who knows the world of the jazz musician, that peculiar breed of individual whose need for self expression Arthur Kempton. Boogaloo: The Quintessence of American often ignores all other logical opportunities that lead to a Popular Music. Ann Arbor: University of Michigan Press, “normal” lifestyle. This book is also a testimony to the fact 2003. 480 Pages. $19.95 (Paper) that jazz is connected to every aspect of American life. These Every summer across the South anecdotes include such diverse but similar musical personali- there are reunions of graduates of ties as Fred Waring (director of the Pennsylvanians chorale) defunct black high schools that be- and music-loving comedian Jackie Gleason, whose anecdote come occasions of attendees’ rueful segues into a Theodore “Sonny” Rollins escapade without refl ections on how much was lost to missing a beat. children in their communities when The beauty of the book is that under the rubric of jazz desegregation washed away our we fi nd individuals of different business persuasions: huck- schools. At least then the socially sters, thieves, con artists, and the perennial management conservative traditions of Afra- with alleged ties to the underworld. Crow’s book contains merican life were intact enough to examples of the prejudice and racism encountered by the produce people who withstood the musicians and how they handled the situation. worst assault of outsiders. (page 5.) When all is said and done, this book says more about his quotation from Arthur Kempton’s Boogaloo: The twentieth-century America than any academic history text. TQuintessence of American Popular Music sums up The degree of racial segregation (not to be confused with my own admiration for great African American icons and racial discrimination) that existed at the time that these mu- musicians who withstood many obstacles to achieve their de- sicians were plying their trade becomes superfl uous. We see served place in history. The night I heard “Strange Fruit” for the attitude of Billie “Lady Day” Holiday when told she had the fi rst time, I wept. From that day I became increasingly to darken her complexion so as not to confuse the customers intrigued with the obstructions Aframericans had placed in at the Fox Theater in Detroit into thinking that a white girl front of them by society and even more intrigued with the was singing with a black band. The book also relates Bessie great men and woman who would respond and ultimately Smith’s encounter with the Klan in 1927, where her brazen prevail. Reading Boogaloo was like reliving a conversation confrontation of their presence chased the hooded Klansmen that my fellow Southern musicians and I have frequently from the area of her performance. about popular music starting in the South, in the Delta, and in New Orleans and moving its way up North. Then there is the humorous approach to solving a race problem at a hotel in Omaha, Nebraska, by a black musi- Dancing has been prevalent in America’s popular culture cian named Rudy Powell. Powell posed as an Arab wearing since the turn of the last century and up through the swing a fez and a beard and convinced the hotel clerk that he and craze, with dance names such as “The Shim Sham Shimmy,” his nine “brothers,” who allegedly did not speak English, “The Charleston,” “The Lindy Hop,” and many more. needed rooms. He threatened to contact the State Depart- “Boogaloo” is no different; it is a dance term and a descrip- ment if the hotel refused. The frightened clerk capitulated, tion of an era that began in the mid 1960s. Although this the scam worked, and the band got the rooms. dance style, which blends Soul music, Rock and Roll, and Latino Mambo, is credited with developing in New York, This book is America through and through, with humor in 1965 the comedic banter and dance duo Tom and Jer- as a necessary ingredient to coping with life’s less positive rio (Robert “Tommy Dark” Tharp and Jerry J. Murray) circumstances. A raggedy “Blue Goose” (Greyhound bus) popularized the term and dance when they made the record became the mode of transportation for many struggling

36 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 BOOK REVIEWS entitled “Boogaloo.” This record and dance hit the consum- this short account, partly because that record industry is no er market, with the help of American Bandstand, and spread longer interested in creating a great musical icon as much as like a huge wave across America to enter the slang vocabu- it is creating a story centered on a gangster or a pimp and lary of the young black population. exploiting that story to its fullest monetary value, damn the music. Arthur Kempton, a native of Princeton, New Jersey, spent much of his life involved in black musical culture. At Boogaloo is a great text with enjoyable content if you an early age, Kempton’s father took him to various black are reading for entertainment or educational purposes about churches throughout New Jersey. His interest in black American musical history. Kempton is obviously studied in entertainment motivated the young Kempton to fi nd his this material, and his personal relationship with and back- way to attend shows at the Apollo Theatre. He became a ground in the music industry bring a unique perspective to disc jockey and eventually took over the show “For Lovers the book. I was intrigued by how often he makes mention Only” on Boston’s WTBS. Kempton has been an educational of “not-so-popular” musicians who made a small mark in consultant and top level administrator in the Boston Public history and are overlooked. He seems to have made particu- Schools. Having a BA in English from Harvard, Kempton lar effort to pay homage to those musicians. The only minor has provided services for The New York Review of Books as downside to the book is the occasional verbosity; the text in well as being the author of Boogaloo. places is diffi cult to read. Fortunately those times are few, and they do not take away from the content or pleasure of The fi fteen-chapter book is divided into three separate the book. Kudos to Mr. Kempton for a fi nely crafted text. sections, each with historical signifi cance to the development If you are at all interested in the development of American of black and American popular music. “Sightseers in Beu- popular music and culture, this is defi nitely one for the lah” glances into the musical life of Sam Cooke and Thomas library. A. Dorsey. Kempton takes you through the oppression, development, and achievement of both: Dorsey, once known Shane Porter is assistant director of Bands and Jazz Program as “the king of the night” to ultimately becoming “The Director at the University of Tennessee at Chattanooga. Father of Gospel Music” with his composition of Dr. Martin Luther King, Jr.’s favorite “Take My Hand, Precious Lord,” and Cooke, who suffered an ill-prepared performance at the Copacabana that came close to ending his entertainment career. Overcoming his infamous outing at the Copa, his hit “Wonderful World” caused him to be dubbed “the man who invented soul.” In “First I Look at the Purse,” Kempton displays his abundant and understandable amount of respect for Berry Gordy, Jr. Gordy’s love for jazz compelled him to open his “3-D” jazz record store in a Detroit neighborhood that unfortunately had little interest in that genre of music. Gordy learned a valuable lesson with that business venture and went on to build one of the most revolutionary music businesses in history. Motown (nicknamed Hitsville USA), Tamla, and Jobete records, all brainchildren of Gordy, be- came the trifecta of a growing music business that revolu- tionized black popular music and became a cultural icon for decades to follow. “Negribusiness (Sharecropping in Wonderland)” displays Gordy’s “role model” effect on young record moguls. One of its innovators, “Suge” Knight, was the self-proclaimed next “Berry Gordy.” By the early 1990s in the West-Coast music industry, it was apparent that there was very little respect for the music. The fi nancial side of the hip-hop industry fl ourished like Motown, but there is no comparison with it and with the musical hit after hit and longevity of those musical masterpieces and artists from Motown. Hip Hop got its start in the 1970s in New York, claims Afrika Bam- baataa, one of Hip Hop’s founding fathers. Kempton does a great job walking you through the process in which Hip Hop, Gangster rap, and the East-Coast/West-Coast rivalry develops. The artists, if you will, are far too many to tally in

FALL 2006 37 Letters to the Editor

IS THE SKY ingly optimistic view of life and of FOUNDERS the world around him. He was right; FALLING? there was a freshness deep down, and et me congratu- he powerful the ecology of the earth recovered. Llate you for the Tissue “Is the Sky In spite of the cautious optimism of Summer 2006 Phi Falling?” (Winter/ Al Gore (An Inconvenient Truth) Kappa Phi Forum. Spring 2006) with and Jared Diamond (Collapse), it is This is a truly out- its sobering pre- increasingly difficult to believe that standing collection sentations of the the deep down freshness will recover of succinct articles destruction of our global home made yet again from our destructiveness. concerning the me think again of Gerard Manley When the last tree was cut down on founding of the nation. Indeed, it is Hopkin’s hopeful line in “God’s Easter Island, there were no more; a group of truly historical vignettes Grandeur”: in spite of the wreckage when the last polar bear drowns, concerning issues surrounding the we have made of the world, he writes, there will be no more. American Revolution. It is a publica- tion that I will treasure and reread. Nature is never spent, The Forum does well to publish these timely warnings. There lives the dearest freshness E.T. York deep down things. George W. Williams Chancellor Emeritus State University System of Florida He wrote those words in the mid- Durham, North Carolina dle of World War I (1918), a surpris-

Make Your Plans Now to Attend the 2007 Phi Kappa Phi Triennial Convention in Orlando, Florida, August 9-11.

2007 Phi Kappa Phi Convention Keynote Speaker Dr. Cathy Small, Phi Kappa Phi member and author Featuring: of My Freshman Year: What a Professor Learned by Becoming a Student, will be the keynote speaker at the • Keynote speaker Cathy Small, Society’s 2007 Triennial Convention. Dr. Small will author of My Freshman Year: discuss her experiences as an “undercover college fresh- What a Professor Learned by man” with convention delegates on August 9, 2007. Becoming a Student After more than fifteen years of teaching, Dr. Small, a pro- • Presentations by past and present fessor of anthropology at Northern Arizona University, realized Phi Kappa Phi award recipients that she no longer understood the behavior and attitudes of • Roundtable breakfast discussions her students. Dr. Small decided to put her wealth of experience in overseas ethnographic fieldwork to use closer to home and • Chapter officer workshops applied for admission to her own university. Accepted on the strength of her high school transcript, she took a sabbatical and Watch for additional information enrolled as a freshman for the academic year. She chronicled her about the 2007 Convention as it observations (under the pseudonym Rebekah Nathan) in My becomes available at Freshman Year, a first-person account of student culture today. What she learned about the contemporary university — as an PhiKappaPhi.org. anthropologist, a freshman, and a teacher — will be the subject of her keynote address.

38 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 Member Focus

Wish You Well Foundation stablished in 2002 by Michelle and David Baldacci, the Wish You Well EFoundation is a 501 (c) (3) non-profit organization with the mission of supporting family literacy in the United States by fostering and promoting the development and expansion of new and existing literacy and educational programs. To find out more about the foundation, visit www.wishyouwellfoundation.org. Phi Kappa Phi member David Baldacci is one of the world’s best-selling fiction writers. His works have been translated into more than thirty-five languages and have sold in more than eighty countries. In addition to co-founding the Wish You Well Foundation with his wife Michelle, David serves as a national ambassador for the National Multiple Sclerosis Society and is active in numerous charitable organizations. He also sits on numerous charitable and literacy-based boards. In addition to being a board member and co-founder of the Wish You Well Foundation and participating in several community initiatives, Michelle Baldacci also sits on the board of the Virginia Literacy Foundation.

The Baldaccis graciously consented to take some time from their busy schedules to David and Michelle Baldacci sit down for an interview with Phi Kappa Phi. Is there a particular college memory that you would like to share? Michelle: We both worked while we went to college. I was studying the legal field and thought I wanted to be a lawyer. I worked at law firms to gain some experi- ence and realized I didn’t want to be a lawyer. I would suggest to everyone who is Page 39 thinking of a particular job to go out and work in that field first and then decide if you want that to be your career. Wish You Well Foundation David: I went to school during the day and was a security guard at night and was Page 41 assigned to a GE plant. I was afraid to touch anything because I thought I would Phi Kappa Phi Chapter News blow the plant up. I remember one December it was cold and I was alone, and I was reading In Cold Blood. It scared me, but it is the book that made me think Page 43 I might want to write mysteries and thrillers. I remember not having time to Phi Kappa Phi Bookshelf change before I went to my Political Science class; I was a Poli Sci major and showing up in my security guard’s uniform, and I looked like a cop. That didn’t Page 44 go over too well with my classmates who were into radical political theory. Member News How did the two of you meet? Page 47 David: We met at a vegetarian barbecue. In Memoriam Michelle: Neither of us is a vegetarian. Page 48 David: We were standing in line. I was this cocky young trial lawyer in DC, and Michelle was working in a law firm in DC. She asked me if I was a lawyer and Phi Kappa Phi Merchandise I turned around and saw this beautiful blonde and I smiled and told her I was a lawyer, expecting that to impress her. She replied, “I wouldn’t go around telling people that.” I knew I had to get a date with her. Why did you join Phi Kappa Phi? (David was initiated at Virginia Commonwealth University in 1983.) David: It was something important to belong to. I was a good student and worked hard for my grades. I had a chance to meet interesting people and be a part of an intellectual group. It was nice to be a part of a group where we had similar life goals. I was proud to be a member of Phi Kappa Phi.

FALL 2006 39 Michelle: We needed a vehicle. Friends who knew us would tell us stories of need, and we saw a need What do you wish you understood in college that you in adult literacy. know now? David: There is very little federal money spent on David: People in positions of power and leadership adult literacy. — your lawyers, doctors, police officers, parents, Michelle: We were part of a program, “Mother teachers — do not know as much as you think they Read, Father Read,” where the focus is teaching know. I use to think they had all the answers and the child to read and at the same time you are knew everything. As a lawyer, many times I had to teaching the parent to read. There is no stigma just fly by the seat of my pants when I didn’t know attached, and they do it in such a way that it an answer. appears like a social activity. Michelle: I think you should question and challenge David: We knew we could bring something new and everything. There is a way to question effectively, different. We focused on funding adult literacy. and I wish I had known that then. You need to provide a way for adults to foster an David: I wish I had taken more responsibility for myself environment for their children to want to read. and relied on myself more. Michelle: English as a Second Language has been so Your children are ten and thirteen years old. If I asked successful, and there is no stigma for those who your children to describe you, what words do you want to learn to read and write English as adults. think they would use? Why is there a stigma for adults who can’t read? We wanted to do something about that. David: Attentive. What legacy do you hope to leave with this founda- Michelle: Mean. tion? David: We believe in structure and discipline. David: Anybody can make a difference. Money itself Michelle: Our children are well behaved, compassionate, will not solve the problem. You can do it one per- and caring. We can take them anywhere and in any son and one reader at a time. situation, and they know how to act. How could Phi Kappa Phi members get involved Both of you are involved in literacy. How did it with the cause of literacy? What can they do in become a shared passion? their campus/community/professional lives? Michelle: We saw a number of people with problems. David: You should introduce the concept of literacy Friends and family members would share stories. We programs at your place of work. Can you get would hear of someone with dyslexia who graduated time off to volunteer, or are there resources from high school but wasn’t diagnosed until after your company could donate? It works two ways graduation. because it is great public relations for your com- David: We would visit places and see the need. We do a pany and helps its local image while at the same lot of work with schools, and we saw kids without time making a bigger impact in the community. books at home. This interview will be read by Phi Kappa Phi Michelle: Or parents where reading wasn’t a priority. It’s Student Vice Presidents who are leaders on their easier to watch TV. campus. Since you will have their attention, what is your call to action to them as it relates to literacy? David: We wish more parents would turn off the TV or How can they make a difference? the computer. If you fill your homes with books, you can create an early reader. If you are an early reader, Michelle: You can make a big impact by just look- you are a reader for life. Television and computers ing locally in your community. See if you can give you sound bites. Reading is the only place to get volunteer at your local library, a nearby school, a breadth of knowledge. It’s where your mind clicks or a community center. There is always a need into place. for tutors. If you just took one hour a week and gathered books and took them to the local school What was the impetus behind starting your founda- or retirement home, you could make a difference. tion? David: That’s how great ideas evolve: one person tak- David: I was on the Board of the Virginia Literacy ing the time to start a literacy project and getting Institute, and Michelle was on the Board of the others involved. Something simple can become a Virginia Literacy Foundation, and it helped us focus project that really makes a difference. on what could be done.

40 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 and staffasnewmembers. ducted thechapterinstallationceremonyandinitiatedWSCadministrators,faculty, president, wasthekeynotespeaker. PhiKappaRegentDr. NancyBlattnercon- quality ofstudentswhoattendWayne StateCollege.” chapter president.“CharteringaPhiKappaspeaksvolumesaboutthe lence acrossalldisciplinesoncampus,’’ saidDr. RandyBertolas,facultyadviserand W Wayne 299 InstallsChapter College State

A PhiKappamembersince1967,Dr. RichardCollings,Wayne StateCollege “We areproudtobeestablishinganhonorsocietythatrecognizesacademicexcel- The HonorSocietyofPhiKappaonThursday, August31,2006. ayne StateCollege(WSC)inWayne, Nebraska,became the299thchapterof Hill, Vaughn Benson,EddieElfers,DonHickey, andGlennKietzmann. row fromleft:JosephNitzke,KentBlaser, CurtFrye,DonovanConley, Kevin Engebretsen, JoAnnBondhus,MarilynMudge,andKatherineButler. Back Herling, MaryEttel,JeanKarlen,AnthonyKoyzis,MarilynCollings,Barbara Lisa Nelson,chaptersecretary. Centerrowfromleft:DanMiller, Lourdes Blattner, PhiKappaRegent;Tamara Worner, chaptervicepresident;and Randy Bertolas,chapterpresident;RichardCollings,WSCNancy lation ceremony. Frontrowfromleft:JeannineWriedt, chaptertreasurer; Wayne StateCollegefacultyandstaffattheAugust31,2006,chapterinstal- secretary displaytheWayne Statechaptercharter. Bertolas, chapterpresident;andLisaNelson, Nancy Blattner, PhiKappa PhiRegent;Randy the University of NewOrleans. Marsalis, anactive-for-life member oftheSociety, wasinducted byChapter116at Society tohonor Mr. Marsalisfollowing theconcertonSeptember 15,2006.Mr. The membersofChapter137 co-sponsoredareceptionwiththePerformingArts Jazz Festival—aweekenddevoted toconcerts,workshops,andspecialevents. Phi briefcase.Mr. Marsaliswastheheadlineartist forWestern’s annualAlSears presenting jazzgreatandPhi KappaPhimemberEllisMarsaliswitha Dr. StevenRock,presidentofChapter137,Western IllinoisUniversity, ispictured Western Honors IllinoisChapter Marsalis Chapter News F ALL 20 41 2006

Member Focus Chapter News continued

Fontbonne University Installs Chapter 298 of Phi Kappa Phi n August 30, 2006, Fontbonne University, St. Louis, Missouri, was installed as Othe 298th chapter of The Honor Society of Phi Kappa Phi. Fifteen charter mem- bers and thirteen new initiates were part of the ceremony. The new initiates included Fontbonne president Dennis Golden and previous winners of the Joan Goostree Excellence in Teaching Award. Dr. Golden stated, “The establishment of a Phi Kappa Phi chapter at Fontbonne is a visible sign of our continuing commitment to scholarly pursuits.” Fontbonne’s vice president and dean for academic affairs, Nancy Blattner (who also serves as Regent on the Phi Kappa Phi Board of Directors), said that “Fontbonne is honored to be among those elite institutions that recognize and award academic excellence through this honor society.” New chapter president Sharon McCaslin stated, “I am very pleased that we can offer our best students this nationally recognized honor.”

Back row, left to right: Fontbonne University President Dennis Golden and Phi Kappa Phi Executive Director Perry Snyder. Front row, left to right: Chapter President-Elect Joyce Starr Johnson, Chapter President Sharon McCaslin, and Vice President and Dean of Academic Affairs Nancy Blattner.

Front row, left to right: Lisa Ampleman, David Borgmeyer, Vice President and Dean of Academic Affairs Nancy Blattner, Chapter President Sharon McCaslin, Rebecca Foushee, and Janine Duncan. Back row, left to right: Elizabeth Rogers Fogt, Bill Rothwell, Ruth Irvine, and Chapter President-Elect Joyce Starr Johnson.

42 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 Phi Kappa Phi Bookshelf Stages of Evil: Occultism in Western Theater and Drama Robert Lima Stages of Evil addresses dramatic representations of the practices and ideology of the occult on both European and American stages, through plays whose dramatic origins span from the Ancient Greeks to modern times. Robert Lima uses the appearance of the occult on the Western stage to shed some light on mythological and religious beliefs in Western civilization. In so doing, he examines both the figures and themes of the occult and contextualizes them within the conscious- ness and history of Western civilization.

Robert Lima was inducted into the Duquesne University chapter of Phi Kappa Phi in 1984. On Combat: The Psychology and Physiology of Deadly Conflict in War and Peace Lt. Col. Dave Grossman, with Loren W. Christensen Based on ten years of research and thousands of interviews, compiling state-of-the- art information from a vast array of fields, On Combat teaches about the physiology of combat (the impact of fear on the human body), perceptual distortion in combat (for example, why warriors do not hear their shots in combat), the call to combat (what makes a warrior), and after the smoke clears (one of the best explanations of what PTSD is and how to prevent it). Required reading for all warriors (military, law enforcement, armed citizens) and for anyone who cares about, loves, or wants to understand warriors, combat, and human aggression.

Dave Grossman was inducted into the Arkansas State University chapter of Phi Kappa Phi in 1984. [See the Fall 2000 issue of the Forum on “Violence” for Col. Grossman’s article, “Teaching Kids to Kill,” pp. 10–14 — Ed.] Italy—My Beautiful Obsession: An American Italophile Falls in Love Arden Fowler Italy—My Beautiful Obsession is an informative, evocative, entertaining book of memories based on the author’s detailed and extensive travel diaries and notes. Experienced travelers and neophytes will find their love of Italy reinvigorated or awakened.

Arden Fowler was inducted into the University of South Florida chapter of Phi Kappa Phi in 1978. Sky Bridge Laura Pritchett Twenty-two-year-old Libby, supermarket clerk in a dying rural western town and a daydreamer with an artist’s eye, convinces her pregnant younger sister, Tess, not to have an abortion by promising that she herself will raise the child (a promise she does not expect to have to keep). When Tess leaves her with the baby after it is born, Libby finds herself overwhelmed by the task of caring for a infant. A PEN/USA West Award winner for Fiction for her 2001 book of short stories, Hell’s Bottom, Colorado, author Laura Pritchett in her debut novel reminds readers through Libby that choices about birth and abortion have consequences, often lonely ones.

Laura Pritchett was inducted into the Colorado State University chapter of Phi Kappa Phi in 1993. The Phi Kappa Phi Bookshelf is published as a service to its members. The views expressed in the publications featured are not necessarily those of staff or Board members of The Honor Society of Phi Kappa Phi. FALL 2006 43 Member News

Members Named to Tau Beta Pi Board of Directors JJonathanonathan FF.. KK.. EEarlearle and NNormanorman PPihih were named to the Board of Directors of the Tau Beta Pi Engineering Honor Society for the 2006–2010 term. Earle (University of Florida) is associ- ate dean for student affairs in the College of Engineering at the University of Florida, and Pih (University of Tennessee) is a liaison between the intellectual property and the research and development groups of W. L. Gore and Associates in Flagstaff, Arizona.

Hansen Elected President of National Association DDr.r. MMaryary MMincerincer HHansenansen, RN, PhD (Iowa State University), was elected to serve as president SUBMISSIONS of the Association of State and Territorial Health Officials (ASTHO) on September 13, 2006. Dr. Hansen is the director of the Iowa Department of Public Health. Dr. Hansen has exten- Member News sive experience as a health care professional and as an educator, researcher, and policy advi- sor at the state and national level. The ASTHO is the leading voice for state and territorial To submit a recent honor/achieve- health initiatives across the nation, supporting work on a wide range of state, national, and ment or career news, e-mail (kaetzjp@ global public health issues. auburn.edu) or mail a brief write-up and picture (if available) to: Member News Phi Kappa Phi Forum DDanielaniel AAglegle (Brigham Young University) rial Fellowship Foundation of Washington, 108 M. White Smith Hall, Mell Street was named a summer 2006 law clerk at D.C. The fellowship is awarded each year Auburn University, AL 36849-5306 Klinedinst PC in San Diego, California. to college graduates who aspire to teach Agle attends J. Reuben Clark Law School, American history, American government, Please include your name, member Brigham Young University. and social studies in the nation’s second- number, chapter in which you were ini- ary schools. Busbin is currently a graduate AAlili BBannwarthannwarth (University of Kansas) tiated, and your e-mail address and/or student in secondary education at Auburn was named a Woman of Distinction at telephone number. Any items submitted University. cannot be returned, and all submissions the University of Kansas (KU) and will be may not be included. featured on the fourth annual Women of AAssuantassuanta CCollinsollins (Fordham University) was Distinction calendar. Bannwarth is a first- the featured author at the 2006 Queens Phi Kappa Phi Bookshelf year law student at KU. Book Fair. Collins is a native New Yorker now residing in Atlanta, Georgia, where LLisaisa BBerenschoterenschot (University of Wisconsin- If you are an author and would like she is Director of Education for Clayton Stevens Point) was awarded a $500 Mary your work to be considered for inclu- State University and president of Asta Ann Baird Interior Architecture Scholarship sion in the “Bookshelf” segment of Publications, LLC. Her novel, Until Next for International Study by the Division Member Focus, please send a copy of Time, is about an ordinary woman, Sonia of Interior Architecture at the University the book along with a one-page syn- Marion, who is forced to deal with the tri- of Wisconsin-Stevens Point. She was one opsis to: als and tribulations of infidelity. of twenty-five students honored by the Phi Kappa Phi Bookshelf division as part of its year-end awards cer- LLeslieeslie CCookook (High Point University) was Phi Kappa Phi Forum emony. named the 2005–2006 Women’s Scholar- 108 M. White Smith Hall, Mell Street Athlete of the Year in the Big South GGeorgeeorge LL.. BBuckbeeuckbee, PhD (University of the Auburn University, AL 36849-5306 Conference. Cook was also named as an Pacific), former dean of the Conservatory ESPN The Magazine/CoSIDA Academic All submitted books will be added to of Music at the University of the Pacific, All-America Third Team selection for the the Phi Kappa Phi Library, housed at is currently serving as conductor of past season. the Society Headquarters. Svenskaoratorie Kören in Helsinki, Finland. Before that, he served as conductor of the SSteventeven MM.. CCramerramer, PhD, PE (University St. John’s Chamber Orchestra in Stockton, of Wisconsin-Madison), has been elect- California. ed chairman of ASTM International Committee D07 on Wood. The committee JJayay PP.. BBuenteuente (Purdue University) was includes approximately 275 members who selected in the 2006 major league Baseball are responsible for 116 standards related First-Year Player Draft on June 6. He was to timber, wood, and wood products. Dr. selected by the Florida Marlins in the four- Cramer is an associate dean for academic teenth round and is with their Class A New affairs and a professor of civil engineering York-Penn League in Jamestown, New at the University of Wisconsin-Madison. York. Mr. Buente will return to Purdue in the fall and graduate in December. PPaulaul JJ.. FFerlazzoerlazzo, PhD (Northern Arizona University), received the Faculty Advisor WWilliamilliam BBusbinusbin (Auburn University) Award from Northern Arizona University has been awarded the James Madison on April 10, 2006. The award is presented Fellowship by the James Madison memo- to a faculty member who has fulfilled,

44 PHI KAPPA PHI FORUM/VOL. 86, NO. 4 Member News continued in an extremely noteworthy manner, all VVarunarun KKhannahanna (Ohio State University) has responsibilities and duties as an advisor of just had his second film, American Blend, undergraduate and/or graduate students, screened in India. It was released in the in addition to maintaining regular assign- United States earlier this year. His first ments in teaching, scholarship, technology film, Beyond Honor, also was released development, or other assignments. The earlier in this year. award carries a $2,000 grant. Ferlazzo is

NNealeal KKurnurn (University of Arizona), Member Focus the National President of Phi Kappa Phi. attorney at Fennemore Craig, received MMeganegan GGoforthoforth (Morehead State the Outstanding Volunteer Fund Raiser University) has been awarded a award from the Greater Arizona Chapter $1,000 scholarship from the Kentucky of the Association of Fundraising Broadcasters Association for the 2006– Professionals. He is being recognized for 2007 academic year. An electronic media his commitment to the Phoenix com- major, Goforth also won Outstanding munity through volunteer work with the Achievement in Production and Highest Jewish Federation of Greater Phoenix, GPA Junior honors from the Department Jewish Community Foundation, Arizona of Communication and Theatre in spring Community Foundation, Banner Health of 2006. Foundation, University of Arizona, Children’s Action Alliance, Arizona JJuanuan RR.. GGuardiauardia, PhD (Iowa State Opera, and Arizona’s Leave a Legacy University), was hired as the Director initiative. of Multicultural Affairs at Florida State University in Tallahassee, Florida, JJuanitauanita SS.. LLambamb (University of Oklahoma) beginning August 2006. In addition, recently completed the Certified Internal Guardia graduated from Iowa State Auditor (CIA) examination. The CIA teaching professor emeritus of physics. University with a PhD in Educational exam reflects the current state of the art During his tenure at SUNY-Cortland, Leadership. His dissertation was in internal auditing and evaluates techni- Onello was recognized as an outstand- titled Nuestra identidad y experien- cal competence in important subject areas ing teacher who inspired many students cias (Our Identity and Experiences): related to auditing. to pursue physics in graduate school and Ethnic Identity Development of Latino acted as a role model for students plan- MMajorajor JJ.. DDarinarin LLoftisoftis (University of Fraternity Members at a Hispanic-Serving ning to teach at the secondary school Wyoming) was selected to become an Air Institution. level. He was promoted in 1996 by Force International Affairs Specialist and the SUNY Chancellor and the Board MMonicaonica GGuzmanuzman (Texas A&M has entered the National Security Affairs of Trustees to Distinguished Teaching International University) was awarded program at the Naval Postgraduate School Professor of Physics, the highest academic the George and Mary Josephine Hamman in Monterey, California. He is studying rank in the SUNY system. Scholarship by the University of Texas to be a South Asia regional specialist and Medical Branch (UTMB). The Hamman will enter the Pashto language program at AAlannalanna PPearlearl (University of Maryland, Scholarship is one of UTMB’s largest the Defense Language Institute in 2007. College Park) was named a summer 2006 endowed scholarships; it covers tuition, law clerk at Klinedinst PC in San Diego, JJamesames MMcCoycCoy, PhD (Pennsylvania State fees, textbooks, and room and board for California. Pearl attends the University of University), has been named the vice four years of medical education. San Diego Law School. provost for enrollment management at MMauriceaurice KKaufmanaufman, PhD (Northeastern Louisiana State University. The former MMaricelaricel QQuintana-Bakeruintana-Baker, University), is the author of a new book: vice president for enrollment management PhD (American University), The Literacy Tutor’s Handbook: A Guide at Xavier University (Cincinnati, Ohio), Senior Associate for for Planning, Assessment, and Instruction. McCoy will serve as the senior manage- Academic Affairs at the Kaufman is professor of education emeri- ment and enrollment strategist responsible State Council of Higher tus, Northeastern University. for attracting and retaining the nation’s Education for Virginia, top students. recently completed the Management DDarrelarrel JJ.. KKesler,esler, PhD Development Program (MDP) at the (University of Illinois), was EEvanvan RRichardichard NNealeal (University of Utah) Harvard Graduate School of Education in awarded the Paul A. Funk has received a Stanford University Cambridge, Massachusetts. The two-week Recognition Award for Graduate Fellowship worth $200,000. MDP is designed to prepare higher educa- Outstanding Achievement Neal, also a Phi Kappa Phi Fellowship tion faculty and administrators for critical and Major Contributions recipient, will pursue his master’s and PhD management challenges in their positions. to the Betterment of Agriculture, Natural in electrical engineering at Stanford. Quintana-Baker also holds a gubernato- Resources, and Human Systems by the JJosephoseph SS.. OOnellonello, PhD (State University rial appointment as a Commissioner for College of ACES, University of Illinois. of New York-Cortland), a distinguished Virginia’s Latino Advisory Board, where The University of Illinois also awarded teaching professor and member of the she serves on the Education Committee, Kesler with the Campus Award for State University of New York-Cortland co-chairs the Language Access Taskforce, Excellence in Advising Undergraduate Physics Department faculty for twenty- and has just launched the Virginia Latino Students. Both are premier awards at the two years, retired on August 31. He was Higher Education Network (VALHEN), a University of Illinois. awarded the designation of distinguished

FALL 2006 45 Member News continued

as Managing Director, Centers for the WWilliamilliam GGlennlenn WWalkeralker (University of West American Society of Mechanical Engineers Alabama) was named as the 2006–2007 in New York City and as an adjunct pro- Christian Educator of the Year by fessor in the Department of Mechanical, the Christian Educators Association Aerospace, and Manufacturing International. Walker teaches 9–12 grade project to identify Virginia higher educa- Engineering at Polytechnic University. He students at the Bibb County Career Tech tion faculty and administrators who work is also a registered professional engineer. Center Magnet School in West Blocton, with Latino students. Alabama, and is pastor of the Centreville PPamam SSternerterner (Colorado State University– GGeorgeeorge FF.. RRobersonoberson, United Methodist Church in Centreville, Pueblo) was instrumental in developing PhD (University of Alabama. the Stolen Valor Act (H.R. 3352) with Massachusetts–Amherst), Congressman John T. Salazar and Medal TThomashomas WW.. WWilliamsilliams, PhD (Colorado was awarded a PhD in of Honor Winner Peter Lemon; the act, State University), was named to the Geosciences in September which makes it a criminal offense to Technical Advisory Board of DAFCA, 2006. His dissertation, falsely claim to be a decorated veteran, Inc, the leading vendor of on-chip recon- a post-humanistic geographical study, passed the Senate in September. Sterner figurable debug infrastructure. He will is titled Worlds of Tangier, Morocco: performed extensive research into issues assist DAFCA executive management in Experiential, Narrative, and Place-Based of medal fraud as preparation for drafting the areas of technology strategy and mar- Perspectives. the bill. ket analysis. Dr. Williams is a Synopsys KKatherineatherine RRichardsonichardson, PhD (Alfred Fellow and was formerly the manager of JJamesames TTalton,alton, JJr.r. (East Carolina University), has been elected to a three- the VLSI Design for Testability Group at University), received the A. E. Finley year term on the Board of Trustees of IBM Microelectronics Division. Distinguished Service Award from Alfred University. Richardson is currently the Greater Raleigh (North Carolina) CChrishris YYandleandle (University of Louisiana- director and full professor at Clemson Chamber of Commerce on September 12, Lafayette) won the Wiley Smith University’s School of Material Science 2006. Talton, also a recipient of the East Postgraduate Scholarship for the and Engineering. Her BS, MSc, and PhD Carolina University Phi Kappa Phi chap- 2006–2007 academic year, one of two are all from Alfred University. ter’s Distinguished Alumni Award, is a postgraduate scholarships offered by the HHallieallie SSavageavage, PhD (Clarion long-time community service leader in the College Sports Information Directors of University), is serving as vice Greater Raleigh area. The Finley Award America (CoSIDA). Yandle is pursuing his president of the National is presented annually to a person who has master’s degree in athletic administration Collegiate Honors Council contributed time, talent, and service to the at Marshall University. Marshall’s 2006 for 2006. Savage is a profes- benefit of the community. softball media guide, designed and edited sor in the Communication by Yandle, earned best in District 2 hon- AAmymy TTayloraylor and JJosephoseph YYoungoung (Lamar Sciences and Disorders Department and ors from CoSIDA. University) both received a Plummer serves as Honors Program Director at Award as the top academic graduates at Clarion University. Lamar University’s August 2006 gradua- JJodieodie SSchoppmannchoppmann (State University of tion ceremony. Taylor earned a degree in New York-Potsdam), an All-American social work, and Young earned degrees in runner at SUNY-Potsdam, was selected as both electrical engineering and physics. the 2005 recipient of the SUNY Athletic DDavidavid AA.. TThomashomas, JD (Brigham Young Conference Dr. Dolores Bogard Award. University), was awarded the Rex E. Lee The award is presented annually to a Endowed Chair and Professorship in junior or senior with the best combina- Law. He has taught at Brigham Young tion of academic and athletic ability. since 1974; has been law school profes- Schoppmann is the first woman to receive sor of the year in 1998, 2000, and 2005; this honor. and has published numerous books and BBurturt SSmithmith, EdD (Oklahoma State articles on property law, legal history, and University), was awarded Oklahoma civil procedure. He is Phi Kappa Phi chap- Christian University’s 2006 Technology ter president at BYU. Award. The award recognizes innovative SStephentephen TTironeirone (Morehead State use of technology in the classroom. Smith University) had a bronze sculpture of has been asked to lead a campus-wide a United States marine unveiled on seminar for the faculty. He is an associate Memorial Day 2006 at the Marine Corps professor of business and is accredited in League Detachment 246, Staten Island, the areas of marketing and management. New York City. The sculpture pays trib- DDavidavid JJ.. SSoukupoukup (University of Tennessee) ute to Marines past, present, and future. earned his Certified Association Executive Tirone is a professor of art at Morehead credential from the American Society of State University, Morehead, Kentucky, and Association Executives. Less than five a former Marine. Stephen Tirone’s sculpture is unveiled percent of all association professionals Memorial Day 2006. have achieved this distinction. He serves

46 PHI KAPPA PHI FORUM/VOL. 86, NO. 4

Federal EmergencyManagementAgency. of NationalSecurityCoordination,U.S. Response SupportOrganization,Office soloists. instrumental andvoiceensemble also wroteconcertandsacredmusicfor State Universityfrom1957to1988.He music theoryandcompositionatOhio at ageeighty-four. Dr. Barnestaught University), passedawayonJuly2,2006, years. Technological Universityforthirty-eight veteran andtaughtforestryatMichigan nine. Dr. JohnsonwasaWorld War II on January26,2005,atageeighty- Technological University),passedaway 2006, atageeighty-four. Dr. Moseman University), passed awayonJuly24, nizations. very activeincivicandcommunity orga- retiring in1992.Mr. Lamaster wasalso He wasaneducatorforforty-four years, Escambia County(Pensacola,Florida). as ateacherandschooladministratorin career, Mr. Lamaster taughtandworked 2005, atageseventy-nine.Duringhis Alabama) passedawayonDecember13, County schoolsinBakersfield,California. Before thathewasateacherintheKern University from1966untilhisretirement. a professorofeducationatKansasState 18, 2005,atageseventy-three.Hausewas University), passedawayonDecember around theworld. ers studyinganimalandhumandiseases were invaluabletoolsforotherresearch- immune-mediated thyroiditisandobesity susceptibility toMarek’s diseaseandwith strains ofchickenswithresistanceor in poultryanatomyandgenetics.His 1973 afterfollowingalifelonginterest age ofninety-three.Dr. Coleretiredin passed awayJanuary26,2006,atthe Immunology atCornellUniversity, Department ofMicrobiologyand University), professoremeritus, MMarshall H.Barnes In Memoriam JJohn G.Moseman TThomas Lamaster VVernon W. Johnson RRichard G.Hause RRandall K.Cole o e h i a h c a r n o h n n r d m s a o

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B a r b e e (University (University her retirement. Economics atAuburnfrom1966until and alsotaughtintheDepartmentof degree ineconomicsatAuburnUniversity received bothabachelor’s andmaster’s 13, 2006,atageeighty-four. Ms.Sherling (Auburn University)passedawayonJuly 1988. Outstanding Teacher Award in1983 and the springof2006.Hereceived UT’s from 1967untilhisretirement in Mechanical andAerospaceEngineering of Tennessee’s (UT)Department of Dr. SpeckharttaughtintheUniversity September 6,2006,atagesixty-five. of Missouri-Rolla),passedawayon and strategicfinancialmarkets. econometrics, globalfinancialmarkets, years. Hededicatedhistimetoteaching University inNewYork Cityforeight Economics DepartmentatFordham an associateprofessorandchairofthe 2006, atagethirty-four. Dr. Reaglewas University), passedawayonJuly13, FFrank M.Speckhart AAbbye DorothyNormanSherling DDerrick P. Reagle do sodirectly. then-Soviet Union,thoughhecouldnot genetic informationtoascientistinthe scientist totransferplantmaterialand went sofarastoarrangeforaCanadian exchange ofknowledge,Dr. Moseman research projects.Dedicatedtothefree papers andcoordinatedinternational wrote morethanonehundredresearch studying thepeststhatinfectbarley. He research scientistwhospecializedin was aU.S.DepartmentofAgriculture r b e a r b n r y i k c e

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