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Università del riso

Università del riso


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La Rice University, con sede a Houston, in Texas, è una delle principali università di ricerca negli Stati Uniti. È stata la prima università al mondo a istituire un dipartimento di scienze spaziali. Il Johnson Space Center della NASA si trova sul terreno donato dall'università. La Rice University è anche membro del Texas Medical Center, la più grande struttura medica del mondo. La Rice University è stata formata da un istituto concettualizzato da un ricco cittadino di nome William Marsh Rice. Nel 1891, insieme ai suoi amici e al suo avvocato, aveva fondato il William Marsh Rice Institute for the Advancement of Literature, Science and Art. Tuttavia, l'istituto doveva essere fondato dopo la sua morte. Dopo la sua morte nel 1900, e alcuni ostacoli legali, iniziarono i lavori per la creazione dell'istituto. Il Rice Institute ricevette una sovvenzione di $ 4,6 milioni dalla tenuta di William Rice, nel 1904. Edgar Odell Lovett, un matematico e astronomo altamente qualificato dell'Università di Princeton, è stato nominato presidente. Al fine di stabilire un'istituzione degli standard più elevati, Lovett ha visitato 78 istituti di istruzione superiore situati in vari paesi. Questo istituto divenne in seguito William Marsh Rice University nel 1960. Oggi, la Rice University occupa un campus di 285 acri e ospita 70 edifici principali. Il campus comprende le scuole di architettura, ingegneria, scienze umane, scienze naturali, scienze sociali e musica. Inoltre, il campus dispone di laboratori scientifici e ingegneristici all'avanguardia, un istituto per i servizi informatici, un istituto per le arti, e un laboratorio di ricerca nucleare. La biblioteca universitaria, la Fondren Library, contiene più di due milioni di libri, tre milioni di microforme e 16.000 periodici e periodici in corso. Quasi un quarto degli studenti universitari della Rice University sono National Merit Scholars. L'università è stata classificata al primo posto per la percentuale di studenti che ricevono borse di studio nazionali di scienze. L'università vanta una dotazione di $ 3 miliardi, una delle prime cinque al mondo. Per inciso, l'università non aveva tasse universitarie fino al 1965. La Rice University è stata classificata al primo posto tra 1.600 università private per "Best College Value" in Kiplinger's Finanza personale e prima per "importo minimo di debito per laureato" di Notizie dagli Stati Uniti e rapporto mondiale.Rice University essendo un'università di ricerca leader, ospita diversi istituti di ricerca interdisciplinari nel campus. Includono il Rice Quantum Institute, il Rice Engineering Design and Development Institute, il Computer and Information Technology Institute, il Center for Nanoscale Science and Technology e il Center for Biological and Environmental Nanotechnology. svolto dalla facoltà di Rice. Nel 1996, i professori Richard Smalley e Robert Curl della Rice University hanno vinto il prestigioso premio Nobel per la chimica per la scoperta e l'applicazione delle molecole di carbonio 60 (buckminsterfullereni). Attualmente, sono in corso molti lavori di ricerca innovativi nel nuovo campo delle nanotecnologie.


Rice University - Storia

I. STORIA

In misura notevole, la Rice University è stata plasmata dalle intenzioni dei suoi fondatori: William Marsh Rice e il piccolo gruppo di uomini che sono venuti a condividere i suoi piani per un istituto di istruzione superiore. Nella primavera del 1891, Rice, nativo del Massachusetts che aveva prosperato come mercante a Houston a metà del diciannovesimo secolo, decise di dotare un istituto per il progresso della letteratura, della scienza e dell'arte per l'istruzione degli uomini e delle donne bianche di Houston e Texas. Fatta eccezione per quella chiara esclusione degli studenti di origine africana, Rice si ispirò agli esempi di Stephen Girard di Philadelphia e Peter Cooper di New York City per creare un istituto, che portasse il suo nome, che conducesse ricerche e fornisse istruzione gratuita in un atmosfera apartitica e aconfessionale. Ha creato un consiglio di sette fiduciari per sovrintendere alla costruzione e alla gestione del suo istituto dopo la sua morte. Ma quando nel 1900 fu assassinato, il suo consiglio di amministrazione, guidato dal capitano James A. Baker, impiegò anni per superare le sfide alla volontà di Rice, assicurarsi la sua dotazione (inizialmente, 4,6 milioni di dollari) e vedere che il suo istituto fosse lanciato correttamente . Alla fine del 1907, il capitano Baker e i suoi colleghi fiduciari avevano completato uno studio su altre università e avevano scelto Edgar Odell Lovett, un matematico di formazione classica che era a capo dell'astronomia all'Università di Princeton, come primo presidente del William Marsh Rice Institute.

Il presidente Lovett, sostenuto dai fiduciari, ha gradualmente affinato il carattere del nuovo istituto. Ha iniziato intraprendendo un tour di nove mesi nelle principali università in Europa e in Asia per riflettere sull'istruzione superiore e reclutare studiosi illustri per la Rice. È tornato per progettare un'università che non solo fornisse un'istruzione eccellente per gli studenti universitari - un'istruzione che includesse standard accademici elevati, un sistema universitario residenziale e un codice d'onore - ma anche condurre ricerche avanzate e formare un piccolo numero di studenti di dottorato . Queste erano aspirazioni alte e costose. Sebbene la dotazione fosse cresciuta in modo significativo dal 1904, Lovett sapeva che non avrebbe potuto avere subito l'università completa che aveva immaginato. Ha quindi dovuto enfatizzare inizialmente solo la scienza e l'ingegneria. Nel settembre 1912, quando cinquantanove studenti si radunarono per le lezioni nel nuovo campus - su una distesa pianeggiante di prateria appena oltre le strade di Houston - la Rice aveva quattro edifici e una facoltà internazionale di notevole distinzione, una facoltà che includeva Julian Huxley di Oxford in biologia, Harold A. Wilson di Cambridge in fisica e Griffith C. Evans di Harvard in matematica.

Sebbene Rice crebbe rapidamente per quasi due decenni dopo il 1912, la mancanza di fondi durante la Depressione costrinse i tagli e mantenne Rice un piccolo college provinciale che enfatizzava la scienza e l'ingegneria fino alla seconda guerra mondiale. Quindi, nuovi leader con risorse molto maggiori furono in grado di avviare quasi tre decenni di crescita sostenuta, avvicinandosi nel 1970 all'università più equilibrata che il presidente Lovett aveva immaginato nel 1912. Grazie alle entrate dei giacimenti petroliferi acquisiti nel 1942 e supportati da un consiglio ambizioso dei fiduciari, i successori di Lovett, William V. Houston e Kenneth S. Pitzer, furono in grado di aumentare le dimensioni della facoltà (da 58 nel 1938 a 350 nel 1970), reclutare molti eminenti studiosi (con stipendi più alti e, dopo il 1962, di ruolo nomine), creare nuovi dipartimenti accademici e costruire una serie di edifici non solo per aule e laboratori, ma anche per il sistema dei collegi residenziali iniziato finalmente nel 1957. Questi cambiamenti hanno permesso alla Rice - la Rice University dal 1960 - di ammettere più studenti, ampliare il proprio curriculum e dare maggiore enfasi ai programmi di ricerca e di laurea. Ma per sostenere i cambiamenti - per diventare competitiva come università nazionale - la Rice cercò cambiamenti nel suo statuto che le consentissero dal 1966 di addebitare tasse scolastiche relativamente modeste e di ammettere studenti afroamericani (Rice aveva precedentemente ammesso come studenti "bianchi" di altre razze e origini nazionali).

Anche così, quando Norman Hackerman divenne presidente nel 1970, nuovi programmi stavano portando le risorse della Rice al limite. Hackerman ha bilanciato i suoi budget, ha riorganizzato la Rice in sette scuole (amministrazione, architettura, ingegneria, scienze umane, musica, scienze naturali e scienze sociali) e ha contribuito ad aumentare la dotazione da 131 a 680 milioni di dollari entro il 1985. I suoi successori, George Rupp e Malcolm Gillis, sono stati in grado di perseguire ulteriori piani ambiziosi per migliorare Rice: corsi di base per studenti universitari, più membri di facoltà per supportare la ricerca interdisciplinare (attraverso istituti e centri), ulteriori programmi di laurea e sette nuovi edifici tra il 1985 e il 1997. Entro la metà del Negli anni '90 la Rice era diventata un'università di oltre 4.000 studenti e 450 membri di facoltà a tempo pieno, e i suoi alunni e docenti si stavano distinguendo in una varietà di campi (vincendo, dal 1978, premi Nobel per la fisica e la chimica e un premio Pulitzer per la narrativa ). Ma la Rice è rimasta così come era stata concepita dai suoi fondatori: un'università relativamente piccola e conveniente che persegue l'eccellenza nell'istruzione universitaria, nella ricerca accademica e in un numero limitato di corsi di laurea.

Sotto l'attuale presidente della Rice, David Leebron, l'università ha registrato una crescita del 30% nelle iscrizioni agli studenti universitari, ha aumentato il suo profilo internazionale, ha ampliato la sua impresa di ricerca e ha approfondito il suo impegno con Houston. Il campus di Rice è stato trasformato con due nuovi college residenziali, un nuovo edificio di fisica, un nuovo centro ricreativo, il BioScience Research Collaborative e un programma di arte pubblica, tra gli altri miglioramenti. Questi sviluppi riflettono le priorità articolate nella Visione per il secondo secolo, emerse da ampi incontri in stile municipio con docenti durante il primo anno del presidente Leebron alla Rice.

Per maggiori dettagli sulla storia e l'architettura della Rice University, vedere John Boles's Un'università così concepita: una breve storia del riso e di James Morehead Un tour a piedi della Rice University. Ciascuno di questi libri è disponibile nella libreria della Rice University.


Rice University - Storia

Il Dipartimento di Storia

Gli studenti che amano la storia e che desiderano la libertà di esplorare ampiamente il passato dovrebbero prendere in considerazione la laurea in storia.

Professore Associato Aree di ricerca: Asia meridionale, Mondo islamico orientale, Storia islamica antica, Medio Oriente ottomano

George e Nancy Rupp Professore di scienze umane Aree di ricerca: storia intellettuale cinese moderna, teoria femminista, genere e scienze sociali

Katherine Tsanoff Brown Professore di scienze umane Aree di ricerca: politica estera degli Stati Uniti, storia politica degli Stati Uniti, storia ambientale, diritti civili

Professore Associato Aree di ricerca: Atlantic World, African Diaspora, US African American

Samuel G. McCann Professore di Storia Aree di ricerca: Germania moderna, Europa moderna, Politica, diritto e pensiero sociale, Economia e pensiero politico, Storia intellettuale europea moderna

Dean of Humanities, Andrew W. Mellon Professore di Storia

Barbara Kirkland Chiles Professore di Storia Aree di ricerca: Stati Uniti e mondo, Medio Oriente, Modernizzazione e sviluppo, Stati Uniti moderni

Samuel W. & Goldye Marian Spagna Professore associato Aree di ricerca: Francia moderna, Europa moderna, diritti umani e studi sulla migrazione

Professore associato Aree di ricerca: Africa antica, Africa atlantica, Africa moderna, Diaspora africana, Schiavitù e abolizione

William P. Hobby Professor of American History Editor, Journal of Southern History Research Areas: Southern History, Economic History, US Environmental History

Professore Associato Direttore, Programma di Studi Medievali e Moderni Aree di ricerca: Europa medievale, Iberia medievale, Terre di confine medievali

Assistant Professor Aree di ricerca: Medical Humanities, East Asian Science Technology and Society Studies (STS), Storia della Medicina, Storia della Scienza

Professore Associato Professore Associato a contratto di Economia Aree di ricerca: Storia del Messico e dell'America Latina, Storia economica, Storia della sanità pubblica

William Gaines Twyman Professore di Storia Aree di ricerca: Antica Grecia e Roma, Tarda Antichità e Primo Bisanzio

Professore della Arab-American Education Foundation in studi arabi Aree di ricerca: storia araba moderna, relazioni arabo-americane, storia ottomana, settarismo

Direttore del Dipartimento Mary Gibbs Jones Professore di Lettere e Filosofia Professore di Storia Aree di ricerca: Stati Uniti del XIX secolo, Schiavitù ed emancipazione, Era della guerra civile americana, Attivismo e abolizionismo transatlantico Storia sociale, culturale e intellettuale, Storia transnazionale

Harris Masterson, Jr., Professore di Storia Aree di ricerca: Rio de Janeiro, Brasile coloniale, mondo atlantico

Professore Associato Aree di ricerca: Informatica, Uso della Tecnologia, Disabilità, Diritti Civili

Professore Associato Condirettore Politiche, Giurisprudenza e Pensiero Sociale Aree di ricerca: Europa della prima età moderna, Storia intellettuale e culturale, Pensiero politico e religioso, Storia dell'educazione

Joseph e Joanna Nazro Mullen Professore di scienze umane Direttore degli studi universitari Aree di ricerca: storia e cultura islamica, VII-XV secolo Storia della conservazione architettonica in Medio Oriente Ebrei nelle terre dell'Islam, Cairo Geniza

Professor Dunlevie Family Chair Aree di ricerca: Stati Uniti e il mondo, Storia delle relazioni internazionali moderne, Economia politica internazionale, Mondo del Pacifico, Storia globale dello sport

Professor Andrew W. Mellon Distinguished Professor of Humanities Aree di ricerca: Storia antica americana, Storia atlantica, Storia meridionale, Storia della razza e della schiavitù, Storia dei nativi americani

Professore Associato Aree di ricerca: Storia del diritto, Storia del lavoro, Storia del capitalismo, Storia dell'America Latina, Storia del Messico, Storia delle frontiere e dell'immigrazione

Professore Associato Aree di ricerca: schiavitù, schiavitù, emancipazione e diaspora Diritti civili del Sud del mondo, diritti umani e diritto internazionale e donne, genere e sessualità

John Antony Weir Professor Aree di ricerca: Germania moderna, donne europee e genere, diritti umani, colonialismo moderno

Professore Associato Aree di ricerca: Storia degli indiani d'America, Storia degli afroamericani, Storia del sud

Baker College Chair for History of Science, Technology and Innovation Aree di ricerca: storia europea dal 1450 al 1815, storia intellettuale europea dalla rivoluzione scientifica alla rivoluzione francese, idealismo e romanticismo tedesco, storia della scienza, da Copernico a Darwin


Università del riso

Rice University, un'università privata, indipendente e mista a Houston, aperta nel 1912 come William Marsh Rice Institute. Fu noleggiata nel 1891 dall'ex commerciante di Houston William Marsh Rice con una nota fruttifera di $ 200.000 pagabile al Rice Institute alla sua morte. Successivamente Rice fece altre donazioni all'istituto, tutte pagabili dopo la sua morte. Tuttavia, quando morì nel 1900 a New York City, il suo testamento testato ordinava che la sua fortuna andasse al suo avvocato. Dopo un'ampia indagine e un processo sensazionale è stato stabilito che il maggiordomo di Rice, in combutta con l'avvocato, aveva cloroformizzato Rice a morte per riscuotere un testamento contraffatto. Quando la proprietà fu risolta nel 1904, circa $ 3 milioni furono dati all'istituto come fondo di capitale separato aggiunto alla dotazione originale, che era cresciuta fino a quasi $ 3,3 milioni. Al momento dell'apertura dell'università nel 1912, la dotazione era di circa $ 9 milioni, una somma che consentiva a tutti gli studenti di frequentare l'università senza pagare le tasse scolastiche, un privilegio che non si esauriva fino al 1965. Lo statuto originale prescriveva molto generalmente un'istituzione "dedicata al progresso della letteratura, della scienza e dell'arte". Il consiglio di amministrazione di Houston stabilì che sarebbe stata un'università e nel 1907 nominò il matematico e astronomo Edgar Odell Lovett della Princeton University come presidente con le indicazioni per pianificare la nuova istituzione. Dopo viaggi, discussioni e reclutamento di docenti in tutto il mondo, Lovett ha supervisionato l'apertura nel 1912, contrassegnata da un'elaborata convocazione internazionale di studiosi. Fin dall'inizio Lovett intendeva che la Rice fosse un'università "di altissimo livello" e, nonostante diversi decenni di rigore finanziario dopo i primi anni '20, l'istituto si è sforzato di mantenere questa visione. La classe entrante di settantasette studenti aveva una facoltà internazionale di dieci (Julian Huxley, per esempio, fu il primo professore di biologia, e Harold Wilson del Cavendish Laboratory di Cambridge fu il professore di fisica) e due importanti edifici accademici (con un elaborato piano per ulteriori edifici) dal rinomato studio di architettura di Boston Cram, Goodhue e Ferguson. Il trebbiatrice, un giornale studentesco indipendente, nacque nel 1916 e quello stesso anno il corpo studentesco adottò il Codice d'Onore, un'amata tradizione di Rice. Nel 1924 la classe delle matricole era limitata a circa 450 e da allora le iscrizioni agli studenti universitari sono state attentamente controllate. Nel 1987 erano circa 2.600. L'iscrizione dei laureati è cresciuta gradualmente fino a circa 1.300.

Sotto la direzione di Lovett, il Rice Institute sviluppò dapprima una grande forza nelle scienze e nell'ingegneria, sebbene sin dall'inizio fosse offerta un'istruzione distinta nelle discipline umanistiche e nell'architettura. Il curriculum si allargò e la facoltà aumentò notevolmente di dimensioni dopo la seconda guerra mondiale sotto l'amministrazione (1946-1960) del fisico William V. Houston, come riconosciuto dal cambio di nome nel 1960 in Rice University. Un certo numero di nuovi edifici sono stati costruiti in due periodi di crescita, la fine degli anni '40 e la fine degli anni '50. Il lavoro di laurea, presente fin dall'inizio, è stato ampliato. Nel 1987 sono stati offerti diplomi avanzati in più di trenta campi. Imperativi morali, sociali ed economici hanno spinto l'università a cercare con successo l'autorità legale nel 1964 per infrangere lo statuto del fondatore sotto due aspetti: il permesso di ammettere gli studenti senza riguardo alla razza e il pagamento di una modesta retta. Un'ulteriore espansione, in particolare nelle scienze umane e sociali, avvenne negli anni '60 e '70 durante le amministrazioni dei chimici Kenneth S. Pitzer (1961-68) e Norman Hackerman (1970-85). Nel 1961 la National Aeronautics and Space Administration collocò il Manned Space Flight Center (ora Lyndon B. Johnson Space Center) su un terreno messo a disposizione dalla Rice, e nel 1962 l'università istituì il primo dipartimento di scienze spaziali della nazione. Il Journal of Southern History è stato pubblicato su Rice dal 1959 Studi in letteratura inglese è stata fondata a Rice nel 1961 e la Carte di Jefferson Davis project ha sede a Rice dal 1963. Nel luglio 1985 Studi universitari del riso (precedentemente Opuscolo dell'Istituto del riso, iniziata nel 1915) divenne Rice University Press. La Shepherd School of Music e la Jesse H. Jones Graduate School of Administration sono state aggiunte rispettivamente nel 1973 e nel 1976.

Nel luglio 1985 il teologo George E. Rupp della Harvard Divinity School divenne il quinto presidente della Rice. Quando ha rilevato l'università, la facoltà contava circa 420, con poco meno di 4.000 studenti. Il campus ha quaranta edifici architettonicamente coerenti raggruppati in quadrilateri sotto graziose querce in un campus di 300 acri nel cuore di Houston. La dotazione nel 1987 ammontava a più di $ 750 milioni, la più grande di qualsiasi università privata nel sud. Il piccolo corpo studentesco universitario è tra i più selezionati della nazione, con punteggi SAT medi di oltre 1,300 e una delle percentuali più alte di vincitori della borsa di studio per merito nazionale. Il corpo studentesco, un tempo per lo più texano, ora è prevalentemente non texano, e le tasse scolastiche relativamente basse rendono possibile una popolazione studentesca economicamente diversificata, ma ciò che più modella il carattere di Rice è l'insolito talento accademico dei suoi studenti. Quasi paradossalmente, la Rice, con il suo stadio da 73.000 posti, ha continuato come membro fondatore della Southwest Conference fino alla fine di questa unione atletica. Non sono ammesse fraternità o sororities. Tutti gli studenti universitari sono assegnati a uno degli otto college residenziali (il sistema è stato istituito nel 1957) attorno alle cui attività ricreative, culturali, educative e governative ruota la vita studentesca. Nel 1993 Malcolm Gillis, economista e preside della Duke University, divenne il sesto presidente.

La Rice University mantiene una varietà di strutture e laboratori di ricerca. La Biblioteca Fondren contiene più di 1,3 milioni di volumi e 1,6 milioni di microforme e abbona a circa 11.000 titoli in serie. È un depositario di documenti e brevetti del governo degli Stati Uniti ed è un affiliato universitario per i dati del censimento. Libri rari, manoscritti e archivi universitari sono ospitati nel Woodson Research Center della biblioteca. La biblioteca è particolarmente ricca di materiali texani, impronte confederate e drammi inglesi del XVIII secolo e contiene le carte e la biblioteca di Sir Julian Huxley. Due importanti raccolte scientifiche sono la Anderson Collection on the History of Aeronautics e gli archivi di storia del Johnson Space Center. La struttura informatica centrale dell'università è l'Institute for Computer Services and Applications. Ci sono una serie di altre strutture informatiche situate altrove nel campus. Rice è anche associata allo Houston Area Research Center, un consorzio supportato da Rice, dall'Università del Texas, dalla Texas A&M University e dall'Università di Houston. Nel campus di Rice si trovano numerosi istituti e centri di ricerca interdisciplinari, tra cui il Rice Quantum Institute, il Rice Engineering Design and Development Institute e il Computer and Information Technology Institute. Il Rice Center for Community Design and Research, ospitato fuori dal campus, è coinvolto nella pianificazione urbana. L'Office of Continuing Studies offre un'ampia varietà di corsi brevi tecnici e di arricchimento non creditizio a migliaia di abitanti di Houston ogni anno. Nel 1990 la Rice ha ospitato la conferenza economica annuale del G-7 degli Stati Uniti, del Canada, del Giappone e dei paesi dell'Europa occidentale. L'obiettivo di Rice è stato quello di combinare l'enfasi sull'insegnamento di un college di arti liberali con la borsa di studio di un'università di ricerca. Nel 1991 Rice è stata classificata al primo posto tra le 100 migliori scuole della nazione come "best buy" nel campo dell'istruzione. La Rice University aveva 462 docenti e 4.268 studenti per il periodo regolare 1992-1993 e 723 nella sessione estiva 1992.


Rice University - Storia

Invito al riso di John O'Neil: primavera 1965

Nella primavera del 1965, ho ricevuto, nel mio ufficio presso la School of Art dell'Università dell'Oklahoma a Norman, una telefonata di Elinor Evans, un'insegnante appena arrivata al Dipartimento di Architettura della Rice University. Elinor, di visual design di base, artista con un master a Yale dove aveva studiato con Josef Albers, mi chiamava per dirmi che la Rice voleva istituire un Dipartimento di Belle Arti come parte dell'area umanistica, e le era stato chiesto di raccomandare un artista o uno storico dell'arte come presidente. sarei interessato?

Avendo appena completato quattordici anni come professore di ruolo e direttore della School of Art di Norman, una scuola con una facoltà di quattordici, un programma di laurea che risale al 1934, duecento corsi d'arte e un rispettato museo d'arte, il mio interesse per il cambiamento era mite. Tuttavia, ho inviato una nota a Philip Wadsworth, allora preside di studi umanistici alla Rice, chiedendo informazioni. Seguì uno scambio di lettere, poi una telefonata di Wadsworth che mi chiedeva di venire a Houston per incontrare alcuni membri della facoltà di architettura e altri di discipline affini. L'incontro è stato di basso profilo, condotto per la maggior parte durante e dopo il pranzo nel Club della Facoltà a Cohen House. C'era stata difficoltà nel trovare una stanza per il mio soggiorno a Houston, poiché allora erano in corso i festeggiamenti per l'apertura dell'Astrodome. Mi è stata data una stanza in un motel di Holcombe Street dove il condizionatore d'aria si è immediatamente rotto, quindi la mia valutazione di Houston a questo punto era piuttosto bassa.

Primo viaggio al riso

Durante la visita, ho scoperto che c'erano state alcune lezioni d'arte nel campus di Rice negli anni passati, tutte all'interno del Dipartimento di Architettura: James Chillman, Jr., direttore in pensione del Museum of Fine Arts, Houston, e Katherine Tsanoff Brown, laureato alla Rice and Cornell, ha tenuto alcuni corsi fondamentali di storia dell'arte, così come Jasper Rose, un visitatore dall'Inghilterra con un appuntamento di un anno alla Rice. Jasper partì nel 1965 per accettare un incarico al personale didattico dell'Università della California a Santa Cruz, ma non prima di aver sorpreso il campus di Rice indossando insegne accademiche alle sue classi. Una volta attraversato il quadrilatero nei suoi abiti vivaci e fluenti, incontrò l'allora presidente, Kenneth Pitzer, che gli chiese quale fosse l'occasione festiva. Jasper ha risposto: "Oh, sto fingendo che questa sia un'università!"

Jasper aveva anche tenuto un corso di pittura alla Rice e, alla fine dell'anno accademico 1964, organizzò la prima mostra di studenti d'arte. Nell'area dello studio aveva anche un collega, David Parsons, che era stato raccomandato da Jimmy Chillman, direttore emerito del Museum of Fine Arts di Houston, per insegnare agli studenti di architettura il disegno e la scultura.

Se Jasper Rose non aveva un'ottima opinione sulla Rice come università, potrebbe essere stato perché era cambiata in quella designazione solo nel 1962, essendo stata precedentemente Rice Institute. Il nuovo concetto si è radicato lentamente. L'interesse nel campus per l'istituzione di un Dipartimento di Belle Arti (a cui in seguito fu dato il nome più accurato: Arte e Storia dell'Arte) sembrava poco entusiasta. Alcuni membri della facoltà più anziani erano in realtà ostili. Tuttavia, era stato fatto uno sforzo per trovare uno spazio adatto ad ospitare il dipartimento, almeno temporaneamente. In esame era il seminterrato dell'edificio dei servizi di ristorazione (idea poi abbandonata: gli odori di cucina si fondono con quelli della pittura ad olio!), è stato esaminato l'affitto o l'acquisto di una casa alla periferia del campus, così come la costruzione di una struttura temporanea in acciaio. Quest'ultima opzione è stata presa per un luogo all'ombra dello stadio della pista: questo doveva servire per i corsi di studio. Nella storia dell'arte, una posizione era già stata pubblicizzata ed è stata accettata da William Kane.

Tour del campus

Durante il mio tour del campus, ho trovato aule e aule studio, tutte situate ad Anderson Hall, caotiche: un cumulo di mobili vecchi, a volte rotti, spazzatura, carta appallottolata e dipinti di studenti abbandonati. L'intero campus della Rice sembrava quasi aggressivamente anti-visivo. Un bronzo di Jacques Lipshitz di Gertrude Stein, mal mostrato nella Biblioteca Fondren, portava il peso della singola opera d'arte in questa tasca accademica. Sono tornato in Oklahoma rendendomi conto che anche se la Rice godeva di un'ottima reputazione nel campo della scienza e dell'ingegneria, qualsiasi distinzione nell'arte sarebbe stata duramente conquistata.

Offerta di nomina a Professore e Presidente di Belle Arti

Subito dopo il mio ritorno a Norman, ci fu una telefonata, seguita da una lettera di Dean Wadsworth: mi offrì un incarico come professore e presidente del Dipartimento di Belle Arti. Ho rimandato una decisione fino a quando non avrei potuto discutere l'offerta con il mio preside, il dottor Donald Clark. Pensavo che la Rice avesse bisogno dell'aiuto che mi sentivo qualificata per dare, e fu elaborato un piano per farmi prendere un anno di ferie dall'Oklahoma e andare alla Rice come visitatore e presidente ad interim, allontanandomi da questi incarichi quando il dipartimento era stato stimolato in esistenza . Rice ha accettato il piano.

Arrivo come Primo Presidente del Dipartimento di Belle Arti

Nel semestre autunnale del 1965 apparve il Dipartimento di Belle Arti e fu approvato un importante curriculum. Il personale didattico era Katherine Brown, David Parsons, William Kane, James Chillman e io. Quei tre uffici dipartimentali piuttosto tetri, uno con finestra e due senza, ci furono assegnati nel seminterrato della Biblioteca Fondren. I corsi di studio di disegno e pittura iniziarono in un edificio provvisorio in acciaio situato in quello che si rivelò essere un pantano. Uno studente coraggioso, Paul Pfeiffer, Jr., ha deciso di rischiare di diventare uno studente d'arte.

Inizia la ricerca della Facoltà

È iniziata la ricerca di un istruttore di studio a tempo pieno, nonché di un sostituto per Bill Kane, che si era dimesso dall'essere sconvolto dalle condizioni di lavoro primitive, dalla povertà di risorse, dall'umidità, dal clima caldo e dai diluvi di quell'anno che hanno spinto uno studente per soprannominare la palude del campus William Rice. Stivali, ombrelli e impermeabili divennero indispensabili accessori per studenti.

Applications arrived for both the art history and studio positions. We invited portfolios of their work from fourteen artists, and narrowed the art history search to Martha Caldwell, who was eventually appointed. During the search, a new wing for Fondren Library was under construction. During the spring semester of 1966, a violent storm sent fourteen inches of water into our basement offices, inundating and ruining work in the artists’ portfolios—we had little furniture and storage space at the time the floor served as a convenient table. Slides and books belonging to Kane, Brown, and Chillman were also water soaked. When the waters subsided, we also discovered that a group of Henry Miller watercolors, given to us just a week before by the architecture department, had been washed bone clean.

Insurance covered the losses, but paying claims spread over an entire year. All the studio applicants had to be informed, and asked to state the value of their destroyed work—some, it seemed, hadn’t sold much and thought the event to be a personal bonanza!

Professor Havens Joins the Department of Fine Arts

When something resembling normalcy appeared, Neil Havens, the director of Rice Players, came in to inform us that the English Department was releasing him so that he could join the Fine Arts faculty.

The Department's First Move

President Pitzer, taking on our recent soggy state, said we would be moved to the second floor of Allen Center, the business office, as soon as that building was complete. I asked for the space there to include a departmental art gallery, together with a small budget to purchase works of art to form a teaching collection both requests were approved.

The Second Annual Student Art Exhibition

The second annual art students’ exhibition was staged at the Rice Memorial Center (RMC) it seemed to signal a change in the visual atmosphere of the campus. However, at the end of the spring 1966 semester, the department was still struggling to develop I therefore petitioned Oklahoma for a one-year extension of my leave, since I couldn’t face leaving so many loose ends at Rice. This, too, was approved.

Arrival to Allen Center

In the fall of 1967, we moved to new quarters in Allen Center a set of small offices, but the gallery was a clean, luminous space. The initial exhibition was attended by Houston notables, including Oveta Culp Hobby. Six exhibitions were staged for the first season, including those of the California painter John Tomas, ink drawings by Dorothy Hood (one of which, later stolen, had been given to the department by Meredith Long) photography by Geoff Winningham selected form his masters’ exhibition at the School of Design in Chicago, and concluding with the third annual student show, which caused some campus ripples. Jim Simmons, head of Buildings and Grounds, objected fiercely to an overflow of student work being shown in the halls of Allen Center, which forced us to stay within the gallery limits.

Department Faculty

The contract for Martha Caldwell was not renewed we searched for a replacement. Earl Staley, a recent MFA graduate of the University of Arkansas, was appointed to teach printmaking and drawing, the printmaking equipment having already been purchased. The slide collection was begun with Juwil Topazio as curator. In the past, only large class lantern slides in black-and-white were used for lectures. Winningham, then teaching at the University of St. Thomas, was employed to photograph the glass slides and reduce them to a 35mm format.

A decision had to be made about my pending return to Oklahoma. Dr. Pitzer was very persuasive in encouraging me to remain permanently at Rice, and after a difficult time of indecision, I agreed to do so. He had assured me that future building plans included a new structure to house Art and Architecture. Such a plan was actually drawn, but rejected because of the then excessive cost of seven million dollars. An alternative, but temporary, space for Art was then included in the planning of Sewall Hall, a gift of Blanche Sewall. At this stage, Dr. Pitzer was offered the presidency of Stanford University, which he accepted. Fine Arts was thus abandoned to its fate by a powerful friend.

Although I found Rice University a sterile, even bleak environment, Houston itself showed stirrings of a vigorous cultural life: The Museum of Fine Arts, Houston, under James Johnson Sweeney staged superb exhibitions in the grand space of Cullinan Hall the University of St. Thomas history of art program and its extraordinary fine exhibitions directed by Dominique de Menil with the support of her husband John gave a unique and blazing life to the intellectual and cultural milieu. Rice could only dream of achieving a parallel art order. There was also the courageous Contemporary Arts Museum, housed in a small building on the Prudential Insurance grounds. Sebastian “Lefty” Adler arrived in 1966 to direct it in a series of spirited exhibitions. The Houston Symphony, the Houston Grand Opera, and the Alley Theater were well established and supported. Commercial galleries such as Kiko and Louisiana & Bute were appearing. There was a very heady feeling in Houston that almost anything of worth in the arts could be accomplished, and with enthusiasm.

Art in the Department of Fine Arts

A few gifts to the department appeared, the first from the estate of the portrait painter Tamera de Kuffner, mostly decorative objects—furniture, silverware, and crystal—that went to enhance Cohen House interior.

In 1967-68, the departmental gallery began its second season. Sometime that year, there were rumors that the de Menils were dissatisfied with certain aspects of their role at the University of St. Thomas. Shortly thereafter, Dean Tapazio came to me with the startling news that John and Dominique de Menil had proposed that the entire spectrum of art activity at St. Thomas be shifted to Rice University, a wedding without precedent. The shift would include the group of four art historians, as well as the art library, the slide collection and curator, the exhibition program with its technical staff, the photography and film program (designated not very happily “media”) with two instructors, plus generous funds to fuel the various activities. We were enthusiastic, but some Rice administrators observed that the de Menils “had a poor track record” in educational support and that the proposed merger was “unprecedented,” as indeed it was.

Jean and Dominique de Menil Arrive on Campus

Thus began months of negotiation, sometimes on campus, but frequently at the de Menil residence on San Felipe, at dinner parties, at the faculty club, and at the then Criterion Club. There were many sticking points: there was no room at Rice for such a large group of people with attendant equipment, Sewall Hall, with one portion planned to house a small art department and a departmental gallery, would be inadequate. Many of the de Menil proposals were extraordinary: at one point John de Menil asked me to go to the president and ask him to stop the Sewall Hall construction, a structure which at that time was rising above ground! The request was, of course, refused by me, but John nonetheless offered to erect another building, a true art center, to be designed by a distinguished architect. For the immediate solution, however, he wanted to build a temporary structure, brick faced, to be situated near Fondren Library. The Board rejected this because the architectural style was in conflict with the Rice tradition. The longer-term plan was then followed, and a de Menil invitation to Louis Kahn, brought back a second time by Rice, produced a few preliminary sketches by him. A short time later, Kahn, dead of a heart attack in New York, brought a great dream to an end.

To help solve the space problem, we decided to close the gallery temporarily in order to create office space for the St. Thomas group, and the de Menils finally decided to build two temporary structures, of neutral design, at a point distant from the main campus. One in time was referred to as The Barn, which housed exhibitions, work space, and some studio space next door, but not quite a clone, was the Media Center. Dominique de Menil, who had been art chair at St. Thomas, became at Rice the director of the Institute for the Arts, created especially for her.

A frenzy of activity ensued. Moved to the Rice campus were art historians William Camfield, Mino Badner, Philip Oliver-Smith, and Walter Widrig. Juwil Topazio graciously resigned her slide curator post which was then given to Pat Toomey. John de Menil wanted Gerald O’Grady and Geoff Winningham to teach in the Media program, but strong objections by the Rice English faculty blocked the appointment of O’Grady, a Chaucerian scholar who had been given three teaching awards at Rice, but had been denied tenure for reasons unclear. O’Grady did not go down to defeat quietly. After one of several conferences with Dean Topazio, he was described as being “a windmill of words.” I had enrolled in a film course at St. Thomas with O’Grady and thought him an unusually fine instructor, the flow of language put to good use.

1969 was a year of upheaval on campus, as on other campuses. A new president to replace Pitzer, Dr. William H. Masterson—a former Rice faculty member—faced a protest to the appointment by a united student and faculty group. Masterson sensibly decided to forfeit the appointment. National protests also against the war in Vietnam resulted here in a brief occupation by students of Allen Center.

Earl Staley’s appointment at the termination of his three-year contract was not renewed. Earl had been hired as a printmaker, but decided he wanted to teach painting instead, and since he was a young artist without many credentials, the department decided to look for a replacement. Before his departure, I had asked Earl to have a solo show on campus—this was before the gallery opened. The exhibition was staged in the Hamman Hall lobby the work was vigorous and somewhat erotic, and accompanied the Rice Players presentation of Edward Albee’s Tiny Alice. A poster commemorated both events.

The Institute for the Arts

The Institute for the Arts held its first exhibition, a marvelous one titled, “The Machine,” co-sponsored by the Museum of Modern Art. Shortly thereafter, the Media Center (actually part of the Fine Arts Department) began giving courses in film with James Blue as instructor. In order to inaugurate the center, John de Menil had proposed that a new film by Andy Warhol be previewed by the faculty, students, administrators, and staff in the Grand Hall of the Rice Memorial Center. This was done. The film was “Lonesome Cowboys,” which in the atmosphere of 1969 might have been considered titillating. Warhol and attendant “family” members, Ultra Violent and others, paraded in front of the audience before the film began. The following day, several members of the administration called on me in my office. The usual reaction to the film event ranged from dislike to distaste. These opinions also applied to the notion of any art activity at all on campus, expressed in such questions as “Mr. O’Neil, just what do you have in mind for the future of the Fine Arts Department?” My answer to that was: “A vital and vigorous creative and scholarly discipline, open to the examination of all ideas in the visual arts, and the study and interpretation of the history of art.” The then dean of the graduate area, however, rather stubbornly insisted that “art doesn’t belong at Rice because student accomplishment cannot be accurately graded.” (!)

Dominique de Menil, Dan Tapazio, and myself were appointed as a trio to make decisions about how that future of the arts could be realized. At my request, Dominique and I met in order to prepare a budget proposal for the coming year, and then submit it to Tapazio. Dominique seemed genuinely surprised when I asked her to put together a budget for the Institute for the Arts major exhibition program. She replied, “we always just pay for whatever expenses there are.” I realized then that the future, at least for several years, was going to be a wild ride.

Plans for a Move to New Facilities in Sewall Hall

Plans for Sewall Hall had to be revised in order to make room for the increased number of faculty and staff. Space needed to be found for the arriving Art Library and the de Menil teaching collection. Even though a small, but pleasant, departmental gallery was provided, together with an adjacent loading dock, storage areas, and both a freight elevator and a passenger elevator, none of the dozens of people who pored over the blue-prints ever realized that there was no connection above ground between the two wings of the building, nor was this critical fact mentioned by the architects. Thus the Fine Arts area, with the exception of sculpture and gallery, emerged elevatorless.

Rice Media Center

The Rice University Media Center, an integral part of the arts at Rice University, was founded in 1969 by international art patrons Jean and Dominique de Menil, with scholar Gerald O'Grady as a consultant. The founders' intent was, essentially, that the Rice Media Center building provide a channel through which different peoples of the world could communicate. The legendary vision of the de Menil family was fulfilled by the creation of the Rice Media Center building, the Department of Art and Art History and Institute for the Arts which today exists as the Department of Visual and Dramatic Arts , Department of Art History and the Rice Cinema Program.


The Rice Media Center and the Institute of the Arts buildings were designed by Houston architect Eugene Aubrey who, at the time, was partnered with architect Howard Barnstone (Barnstone and Aubrey). During the early design stages, Rice scholar Gerald O'Grady met and consulted with Aubrey on the design of the Rice Media Center building. The de Menil's vision for the center was to use the media of film and photography and art as an educational tool in both research and teaching, and to unite different branches of education. The official opening of the Media Center was held in February 1970. Andy Warhol, during a visit that same year, planted a tree with Dominique de Menil's assistance in front of the Institute for the Arts. The Institute building is now the Glasscock School of Continuing Studies and the Rice Media Center building is now occupied by the Department of Visual and Dramatic Arts. Both buildings and the Warhol tree remain on the Rice Campus to this day, another tremendous gift to the City of Houston and University, from the de Menils.

Film at the Rice Media Center--the Early Years

The ideas surrounding the creation of a space like the Rice Media Center attracted filmmakers who were interested in observational cinema, or cinéma vérité, (the Direct Cinema movement) which is an important impetus to the development of Visual Anthropology today. Among those who engaged the Rice community were Colin Young, then Dean of Arts at UCLA, and renowned filmmaker and director of the Italian School, Roberto Rossellini, along with Frantizek Daniel, renowned director of the Prauge Film School, who each visited the Media Center to conduct meetings and workshops periodically in order to engage and introduce students, faculty and community to this new wave of filmmaking.

In 1970-1971 David MacDougall, who had studied under Colin Young, came to Rice as an ethnographic filmmaker from UCLA. Additionally, the de Menils also brought a young documentary filmmaker to Houston to co-direct the center, Academy Award nominee James Blue. Blue and MacDougal encouraged students of all disciplines to see themselves as filmmakers, and they brought a regular flow of visiting directors to campus. Under the co-directorship of Blue and MacDougall, along with Menil support, the Rice Media Center received federal grants to purchase 8mm film and editing equipment with the intent for it to be made available to use by the public.

During this period, MacDougall and Blue received a Guggenheim fellowship and a grant from the National Endowment for the Humanities to make one of the most well-known ethnographic documentary films entitled Kenya Boran at the Rice Media Center . Both MacDougall and Blue were Co-Directors of the Media Center until 1975 when MacDougal left to become Director of the Film Unit at the Australian Institute of Aboriginal Studies .

Teaching and fiscal operations of the Media Center became part of the Art and Art History Department soon after this period. Brian Huberman, Associate Professor, was recruited by James Blue from the National Film and Television School, U.K. in 1975. Together Huberman and Blue taught courses in production and collaboratively and independently produced several documentary films until Blue's departure in the late 1970's. Brian Huberman's film work includes To Put Away the Gods (1983), The Making of John Wayne's THE ALAMO (1992) and most recent film The De la Peña Diary (2003) . Huberman's filmmaking and teaching continues to this day for the Department of Visual and Dramatic Arts.

Photography at Rice Media Center-Early Years

As a part of the strong interest in an observational style, a documentary image -language, Geoff Winningham was recruited by Gerald O'Grady from the University of St. Thomas in 1969, to come to Rice University to teach photography. During the early years of the Rice Media Center opening (1969-70) brought some very important photographers such as Robert Frank, John Szarkowski, Aaron Siskind, Frederick Sommer, and others to the Rice Media Center for a lecture series. The series included an exhibition of over 60 photographs, on loan just for this show from the Museum of Modern Art, New York (where Jean de Menil was a trustee at the time). Over the years, Professor Geoff Winningham has produced several films and authored many books including Friday Night in the Coliseum (1971), Going Texan (1972) and Rites of the Fall (1978) and his most recent book, Along the Forgotten River (2003). He continues his photography work and teaching for the Department of Visual and Dramatic Arts to this day.

Rice Cinema

For more than 35 years , the Rice Cinema has continued to screen films from around the world—foreign features, shorts, documentaries, and animation. Rice Cinema reaches beyond the university's hedges to the diverse communities of Houston. We offer a living alternative to the monolithic commercial cinema of Hollywood and have screened films from every continent. Among the internationally known filmmakers who have appeared on our campus over the years include Werner Herzog, Rakhshan Banietemad, Atom Egoyan, Shirin Neshat, Martin Scorsese, Andy Warhol, George Lucas, Fernando E. Solanas, Albert Maysles and Dennis Hopper.

Rice Cinema works in concert with our academic programs to enrich our students' undergraduate experience. Our film students are provided state-of-the-art screening facilities to examine and study the historical and methodological aspects of movies from around the world in 16, 35, or 70 millimeter with Dolby Digital Sound. Film production students can showcase their work during the academic year on our new silver screen in recently renovated projection facilities.


Come experience art at 24 frames per second at the Rice Cinema. Rice Cinema operates during the academic year screening films almost every weekend. To find out what is playing, call the informational telephone line at 713-348-4853

Rice Cinema: Celebrating Almost 50 Years of Notable Guests

(Excerpts from these passages below have been taken from an article by Lia Unrau of Rice News on 9/14/95)

In the early '70s,' Andy Warhol premiered his violent Lonesome Cowboys to the largest Media Center audience in history. Italian neo-realist director Michelangelo Antonioni, known for Blow Up screened his work, as did Martin Scorcese and Milos Forman. A promising young director named George Lucas showed his original version of THX 1138.

Also in the '70s, The Big Parade director King Vidor, a Galveston native, told students and audiences about the silver screen, and George Stevens (Giant) and Frank Capra (It's a Wonderful Life) passed on insight from their experiences during some 30 years in the business.

Audiences leaned back and looked to the ceiling as two avant-garde experimenters, Ed Emschwiller and Stan Vanderbeek, projected psychedelic images over head it was, after all, the '70s.

The early '80s brought a strange Dennis Hopper. Following his"performance," in which he refused to come out on stage and the audience watched on video monitors as he spoke from behind stage, (witnesses aren't sure what he spoke about), he invited the sell-out crowd to watch as he blew himself up in the Russian Dynamite Death Chair Act.

Sam Peckinpah, well-known for his westerns, like The Wild Bunch, made the last public appearance of his career at Rice. At the time, his films were controversial in terms of violence, but they might seem mild by today's standards.

British director Richard Lester visited campus to reflect about the Beatles during filming of A Hard Day's Night and Help, and ended up running the camera for George Rupp's presidential inauguration in 1985.

In 1987 Isabella Rossellini participated in a retrospective of her father's work. While Roberto Rossellini was at Rice he set to work on a film for television called Science, based on the work of Rice scientists, scheduled to be 10 hours long. Although frames exist, the project was never completed.

In 1991, Spike Lee and his whole family rolled up in a limousine to sneak preview Do the Right Thing. Lee led an emotionally charged discussion with the sell-out crowd following the film.


1960s

Rayzor Hall

Rayzor Hall was designed by Staub, Rather & Howze. Named for lawyer, towing company executive and alumnus trustee J. Newton Rayzor '17 and his wife Eugenia Porter Rayzor, the building housed School of Humanities until the Humanities Building was built in 2000. The building now houses the Center for Languages and Intercultural Communication.

Brown College - “The Tower”

With Jones College being the only all women's college on campus, there was a severe housing shortage for Rice women in the 60's. Through the generous donation of George R. Brown and his wife Alice Pratt Brown, a new women's residential college was established in the memory of their sister-in-law, Margarett Root Brown. The original building became known as “The Tower” after Brown College was expanded in 2002.

Rice Health Center (Formerly Brown College Commons)

The original building of the Brown College Commons, located next to the dormitory tower, served as the College’s dining hall for nearly 50 years. However, when Brown College expanded in 2002, a new commons was built and the original commons became the building for the Rice Health Center.

Ryon Engineering Laboratory

Designed by architects Wirtz, Calhoun, Tungate & Jackson, Ryon Engineering Laboratory was built with a gift from Lewis B. Ryon, Jr., professor emeritus of civil engineering, and his wife Mae E. Ryon. When it comes to concrete batching and curing, strength testing, welding and machining, Ryon Lab has been the go-to place for Rice’s civil, environmental and mechanical engineering faculty and students.

Oshman Engineering Design Kitchen (Formerly Hicks Kitchen)

Hicks Kitchen was originally the central food-service kitchen on campus, but then became storage space after North and South Kitchen Serveries were built in 2002. In 2009, Hicks Kitchen was completely renovated with a generous gift from Rice University alumnus and trustee M. Kenneth Oshman ’62 and his wife Barbara to established the Oshman Engineering Design Kitchen (OEDK). The OEDK includes conference rooms, a classroom, a wet lab, rapid prototyping equipment, large-format printers, a designated woodworking area, a machine shop and access to a welding shop, providing engineering students with the space and resources to complete their design projects. The OEDK is the first renovated building on campus to be LEED Gold-Certified.

Space Science and Technology Building

Immediately following former President John F. Kennedy space exploration address in Rice Stadium in 1662, Rice became the first university to establish a space science department. The Space Science and Technology building was built a few years later to house the department.

Allen Center

Designed by architects Lloyd, Morgan & Jones, the Allen Business Center honors Rice donor and governor Herbert Allen and his wife Helen Allen. In 1987, Trustees authorized a 4th-floor expansion. The Allen Business Center houses the President’s Office.

Herman Brown Hall for Mathematical Sciences

Funds by the Brown Foundation and from a National Science Foundation Systems Grant, the Herman Brown Hall for Mathematical Sciences is named for Trustee George R. Brown's elder brother and business partner. Architects George Pierce and Abel B. Pierce designed the building.

Lovett College

Named after Rice's first president, Edgar Odell Lovett College is a six-story residential dorm with distinctive brutalist architecture. The concrete grating that surrounds the third, fourth, and fifth floors is a design feature intended to make Lovett riot-proof in reaction to the student riots of the late 1960’s. This grating now protects Lovett students from hurricanes, allowing the students of Lovett College to remain in their rooms through both Hurricane Rita and the most recent Hurricane Ike.


MOB History and Traditions

The Rice Owl Band was formed by 12 students in 1916 and was built upon interest in band activities and the reading of band literature. The band increased to about 50 members when Lee Chatham became director in 1922. During this period, however, there were few high school bands, and so the main body of membership was supplied through civic or municipal bands and private teachers.


The Rice Band in 1916

Following Mr. Chatham’s retirement in 1938, Mr. Kit Reid became director. During the period of World War II, the supply of band personnel was very unstable, so toward the end of the war, Hugh Saye and Dick Kincheloe formed a band of Navy cadets under the V-12 program. This group was supplemented by civilians from the student body. After the war, the band was reorganized and the first women, four majorettes, were added to the previously all-male organization. Neel Cotton completed the academic year as director following Mr. Reid’s retirement in 1950.

In 1951, Holmes McNeely became director and instituted a building program of both equipment and personnel. Mr. McNeely was the first to offer a number of band scholarships to students involved with the Rice Owl Band. At this time, women musicians were added to the band for the first time. Upon the retirement of Mr. McNeely in 1967, Mr. Bert Roth took charge of the band activities. In the fall of 1968, every qualified member of the Rice Owl Band was given a work scholarship in recognition of their participation.

In 1970, the Rice Owl Band broke with tradition and introduced timely and sometimes controversial topics into their halftime activities. With their tongues firmly planted in their cheeks, the band parodied politics, life at Rice, and other members of the Southwest Conference, using the brains that Rice is famous for, rather than brawn. The band also gradually stopped marching at this time and began the “scattering” that it is now famous for. This type of entertainment proved popular with band members as well as with the student body.


Angry A&M fans after the 1973 show

Dr. Ken Dye took over the director’s job in 1980. By emphasizing musical quality and contemporary show design, the band (now called the Marching Owl Band, or MOB) was able to entertain a larger audience. His first year marked the beginning of the jazz ensemble and the granting of credit for the concert band. In 1982, Dye updated the MOB’s uniforms, and the MOB donned their trademark gray felt fedoras for the very first time.


Ken Dye with the MOB

Dr. Dye’s tenure at Rice saw MOBsters perform at the Opening Ceremonies of the 1984 Olympics, the 1985 Presidential Inauguration, the 1986 Statue of Liberty Celebration and U.S. Olympic Festival, and the 1993 Carnivale in Nice, France. Dr. Dye believed that travel was an important part of any major college band. During his time as MOB director, the band took trips to places as far afield as Notre Dame and the campuses of all three U.S. Service Academies. The MOB also took shorter trips to SMU, TCU, and Tulane University.

Dr. Dye’s single greatest legacy lies with his tremendous talent for arranging music for bands. During his time at Rice, he arranged literally hundreds of tunes for the MOB to perform. Our music library overflows with his first-class arrangements of many rock, jazz, and blues standards. When it comes to playing great music, the MOB has long been among the best college bands in the country — a tradition that it will uphold for years to come.

In spring 1995, Willy’s Pub and the MOB Bandhall were destroyed in a fire that gutted much of the Rice Memorial Center. Luckily enough, however, the MOB was already planning a move to the newly-refurbished basement of the Campus Central Kitchen Building (now the OEDK). Although a new band hall was in place, the MOB had to rebuild from nearly zero — new instruments, equipment, office supplies, computers, and uniforms all had to be bought in the summer of 1995 in time for the 1995-96 season.


Evolution of MOB uniforms

In 1997, Dr. Dye left Rice to rebuild the band program at the State University of West Georgia, a position he held for only one year before moving on to a directorship at Notre Dame University in the fall of 1998. Mr. Sean Williams was hired in the summer of 1997 to serve the MOB and the Rice Band Department as interim director until a permanent replacement for Dye could be found. That replacement was Dr. Robert Cesario, who came to us in the fall of 1998 from Tulsa, OK. After four years, Dr. Cesario resigned from the position of Director of Rice Bands in the summer of 2002.

The MOB is currently under the leadership of Mr. Chuck Throckmorton, who has been with us since 2002.


Chuck at a 2017 rehearsal

In spring 2017, the MOB moved into its new band hall on the south end of the football stadium, leaving its old shared location in a gym in the back of Tudor behind. The hall was officially named the John “Grungy” Gladu Band Hall in fall 2017.

School music

Rice’s Honor
“Rice’s Honor” was adapted from the “Our Director March” in the 1922, with lyrics by Ben H. Mitchell 󈧜. It served as Rice’s unofficial alma mater for 40 years before being officially established as such in the 1960s as such.

All for Rice’s honor, we will fight on.
We will be fighting when the day is done.
And when the dawn comes breaking,
We’ll be fighting on, Rice, for the Gray and Blue.
We will be loyal, to Rice be true.

Fight Song
The Rice Fight Song was written by Louis Girard 󈧭 and Harry Girard and premiered in 1940. Although originally intended to replace “Rice’s Honor” as the school’s alma mater, it was much more popular among students as a fight song, leaving “Rice’s Honor” in the role of alma mater.

Fight for Rice, Rice fight on,
Loyal sons arise.
The Blue and Gray for Rice today
Comes breaking through the skies.
Fight, fight, fight!
Stand and cheer, Vict’ry’s near,
Sammy leads the way.
Onward go! to crush the foe,
We’ll fight for Blue and Gray.

Bonnet
Bonnet was written in the 󈨀s by Harvin C. Moore 󈧟 and Barry Moore 󈨂 to the 1909 tune “Put on Your Old Grey Bonnet” and became a popular tune at football games.
30-second Bonnet is the tune compressed into 30 seconds and is performed at basketball games.

Louie Louie
“Louie Louie” is the MOB’s personal fight song/theme song based on the 1963 Kingsmen hit. The MOB first performed it in a show against TCU in 1981, and now plays it at every football game.

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To limit how many people are using the band hall at a time, please check the band hall availability calendar before using the band hall.


10 Fun Facts about Rice University

1. Nearly half of all Rice students are from out of state.

2. The wall at the entrance of Rice’s architecture building is known as the Frog Wall for the croaking frog noises it makes if you run your fingers over the holes.

3. All students are required to finish two P.E. type classes of Lifetime Physical Activity Program, or LPAP, before graduation.

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In this second part of his two-part series, college admissions coach Justin Taylor explains key admissions lessons from 2020, an unprecedented year of firsts, that can help you strategize as we enter into this next application.

In Part one of this two-part series, college admissions coach Justin Taylor explains key lessons about 2020, “a year like no other,” that could seriously boost your chances in 2021, including smarter list building and transcript GPA.

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The recent killings of George Floyd, Breonna Taylor, and Ahmaud Arbery, among so many others in the Black community who have been robbed of their lives over the years by the brutal and fatal use.


Facts about Rice University 1: level of research

The research activity in Rice University is very high. In 2011, the research earned the funding of $115.3 million from the sponsor.

Facts about Rice University 2: the applied science programs

Applied science is the main program in Rice University. It covers a number of fields such as signal processing, artificial heart research, nanotechnology, space science, and structural chemical analysis.

Facts about Rice University


Rice University - History

The Rice NROTC Unit was officially inaugurated in September 1941, making it the second NROTC Unit formed in Texas. The first Commanding Officer was CAPT Dallas D. Dupre, a World War I veteran who had graduated from the Naval Academy in 1915.

The unit building was newly made and prepared for the first class of midshipmen when the program began in 1941, with 110 spots available for freshmen and sophomore students at Rice to apply for. The program continued to expand, and only a year later, in 1942, had 198 midshipmen. The unit was heavily involved with the rice community on campus. Initially created in addition to the ROTC Program was the Navy Club, which was meant to increase camaraderie and instill the good ideals of the navy into midshipmen. Members also created the Navy Orchestra, which played at events around campus. The unit midshipmen also ran a publication called the Rice Broadside, which included news from the company, as well as thoughts about current events, such as the excerpt below, from an issue during WW2. Midshipmen also found uses for the physical demands of the navy - many of the Marine options were members of the Rice football team as well. In 1943, Rice University was selected to participate in the V-12 Commissioning Program for World War II with an initial input of 530 students. In February 1944, the unit commissioned its first class of graduates in all, 80 men were commissioned as officers in the U.S. Navy or Marine Corps. By July 1946, the V-12 Program had ended and the unit shrunk to 32 students. Today, the unit consists of cross-town affiliates at Texas Southern University, the University of Houston, and Houston Baptist University. It has commissioned over 900 officers into the Navy and Marine Corps since the end of World War II.

The Prairie View A&M University Unit was established in March 1968 and was the first NROTC unit established at a Historically Black College or University. In May 1970, the first class of 13 midshipmen were commissioned into the Navy and Marine Corps. By 1979, the unit had commissioned over 100 officers into the naval service. In August 1992, the Prairie View A&M University Unit joined with the Rice University Unit to form the NROTC Houston Consortium. To date, the unit has commissioned over 400 officers into the Navy and Marine Corps.