—To the left is the very first mention of Studio RivBea in the Village Voice, from the June 29 issue, p.42.

 The display ads (and handful of notices) posted below were printed well after the monthly or bi-monthly Studio
 RivBea schedules—and are a more accurate accounting of what actually happened there during these dates.
 However, by appearing days or weeks before, they are also prone to inaccuracies.

 Things will become more focussed when Ed Hazell’s Energy Center: A History of Studio RivBea 1972-1978 appears
 (which I’ll be publishing in 2023-24). This companion volume to The Sam Rivers Sessionography (2022) will contain
 a multitude of refinements, new information, and updates on the activities at Sam & Beatrice Rivers’ Studio RivBea.

   I went through the Village Voice page by page—because items are hidden everywhere—through 16 years worth,
   from 1964 to 1979, which covers Sam Rivers’ time in New York City a year past Studio RivBea.

   Published weekly, 52 issues per year, so 832 issues; average of 75 pages each, so 62,400 pages; average 45 minutes
   per issue; so... Roughly 625 hours = 15+ work weeks, and you’re welcome.

   Please note, when using the Village Voice online archive at Google News, the actual page numbers of the Voice
   need to be checked, as they are not always the pagenumbers listed by Google in their scroll-bar counter. There are
   duplicate pages, rare missing pages here and there, and some spreads counted as a single page. There are also some
   large gaps in the Google News resource—especially from 1975 on—that need to be accessed by reference library
   microfiche files. —RL

 —July 28 to August 19, display ad Jul 27 p.45. This was the very first Studio RivBea display ad in the Village Voice.

  —August 4 to August 27, display ad Aug 3 p.38

   —August 10 to August 27, display ad Aug 10 p.40

    —August 18 to August 27, display ad Aug 17 p.40

 —August 24 to September 4, display ad Aug 24 p.43

  —September 1 to September 4, display ad Aug 31 p.43

   —September 8 to September 17, display ad Sep 7 p.55

    —September 14 to September 24, display ad Sep 14 p.59

 —September 22 to September 30, display ad Sep 21 p.65

  —October 6 to October 28, display ad Oct 5 p.55

   —December 1 to December 9, display ad Nov 26 p.68

    —December 8 to December 16, display ad Dec 7 p.61

 —December 15 to December 23, display ad Dec 14 p.70

  —December 22 to December 30, display ad Dec 21 p.62

   —December 28 to December 31, display ad Dec 28 p.36

    —December 29 & 30, notice Dec 28 p.45

 —January 25 & 26, notice Jan 18 p.60

  —February 1 to February 10, display ad Feb 1 p.61

   —February 9 to February 17, display ad Feb 8 p.59

    —February 16 to February 24, display ad Feb 15 p.62

 —February 23 to March 3, display ad Feb 22 p.50

  —March 9 to March 17, display ad Mar 8 p.52

   —March 16 to March 24, display ad Mar 15 p.56

    —March 23 to March 31, display ad Feb 15 p.62

 —March 30 & 31, notice Mar 22 p.46

  —April 1 to April 5, display ad Mar 29 p.61

   —April 6 to April 12, display ad Apr 5 p.48

    —April 13 to April 19, display ad Apr 12 p.70

 —April 20 to April 26, display ad Apr 19 p.68

  —April 27 to May 3, display ad Apr 26 p.46

   —May 4 to May 10, display ad May 3 p.65

    —May 11 to May 17, display ad May 10 p.69

 —May 18 to May 26 + June 3 to August 26, display ad May 17 p.70

  —June 8 to June 14, display ad Jun 7 p.68

   —June 15 to June 21, display ad Jun 14 p.64

 —June 29 to July 8, display ad Jun 28 p.12

  —July, notice Jul 12 p.53

   —July 4 to July 8, display ad Jul 5 p.41

 —July 20 & 21, display ad Jul 19 p.56

  —July 27 & 28, display ad Jul 26 p.56

   —August 10 & 11, display ad Aug 2 p.45

    —August 31 to September 5, display ad Aug 30 p.50

 —September 7 to September 13, display ad Sep 6 p.50

  —September 13 to September 19, display ad Sep 13 p.63

   —October 5 to October 10, Oct 4 p.7

    —October 10 to October 12, Oct 11 p.66

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   “A model of independent scholarship, ... A highly immersive experience.
   —NPR music critic Kevin Whitehead, Point of Departure

   “A dizzying, stunning achievement of research and scholarship. ... A joyful, sometimes psychedelic experience.”
   —Mike Chamberlain, All About Jazz

   “Masterfully sums up Rivers’ lengthy and productive career. ... A formidable document. ... Clearly sets the standard
   for any future work in this format.”
   —Robert Iannapollo, ARSC Journal

   “I have never encountered anything approaching [Lopez’] obsessive thoroughness. ... A testament to Rivers’ enduring
   music and his invaluable role as incubator/advocate/on the bandstand educator.
   —Peter Margasak, The WIRE

   “Rick Lopez’s book is by no means a biography. It’s not a discography either, and it’s not a photo documentation.
   And yet somehow it is everything at the same time.
   —Wolfram Knauer, Jazzinstitut Darmstadt (January 2023)