first_img[H/T Rolling Stone] The Wood Brothers recently released a new music video for their cryptic song, “Strange As It Seems”. The song appeared on the band’s latest album, One Drop Of Truth, which was released on February 2nd via Honey Jar/Thirty Tigers.As Oliver Wood told Live For Live Music in a recent interview when asked about the ambiguous nature of the song’s lyrics,I think [“Strange As It Seems”] was inspired by an idea: What if you could approach your romantic life in a dream? Like, you get all dressed up to go meet somebody, and you go to bed and encounter someone in a dream world. So then, the question is why do you want to do that? Is it someone who is dead? Is it someone who actually exists? Is it someone who you already know? It’s very ambiguous, but I saw it in very visual terms.I imagine it to be some weird cool movie abstract, where I imagine someone actually doing that—a fully clothed person getting in bed, which is an image from the song, and turning off the light. Instead of going out on the town, you are going into this dream world that you prepare yourself for. This is the first song that I have written that came with visuals, and we are conceiving of a video for it, which I am very excited about.The video has finally been released, and it certainly riffs off the surreal and dreamlike state that Wood mentioned in his interview with us. The video primarily features two elderly marionettes, which are controlled by Oliver as he sits in a kitchen with his bandmates, brother Chris Wood and Jano Rix. The marionette’s actions in the video mirror the song’s lyrics, with the imagery similarly open-ended.You can check out the new music video from the Wood Brothers for yourself below.last_img read more

first_imgPhoto: Kevin Cole Tedeschi Trucks Band continued their 2018 Wheels of Soul tour on Sunday night, stopping in Mansfield, Massachusetts for a performance at the Xfinity Center. Joined by Drive-By Truckers and The Marcus King Band, the twelve-piece offered up yet-another barn burner highlighted by a bust-out cover of the Allman Brothers Band‘s “Little Martha” and a raging encore, featuring members of the Marcus King Band for covers of Sly & The Family Stone‘s “Sing A Simple Song” and “I Want to Take You Higher”.Tedeschi Trucks Band’s headlining set kicked off with a familiar cover of Derek and the Dominos‘ “Anyday”. The next nine songs kept it close to home for the Tedeschi Trucks Band, weaving in covers of Derek Trucks Band‘s “Get What You Deserve” and the Allman Brothers’ “Little Martha”, which hadn’t been played by TTB since 2012. The Eat A Peach closing track was played at the end of every ABB show since the 1980’s, as a respectful bow to the band’s fallen leader, Duane Allman. Yesterday also marked the birthday of original ABB drummer Jaimoe, who collaborated with TTB on Friday night, and Mama A, Duane and Gregg’s mother who passed away several years ago, so the return of “Little Martha” was especially meaningful.After debuting it on Saturday night, TTB also performed their newest cover, “Going, Going, Gone”—a tune off Bob Dylan‘s 1974 Planet Waves, which was likely also used as a tribute to the late Gregg Allman, who covered the song on his final album, Southern Blood.The rest of the set wove together fan-favorite originals, including “Do I Look Worried”, their newer “Shame” which Derek Trucks recently confirmed will be on their upcoming album, “Midnight In Harlem”, and more from the band’s extensive catalog. The jam-packed setlist closed with Billy Taylor‘s “I Wish I Knew How It Would Feel To Be Free”.For the encore, Tedeschi Trucks Band returned for a version of their own “Just As Strange” from 2016’s Let Me Get By before welcoming out their guests for the evening for a Sly & The Family Stone medley. Marcus King, who’s now performed with TTB a handful of times on this tour, brought out his own keyboardist, Deshawn “D’Vibes” Alexander, and horn players Justin Johnson and Dean Mitchell to join the fun.Thanks to taper rjhesq, you can listen to the full audio below:Thanks to YouTube user Jamey Klein, you can watch video highlights from last night’s show below:“Sing A Simple Song” > “I Want To Take You Higher” w/ Marcus King, D’Vibes, Justin Johnson, Dean Mitchell“Going, Going, Gone”“Just As Strange”“I Wish I Knew How It Would Feel To Be Free”“Made Up Mind”“Right On Time”“Part Of Me”“Get What You Deserve”“Do I Look Worried”“Midnight In Harlem”Check out the full photo gallery below, courtesy of photographer Kevin Cole.Setlist: Tedeschi Trucks Band | Xfinity Center | Mansfield, MA | 7/8/18Anyday, Do I Look Worried, Get What You Deserve, Part of Me, Shame, Little Martha, Midnight In Harlem, Right On Time, Made Up My Mind, I Wish I Knew How It Would Feel To Be FreeE: Just As Strange, Sing A Simple Song, I Want To Take You Higher Load remaining images Load remaining images Photo: Kevin Colelast_img read more

first_imgFunktronica quartet Tweed have been keeping a busy schedule this summer. In addition to festival appearances and headlining tour dates, the fan-favorite band is also responsible for curating their own annual hometown SENSORiUM event, which is scheduled for Saturday, August 25th, at Philadelphia’s The Ukie Club on Franklin and also features SunSquabi, Flamingosis, Daedelus, and more. (You can purchase tickets for SENSORiUM here).SunSquabi, Tweed, & Flamingosis To Act As The Stimuli At Philly’s SENSORiUMAll the while, AJ DiBiase (guitar/vocals), Joe Vela (drums), Jon Tomczak (synth, vocals), and Dan McDonald (bass, vocals) have been recording new material set to be featured on the forthcoming full-length album, Moves. Today, the group released the psychedelic, disco-driven single “El Sucio Grande”, which features a special guest spot from Lotus‘ Jesse Miller on modular synth.Guitarist and lead vocalist, AJ DiBiase recalls,This song was born overnight in a collaborative writing session, and it evolved into a whole new animal when we added a heavy dose of blood, sweat, and tears in the studio. We fully embraced the opportunity to explore the magic of the studio and spent a lot of time spicing up this track with production.“El Sucio Grande” features silky-smooth vocals from the lead singer, paired with ’70s-inspired guitar licks, hand claps, and spacey synths throughout the four-and-a-half-minute track. A hint of womp appropriately adds some “big dirty” to make “El Sucio Grande” worthy of its title. Take a listen below, and keep your eyes peeled for Tweed’s official music video for the tune, which is due out in the next few weeks.<span data-mce-type=”bookmark” style=”display: inline-block; width: 0px; overflow: hidden; line-height: 0;” class=”mce_SELRES_start”></span><span data-mce-type=”bookmark” style=”display: inline-block; width: 0px; overflow: hidden; line-height: 0;” class=”mce_SELRES_start”></span>“El Sucio Grande” will be featured on both Moves and a special split 12″ vinyl EP with Colorado’s Magic Beans, which is due out in September. The two bands will join forces on a four-night co-headlined Northeast run of shows in late September, which will see the bands roll through Funk n’ Waffles in Rochester, NY; River Street Jazz Cafe in Plains, PA; The 8×10 in Baltimore, MD; and Tellus360 in Lancaster, PA. For a full list of Tweed tour dates, check out the band’s website.On August 25th, Tweed will host their annual SENSORiUM festival at Philadelphia’s Ukie Club, making for an outright sensory overload during the daylong celebration of music. Tickets for SENSORiUM are currently on-sale and can be purchased here. For event updates and additional information, join the FB Event page. Check out the festival’s full lineup below:last_img read more

first_img[Audio: Scott T.]For a full list of Umphrey’s McGee’s upcoming shows, head to the band’s website.Setlist: Umphrey’s McGee | Iroquois Amphitheatre | Louisville, KY | 8/25/2018Set 1: Dump City, Push & Pull, Looks, Out Of Order > Slacker, Example 1 > Raymond > Example 1, Roulette > Miss Tinkle’s OvertureSet 2: Der Bluten Kat > Cut the Cable[1] > Der Bluten Kat, Mad Love, Rock the Casbah > The Triple Wide > Triangle Tear, AugustEncore: 1348 > Soul Food II > 1348 Over the weekend, Umphrey’s McGee headed to the highly anticipated LOCKN’ Festival in Arrington, Virginia, headlining Thursday night with alternating sets with Lettuce (during which both bands blew minds with their stellar transition between sets) as well as performing a set filled with Led Zeppelin classics on Friday evening with help from Jason Bonham, Taylor Hicks, and Derek Trucks. After these triumphant festival appearances, Umphrey’s McGee kept playing through the weekend, following up their two nights at LOCKN’ with a performance at the Iroquois Amphitheatre in Louisville, Kentucky, on August 25th.In Louisville, the band opened the show up with “Dump City”, followed by a performance of new tune “Push & Pull”, which marked the it’s you track’s third live performance. Continuing to work through material off their complementary pair of 2018 albums, it’s not us and it’s you, the group offered up “Looks” before more classic fare, such as a well-segued combo of “Out Of Order” into “Slacker”.However, the main highlight of the first frame and the show was the band’s performance of “Raymond”, which was sandwiched within “Example 1”. The band’s Louisville rendition of the “Raymond” marked the first live performance of the instrumental tune since April 3rd, 2014—a span of 424 shows. This also marked the 50th overall rendition since the song was debuted in 1999. Next, Umphrey’s McGee performed “Roulette”, dusting off the tune for the first time since March, before ending the set with “Miss Tinkle’s Overture”.Though “Raymond” served as the largest surprise of the night, the group did not ease up during their explosive second set. An extended “Der Bluten Kat” clocking in at 20 minutes in length kicked off set two, moving into the original version of “Cut The Cable” before briefly returning to “Der Bluten Kat” to close the segment. “Mad Love” came next ahead of a cover of The Clash‘s “Rock The Casbah”, which kicked off a jam-heavy string of songs including “The Triple Wide” and “Triangle Tear” ahead of the set-closing rendition of “August”. To close the night in full, Umphrey’s McGee offered another sandwich in the encore slot, taking “1348” into and back out of “Soul Food II”.You can listen to full audio from the show below.Umphrey’s McGee – Iroquois Amphitheatre – Full Audiolast_img read more

first_imgThis week, The Grateful Dead announced the 2018 edition of their annual free download series, “30 Days of Dead.” Beginning on November 1st, and running through the end of the month, Grateful Dead archivist David Lemieux will offer up one high-quality live track per day from the Dead’s vault as a free download here. The tracks will be shared with their venues and dates omitted, and fans will get the chance to fill in the blanks in exchange for prizes.As the announcement in’s new Grateful Dead Almanac notes,Who needs a miracle everyday? We sure do and we bet you could use one too!Consider this our gift to you for being so darn loyal… Each day in November we’re giving away a high-quality 320Kbps MP3 download. That’s 30 days of unreleased Grateful Dead tracks from the vault, selected by Dead archivist and producer David Lemieux! Intrigued? We’re also going to put your knowledge to the test and give you the chance to win some sweet swag from the Dead.Most of you know the drill by now, but for those, that don’t, here’s the deal:You know your Ables from your Bakers from your C’s, but can your finely tuned ears differentiate the cosmic “comeback” tour from a spacey 70’s show? Each day we’ll post a free download from one of the Dead’s coveted shows. Will it be from that magical night at Madison Square Garden in ’93 or from way back when they were just starting to warm it up at Winterland? Is that Pigpen’s harmonica we hear? Brent on keys? Step right up and try your hand all November long and win prizes while you’re at it. The Grateful Dead Release New Box Set, “Pacific Northwest ’73-’74: Believe It If You Need It” [Listen]You can listen to past years’ “30 Days of Dead” selections in the Spotify playlist below. For more information on the current state of the Grateful Dead, check out the full edition of the Grateful Dead Almanac newsletter here.[H/T JamBase]last_img read more

first_imgFlorence + The Machine made their highly-anticipated return in 2018 when the British rock band fronted by Florence Welch released their fourth studio album, High as Hope, back in late June. On Thursday, the band shared two new singles which didn’t appear on last year’s release, “Moderation” and “Haunted House”.The lively “Moderation” opens up with the pounding of piano keys alongside Florence, who comes in almost right away with the lyrics, “Want me to love you in moderation/Do I look moderate to you?/Sip it slowly and pay attention/I just have to see it through.” The uptempo spirit continues throughout the recording with the accompanying rhythm of subtle cowbell to counter the power coming from Welch’s one-of-a-kind voice. “Moderation” was written and recorded with the assistance of notable British producer James Ford, who has worked alongside the band on album projects in the past. “Moderation” was initially debuted live earlier this month when the band returned to performing in Australia as part of their brief winter 2019 international leg of shows.Florence + The Machine – “Moderation” – Official Audio[Video: Florence + The Machine]Unlike “Moderation”, “Haunted House” brings the listener into a much more intimate and personal setting in which Welch compares her heart to that of the song’s title. The piano ballad isn’t a long one, running at a simple 1:52 minutes in length. However, Welch makes the moments count, wasting no time in beginning the tune with the lyrics “My heart is like a haunted house/There’s things in there that scratch about/They make their music in the night/And in the day they give me such a fright.” The subtle but passionate new single showcases the balance which Welch has always utilized to keep her fans guessing on which personality they’ll be getting from the mystic singer on any given night.Florence + The Machine – “Haunted House” – Official Audio[Video: Universal Music Group]Florence + The Machine will return to New York City later this year for their headlining appearance at the 2019 edition of Governors Ball Music Festival in early June. For a full list of Florence + The Machine’s upcoming dates, head to their website.last_img read more

first_imgHarvard School of Public Health Dean (HSPH) Julio Frenk called Tuesday (Dec. 15) for greater international cooperation on health issues affecting populations around the world, saying the globe has entered a new era where the nature of disease and death is changing, and where domestic and global health are intertwined.Frenk, who served as Mexico’s minister of health before coming to Harvard, said knowledge is the greatest weapon against illness in this new health era, and he called for efforts to beef up research capacity in the developing world, greater access to scientific knowledge internationally, and an emphasis on translating research knowledge into clinical practice and government programs that will benefit the sick.Frenk made these points as he delivered the 2009 David E. Barmes Global Health Lecture at the National Institutes of Health (NIH) in Maryland. The 10-year-old Barmes Lecture is the most prestigious in a series of named lectures at the NIH each year, according to NIH Director Francis Collins. Previous speakers include former NIH Director and Nobel Prize winner Harold Varmus in 2008 and former HSPH Dean Barry R. Bloom in 2006.Frenk said the health challenges facing the world today demand international cooperation because they’re beyond the resources of a single nation to fight.“I am convinced that no individual country, no matter how well-endowed with human and financial resources, can generate on its own an effective response to the most pressing health challenges of our time,” Frenk said. “Global health … is not foreign health, nor is global health the opposite of domestic health.”Today’s global health picture is far more complex than in the past, Frenk said. The days when communicable diseases were mainly the problem of poor nations and when chronic ailments tied to lifestyle, such as heart disease and diabetes, were mainly problems of rich nations are over. HIV, swine flu, and other infectious diseases have affected people everywhere. Similarly, he said, chronic ailments related to a Western lifestyle are increasingly a problem in developing nations, as people there abandon traditional diets and adopt Western habits, with an accompanying increase in heart disease, obesity, diabetes, and other ills.Who gets sick is also changing as the world’s population ages, Frenk said. Lifespan has seen considerable gains in the last century, rising from about 30 in 1900 to 66.6 years today. In 2000, older people outnumbered younger people on Earth for the first time.Two other milestones, also passed in recent years, help to highlight how the world’s population is changing. In 2003 the global birth rate slowed to “replacement fertility” — where women had just enough young to replace the mother and father — for the first time. And in 2007, also for the first time, Earth’s urban population outnumbered its rural population.Life expectancy and fertility statistics don’t just describe a changing world, they also provide a snapshot of the vast inequities in global health. Though global life expectancy has risen, the range is vast. Life expectancy is longest in Japan, at 82, and shortest, just 32, in Swaziland.As with life expectancy, fertility statistics also highlight global inequity, ranging from a low of 1.09 births per woman in Singapore and 1.23 in Lithuania, to 7.75 in Niger.Frenk believes that the days when the global health picture could be understood in the framework of communicable versus noncommunicable disease are over. Instead, he said, the global health picture is best understood now within a framework of chronic ailments that people fight for years or even a lifetime, versus acute ailments that strike, do their damage, and then fade.“It used to be that the experience of disease was a series of acute episodes from which one recovered or died,” Frenk said. “Now people spend substantial parts of their lives in less than perfect health, coping with chronic conditions. Illness may not kill us, but it always accompanies us.”Though health issues are not limited to developing nations, they’re particularly severe there, Frenk said. The problems of the poor have multiplied, he said, as health ills migrated from developed nations — such as unhealthy lifestyles, pollution, unsafe products, and poor working conditions — and have been heaped atop more familiar dangers, such as curable but neglected diseases and conditions such as malnutrition, malaria, and poor reproductive health.“The problems only of the poor, like malaria and maternal mortality, are no longer the only problems of the poor. There are some things only the poor suffer. Only poor women die in childbirth. Only poor children die of malaria,” Frenk said.Though the challenges may be daunting, Frenk said, there is more opportunity now to address the world’s health ills than ever. Global health has a prominent place today on the international agenda — with an accompanying increase in funding — and there is great desire among young people to improve global health, which is drawing talented people into the field.While scientific research has value in and of itself, Frenk said, that knowledge translated to action is a powerful ally too. Knowledge applied to technology results in new vaccines and diagnostic methods, knowledge internalized by everyday people results in better hygiene and health practices, and knowledge translated into policy results in better, more effective government programs.Frenk said five revolutions are providing cause for optimism about the future of global health. The revolution in the life sciences is increasing scientific knowledge. The one in telecommunications is expanding access to populations around the world. The revolution in understanding complex systems provides new insights into global health problems, and the one in knowledge management provides new possibilities on how to use information. Lastly, the revolution in human rights is raising the prominence of health as a fundamental right.Frenk also said there is an urgent need to upgrade the research capacity of poor and middle-income countries. He proposed three tiers of improvement, from capacity building for countries with little research infrastructure, to capacity strengthening for those with some existing research infrastructure that could benefit from expansion and diversification, to performance enhancements for those with established programs that would benefit from renewed investment and stronger connections to global knowledge networks.“I remain fundamentally optimistic in our capacity to face increasingly complex health challenges,” Frenk said. “As we enter a new era of global health, knowledge will continue to be the key asset to sharpen our understanding of problems and to create novel solutions. In our turbulent world, still scarred all too often by intolerance and exclusion, science remains as the most powerful force for enlightened social transformation.”last_img read more

first_imgIf you look at Amy Stein’s photographs of interactions between people and animals long enough, you begin to wonder which subjects are truly wild.In Stein’s photos, taken in the small Pennsylvania town of Matamoras and on display in a new exhibit at the Harvard Museum of Natural History (HMNH), nature comes right up to the door, sometimes literally, in the form of coyotes, bears, and deer. But the efforts to shoo nature away, fence it out, and keep it at bay that are illustrated in the photos raise the question of where the wildness really exists, out there or inside us.Of course, that’s the artist’s point.Stein, a New York photographer, created the images in her “Domesticated” series — a selection of which are on display at the HMNH until April — while in graduate school at New York’s School of Visual Arts. The project grew from her fascination with hunting and taxidermy. Stein eventually moved out of the taxidermist shop and into the yards and homes of people whose run-ins with local wildlife were not only regular, but the stuff of newspaper articles.The photographs are staged by Stein yet illustrate those real-life encounters. Using mainly stuffed animals in lifelike poses borrowed from the local taxidermist, Stein re-enacted the newspaper encounters, often using the original people involved. The stories themselves are the mundane stuff of rural and suburban life, with coyotes knocking over trashcans, a bird flying into a window, a girl watching a coyote beyond the backyard fence. Stein’s take on them, though, illuminates the intersection of man and animal, illustrating not just how close nature is, but also our response to it, and illustrating how wildlife is changed by us and our structures.Elisabeth Werby, executive director of the museum, said the exhibit — which marks the first time Stein’s photos have been shown in such a venue — is the latest at the museum highlighting the work of photographers whose images examine the natural world.“This exhibition continues the HMNH’s history of presenting work from recognized photographers that offers unique and unexpected perspectives on natural history,” Werby said. “Amy Stein’s photographs are provocative in the best sense, raising important and complicated issues about the boundaries between the built and natural environment and about our relationships with the wildlife around us.”Stein, who was on campus Friday (Jan. 22) talking about her work, said virtually every resident of Matamoras, which abuts a state park, had a story of an animal encounter. One striking image of a young girl standing by her family’s pool looking at a black bear was inspired by episodes of bears swimming in the pool until the family erected a fence around it to keep them out.Stein said people in the town, which backs up to a forested mountain, have a complex relationship with nature, one that is mirrored in many towns across the country. They appreciate nature, but also want to distance themselves from it.“People were wonderful. They opened up their back yards to me, their homes,” Stein said.last_img read more

first_imgIn this annual manifesto of studio work, theses, exhibitions, and conferences, Felipe Correa, an assistant professor of urban design, offers a lively look into the Harvard Graduate School of Design.last_img

first_imgOn the eve of their graduation from Harvard College, three of the military’s newest officers received their commissions at a ceremony today (May 25) in a leafy, sunlit Tercentenary Theatre.It was the first Reserve Officers’ Training Corps (ROTC) class of Harvard students to graduate since the University lifted its 40-year ban on ROTC in March.Since 1976, student cadets and midshipmen from Harvard have drilled and studied with units based at the Massachusetts Institute of Technology. This year, Harvard had 19 undergraduates enrolled in ROTC.Honored were Army 2nd Lt. Christopher W. Higgins of East Setauket, N.Y., a social studies concentrator who will pursue an M. Phil. at the University of Cambridge on a Fulbright Scholarship; Army 2nd Lt. Aaron R. Scherer of Dover, Ohio, a government concentrator assigned to military intelligence school in Arizona; and Navy Midshipman James D. Reach of Lititz, Pa., who will train as an aviator.Navy Midshipman James D. Reach (right) gets his first salute from his grandfather, Patrick Manzi, who spent 33 years in the U.S. Navy.Michael G. Schoenen, still an Army cadet, will take his oath as an officer when he completes his A.L.M. thesis at the Harvard Extension School. He is from Revere, Mass., and will join the Medical Service Corps.Administering the oaths was Maj. Gen. James McConville, who was named commander of the storied 101st Airborne Division this month. The Quincy, Mass., native had served as deputy commanding general of the 101st, and of NATO forces in Afghanistan from 2008 to 2009. More recently, McConville was chief liaison in the Office of the Secretary of the Army.Words of praise and advice came from retired Air Force Col. Arthur Boright, a 26-year veteran representing the Class of 1961. That year, he said, 62 graduates received ROTC commissions and went on to “a diversity of situations.” Earning enough money is on every graduate’s mind, Boright acknowledged, but military salaries “are sufficient, if you are careful, and they are predictable.”In his own remarks, McConville touched on the same theme, but added: “No one walks up to a hedge fund manager in the airport and thanks them for their service.”He praised the new officers for taking “a path of service different than your peers,” and called the commissioning ceremony “the defining moment in your life.”McConville described meeting four surviving members of the 101st’s Easy Company, whose World War II heroics were captured in the book “Band of Brothers” and in the HBO miniseries of the same name. These members of the Greatest Generation asked about the latest one. “Despite 10 years of war, your generation has never quit, it’s never accepted defeat, and it’s never left a fallen comrade,” he answered. “I told them to sleep well at night.”In her remarks, President Drew Faust noted the 150th anniversary this spring of the beginning of the Civil War, during which 1,300 Harvard students and faculty took up arms. She quoted one of them, future Supreme Court Justice Oliver Wendell Holmes Jr., Class of 1861, who described those of his generation “touched by fire” and eager to serve.“We are not the first to live in an era of peril and crisis,” Faust told the ROTC graduates. “With our country involved in conflicts at three sites around the globe, you as military officers have chosen to face very difficult challenges and to assume grave responsibilities.”In the audience was Richard Bennink ’38, a 94-year-old retired banker who joined ROTC at Harvard in 1934. “I didn’t want to lug a pack,” he said of choosing the Navy. “In 1934, you knew something was coming.” Bennink, a World War II attack transport officer, earned six battle stars and survived the battles of Guadalcanal and the Leyte Gulf.During the ceremony, Reach received his first salute — a commissioning tradition — from his 89-year-old grandfather, Patrick Manzi, who joined the Navy in 1937 and retired in 1967, “with a few wars in between,” he said later. Manzi, a veteran of World War II, Korea, and Vietnam, earned the Silver Star, two Bronze Stars for valor, and three Purple Hearts.Manzi was 15 when he joined the Navy. To this day, said his wife Joanne, “he’s still in the service in his heart.”last_img read more