New Look Spikers Rout Colgate

By wpengine | October 30, 2002

The women’s volleyball team destroyed Colgate last night in the Red’s last regular season match and only took three games to do so.

Needing a boost from a disappointing weekend, Cornell (13-7, 5-3 Ivy) wasted no time taking out the Raiders (3-20, 2-7 Patriot) 30-17, 30-22, 30-8.

“Our goal was basically to get refocused and remotivated to step it up for our last Ivy matches. We just wanted to play solid so we could get the confidence we need to get the bigger Ivy League wins,” junior outside hitter Debbie Quibell said of the match.

“We wanted to come out strongly because you don’t want to underestimate any team. You don’t want to take that risk,” freshman setter Whitney Fair commented. “We wanted to prove that we could still play well after the weekend.”

In the first game, Cornell used .233 hitting to pull in front. It was aided by the Raiders own offensive woes as it committed eight errors and only landed four kills for a -.160 hitting percentage.

Game two saw a surge from the Raiders as it improved to hit .194. Unfortunately for Colgate, the Red also improved to hit .472 with only four errors.

“We kind of let them come in a little bit, but we pushed through and beat them,” Fair said of game two. “No one was worried that we would lose that match.”

Apparently the Raiders had used the last of its talent in the opening frames of the match. The third game featured an uncanny .700 hitting from the Red with only one error, while Colgate limped through on -.261 hitting with 10 errors and only four kills.

“We were pretty focused from the start and we set the pace of the match,” Quibell summarized. “They weren’t very strong, but we didn’t drop to their level and that is what we were most proud of.”

As a team, the Raiders hit -.051 in the match and had no player in double digits for kills or for digs.

Cornell, on the other hand, hit .442 with 10.5 team blocks. Quibell led the Red with 11 kills, 12 digs and three service aces on .368 hitting. Junior middle blocker Ashely Stover had eight kills while freshman middle blocker/outside hitter Heather Young notched 10 kills. Junior setter Rachel Rice had 29 assists and Fair had 10, as she relieved Rice in the third game.

This match was useful for the Red not only to regain confidence but also to try out a new offense that the team is preparing to use in the second half of the Ivy season.

“[The match] helped us to test out our new offensive and see if it could be successful,” Fair explained. “It enables you to run more complicated and faster plays, and it is harder to block against because the opponent doesn’t know where you are coming from.”

Quibell also mentioned the value of this match in assessing the potential for the offensive plan.

“It is going to give us the edge that we need to beat [the Ivy teams]. No one gets film from this point of the season on and that’s why we saved [the offense] till now,” she said. “A lot of [Ivy] teams don’t have any where to go from now, and that we can come up with a totally different team will throw them off completely.”

Cornell will be back in action this Friday and Saturday as it travels to Penn and Princeton for a pair of crucial Ivy matches.

“We just have to win them all at this point and keep on winning to have a chance at the Ivy title,” Fair ended.

Archived article by Katherine Granish

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