Maintaining a Legacy of Success

By wpengine | October 30, 2002

Even if the players on the men’s hockey team didn’t wear names and numbers on their jerseys, nobody would have a problem picking senior defenseman Doug Murray out in a second.

His broad-shouldered, 6-3, 240-pound frame is unmistakable. But even if his build didn’t set him apart, his presence on the ice would.

Murray checks harder than a microbiology final and has a shot nastier than any fish you could throw at Harvard. He is the rare player that can change the pace of a game with one bone-rattling check or one rocket slap shot from the point.

When Doug Murray is on the ice, people pay attention. Whether they are in the stands, on the bench, or most importantly, on the ice, they pay attention.

Last season, Murray turned heads by playing in every game and putting up stats from the blue line that most forwards would be jealous of: 11 goals and 21 assists for a total of 32 points in 35 games. He also added 67 penalty minutes to those numbers.

Murray’s success last year on a team that cruised through the ECAC regular season, went to the conference finals, and the national quarterfinals earned him national attention. So much, in fact, that the national media tabbed him as one of 10 finalists for the Hobey Baker award, given to the nation’s top player.

To go along with that honor, Murray garnered numerous other awards, including — take a deep breath if you’re reading out loud — first team All-America, NCAA All-Tournament team, first team All-ECAC, ECAC All-Tournament team, Ivy League Player of the Year, first team All-Ivy, and team MVP.

Of course, Murray would put all of those accolades on the bottom shelf if it meant clearing space for championship trophies on the top.

“To be honest, I don’t feel extra pressure on myself. I feel extra pressure as a team to succeed. I couldn’t get any of those nominations if it wasn’t for the team,” he said. “I’m not a person who goes out there and wins by myself. Unless the team has a great year, it’s going to be tough for me to have a great year.”

Head coach Mike Schafer ’86 agrees that having a Hobey Baker winner on the team won’t be an individual accomplishment.

“If Doug is truly going to win that award, this team is going to have to go a long, long way,” Schafer said. “We’re going to have to go a long way for him to be showcased on a national level in order for people to see him.”

Murray enters this season as one of only two returning Hobey Baker finalists and a member of the preseason All-ECAC team. So how would his dream season play out?

“We would win the Ivy League, we would win the ECAC playoffs, and we would win the NCAAs,” he answered.

A true team player, Murray makes no mention of Mr. Baker or his award.

Douglas Thomas Lars Murray was born on March 12, 1980, and hails from Bromma, Sweden, a suburb of Stockholm. But to fully understand the Doug Murray story, you have to begin four centuries ago.

With the exception of his middle name, the name “Douglas Murray” doesn’t exactly sound as though it jumped from a page in the Stockholm phone book. Yet Murray is Swedish through and through.

“In the 1600s the first Murray came to Sweden, or at least the Murrays that I’m a part of, so I’ve been Swedish for 400 years.” Murray explained. “My middle name is Lars, so that’s pretty Swedish, and my mom’s maiden name is Bj

The Jazz Issue

By wpengine October 31, 2002

There have been numerous books about it. There have been hundreds of clubs dedicated to its propogation and performance. There have been philosophical debates about its meanings and about its creation. There have been countless cultural ramifications from it’s presence. And yet, though the evidence of Jazz as a music and a culture are everywhere, trying to define “Jazz” is like trying to touch the sun — it’s an admirable, if impossible dream. And in 2002, the term Jazz is as loaded as ever, though the connotations connected to the word seem to have changed. Once, according to some sources, the word was closely associated with a slang term for intercourse, “Jass.” Today, the word itself seems to conjure images of stuffy old men who debate the superiority of various Miles Davis albums. And while the cannonization of Jazz has, indeed, isolated artists who were probably deserving of more recognition that they ultimately recieve, there are positive effects as well. Perhaps the most obvoius result is that there has been extensive research into the history, the musicology, and the anthropology behind this great music. Culturally, Jazz has given many African American musicians a door into the entertainment world, a business that for the majority of last century (and into today) had a notorious reputation as a closed industry. And, as Jazz has much in common with several indigenous African musics, African-American artists were able to bring African musical elements into the view of mainstream America. But that was just the beginning. To this day, musicologist and historians argue where the music truly evolved. Perhaps the most popular answer is New Orleans. Known for it’s unique style of Jazz and it’s long history of live performance, New Orleans is probably too simple an answer to the question of Jazz’s origin. Others will argue that Jazz came from the Midwest. And though this question may never be answered concretely, the truth is that some great musicians came out of both areas. As a music, Jazz has moved from the porches of the south and the midwest to the dance floors of New York City’s big band ballrooms and into the basements of Greenwich village apartment buildings. It has had various zeniths in popular opinion and parallel dips when Jazz seemed to die out or fade. Yet, all the while, the music has grown and changed, bringing forth some of the most talented composers and musicians this country (and, indeed, the world) has ever seen. But because the music is so varied and the performers so vastly different from one another, Jazz has generally been broken down into several sub-categories. And though from a historical context, this makes the progression and evolution of the music more manageable, this histographical manipulation of the music is misleading. Indeed, the story of Jazz is long and convoluted. The term transcends any purely musical domain. And it is this fact that creates much of its enigma. How is it that so many vastly disparate musicians can all be lumped under one genre? Is the categorization dead? Well, jazz never really was a ‘genre,’ per se. Saying a band plays Jazz says more about the artists’ approach than anything resembling a definition of their sound. And for this reason, we can call both Herbie Hancock and Medeski, Martin, and Wood Jazz. These artists are mentioned together for a more pointed reason. Both have recently visited Ithaca, namely the beautiful State Theatre, to bestow their respective interpretations of that thing we call Jazz. In case you’re not familiar with either, we provide the lowdown on the “Father of Fusion” and the new innovators of the Jazz community. Herbie Hancock Born: April 12, 1940 Born Herbert Jeffrey Hancock, Herbie became a jazz luminary beginning with his inclusion in Miles Davis’ early ensembles. As a young and virtuosic pianist, Hancock worked with the likes of Tony Williams and Wayne Shorter early in his carreer. He went on to gain acclaim in Jazz forms like Post-bop and Modal Jazz. But what he’s perhaps best known for is his influence in what became known as Fusion. His album Head Hunters was an enormous departure from his earlier work and marked him as one of the music’s most important and creative icons. On October 26, Hancock gave a performance at Ithaca’s own State Theatre. Selected Discography: Maiden Voyage (1965) ; Mwandishi (1970) ; Head Hunters (1973) ; V.S.O.P. Quintet (1977) ; Future Shock (1983) ; Future 2 Future (2001) Medeski Martin and Wood Formed: 1992 John Medeski, Billy Martin, and Chris Wood emerged from the avant-garde downtown NYC scene of the early ’90s to gain recognition as the leaders of latest front of groove-based improvisers, along with Sex Mob and the Lounge Lizards. On It’s A Jungle In Here, the trio made explicit both their respect for their Jazz roots and their desire to stir things up by pairing Thelonius Monk’s “Bemsha Swing” and Bob Marley’s “Lively Up Yourself.” The group’s sound has gradually veered toward some of their more exploratory interests. Collaborations with Vernon Reid and DJ Logic provided a new definition for “Fusion.” They performed at the State Theatre on October 30. Selected Discography: Notes From Underground (1992) ; It’s A Jungle In Here (1993) Shack Man (1996) ; Uninvisible (2002)Archived article by Thea Brown
Gotta Have It

By wpengine October 31, 2002

Today may already be Halloween, but there’s still time left to put together a spook-tacular costume. Whether you scare the ish out of your friends or just make small children pity your incompetence, don’t forget that the only thing worse than a bad costume is no costume at all. Since we’re working with a deadline here, most of these costumes are do-it-yourself and require more imagination than money. Don’t be afraid to expand and improvise upon the themes set forth below. Just remember that pretending to be a shaky Michael J. Fox doesn’t mean you’re funny, it means you’re going to hell where you belong. The Leaky Pen People may hate you when you ruin their pants, but at least they’ll have to tip their hat to your original concept. Here’s what you do: wrap plastic wrap or trash bags around your body, find a funnel or similar pointy device to make your ballpoint hat, and cover yourself with some type of ink. You can use real ink or you could make your own out of a variety of liquids, including but not limited to: motor oil, maple syrup, honey, and corn syrup. You may have to add some food coloring to get the tint you are after, but after some trial and error you will be able to piss people off by the dozens. The Blind Barber Patron This one requires a little bit of dedication mixed with a whole lot of desperation. All you need is a pair of scissors. That’s it — no mirror, nothing. Turn out the lights and go to town. This works best if your hair is over an inch long and if you are a girl. I recommend waiting to make your “costume” until it is absolutely necessary. This will increase the surprise factor considerably and prevent people from thinking you have emotional problems. A variation on this costume would be the “Out of Date Hairstyle.” Some ideas for your consideration: lines shaved in the sides, numbers, letters, or symbols shaved into the back of your head, and any type of rat tail you can muster. Poor Hygiene Some of you will be able to pull this off without much work at all. For those of us who shower at least weekly, only a few minor steps need to be taken. First, spill food (preferably items that gets crusty) on some old clothes. Then, put some petroleum jelly in your hair and on your face so it looks like you’ve been up for three days straight. Next, put some peanut butter in your ears to simulate months of wax buildup. Then, put a little baby powder in your hair and on your shoulders to serve as dandruff. Finally, for instant halitosis, eat some cottage cheese and wash it down with orange juice. Gross, but tremendously effective. For Folks in a Hurry: Impacted Wisdom Teeth Get two ping-pong balls and put them in your cheeks. Then, get some kind of ice pack (even frozen vegetables will work). Done. And if you want to make it “spooky,” just put some ketchup around your mouth. Rabies Buy a few packs of Alka-Seltzer, cut a hole in your pants or shirt, and wipe on some blood (ketchup) to simulate an animal bite. Periodically, chomp on some of the tablets and run around like a three-legged dog in heat. Sleazy Photographer Buy a disposable camera or two and just walk around shouting to people that they have “it” and/or “the look.” Then, tell them that all you need to do is go back to your studio and take a few test shots. A star is born. My Costume As for me, it’s between Nick Nolte and Gary Busey. As soon as I can decide which one is more insane, I’ll let you know. Archived article by Adam Matthews