A Spectroscopic Criterion for the Benzenoid Structure in by Gibbs R.C., Shapiro C.V.

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By Gibbs R.C., Shapiro C.V.

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We all lived on the Upper West Side of Manhattan, where we commiserated from time to time about the cost of housing. The Hugheses had a nice cooperative apartment, which they were able to sell in the mind-boggling real estate boom beginning at the end of the seventies, to move to Riverdale in the Bronx. They kept one foot in Manhattan by realizing their long-standing dream of opening a cafe. Coming from a European musical family, Monica subscribed to a cafe tradition including good food, coffee and the arts; Marvin dreamed of a jazz club.

In 1984, Warner Communications installed a robot pop singer called Sammy Sands, complete with gestures, in a cafe in Georgia, hoping to use it as a showcase to sell the robot nationally. While Sammy Sands does not seem so far to have caught the fancy of the public, much more dismaying problems loom. Some New York theatrical producers have been threatening to use a synthesizer in place of the orchestra for musical shows, a potential catastrophe for New York musicians comparable to the elimination of live music from the motion picture theaters.

Shortly afterward, I had lunch with a soft-spoken lawyer, Peter Sims, known to the jazz world as the exceptional drummer, Pete LaRoca, a name he adopted working in latin bands, where his true last name was almost unpronounceable. Sims was also concerned that the case should not be limited to the discrimination against winds and percussion. Jazz is rarely played in trio form, he reminded me, and just eliminating the discrimination was not going to solve the problem for the musicians. We discussed the theory of the suit, which we both thought should be brought as a First Amendment case, based on the rights of free expression of the musicians.

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