Academic literature on the topic 'Men of the Deeps (Musical group)'
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Journal articles on the topic "Men of the Deeps (Musical group)"
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Bailey, Betty A., and Jane W. Davidson. "Adaptive Characteristics of Group Singing: Perceptions from Members of a Choir Forhomeless Men." Musicae Scientiae 6, no. 2 (September 2002): 221–56. http://dx.doi.org/10.1177/102986490200600206.
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There is considerable evidence to suggest that music has adaptive characteristics. Individuals use recorded music to transform the emotional landscape to coincide with transitory needs and desires. Also, music has frequently been reported to provoke uncommon emotional and physical reactions often referred to as peak experiences. In many cultures, that have limited industrial and technological development, active participation in musical activities is pervasive and all individuals are considered musical. In contrast, the musical elitism that has evolved in the Western world intimates that musical ability is specific to a talented minority. The elitist notion of musicality restricts the majority to procurers of rather than producers of music. However, experimental and theoretical sources indicate that music is an innate and universal ability and, therefore, active participation in music may have adaptive characteristics at many levels of proficiency. Positive life transformations that occurred for members of a choir for homeless men, since joining the choir, provided an opportunity to determine if group singing was a factor in promoting adaptive behaviour. A phenomenological approach utilizing a semi-structured interview wasemployed to explore the choristers' group singing experience. Analysis of the interviews indicated that group singing appears positively to influence emotional, social and cognitive processes. The choristers' perceptions of the adaptive characteristics of group singing fell within four principal categories: clinical-type benefits, benefits derived from audience-choir reciprocity, benefits associated with group process and benefits related tomental engagement. Active participation in singing may act to alleviate depression, increase self-esteem, improve social interaction skills and induce cognitive stimulation. The themes adhere to the tenets of flow theory which advocate the importance of mental stimulation and social interaction in increased life satisfaction. The emergent themes provide a preliminary basis for the development of a theory of the adaptive characteristics of group singing and also provide a framework for further investigation in this area.
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Söderman, Emma, and Anna Lundberg. "”Du förstår, men du förstår ingenting.”." Socialvetenskaplig tidskrift 27, no. 3-4 (April 22, 2021): 291–308. http://dx.doi.org/10.3384/svt.2020.27.3-4.3666.
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In the following article, based on two years of participatory ethnographic fieldwork with the No Border musical, as well as interviews with 16 of the musical’s 30 participants, community theatre is investigated in a context of deportability. We analyse the working process in the theatre group, in which actors with and without resident permits participated, through the concept of politics of translation. We show how inequalities due to the constant threat of deportation for several members were brought to the forefront during the work process of creating the musical. It concerned risks of detection for the undocumented participants as well difficult living conditions related to deportability (for example insecure access to livelihood, healthcare, housing etc.). The article conceptualizes various dimensions of working together in a group where participants live in unequal conditions as a politics of translation. This concept includes the work of language translation, and also captures translations of the different experiences mentioned above, and how different positions of power can be handled and understood, within a group with the ambition to work together, in this case on a theatrical performance. Our analysis shows how theatre in a context of asylum rights activism can challenge and create alternatives to the conditions of deportability, while these simultaneously condition the activism and translation. The article contributes to knowledge about mobilization in the context of vulnerability and inequality. We hope to also contribute to a development of critical social work both within and outside academia.
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Kazimov A.G., Kazimova L.A., and Aliyeva D.M. "Psychophysiological correlates of musical therapeutic influences at young men with neurotic frustration." NATIONAL JOURNAL OF NEUROLOGY 7, no. 1 (May 19, 2021): 46–51. http://dx.doi.org/10.28942/nnj.v7i1.318.
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Research of age-related features in psychophysiological parameters dynamics under procedures of medical resonance therapeutic music (МРТМ) at practically healthy young men of 15-18 years and young men of the same age group with neurotic frustration was carried out. Procedures МРТМ made taking into account individual preferences in musical fragments, possess expressed аnti stress effects. Effects of МРТМ in essential degree are defined by individual preferences in musical fragments surveyed in a choice, and, on the other hand - depend on age and individual and typologicalfeatures of recipients.
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Kazimov, A. G., L. A. Kazimova, D. M. Aliyeva, and X. I. Hasanov. "PSYCHOPHYSIOLOGICAL CORRELATES OF MUSICAL THERAPEUTIC INFLUENCES AT YOUNG MEN WITH NEUROTIC FRUSTRATION." National Journal of Neurology 1, no. 07 (July 30, 2015): 46–51. http://dx.doi.org/10.61788/njn.v1i15.08.
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Research of age-related features in psychophysiological parameters dynamics under procedures of medical resonance therapeutic music (МРТМ) at practically healthy young men of 15-18 years and young men of the same age group with neurotic frustration was carried out. Procedures МРТМ made taking into account individual preferences in musical fragments, possess expressed аnti stress effects. Effects of МРТМ in essential degree are defined by individual preferences in musical fragments surveyed in a choice, and, on the other hand - depend on age and individual and typological features of recipients.
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Muhammad Syafe’i. "Upaya Mengembangkan Kecerdasan Musikal Melalui Permainan Persepsi Bentuk Musikal Pada Anak Kelomok B di TK Pertiwi Tanjung Juwiring Klaten." SALIHA: Jurnal Pendidikan & Agama Islam 1, no. 2 (July 16, 2018): 71–85. http://dx.doi.org/10.54396/saliha.v1i2.14.
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This study aims to develop musical intelligence group B children in TK Pertiwi Desa Tanjung District Juwiring Klaten Lesson Year 2012/2013 through the game of musical form perception. This research is a classroom action research (PTK). In this research, the students are group B in TK Pertiwi Desa Tanjung Kecamatan Juwiring Klaten District Lessons Year 2012/2013 as many as 18 children, consist of 12 men and 6 women. This research was conducted in two cycles each cycle consisting of planning stage, action stage, observation, reflection. Children's musical intelligence data was collected through observation methods, and documentation. Data analysis technique used is descriptive qualitative with interactive analysis consisting of data reduction, datapresentation, and conclusion of analysis result. Research results before the implementation of the cycle obtained results of 41.9%, the first cycle reached 56.4%, and the second cycle reached 80.1%. based on research that has been done can be concluded that through the game perception of musical form can improve the musical intelligence of children in kindergarten Pertiwi Village Cape District Juwiring Klaten Lesson Year 2012/2013.
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MOOK, RICHARD. "White Masculinity in Barbershop Quartet Singing." Journal of the Society for American Music 1, no. 4 (November 2007): 453–83. http://dx.doi.org/10.1017/s1752196307070423.
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AbstractThis article explores the cultural work of white masculinity in barbershop quartet singing in two historical contexts: the barbershop revival of the 1920s and 1930s and barbershop's struggle for survival in twenty-first century Philadelphia. It first details how revivalists attempted to re-create Victorian white masculinity by codifying and promoting a barbershop musical style and repertory that fostered closeness between men. By performing their musical style in public, masculine spaces, and admitting only white men to their gatherings, the organizers of the Barbershop Harmony Society opposed a number of contemporary social changes in the United States, including shifting gender roles, a rise in immigration, the economic instability of the Great Depression, and New Deal liberalism. The article then documents how and why barbershoppers in Philadelphia at the turn of the twenty-first century still perform this “close,” neo-Victorian mode of white masculinity. In this new context, barbershop whiteness enabled a group of white men to claim belonging in their racially divided city despite years of migration and displacement caused by deindustrialization and urban decay. In both historical moments, barbershoppers used whiteness to challenge social and economic change and to assert the continued relevance of their musical style.
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Durán, Lucy. "Ngaraya: Women and musical mastery in Mali." Bulletin of the School of Oriental and African Studies 70, no. 3 (October 2007): 569–602. http://dx.doi.org/10.1017/s0041977x07000845.
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AbstractThis article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli (pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have – somewhat controversially, as explored here – been the “stars” on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters (ngaraw). Many women jeli singers (jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase “the true ngaraw are all at home”.
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Fehr, Marcie, and Pauline Greenhill. "“Our Brommtopp is of Our Own Design”." Ethnologies 33, no. 2 (April 4, 2013): 145–79. http://dx.doi.org/10.7202/1015029ar.
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In the past and to some extent the present, various Euro North American and other cultural groups marked the period from Christmas Eve to Twelfth Night with rowdy, disguised, playful/ludic or carnivalesque behaviour that mainstream Euro North Americans associate more with Halloween than with this holiday season. Many such customs, termed the “informal house visit” involve a group (usually young men) who perambulate from one location to another within a community. They include performative aspects–often dancing and singing–as well as the expectation of a reward--usually food and/or drink--and some sociability with the visited household members. A seasonal custom performed by young men, almost always on New Year’s Eve, in rural Manitoba Mennonite villages where the church tolerated it, Brommtopp is named after the musical instrument used during the performance. Traditionally a group of some dozen teenaged boys and young married men would drive and/or walk from house to house within their own village and sometimes beyond. At each residence, the group would sing the traditional song which generally asked for money in return for good wishes. We examine the sociohistorical surround of the practice and its past and current racialised and postcolonial implications.
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Bradby, Barbara. "Oh, Boy! (Oh, Boy!): mutual desirability and musical structure in the buddy group." Popular Music 21, no. 1 (January 2002): 63–91. http://dx.doi.org/10.1017/s0261143002002040.
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If rock'n'roll represented new, sexualised gender identities for the teenagers of the late 1950s, why (and how) were such identities constructed through the multiple voices of the group? In Buddy Holly's ‘Oh, Boy!’ the chorus plays a prominent supportive role in relation to the lead singer; but its continual echoing of the singer's ‘Oh boy!’ allows also for a literal hearing of cries of mutual desire and admiration between two men. This representation of the ‘buddy group’ has continuities with other group, or dual representations of male identity, where mutual, male selves and desires are constructed around an imagined, comforting woman. The presence of traces of the maternal body (Kristeva's ‘semiotic’ sphere) is audible in ‘Oh, Boy!’ through the chorus's separation of rhythm and melody, and in particular, its use of ‘children's rhythms’, consistent with those analysed by the musicologist Constantin Brailoiu as a cross-cultural phenomenon. In ‘Oh, Boy!’ children's rhythms are reworked in a dialogue between singer and chorus, and between guitar and chorus in the instrumental break, in such a way that after the break the singer is able to resolve the rhythmic tensions introduced in the first half of the song and get ‘everything right’. The new symbolic identity of male adolescent independence is audibly structured by the semiotic, so reversing the surface hearing of the song as involving the subordination of the chorus to lead singer in the consensual hierarchy of ‘buddy’ relations. The relationship of Buddy Holly to Bo Diddley adds a further dimension to this structure, where ostensible equality cannot mask the uncomfortable social hierarchy of the white rock star and black mentor, and where an appeal to the other as ‘boy’ would evoke not the buddy group, but slavery.
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Maniez, François. "Traitement de l’ambiguïté syntaxique et sémantique en TA neuronale : analyse de la traduction de l’anglais vers le français, l’espagnol et l’italien." Traduction et Langues 21, no. 1 (August 31, 2022): 10–27. http://dx.doi.org/10.52919/translang.v21i1.872.
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Syntactic and Semantic Ambiguity Processing in Neural MT from English to French, Spanish and Italian
Despite recent advances in artificial intelligence, human translators outperform MT for at least three types of tasks: identifying referents in anaphora (especially of the interphrastic kind), resolving semantic ambiguity (which is mainly due to polysemy or homonymy), and resolving syntactic ambiguity (especially with poorly inflected source languages such as English). Using the results obtained by two freely available online machine translation programs, Google Translate and DeepL, we examine how these two types of ambiguity are processed in translation from English into French, Spanish and Italian. Our results show that the two programs perform well overall in resolving the simplest cases of syntactic ambiguity, with difficulties arising more frequently for noun phrases featuring atypical syntactic divisions and rarely used collocations. MT output for ambiguous structures involving verb roots followed by the –ING morpheme (flying planes, growing pains) is studied, as well as syntactic structures in which two or more nouns are preceded by one or more adjectives. MT handles relatively well the longest of those structures (ADJ ADJ N N N N), probably because their subsets are part of the bilingual or target language monolingual corpora that underlie MT systems. Structures involving head modification and coordination (ADJ N AND N) are also known to pose problems for MT and human translators alike. But since many of the most frequent N AND N structures involve cohyponyms (men and women, brothers and sisters), antonyms (rights and duties, costs and benefits) or near- synonyms (aid and advice), their translation as a whole unit generally triggers the choice of correct syntact dependencies in translation. Structures in which the adjective only modifies the first noun (fresh air and exercise, social sciences and humanities) are much less frequent and are also probably translated as a whole unit. Structures involving premodification, coordination and post-modification may give rise to four distinct types of structures depending on whether long-range dependencies apply (detailed [knowledge and understanding] of the IT industry, [ethnic group] and [place of birth], invaluable [context and [source of information], [close friend] and confidant] of Mr Jones. Structures in which both long-range dependencies apply (integrated prevention and control of pollution) are the ones which most frequently cause errors for MT. Semantic ambiguity cases have been processed with increasing success by MT, especially when collocates vary widely for the main two meanings of homonyms (a well-known example is the word pen). Processing polysemy (for instance the medical use of conditions in pre-existing conditions) is a bit more of a challenge for MT. Other cases involving concentration of several polysemic terms in the same sentence (Changing the placement of beams relative to the staff involves changing the direction of the stems in the beam) also create difficulties for MT when the polysemic terms are used without any of their usual collocates (here in the specialised field of musical edition). Homonymy cases involving grammatical category changes (N-to-V or V-to-N conversion) seem to continue to pose the most difficulties to neural MT, despite increasing consideration of intra- and extraphrastic context. Potentially ambiguous word sequences (treatment increase in as the daily dose and duration of treatment increase), which were processed incorrectly before neuronal MT, are now correctly translated. But word sequences in which one word belongs to a part of speech which is not the most commonly used one (e.g. the noun remains in what remains can be considered) may cause occasional errors. Several examples that involve the verb founder are studied, and they frequently trigger translation of the noun in all three Romance languages (or translations of the verbs find or found due to incorrect segmentation).
Dissertations / Theses on the topic "Men of the Deeps (Musical group)"
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Sakadakis, Stella. ""Where do the boys go?" : tracking the development of careers in the music industry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55453.
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Musical careers develop along particular trajectories as a consequence of the relationships that are established between the musician and the industry. This thesis studies the nature of these relationships and the manner in which they contribute to the development of a musical career. The dichotomy between the artistic concerns of the musician and the economic interests of the industry that informs many popular music studies is re-oriented in light of the economic interests that are inherent in the musician's pursuit of a musical livelihood. The importance of commercial success in the maintenance of a musical living is explored in the case study of Men Without Hats, a Montreal based pop band that has maintained a fifteen year career despite a lack of commercial success over the past decade. This study suggests that the maintenance of a musical career over an extended period of time is a consequence of the types of relationships that are cultivated by the musician over the course of his/her career.
Books on the topic "Men of the Deeps (Musical group)"
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O'Donnell, John C. The Men of the Deeps: A journey with North America's only coal miners chorus. Sydney, Nova Scotia: Cape Breton University Press, 2016.
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Hardy, James Earl. Boyz II Men. Philadelphia: Chelsea House Publishers, 1996.
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Hardy, James Earl. Boyz II Men. Philadelphia: Chelsea House Publishers, 1996.
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Henderson, Rita Elizabeth. The Boyz II Men success story: Defying the odds. Los Angeles: Aynderson Press, 1995.
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Blayney, David. Sharp dressed men: ZZ Top behind the scenes from blues to boogie to beards. New York: Hyperion, 1994.
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Thompson, Dave. Red Hot Chili Peppers: True men don't kill coyotes. London: Virgin, 1993.
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Dalton, Linda S. Playing in the sand with Boyz II Men: The making of the video Water runs dry. Syracuse, N.Y: L.S. Dalton, 1996.
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Marten, Neville. The Kinks: Well respected men. Chessington, Surrey: Castle Communications, 1996.
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1960-, Wapshott Tim, ed. Mercury and Me. London: Bloomsbury, 1995.
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Morris, Nathan, Michael McClary, Shawn Stockman, and Wanya Morris. Boyz II Men: Us II You. Harpercollins, 1995.
Find full textBook chapters on the topic "Men of the Deeps (Musical group)"
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Hill, Edwin. "Black Transnationalism and Sketches of Mediterranean Noir." In Transpositions, 235–60. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789621112.003.0012.
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This chapter explores how Jean-Claude Izzo transposes black Atlantic musical culture into the aesthetic, cultural, and geographic settings of the Mediterranean noir. This essay locates Izzo’s aesthetic within a history of opaque relations between the textual, the visual, and the sonic that participate in the constitution of blackness in noir fiction. It focuses on Izzo’s neo-noir trilogy, set in his hometown Marseille, which includes the novels Total Khéops (1995), Chourmo (1996), and Soléa (1998). From beginning to end, Izzo marks his texts under the sound/sign of musical culture: Total Khéops references DJ Khéops and the inaugural mix-tape of Marseille rap group IAM; Chourmo references an album by the Marseille group Massilia Sound System; and Soléa references a Miles Davis / Gil Evans recording, Sketches of Spain. The essay will suggest that, if the noir novel evolves as a genre, as Izzo explains, “in parallel with an investigation into the social conditions of contemporary man, the modern form of fate,” then Izzo’s engagement with musical culture represents a deep, embodied meditation on unimagined yet vital futures—modeled and molded in the hybrid, borrowed, clandestine, and popular forms of cultural relation and collectivity that mark the black Atlantic.
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Hamilton, C. Mark. "Meetinghouses." In Nineteenth-Century Mormon Architecture and City Planning, 77–92. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195075052.003.0005.
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Abstract The meetinghouse was to become the most common building type within the hierarchy of Mormon architecture. It served the congregational needs of a ward, the basic ecclesiastical unit within the church, serving the weekly devotional needs of the Saints as community hall and, often, as school.1 “In pioneer Utah the ward was more than the basic ecclesiastical unit-it was the most important political unit and, except for the family, the most important social unit as well The ward was the unit of welfare, the unit from which younger men (and later women) were called on missions to proselyte in “foreign” fields of labor; the unit where babies were christened or “blessed,” younger men (and older men as well) ordained to the priesthood, funerals held, dances, musical festivals, and bazaars sponsored, young people taught and group consciousness established.
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Deaville, James, and Kirstin Bews. "Viva Viagra." In The Possibility Machine, 135–43. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045417.003.0011.
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A 2007-9 television advertising campaign for Pfizer’s erectile-dysfunction medication Viagra parodied Elvis’s iconic song “Viva Las Vegas” from his eponymous 1964 movie. One of the commercials presents a group of middle-aged men singing and playing “Viva Viagra” in a roadhouse, the original words altered to accommodate the monogamous heteronormative lifestyle promoted by the company. This chapter positions the ad within broader discourses of Presley’s evolving musical style and sexual persona, his relationship with Las Vegas, and direct-to-consumer pharmaceutical marketing. By situating the spot within the historical reality and prevailing myths of Elvis and Vegas, we consider how it draws on male fantasies of (hetero)sexual license and freedom and fosters nostalgia for bygone virility while accessing the culture of (over)medicating for age-related bodily dysfunction.
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Boyle, OP, Elizabeth Michael. "Call and Response." In Preaching with Their Lives, 191–214. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289646.003.0008.
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“Call and Response: American Dominican Artists and Vatican II” describes the work of fifteen American Dominican artists as each exemplifies or anticipates the priorities of the Second Vatican Council. Each artist personifies the response to a specific call: to reanimate the original scriptural and historical roots of the religious congregation, to provide leadership in liturgical renewal, to feed the spiritual hungers of the poor, to spread the gospel of justice through contemporary means of social communication. As Dominicans, these artists fulfill their vocation to preach the gospel in the multiple languages of genres ranging from design of sacred space and liturgical music to folk art, musical theatre, videography, and film. Most of the men and women chosen here to demonstrate this theme are active members of the Dominican Institute for the Arts, a national support group whose mission is to promote preaching through the arts.
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Belonick, Paul. "Moderatio, Modestia, and Temperantia." In Restraint, Conflict, and the Fall of the Roman Republic, 37—C2.N56. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197662663.003.0003.
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Abstract Chapter 2 describes restraining pressures to which the Romans gave the names modus, modestia, moderatio, and temperantia, and examines them in three different arenas: vis-à-vis aristocratic fellows; relating to luxury or lust; and as affecting the Republic’s operation as a whole. The Romans believed that restraint in these three arenas overlapped to support the proper functioning of the Republic. A man able to array these restraining qualities in public and in private would fill his offices well and take orderly part in the distribution of honors because he could operate well with superiors, inferiors, and peers, with the citizenry, with foreigners, and with tradition. Modestia ensured orderly dissemination of offices based on relative merit, of which seniority was a component. Moderatio smoothed tensions that self-advancement might foster, prevented one man from growing too influential, even by merit, and helped order and spread the distribution of prizes in a fluid and semiformal competitive system. It also made the individual exercise of power acceptable to the group; self-advancement in the competition was not truly laudable unless mingled with self-control. Temperantia was the process of tamping down any selfish urges that remained. Hence, theoretically, if all peers displayed the values, they could compete indefinitely too much conflict and without the competition leaving too many men of merit without the proverbial musical chair, making the “game” worthwhile, and the exercise of power by the winners legitimate and acceptable to the group and the “losers.”
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Kennedy, Michael. "War." In Portrait of Elgar, 265–87. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163657.003.0012.
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Abstract Ernest Newman, writing in the Musical Times of September 1914 on ‘The War and the Future of Music’, remarked that in England Elgar was still ‘the one figure of impressive stature’. It was nearly fifteen years since the Variations had first been played and the English musical scene in that time had been transformed. Yet much remained the same. Parry was still director of the Royal College of Music, Stanford still taught there and was still Professor at Cambridge, Mackenzie was still Principal of the Royal Academy of Music, Brodsky was still Principal of the Royal Manchester College of Music and still active enough as a soloist to have played the Violin Concerto in Vienna in 1913 under Franz Schalk. But Elgar’s name and fame surpassed them all. He stood aloof from ‘schools’ of music, he had no academic position, he exerted no direct influence on the young. He had seen new names come into prominence but none challenged his supremacy. Bantock had his admirers, Josef Hol¬ brooke enjoyed a brief spell of attention, and Delius was regarded almost as a foreign composer. Of a younger group the most successful and admired was Vaughan Williams, whose A London Symphony, first played in March 1914, owed something to Elgar’s example. His friend Gustav Holst was known only to a restricted circle. Ethel Smyth, J. B. McEwen, Frank Bridge, Arnold Bax, Cyril Scott, York Bowen, Percy Grainger—all had work to their credit but some had yet to make their mark and others, though they did not realize it, had already made what mark was within their capacity. One thing was common to all the younger men: they could face the world of music bravely and confidently, and this they owed, as much as to anything, to the vantage-point won for them by Elgar.
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Sawyer, R. Keith. "Sociology." In Explaining Creativity, 117–36. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195161649.003.0007.
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Abstract No partial intelligence can so separate itself from the general mass as not to be essentially carried on with it.... The most profound thinker will therefore never forget that all men must be regarded as coadjutors in discovering truth. —Auguste Comte, Positivism (1842/1854, vol. 2, p. 522) Art is the social within us, and even if its action is performed by a single individual, it does not mean that its essence is individual. —Lev Vygotsky, The Psychology of Art (1971, p. 249) The great problems are handed on from generation to generation, the individual acting not primarily as an individual but as a member of the human group —Max Wertheimer (1945, p. 123n26) Another late night in another smoke-filled Chicago jazz club. It was 2 am and pianist Howie Becker was having trouble staying awake during the chord changes. Part of the problem was that it was a Monday night, and as all jazz musicians know, Monday is the night for an open jam session, when musicians from many bands come together in a single club and take turns on the bandstand. An open jam starts with a house band—piano, bass, and drums—that provides the musical backdrop for a rotating series of visiting saxophone and trumpet players. And on this Monday night, Becker’s band was the house band, and the club was filled with horn players—some of them professionals from other local bands, but others aspiring beginners who frankly didn’t deserve to be sharing the same stage. Yet, the egalitarian ethos of an open jazz jam required that they be given the same opportunity as everyone else.