TSO SLINGS A NEW WEB

posted by James Reel

    Remember the very polite round of fisticuffs I hosted in October, in which arts consultant Drew McManus and a former Tucson Symphony employee sparred over issues relating to the orchestra’s badly out-of-date Web site? Well, a few days ago an orchestra player alerted me that the TSO has finally gotten its big redesign online. I was hoping to poke around in it and offer some comments of my own, but I’ve been too distracted by other tasks. So I’ll simply let you evaluate it yourself. Find out what the orchestra is up to here.

HELP WANTED

posted by James Reel

    I apologize for my lack of bloggage this week. I’ve been busy with various things, one or two of which actually relate to my work here at KUAT. One thing I’m doing today is recording this Saturday morning’s shift, so I won’t have to come in and do it live. And why would I be working on Saturday in the first place? Because we are seriously short of relief announcers.
    Have you ever daydreamed about being a classical disc jockey? Of course you have. Well, here’s your chance. Management has just put out a call for applications for part-time announcers, and the emphasis during the round is on people who have classical-music knowledge rather than people with lots of radio experience. You can be trained how to push a few buttons; music knowledge is harder to pick up on the fly. Here’s the low-down; help keep me out of the studio on the weekends!

Radio Announcer (Part-Time - multiple positions available)
Job Number:                                        36782   
Department:                                         3102-Radio Broadcast Services   
Posted Rate of Pay:                            $10.87 per hour   
Category  Classified:                          Part-Time (less than 20 hours)   
Job Open Date:                                    12-01-2006   
Job Close Date:                                   Open Until Filled
Review begins on:                               (Continues until position filled)  12-14-2006   
Benefits Eligible:                                  No   
Full Time/Part Time:                            Part Time   
Days and Schedule to be Worked:   Weekend evenings; other shifts as scheduled   
Number of Hours Worked per Week:    Up to 19 hours/week   

Documents, in addition to application, which are required for a complete application: 
    Resume (Include instructions for submission)
    Audition recording (CD or cassette) required for a complete application.

Send to:
KUAT Communications Group
P O Box 210067
MLB Rm 233
Tucson, AZ 85721-0067   

Position Summary:
KUAT Radio Broadcast Services seeks individuals who can Host/Anchor local network programming and/or introduce and announce classical musical recordings for the KUAT/KUAZ radio stations on assigned shift and on-call basis. On call availability involves weekend evenings, holidays and other shifts as scheduled. This is a permanent, part-time position with hours not to exceed 19 per week.   

Duties and Responsibilities:
Operates control room equipment and board during broadcasts.
Documents discrepancies and maintains Federal Communication Commission programs and engineering logs on assigned shifts.

Cues and starts music and programs, maintaining volume level.
Introduces and announces various music recordings.
Provides announcements to the audience on the programs and matters of interest.
Reviews program schedules and obtains recordings from library for on air.
Responds to calls from listening audience.
Participates in fundraising as required.   

Arizona Board of Regents Minimum Qualifications:
No prior experience required.   

Additional Minimum Qualifications:
Skill in speaking clearly with a well modulated voice.
Excellent working knowledge of classical music, including musical history, composition, composers, and performers; working knowledge of Jazz a plus.

Audition recording (CD or cassette) required for consideration.
 
Preferred Qualifications:
At least six months of radio announcing experience.
* Skill in the pronunciation of foreign and technical names, places, and titles.   

Standard Pre-Employment Screening:
The University of Arizona conducts pre-employment screening for all positions, which includes a criminal background check, verification of academic credentials, licenses, certifications, and work history.   

What kind of criminal background check is required for this position?  This position is non-security sensitive and requires a name-based criminal background check   

Departmental Home Page: www.kuat.org       
To apply go to Quick Link:  www.uacareertrack.com/applicants/Central?quickFind=185861   
   
As an equal opportunity and affirmative action employer, the University of Arizona recognizes the power of a diverse community and encourages applications from individuals with varied experiences and backgrounds.

The University of Arizona is an EEO/AA - M/W/D/V Employer.

If a job is reposted, you will be unable to apply for it a second time. You can compare the job number of a posted job to the job number on the Application Status page to see if you have already applied for that position.

TRU TO ELLA

posted by James Reel

    Two stage entertainments snag my attention in the current Tucson Weekly. First, Ella Fitzterald has been resurrected at the Temple of Music and Art:

    Last spring, a friend of mine was exasperated when he heard that Arizona Theatre Company would present Ella, a show in which an actress pretends to be Ella Fitzgerald in song and reminiscence. One of his objections echoed my longtime complaint that throwing a couple of singers and some musicians on stage for a survey of somebody's hits makes a nice cabaret show, but it ain't dramatic theater.
    My friend's greater protest, though, was that it was foolish for anyone to try to be Ella. We've got decades' worth of her classic jazz vocal recordings, a fair amount of video footage and not-yet stale memories of what the singer was really like. What's the point of trotting out an Ella impersonator?
    My indignant friend will probably continue to boycott ATC's Ella even if I tell him that the show is not just a cabaret toss-off tribute. Jeffrey Hatcher's script may be sketchy and rely on biographical truthiness more than facts, but it serves its purpose, and star Tina Fabrique is terrifically entertaining.

    Beowulf Alley Theatre Company, which prides itself on being "daring and distinctive," has gone soft for the holidays. Heartwarming, even. The company is presenting Truman Capote's Holiday Memories, which is a welcome break from the usual Christmas Carol/Messiah/Nutcracker fare. Unfortunately, the production is not all it could be.
    Literally. Holiday Memories, adapted from Capote stories by Russell Vandenbroucke, is in two parts, one covering Thanksgiving and the other revolving around Christmas. Beowulf Alley has elected to present only the second part, which is called A Christmas Memory, and that makes for a very short evening--you're out in less than an hour.
    Less literally, the production is not all it could be insofar as it lacks the free, easy flow of true memories. It might be tightened up later in the run, but on opening night, the seams showed.

TOWING THE CELLO

posted by James Reel

    Yesterday afternoon I developed car trouble on the way to my cello lesson, limped on to my teacher’s house and from there arranged for a tow to the garage. Not wanting my cello to roll around in the car during the long haul across town, I stashed it in the cab of the tow truck. The driver asked if it were a guitar. No, I said, a cello. He observed that it was pretty small and light for a cello. I soon determined that he had the double bass in mind. This fellow, who was not stupid, had little idea what a cello is. Seems that hardly anybody outside the classical realm does anymore.
    You’ll find the bass as a primary rhythm instrument in all sorts of music, but rarely the cello (even though it was once quite common in traditional Scottish music). That’s changing now, as music teachers are developing “alternative styles” curricula for all string players, and young cellists like the outstanding Natalie Haas are making names for themselves in Celtic, Appalachian and other forms of fiddle music.
    Purists might find the cello’s incursion into non-classical music degrading, but not so. Sure, you can get stuck plucking mindless bass lines in some bands, but the cello has the potential for so much more, not only enriching the rhythm section in novel ways, but also taking melodic turns. And trust me: Really good jazz and bluegrass string playing requires just as much technique as, and perhaps even more inventiveness than, good classical playing. I’m happy to see the cello spread into all kinds of music. After all, it has the most beautiful sound and most versatile range of all string instruments, at least in the right hands (that is, hands other than mine).