March 6, 2002
M. Lax Edges Local Foe Colgate, 10-9
| March 6, 2002
Neither coaching staff, veterans or rookies alike seemed to expect what the Cornell men’s lacrosse team found at Colgate’s Tyler’s Field yesterday. And that was a hard fought battle. The Raiders (0-2, 0-0 Patriot) almost matched the Red goal-for-goal as Cornell (1-1, 0-0 Ivy) eked out a narrow 10-9 victory.
“Every time Colgate and Cornell face each other its a tough battle because of the upstate rivalry. And they came ready to play,” junior tri-captain Ryan McClay said. However, the Raiders provided a larger challenge than the team that lost 18-7 on Schoellkopf Field last year.
“I don’t think we expected it to be this close. Some of the shots for us didn’t drop and we just hung on,” McClay added.
Freshman Sean Greenhalgh scored twice in the first and fourth quarters and notched another goal in the second as Cornell outchanced Colgate, 19 shots on goal to 12. A faulty scouting report on Raider netminder Chris Hettler sorely hurt the Red.
Thinking that Hettler’s weakness was high, the Red sent balls into the upper fourth of the cage. But Hettler proved skilled in taking away the top of the cage, and the lower part as well. He had 18 saves on the day. Senior Justin Cynar had four.
“After he started making saves, everyone was getting uptight and we kept on shooting high, and that’s where he is strong,” Greenhalgh said.
“It’s not often that an opposing goalie outplays Justin Cynar, but I would say today that guy he certain
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March 7, 2002
From the same overindulging nation that brought you the Super-Sized Extra Value Meal and Police Academies 2-7, we now have the King-Sized Grammys. The 44th annual installment of the awards, presented by the Recording Academy, took place Wednesday at Los Angeles’s Staples Center, which normally hosts Lakers games. But in place of massive forward Shaquille O’Neal, a very diminutive white man directed the evening’s affairs. The Daily Show’s Jon Stewart hosted the ceremony, which, after three and a half hours, ultimately lost its focus of award-presenting and turned out to be a star-studded swashbuckling concert. Although the Academy gave out 101 little golden phonographs, only 12 winners were announced during CBS’s televised show. The music itself dominated the night: 17 performances, many involving collaborations among multiple artists, kept the monstrous crowd entertained. This year’s Grammys were especially diverse, representing an extraordinarily broad range of music, from hip-hop to, well, whatever one might call that type of music that the Dave Matthews Band plays. The night’s biggest winners were 21-year-old sensation Alicia Keys, trustworthy U2, and the roots music-centered soundtrack for the Coen brothers’ film O’ Brother, Where Art Thou? Although the subdued attire was left behind after the Emmys (Lil’ Kim was true to her exhibitionist self and Kid Rock embodied class in a Coors t-shirt and jeans), a significant amount of post-9/11 spirit still resonated throughout the Grammys. Alan Jackson sang “Where Were You (When the World Stopped Turning)” before a backdrop of collected children’s drawings illustrating their images of post-attack America. Tony Bennet and Billy Joel offered up a classy and much less heart-wrenching version of “New York State of Mind” than Joel sang at the Telethon for America. A gospel segment by Al Green, Brian McNight and CeCe Winans (with a little help from the Love Fellowship Tabernacle Choir and the New Christ Memorial Church Choir) closed the night, but not before raising the crowd to its feet with a spiritually charged performance of “Lord Lift Me Up.” Latin culture also spiced up the evening’s flavor: Stewart gave special mention to several Latin Grammy winners, Destiny’s Child (singing in Spanish and English) joined Alejandro Sanz to sing “Quisiera Ser,” and Alicia Keys steamed things up by dancing the tango to her song “A Woman’s Worth.” Bluegrass and roots music garnered more attention than in previous years as the soundtrack to O Brother where Art Thou? collected award after award. One performance excerpted three of the film’s songs, and proved to America that it is Pat Enright and not George Clooney that sings “I Am A Man of Constant Sorrow.” The collection, which features tracks from Emmylou Harris, Alison Krauss, Gillian Welch, and Ralph Stanley, also won Album of the Year and T Bone Burnett Producer of the Year. And what would the night have been without a little gitchie-gitchie ya ya da da? The ladies of the Moulin Rouge (Christina Aguilera, Mya, Pink, and Lil’ Kim) actually waited until about halfway through their performance before stripping down to their skivvies. Their performance reached a climax with some high-pitched wailing from Patty LaBelle and then was capped off as the foxy ladies were handed the award for Pop Collaboration with Vocals. Alicia Keys tied Lauryn Hill (who won in 1999 for The Miseducation of Lauryn Hill) for most Grammys won by a female artist. Keys took home five trophies, including Song of the Year, Best Female R&B Performance and Best R&B Song for the “Fallin’,” as well as Best New Artist and Best R&B Album for her hugely successful Songs in A Minor. Although creatively-named India.Arie was nominated seven times for her album Acoustic Soul, she left empty-handed. U2 capped off a thrilling year by winning four awards, including Record of the Year win for “Walk On,” Best Rock Album for All That You Can’t Leave Behind, Best Pop Vocal Performance by a Duo or Group for “Stuck in a Moment You Can’t Get out Of,” and Best Rock Vocal Performance by a Duo or Group for “Elevation.” The night’s acceptance speeches were largely cliched and filled with boring references to record company execs and producers, although there were a few exciting moments. Nelly Furtado whooped it up like a sports fan, and U2 took a moment to remind the country that they’re not Americans. After the band received its first award of the night for “Walk On,” Bono announced that “being Irish, if you get eight nominations and no awards, they wouldn’t let you back in the country, so this is a public-safety issue.” The group ended up with four statuettes — does that perhaps merit them an Ireland work visa? Jon Stewart was his usual self-deprecating self, but he managed to, at the very least, meet the laugh quota for an awards show host, first by setting off a metal detector as he walked out on stage, and finally by noting that although citizens of Afghanistan have only been allowed to listen to music for a few months, they are already sick of Creed. There was a notable lull in the momentum of the ceremony as Academy President Michael Greene took a moment to remind everyone (that was still watching) that Internet music piracy is bad and that Academy President speeches are infallibly boring. The 44th annual Grammy Awards did end up seeming a bit overblown, but then again, the Grammys are always a little confusing anyway. What’s the difference between a Traditional Pop Vocal album and a Pop Vocal Album? Where is the fine line between Hard Rock and Metal? And what’s with all the collaborations? The Academy gave out awards for Best Rap/Sung Collaboration, Best Country collaboration, Best Rock Gospel Album — what’s next? Best Engineered Rock Country Gospel Classical Album performed by a Small Ensemble? It doesn’t matter. As long as we’ve got thousands of people crammed into a sports arena named after an office-supply store, a bureaucrat reminding us not to break the law, and curvy pop stars prancing around in their underwear, we know it’s still the American way.Archived article by Julia Ramey
March 7, 2002
Last Thursday night, over 500 people gathered for a sold-out funk festival at the Haunt, put on by Parliament-Funkadelic off-shoots DRUGS, Kidd Funkadelic, and 420 FM with special guest George Clinton. Throughout the night, concert-goers packed shoulder to shoulder and shook the small, hot, upstate-backward space of the Haunt as they got down to each of the three conglomerate bands’ slightly different take on the classic P-Funk style. The mighty father of all Funkadelia, George Clinton, presided over the celebrations and performed with the headlining act, 420 FM. Although Clinton’s electric and legendary stage presence was the high point of the concert, DRUGS and Kidd Funkadelic played their individual blends of earthy jam-rock, also inciting a fury of dance from the audience. From about 9:30 until past 2:00 in the morning, the three bands played glorious funk, which inspired a tremendous amount of energy from the audience. However, the bands ultimately fell just short of the Parliament-Funkadelic benchmark. Taking the stage first, DRUGS set a high standard of funkability for the other two bands to follow. After a few minutes of asking the house DJ to turn down the lights and the background music, DRUGS began their set with their personal introductions and a gradually building jam that led into the boisterous groove of the song “Deep Down in the Dumps,” from their only album, The Prescription for Mis-America (www.420Tripfest.com). DRUGS consists of three P-Funk members — Clip Payne (vocals), Lige Curry (bass), and the often diaper-clad Gary “Star Child” Shider (rhythm guitar) — and four Woodstock musicians — Adam Widoff (lead guitar), Robert “Chicken” Burke (drums), and Jeremy Bernstein (guitar). To top it off, the Philadelphia-born Stephanie McKay provided her proud, sweet voice as the hook on most the songs. From the mellow lows of sweet funk jams, such as “Strung Out,” to the excited highs of boastful funk-rock (“Never Ever”), this mix of Parliament-Funkadelic members and upstate New York talent played with great cohesion and skill. As DRUGS left the stage, the sweating guy with the eccentric dance behind me exclaimed, “Man, if that’s just the opening band, I can’t wait to hear the rest!” Next, Kidd Funkadelic took the stage. A three-man ensemble, they fused metal and funk in a rock-out performance. Michael Hampton, a.k.a. Kidd Funkadelic, played blazing guitar riffs in his personal amalgam of psychedelic, Hendrix-influenced rock and the early, heavy funk of Funkadelic. Gabe Gonzalez (drums) and Eli Ward (bass) joined Hampton in funk-metal jams, including “Maggot Brain” and a compelling cover of Hendrix’s “Machine Gun.” While Ward played bass and sang into a Frampton-like voice modifier, and Gonzalez aggressively beat hard-rock rhythms, Hampton shook his long, braided hair in time with his guitar solos. Although Kidd Funkadelic funked hard, they did not play for long, and 420FM with George Clinton would take the stage soon. As a small mob of musicians and roadies prepared for the performance of 420 FM, the audience eagerly awaited George Clinton’s appearance. Minutes later, 420 FM ran onstage to begin their first song “Nuthin’ Before Me But Thang.” As a massive group, including members of DRUGS and Kidd Funkadelic, 420 FM quickly created a deeply woven fabric of funk layers. Clip Payne (the MC/vocalist) explained that “this  is the off-days from touring with Parliament-Funkadelic, these days are the days we play with out friends.” The band is fleshed out by Lige Curry, Kidd Funkadelic, Gabe Gonzalez, Amp Fiddler (keyboard), and Gary Shiderjust, to name a few. Just when 420 settled into their first groove, George Clinton emerged onstage with an overwhelming, ecstatic explosion from the audience. Clinton, surrounded in his aura of pure, unadulterated funk, held the audience in the palm of his hand through call and response jams, P-Funk cheers, and ridiculous dances. The concert-goers went wild to Clinton’s voice and constant gestures, as 420 funked through the ages of Parliament-Funkadelic songs. Singing along with George Clinton and Clip Payne, through the choruses of “Dr. Funkenstein,” “Swing Down Sweet Chariot,” and “P-Funk (Wants to Get Funked Up),” the audience poured out their energy to the 420 grooves. George Clinton walked hurriedly about the stage, encouraging the 420 performers and the audience alike with his cheers of “Shit! God Damn! Get off your ass and Jam!” and “If you ain’t gonna get it on, take your dead ass home!” Stepping off-stage for a soulful, 420 song, George soon returned, wearing a purplish blue robe to sing a virtual encore of an all-out bluesy funk epic. Clinton had captivated the hearts of the entire audience with his every move. Clinton and 420 FM played glorious funk that brought the audience into frenzied dance late into night. Although the 420, Kidd Funkadelic, and DRUGS were a bit too loose — not as tight as the full assemblage of Parliament-Funkadelic — all of these bands skillfully brought the audience into an all-consuming orgy of funk. Archived article by Andrew Gilman