By
You probably wouldn’t know it by reading our articles, but here at daze, we value the opinions of our readers. Of course, after publishing many substandard and offensive articles and receiving zero letters, we thought there might be some miscommunication. So, if you hate us, love us, or are seeking a date/restraining order from one or both of us, please let us know. To the Editor: I generally enjoy reading The Sun, so it is with great disappointment and disgust that I respond to an article included in Thursday’s red letter daze (“Private Lessons,” April 15, 2004) The text of the article, which was a review of a sex technique book, fell within the realm — although perhaps on the shady side — of standard college newspaper fare. But the pictures were a completely different story. Reproduced from the book itself, the cartoons explicitly depicted various sex acts, including fellatio. While sexually lenient college students may be unconcerned by this, they are not the only readers of The Sun; many other students, alumni, professors, community members, and even the younger siblings of Cornellians read the paper and find such images inappropriate and offensive. This gross departure from journalistic decency and professionalism is inexcusable for any newspaper, college or otherwise. I believe that The Sun’s writers are capable of a higher standard. It is our responsibility, as readers, to hold them to it. Diane Gabl ’05 Archived article by Alex Linhardt and Zach Jones
By
Have no illusions. Trey Anastasio’s new solo release is nothing like what might be expected. In the place of Phish’s characteristic jazz-jam, improvisational style, Seis De Mayo presents seven fully instrumental orchestral arrangements. A bold project, the new album testifies resoundingly to Trey’s outstanding musicianship and his unique musical vision. But still, buyers (especially you dedicated Phish fans) beware. The new album is unfamiliar and atypical. Luckily, it is these things in a brilliant, expansive way. So beware. But buy nonetheless. Lyric-less, jam-less, and almost Trey-less, what Seis De Mayo purports to do is turn rock into symphony — in the most literal way. The album is composed of rock songs re-scored, re-arranged, and returned as grandiose, almost inaccessible orchestral tunes. Although Trey wrote all of the tracks on the new album (which undoubtedly is a feat in its own right), he plays guitar on only two, the eccentric opening tune “Andre the Giant” and the acoustic reinterpretation of “Inlaw Josie Wales.” While Trey’s jazzy, inspired guitar playing is missed on the new album, Phish-style guitar (and bass and drums for that matter) would sound awkwardly misplaced on the characteristically string-based album. The string sound that makes the album distinct and unusual is also what makes it feel so smart, so atmospheric. On “Inlaw Josie Wales” and “All Things Reconsidered” (an apt title to say the least), Trey showcases the Ying Quartet, a group working on a project called LifeMusic, sponsored by the Institute for American Music, that commissions American string quartets. The Vermont Youth Orchestra, with percussionist Cyro Baptista, joins Trey on “Prologue,” an ethereal, melodious composition that jumps and darts and feels fluttery but masterful. Troy Peters conducts this group, who originally performed the album’s final track and irrefutable climax, “Guyute,” in its orchestral version in February of 2001. Irrefutable, indeed. “Guyute” is Trey’s opus, his masterpiece on Seis De Mayo. The song is a wordless story, colored by haunting instrumentals that shift and sway between light, airy moments — complete with triangle dings and lilting trumpets — and moody, blasting ones. This time performed by SEATTLEMUSIC Group but conducted again by Troy Peters, “Guyute” represents song re-thought: it teems with movement, with charisma, with personality. It’s an opus, a huge work, a full and exciting drama, and, on top of all that, it’s an unarguable success. All in all, Seis De Mayo is triumphant in an unexpected way. With the new album, there is a sense that Trey is onto something bigger than Phish — which, then, must be quite big. He seems to have graduated from a singer/songwriter to a full-blown composer, a mad, inspired craftsman with talents so vast that his first official attempt at symphony is nearly flawless. Archived article by Lynne FeeleyRed Letter Daze Staff Writer