Continuing Tradition

By wpengine | October 30, 2002

The folks at the American Heritage Dictionary define the word stingy as “giving or spending reluctantly.” In the next edition, they might want to think about putting a picture of the men’s hockey team’s defensemen next to the entry.

The Cornell defensive unit certainly was reluctant to give opposing offenses goals last season, surrendering just 63 in 35 games, or 1.80 goals per game. The Red was second in the nation only to Michigan State in that category.

Brian McMeekin ’02 was the epitome of defense for Cornell last year, and was accordingly honored by the ECAC as the conference’s best defensive defenseman.

Although his offensive contribution was minimal, his presence on the blue line was immeasurable. A ninth-round pick of the St. Louis Blues in 1999, he earned the Cornell Hockey Association award last season, given to the player whose contribution to the team is not apparent in the box scores.

“We lost Brian McMeekin, which is a big loss, and Brian was a great defensive defenseman, [He had] very good size and skating skills. He played the position very well.” said head coach Mike Schafer ’86.

Fortunately for Schafer, the rest of his defensive unit is back this year, and it brings the experience of a successful season with it.

Leading the way is 6-3, 240-pound senior captain Doug Murray, a vicious hitter who also boasts a laser-like slap shot. Murray ranked fifth in the nation among defensemen in points per game (32 points in 35 games) and was a finalist for the Hobey Baker award. Those 32 points were also the highest total of any ECAC defenseman.

Senior Mark McRae, who was taken by the Atlanta Thrashers in the ninth round of the 2000 draft, posted stellar offensive numbers as well last season, notching eight goals and 22 assists. His 30 points in 35 games ranked 10th in the nation in points per game for defensemen. McRae was also a second team All-ECAC selection as well as an academic All-American.

Rounding out the returnees from last year’s defensive unit are senior Travis Bell and sophomores Charlie Cook and Jeremy Downs.

Bell, who’s listed at 5-9, 195 pounds, isn’t the most feared weapon on the ice, but he secured a spot in the starting lineup early last season and justified Schafer’s decision to keep him there with his steady defensive play. However, Bell also scored his first three collegiate goals last season, all of them clutch markers.

Cook and Downs both played in every game last season as freshmen and also showed they belonged on the country’s second-best defensive team.

“Jeremy Downs and Charlie Cook obviously have more experience than they had last year coming into the season, and they were basically in our top four defensemen last year,” said Schafer.

Junior Ben Wallace played in only five games last season, but he is a leading candidate to step up and fill the hole in the starting six left by McMeekin.

“We have Ben Wallace, who was out of the lineup last year, who’s a real good defensive defenseman as well,” said Murray. “We have a freshman coming in, Jon Gleed, who’s looking really good out there too.”

The 6-2, 200-pound Gleed played his junior hockey for the Brampton Capitals, the same team the McRaes played for, and Mark praised the freshman after doing a background check.

“Everyone I talked to said that he is a very solid defenseman, so I’m really looking forward to seeing him play this year,” said McRae.

Although six returning defensemen have game experience, only Murray and McRae are firmly set in the starting six this season. Cook and Downs will likely see the same playing time they did last season, but they will be pushed by Bell, Wallace, and Gleed, who will also be competing for the last two spots.

“Ben Wallace has played very well, Jon Gleed’s played very well, and Travis Bell’s played very well, so there’s a lot of competition amongst them,” said Schafer.

Archived article by Alex Fineman

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