Aside from his work with the Grateful Dead, perhaps no musician has been more acclaimed for his work with Jerry Garcia than the late great Merl Saunders. Saunders was one of the most soulful keyboardists around, blasting jams with his Hammond B3 organ like nobody’s business. One magical evening featuring the duo will be highlighted on the new GarciaLive release, the 6th such installment in the Garcia-centric series.The show of choice is one with Garcia and Saunders at Lion’s Share in San Anselmo, CA on July 5th, 1973, playing to an intimate crowd alongside drummer Bill Vitt and bassist John Kahn for the evening of music. Taped by Betty Cantor-Jackson, the recording captures classic JGB favorites like “After Midnight,” “That’s All Right Mama,” and more. The new album is due out some time in June, and we can’t wait to jam on it!Check out the promotional video for the release below:Setlist: Jerry Garcia & Merl Saunders at Lion’s Share, San Anselmo, CA – 7/5/73Set One: After Midnight, Someday Baby > She’s Got Charisma, That’s All Right Mama, The System, The Night They Drove Old Dixie DownSet Two: I Second That Emotion, My Funny Valentine, Finders Keepers, Money Honey, Like A Road > Merl’s Tune, Jam, How Sweet It Is (To Be Loved By You)
Austin based Phish tribute band A Live One took a moment to pay tribute to a different artist, none other than Prince. The late artist’s music was on full display at Threadgill’s World Headquarters in Austin, TX, with hundreds of fans on hand for the jam tribute to the Purple One. The band promised the deep cuts, the funk, and the hits, and they certainly delivered, albeit in a unique way.A Live One was joined by a Widespread Panic tribute group called Panic Stricken and members of the Austin jam community, who formed a group called Blouses for the occasion. A Live One’s set featured a number of classic Prince jams, with Phish and Phish-related teases throughout.Among the many highlights was a version of “Cream” that incorporated Ween’s “Roses Are Free,” a song that Phish performed live before Ween ever did! Watch footage below.Check out the full setlist as well, which showcases A Live One’s many Phish teases throughout the performance.Setlist: A Live One’s PURPLE – A Jam Tribute To Prince at Threadgill’s World HQ, Austin, TX – 6/4/16 ControversyLet’s Go CrazyWhen Doves CryDarling NikkiBeautiful OnesI Would Die 4 U7 Cream 1999Purple RainNotes:Darling Nikki contained Grind teaseBeautiful Ones contained Limb by Limb tease7 contained Tweezer teaseCream contained Roses are Free verse during 2nd verse of Cream and Wolfman’s Brother jam during outroGuest vocalist Drew Davis on 1999 and Purple Rain[Photo via Mountain Trout Photography]
Back in June, popular electronic duo ODESZA made their debut at Red Rocks Amphitheatre in front of a packed, sold-out audience. The band played an amazing show filled with special guests, unique production, and the excited energy of a band that is headlining Red Rocks for the first time.To mark this huge moment in the life of their band, ODESZA has just released a four minute mini-documentary from their night at Red Rocks. The film breaks down how they put together their live show, the ups and downs of life on the road, and what makes Red Rocks so special.Check out the awesome video below!
Load remaining images Arrington, Virginia once again had thousands descend upon the beautiful Oak Ridge Farm, home to the Lockn’ Festival. Now on their fourth year, they switched gears by opening a day early to let RVs onto the venue to avoid traffic snarls and long lines upon entry. Day one was pushed back to start at 7:30 in the evening so attendees wouldn’t miss out on any of the music. After last year’s storm, that cancelled the first day of the event, obvious changes were made to avoid the majority of the crowd missing out. The oppressive heat on Thursday made for a chill day around the venue as fans got settled in and caught up with friends, or checked out the full layout of the grounds. Vulfpeck opened the festival with a smashing performance. Vulfpeck is known for having crazy good shows and they did not disappoint. They had a changing of the guards as the band did a switcheroo on instruments into the second song. The crowd was ready to get the party started and reacted to the opener with definite screams of joy. Antwaun Stanley, also known as the Funky Duck, joined the group on stage for the majority of their set. The weather was hot and steamy but that didn’t stop fans from packing the field. They are an interactive band that encourages fans to join in with the songs. They pulled out a Steely Dan cover, “Peg,” before breaking out one of their fan favorites, “Back Pocket.” The crowd joined in to sing in different keys, depending on what side of the field they were on, and nailed it as the band stopped playing so the harmonizing from the crowd could shine. Super chill melodies, and splashes of funky goodness, had the crowd on their feet the whole time. Towards the end of their set, bassist Joe Dart, was literally sweating all over his guitar. The remaining members of the band cleared the stage while he slapped out to the crowd, then joined right back in to bust out a super funkafied “Beastly.” They finished out their set with “Christmas in LA”, getting crowd participation once again, followed by an energetic “It Gets Funkier”, that was crammed with solid beats. The new stage this year was impressive as it turned right into the beginning of Umphrey McGee’s set. The turntable blows away the side by side set up they had in previous years. Good call with the change up. Every year this festival gets better and better and continues to impress. UM wasted no time blazing into their set. The crowd was revved up and ready to go. They played super tight, flowing from one song to the next without skipping a beat. As they do so well, UM switched from a relaxed melody and slammed into a super heavy beat in two seconds flat. Billy Joel’s “The Stranger” popped up midset, surprising everyone to this unexpected tune. They blew the doors off for the remainder before Ween came on to take over the stage as headliner for the evening. Ween packed the house. These guys always impress and they did not disappoint. Midway through, they took the crowd on a ridiculous ride with their steamy jams that sliced into the energy and brought the heat up to insane heights. They then cooled it off and let the fans breathe with a smooth finish. Full of surprises and delights, Ween crammed a whole lot of fun into their massive set. Throwing in mild, kick back tunes then mixing it up with get off your ass and dance jams really kept the vibes on super max to end out the night at the main stage. These guys ripped it. Their set list was chock full of die hard Ween fan favorites, and did not hold back one bit.Over at the Blue Ridge Bowl, Joe Russo’s Almost Dead busted out the grooves as the opened with a killer “Space>Trucking” mega jam. The crowd was so ready to hear their kickass set to close out the night. Meanwhile, EOTO was over at the Woods Stage cranking out the sick vibes. No matter where attendees went on the grounds, good times were guaranteed to follow. Psychedelic sounds soon followed as they morphed into a trippy jam midway through “St. Stephens” early on. What’s not to love about this band? Several dancing bears were seen waltzing through the venue during the show.A groovy tone was thrown out to the crowd early on, creating a mood of tranquility and peace before blasting into extraordinary melodies. Fans were going nuts from the intensity they were throwing out. Goddamn these guys know how to rock a venue! Cheers and whistles came from the huge throngs of fans on the hill. As the steamy night continued, their music had the crowd forgetting about the heat and danced their ass off regardless. The delicate dance across the guitar strings led into ever growing intensity throughout their set. JRAD was clearly having a blast onstage. At one point, Scott Metzger lost himself in a trance during “Brown Eyed Women.” He was so into the music that he went into another dimension as Tom Hamilton cranked out on his guitar. Dave Dreiwitz seriously worked his ass off, as he went from his headlining set with Ween to JRAD within the hour. The set cooled off as they eased into “The Wheel.” This trippy jam was perfect under the cloudless, star filled night sky. Marco Benevento had a chance to show off his chops on the keys, as the band sat back, with the exception of Russo, while he tapped his fingers out across the ivories. When they busted out “Estimated Prophet” the crowd went absolutely nuts! Back and forth play between Metzger and Hamilton was crazy good, as they lobbed the tones to each other, only to come back together and jam out in a tight interwoven magical moment. The dance ended as they grooved right into “Tennessee Jed.” The incredible end to the evening at Blue Ridge Bowl came with “Terrapin Station.” Let’s see what Friday has in store during yet another steamy day on the grounds. Stay tuned! Information about the Lockn’ Festival can be found on their official website.Vulfpeck Set List:Conscious Club, Fugue State, Rango II, My First Car, Jam, Funky Duck, 1612, Wait for the Moment, Peg (Steely Dan cover), Back Pocket, Beastly, Christmas in L.A., It Gets FunkierUmphrey’s McGee Set List: Nipple Trix, 1348, Attachments, The Triple Wide>2X2>Speak Up>2X2 Reprise, Puppet String, Roctopus, The Stranger (Billy Joel cover)>Puppet String Reprise, All in TimeWeen Set List:Transdermal Celebration, The Grobe, Mister Richard Smoker, Mister Would You Please Help My Pony?, Happy Colored Marbles, How High Can You Fly?, Beacon Light, A Tear For Eddie, Baby Bitch, Boy’s Club, Up on the Hill, Nan, I’m in the Mood to Move, Pumpin’ 4 the Man, Puerto Rican Power, Fat Lenny, Japanese Cowboy, Fluffy, Push th’ Little Daisies, I Play It Off Legit, Someday, Sorry Charlie, Ocean Man, Poopship Destroyer, Zoloft, Pandy FacklerJRAD Set List:Space>Jam>Truckin (SM)>St Stephen # (All)>The Eleven (TH & JR)>Brown Eyed Women (TH)>The Wheel $ (All)>Estimated Prophet (SM)>Tennessee Jed (TH)>Viola Lee Blues % (All)>He’s Gone (TH)>Terrapin Suite ^ (TH)@ – Technically started on the morning of Friday, 8.26.16# – With a “We’re Gonna Groove” (Led Zeppelin) Jam (Band) & a Dave Dreiwitz Bass Solo$ – With a “Duo Jam”, “Fat Mama” (Herbie Hancock) Teases (MB), a Hell in A Bucket Tease (SM) & probably a bunch more from MB% – With unknown tease (Band) & a “Heartbreaker” (Led Zeppelin) Tease (SM)^ – With “He’s Gone” lyrics sang over the intro, another “Fat Mama” Tease (MB), & another Duo JamWords by Sarah Bourque. Follow on Twitter.Photography by Sam Shinault Photography.
Last night featured a truly glorious collaboration, as the Tedeschi Trucks Band closed out their two-night run at The Fox Theater in Oakland, CA with a very special guest: Chris Robinson. The singer is a Bay Area native, and recently collaborated with the TTB at Lockn’ Festival.The band treated Oakland fans to two classic covers, Bob Dylan’s “You Ain’t Goin’ Nowhere” and Joe Cocker’s “Space Captain.” The crowd was truly locked in and loving the musical moment, as you can see in this new full encore video courtesy of blueledboy on YouTube.Watch “You Ain’t Goin’ Nowhere/Space Captain,” streaming below. Edit this setlist | More Tedeschi Trucks Band setlists
Paul Simon appeared on the season premiere Austin City Limits, which was the first time the iconic singer-songwriter has ever appeared on the program in his career. The one-hour program featured Simon, along with a nine-piece band, performing hits such as “Homeward Bound,” “Diamonds On The Souls Of Her Shoes,” and “Me And Julio Down By The Schoolyard”, along with new tracks like “Wristband” and “The Werewolf” off his latest effort Stranger to Stranger.Simon also performed a solo acoustic version of the legendary Simon & Garfunkel track “The Sound Of Silence.” The show airs on PBS, check your local listings for airing times in your area.Paul Simon “Wristband”, courtesy of AustinCityLimitsTV:[via ACLTV.com]
New Orleans, LA-based funk outfit Dumpstaphunk will host their 3rd Annual Phunksgiving Eve celebration in New York City to celebrate the Thanksgiving holiday. The show will take place Wednesday, Nov. 23rd at American Beauty (tickets here). It has been a long time since Ivan Neville and company have played such an intimate-sized venue, which will make for even more of a special event.This year’s special guests include guitarist Eric Krasno, drummer Nikki Glaspie, guitarist Brandon “Taz” Niederauer, and the Steel Town Horns. Trumpeter Maurice “Mobetta” Brown will open up the festivities with his band SOUL’D U OUT. The 2016 Phunksgiving Eve celebration will be themed “70s Funk Classics and Rock N Roll Stew”, so be sure to get your flyest threads ready to rock. “A lot of our music has [70’s funk] influence in it, and a lot of the stuff we’ve come up with has evolved from that era. So we’re gonna dig deep in there,” Ivan explains. The theme was revealed in a recent Facebook Live video, where Ivan and Ian Neville discussed all things Thanksgiving, Phunksgiving, tradition, and more. Check it out below!Thanksgiving Eve tends to be one of the biggest party nights of the year, so make sure to get a ticket to this extremely intimate, funk-fueled dance party to help get that appetite going with some plentiful portions of the F-U-N-K. If previous years are any indication, expect plenty of surprises on this extra special night. Tickets are currently available here.
After embarking on his first ever tour this year in Europe, legendary film composer Hans Zimmer has announced that he will bring this unique musical offering to the United States for a run of shows. The performances will showcase the greatest hits from his remarkable career, split into two sets: the first set will include the scores for The Lion King, Gladiator, Pirates of the Caribbean and more, and the second set will focus on Zimmer’s groundbreaking work with director Christopher Nolan on The Dark Knight Trilogy, Inception, and Interstellar.Zimmer has also promised that “special guests from the rock and pop world” will join him at select stops throughout the tour. Zimmer is excited to hit the road, saying via a press release that “performing a concert series like this is something that I have always wanted to do. I am very excited to get some of my very talented friends together and give our audiences an experience unlike any concert they have ever been to before.”To get an idea of the awesome audio-visual experience of this tour, check out this fan-shot video from one of his stops in Europe from this past summer, courtesy of YouTube user Justin Dijkshoorn. The video contains the majority of a show and features material from Driving Miss Daisy, Gladiator, Pirates of the Caribbean, The Thin Red Line, The Amazing Spider-Man 2, The Dark Knight, Aurora, Interstellar, and Inception.The tour will only make three stops in the United States, all of them on the West Coast. Zimmer will hit the Microsoft Theater in Los Angeles on April 14th, The Bill Graham Civic Auditorium on April 19th, and The Park Theater in Las Vegas on April 21st. The tour will then make a quick stop in Australia before returning to Europe for a lengthy tour that will take up most of May and June. See below for a full list of upcoming Hans Zimmer tour dates.Hans Zimmer 2017 Tour Dates:04/14 – Los Angeles, CA @ Microsoft Theater04/19 – San Francisco, CA @ The Bill Graham Civic Auditorium04/21 – Las Vegas, NV @ The Park Theater04/29 – Auckland, NZ @ Vector Arena05/02 – Sydney, AU @ Qudos Bank Arena05/04 – Melbourne, AU @ Rod Laver Arena05/06 – Brisbane, AU @ Brisbane Entertainment Centre05/08 – Perth, AU @ Perth Arena05/16 – Helsinki, FI @ Hartwall Arena05/18 – Stockholm, SE @ Ericsson Globe05/20 – Oslo, NO @ Forum Copenhagen05/22 – Copenhagen, DK @ Royal Arena05/24 – Leipzig, DE @ Arena Leipzig05/26 – Gdansk, PL @ Ergo Arena05/28 – Lodz, PL @ Atlas Arena05/30 – Krakow, PL @ Tauron Arena06/01 – Budapest, HU @ Papp Laszlo Sports Arena06/02 – Bratislava, SK @ Ondrej Nepela Arena06/04 – Prague, CZ @ O2 Arena06/06 – Vienna, AT @ Stadthalle D06/09 – Frankfurt @ DE @ Commerzbank-Arena06/11 – Paris, FR @ AccorHotels Arena06/13 – Dublin, IE @ 3Arena06/20 – Antwerp, BE @ Sportpaleis06/21 – Amsterdam, NL @ Ziggo Dome06/23 – Vienne, FR @ Theatre Antique06/24 – Nimes, FR @ Arenes06/26 – Zurich, CH @ Hallenstadion06/27 – Zurich, CH @ Hallenstadion
NYC’s newest festival, Panorama, has just revealed an exciting lineup for their 2017 event! Taking place from July 28-30 at Randall’s Island, the festival has detailed their lineup with tons of star power for fans to enjoy. Among the biggest surprises is A Tribe Called Quest and Nine Inch Nails, who are both set to headline on Sunday, July 20th.Headlining night one will be Frank Ocean and Solange, night two will be Tame Impala and Alt-J, and night three will be Nine Inch Nails and A Tribe Called Quest. Tribe had promised plans for one final world tour in 2017, and this is our first glimpse into that promise; a headlining set in their hometown of New York, NY. Meanwhile, this is the first announced Nine Inch Nails concert since 2014, following the release of the new EP just a few months ago.The full Panorama lineup includes MGMT, Future Islands, Tyler the Creator, Spoon, Girl Talk, Vince Staples, Nicolas Jaar, Nick Murphy, Belle & Sebastian, Justice, Glass Animals, Cashmere Cat, Angel Olsen and many more. You can see the announcement below.
“The whole record is kind of a statement of who I am and what I’m trying to do,” Parsons says of Hold True, “This record represents something that was fully realised in my brain and something that I’ve wanted to do for a long time. The fact that Tyler and I were able to make the record that we set out to make from the beginning, something that’s in-line with our original vision, is deeply satisfying.”This month also marks the start of his first tour with the Brad Parsons Band. The four-piece outfit features Parsons, Forest Carter on drums, Daniel Lee on bass, and Dylan DiSalvio on guitar, and the group has been steadily hitting cities across the Midwest and West to promote Hold True. The release of the new album marks a decided shift in Parsons’ focus toward touring, who when asked about his intentions looking forward to the rest of the year, exclaimed, “God damn! All we want to do is go out there and show people a good time and make them feel something real.”You can purchase Parson’s new album, Hold True, via his website, as well as find out more information about his remaining tour dates. Thus far, 2017 has been kind to Portland-based singer-songwriter, Brad Parsons. In the few weeks since the year has begun, Parsons has released his first full-length solo album, Hold True, and kicked off his first tour with the Brad Parsons Band. As an Artist-At-Large for this year’s Winter WonderGrass and Northwest String Summit, Parsons has been gaining momentum with audiences across the West with his sincere sound and larger-than-life vocals. Now, the former member of Horse Feathers is capitalising on that buzz by shifting his focus toward his own solo project, much to the delight of old fans and new.Hold True, his first full-length solo album, was produced by Fruition’s Tyler Thompson and captures the upcoming artist’s genre-bending mix of Americana with, as Parsons describes, “a psychedelic sheen.” The album also features appearances from some of his friends, including all of the members of Fruition, Bevin Foley of Trout Steak Revival, Cody Russell of The Drunken Hearts, and Daniel Lee. You can check out Hold True for yourself below or purchase the album via his website.
In 2005, the Bay Area’s KPFA’s Grateful Dead Hour, the nationwide, weekly radio show hosted by David Gans, turned twenty-years old. To celebrate this important anniversary, the show hosted a sixteen-hour Grateful Dead musical marathon to benefit the station. One special moment from this public radio fundraiser, which traditionally may not be listeners favorite time of year, was Dark Star Orchestra’s appearance on the show.Dark Star Orchestra was in town for their show later that evening at the Great American Music Hall. The band decided to stop by and join in the festivities, laying down an all acoustic set that was played live to fans tuning into the Bay Area’s KPFA 94.1 FM and Fresno’s KFCF 88.1 FM. You can listen to this wonderfully recorded set below with phenomenal acoustics, courtesy of the DSO webmaster on archive.org.Setlist: Dark Star Orchestra | KPFA Studio | Berkeley, CA | 2/19/2005Set One: Deep Elm, Dark Hollow, Dire Wolf, Monkey and Engineer, So Many Roads, Cassidy, You Ain’t Woman Enough, Jack A Roe, Ripple
Last night, Acoustic-4-A-Cure IV took over the Fillmore in San Francisco for a night of music and charity. Metallica’s James Hetfield and Sammy Hagar launched Acoustic-4-A-Cure back in 2014 to fund research efforts for San Francisco’s Benioff Children’s Hospital, the Pediatric Cancer Program at the University of California. This year’s benefit concert featured Bob Weir, Sammy Hagar, Vic Johnson, Sarah McLauchlan, Steve Vair, Pat Benatar & Neil Giraldo, Don Felder, Mick Fleetwood, and Dave Grohl (who sat in for James Hetfield as he is away on tour). The artists played through acoustic sets, delivering once-in-a-lifetime musical moments, collaborations, and more.Dave Grohl, Taylor Hawkins, and Rami Jaffee debuted a new Foo Fighters song, called “The Sky Is A Neighborhood,” after playing through Foo favorites “Everlong,” “My Hero” and “Times Like These.” The song marks the band’s first new official release since 2012’s Sonic Highways and the 2015 “surprise” EP Saint Cecilia. With an international tour ahead of them, this new rock ballad is a positive indicator of the album the band is reportedly spending the year working on.Watch the first-ever live performance of “The Sky Is A Neighborhood” below, courtesy of YouTube user pepokiss:Another one of the night’s highlights was when Grateful Dead guitarist Bob Weir teamed up with drummer Mick Fleetwood, guitarist Steve Vai, and bassist Ruth Davies to perform “Easy To Slip” by Little Feat, his original “Only A River,” as well as Dead classics “The Other One” and “Loose Lucy,” which Sammy Hagar joined in for. You can watch a clip of that below, courtesy of @chefikefrazee:
The relationship between a band and their fans is a sacred one. Up-and-comers Aqueous, in particular, have a truly special relationship with their fans. Recently, the Buffalo, NY quartet released a brand new live record, Element Pt. I, which consolidates the finest live cuts from their Spring 2017 tour into a two-part album. The tracks that eventually made the record—and there were a lot to choose from—were selected by the band’s fans. Guitarist Mike Gantzer spent hours digging through the tour’s recorded catalog, taking notice of the particular versions of songs that their fans loved the most.Well, any good relationship is a two-way street. Enter All In With Aqueous, a fan-run podcast started by diehard Aqueous fan Myke Menio. Says Menio, “I have been running fan-based content for Phish for over 5 years at lawnmemo.com and thought it was time to start to work on my favorite up-and-coming band. We have become great friends over the years and I always have thoughtful and intriguing conversations about music with the members of the band. After speaking with Mike Gantzer and throwing some ideas around, we decided a podcast could be perfect.” So Menio did what any fan in this position would do: he asked the questions he had always wanted answered.The series hopes to capture the fan’s perspective on the music and aims to recap some of the greatest and most memorable moments in Aqueous history. The podcast will shed light on specific songs and shows, talk about the exciting times coming up for the band, and even sit down with some of the fans that have been hanging around the steadily growing scene for years. “There are some interesting characters we plan on interviewing that should provide plenty of entertainment,” elaborates Menio. “Eventually, I plan on interviewing other musicians and people we all respect in the scene to find out their takes on Aqueous, as well. There are so many different perspectives that go into making and following a band and we hope to touch on as many as possible.”The band is fully on board with the podcast idea, and even enlisted their front of house engineer, Ryan Bress, to engineer and mix the episodes. “I was honored when Myke brought the idea of an all Aqueous-themed podcast to me,” says Gantzer. “I was really confident that he would not only do it justice, but take it to a level and depth that would give people a deeper look into the band’s roots, who we are personally, and also dive into our music in a really cool and unprecedented way.”Listen to the first episode of “All In With Aqueous” featuring an interview with Mike Gantzer below:Says Gantzer of All I With Aqueous‘s premiere episode, “It was amazing to be the guest for the podcast’s maiden voyage, and Myke came prepared with some amazing questions; it made for a situation in which I was able to reflect much deeper on the whole thing, and ultimately get much more personal with my thoughts about the band, my band mates, and even dive down the rabbit hole of memories and silliness and ups and downs in my 10 years with Aqueous that I never had before (on record) really. I’m excited for what this podcast will yield in the future as Myke brings different guests and band mates into the mix!”All future episodes of All In With Aqueous will be available here.[Cover Photo via Bill McAlaine]
Setlist: Umphrey’s McGee | Central Park Summer Stage | New York, NY | 7/7/2017Set One: October Rain > Bridgeless, Miss Tinkle’s Overture, 2×2, Example 1 > Dump City > BridgelessSet Two: Plunger > North Route > Utopian Fir > Driven To Tears, Preamble > Mantis > The Triple Wide > MantisEncore: Rocker Pt. 2 (with Isaac Teel on percussion) Load remaining images Yesterday, Umphrey’s McGee and Aqueous took to New York City for a performance at Central Park Summer Stage. The show marked Umphrey’s third performance at the outdoor venue, with the last time falling way back in the summer of 2009. Ahead of Umphrey’s two-set headlining show, Aqueous warmed up the crowd. Despite the relatively short time allotment of 30 minutes, Aqueous tore through their performance, with an extensively jammed two-song set of “Second Sight” and “Kitty.” Following Aqueous’s opening performance, Umphrey’s McGee took the stage for two fiery sets following a bumpy start.Umphrey’s McGee Invites Jen Hartswick, Roosevelt Collier, And Snarky Puppy Members At Red Rocks Run [Video/Photos]After the opening number of “October Rain,” Umphrey’s started in on “Bridgeless,” which eventually was stopped as the group hit the song’s first verse. Issues with Ryan Stasik’s bass ultimately led to Umphrey’s leaving the stage twice early on in the show as the technical difficulties were resolved. However, once solved, the group more than made up for the disturbance, with a scorching rendition of “Miss Tinkle’s Overture” featuring note-perfect guitar harmonies from Jake Cinninger and Brendan Bayliss that ultimately served as a true masterclass in their signature dual-guitar attack.While the Summer Stage performance was mostly a Jake-centric show, the next number, “2×2,” gave Bayliss his opportunity to shine, delivering a powerful solo at the end of the number. Coming out of “Example 1,” “Dump City” served as a jam vehicle of the first set, with the song containing a wild and heavy jam that ultimately served as the set’s improvisational climax as it easefully and expertly weaved between metal and funk. With the group wholly dialed in, Umphrey’s seamlessly dropped back into the final portion of “Bridgeless” to close out the set, with the second take on the track showing the band in proper form and on fire.Watch Joel Cummins From Umphrey’s McGee Join Colorado’s Eminence Ensemble At Electric ForestWith the first set featuring an old-school setlist with all the songs being written to 2004 or prior, set two kept in line with the first set’s throwback song selection, starting things off with a “Plunger” opener. As the overwhelming heat of the day subsided, a much-welcomed downpour rolled in during “North Route” and “Utopian Fir,” the latter of which contained teases of Led Zeppelin’s “Whole Lotta Love” that worked up the crowd into a frenzy during the extreme rain. After a rendition of The Police’s “Driven 2 Tears” to close out the second set’s first four-song sequence, Umphrey’s McGee kicked off the second non-stop ending song sequence with “Preamble.” The song was jammed through to “Mantis,” which kicked off the set-closing sandwich by way of “The Triple Wide.” To end the show on truly a high note, the group invited percussionist Isaac Teel of Tauk to the stage for Umphrey’s encore of “The Rocker, Pt. 2.”You can check out the full setlist from last night below, as well as check out photos from the Summer Stage performance, courtesy of Chris Capaci of Capacity Images. You can also check out our recap of last night’s after-show, which saw Jake Cinninger and Joel Cummins join Aqueous for a performance at the Highline Ballroom.
With the passing of Steely Dan co-founder and guitarist Walter Becker, a 50-year history of one of the most prolific songwriting duo’s in rock history comes to an end. Becker and bandmate Donald Fagen began writing music back in 1967 at Bard College, and went on to create some of the most technically proficient and innovative music the rock world has ever heard.Fagen penned a touching tribute to his long-time friend, bandmate and writing partner, discussing the beginnings of what would become Steely Dan, their shared interests, as well as touching on Becker’s “rough childhood” and great sense of humor.Here is the full tribute via Rolling Stone:Walter Becker was my friend, my writing partner and my bandmate since we met as students at Bard College in 1967. We started writing nutty little tunes on an upright piano in a small sitting room in the lobby of Ward Manor, a mouldering old mansion on the Hudson River that the college used as a dorm.We liked a lot of the same things: jazz (from the twenties through the mid-sixties), W.C. Fields, the Marx Brothers, science fiction, Nabokov, Kurt Vonnegut, Thomas Berger, and Robert Altman films come to mind. Also soul music and Chicago blues.Walter had a very rough childhood – I’ll spare you the details. Luckily, he was smart as a whip, an excellent guitarist and a great songwriter. He was cynical about human nature, including his own, and hysterically funny. Like a lot of kids from fractured families, he had the knack of creative mimicry, reading people’s hidden psychology and transforming what he saw into bubbly, incisive art. He used to write letters (never meant to be sent) in my wife Libby’s singular voice that made the three of us collapse with laughter.His habits got the best of him by the end of the seventies, and we lost touch for a while. In the eighties, when I was putting together the NY Rock and Soul Review with Libby, we hooked up again, revived the Steely Dan concept and developed another terrific band.I intend to keep the music we created together alive as long as I can with the Steely Dan band.Donald FagenSeptember 3 2017
Ruminations on the past, accepting his approaching fate, and searching for the meaning of his life seems to be the mission at the heart of Allman’s Southern Blood. While “Once I Was” looks at the peaks and valleys of his checkered life, Allman’s take on Bob Dylan’s “Going Going Gone” stares the reaper square in the eye. Evoking another past legend, Allman covers the Grateful Dead‘s “Black Muddy River” with all the gravity and sincerity of a man who truly understands the lyrics Robert Hunter penned so long ago. Gregg Allman lived life loudly and proudly, becoming one of the biggest rock stars of our time with the Allman Brothers Band. Today, his final album, Southern Blood, which was recorded as Allman’s health steadily declined, has been posthumously released, and the legendary musician’s memory and an air of finality permeate each track. While the world honors his life with a series of nationwide celebrations and tributes in his name, including his hometown of Macon, Georgia, naming a day in his honor, Southern Blood offered Allman the opportunity to tell his own story the way he wanted to. Thus, the album is a collection of songs mostly penned by other minds that reflect what was in Allman’s heart and soul during his final months.Macon Streets Will Close For Gregg Allman Album Release Party At The Big House MuseumFrom the first strains of the disc opener, “My Only True Friend,” Gregg Allman and longtime fans alike are instantly in their own shared sonic sweet spot. Allman’s voice is noticeably weary but resolute, and the song’s bubbling Gothic southern rock tone evokes the best parts of The Allman Brothers Band. Lyrically, Allman definitively answers the question on the minds of many of his supporters: “Why does Gregg keep booking shows when he keeps falling ill?” You only have to hear him sing to the road and name it his “only true friend” to realize why he couldn’t stay away. It’s especially telling that “My Only True Friend” is the sole track on the album Allman had a hand in penning. Though Allman is clearly accepting of the inevitable, Southern Blood is not all doom and gloom. Allman’s reassures everyone that he enjoyed his ride through the passion infused into each track, and particularly during the road-house jam, “I Love The Life I Live.” Even the follow-up track “Willin’”, seems to imply that the musician found hope in the darker moments of life. Given the many famous trial and tribulations Allman faced over his many years, he was forever ready to carry on.After a quick tour through the bluesy bayous of “Blind Bats And Swamp Rats”, Allman and his stellar backing band play one of the last aces in the deck. On “Out Of Left Field”, listeners get one of the clearest glimpses at the gospel-tinged majesty of Allman at his best. As he sings “Everything is alright”, horns blare, percussion rolls, and the guitars rise and fall, coasting on the rolling tune.To close out what Gregg Allman surely knew would be his last album, the barrel-house piano blues jam, “Love Like Kerosene”, is one last reminder of what made him an icon to rockers for decades. The last track on Southern Blood, “Song For Adam”, contains the album’s most obvious collaboration, as songwriter Jackson Browne, makes an appearance on the number. Browne pays his homage in both blatant and subtle ways, from crafting a song perfect for Allman to providing harmonies on the song itself, essentially backing the icon while arming him with one last bullet.The passing of Gregg Allman was, as it is for us all, inescapable. The positive at the heart of the tragedy is that he left so many lives richer. Music can be a means of escape, a tool for healing, and an avenue to share feelings far easier than words could ever allow on their own. Through his songs and countless live performances, Allman worked to elevate the spirit while facing all that life could throw at him. Southern Blood, as a last thought on the human condition, is an emotional parting gift from a man who gave everything he could to us all.
Joe Russo’s Almost Dead just wrapped up a six-night, sold-out run at the Brooklyn Bowl, dubbed Fall Ball III, in New York City. The rest of 2017 includes a three-night run across California in November, a two-night stand at Boston’s House of Blues in December, and their final two shows of the year at The Fillmore in Philadelphia, Pennsylvania falling around the Thanksgiving holiday. 2018 is officially looking bright for the Grateful-Dead inspired quintet. Following the announcement of a three night run at The Capitol Theatre in Port Chester, New York on January 12-14, the band has extended their winter tour to include single shows in Nashville, St. Louis, Chicago (2 sets), and Madison, Wisconsin in February, and Syracuse, Albany, and Portland in March. Following a month off in April, the band will return to New Orleans during the second weekend of Jazz Fest on May 4 and 5 at Mardi Gras World.In a press release, the band states: “We are excited to play some places we’ve never been, like Syracuse, Albany & Madison and look forward to getting back to some cities we haven’t been to in a while like Portland & St. Louis. We can’t wait to play a proper two set show in Chicago! Finally, there’s another 2 night stand in New Orleans at night during the New Orleans Jazz & Heritage Festival to cap it all off.”John Mayer Joins Joe Russo’s Almost Dead On Night 5 Of Fall Ball [Photos/Videos]There will be a band Facebook pre-sale for all February shows on Wednesday, October 18 at 1pm EST; general on sale for all the February shows will be on Friday, Oct 20 at 12pm noon EST. There will be a band Facebook pre-sale for all March shows on Wednesday, October 18 at 1pm EST; general on sale for all the March shows will be on Friday, Oct 20 at 1pm EST. There will be a band Facebook pre-sale for all May shows on Wednesday, October 18 at 2pm EST; general on sale for the New Orleans shows will be on Friday, Oct 20 at 2pm EST. The password for the band Facebook Pre Sales will be posted on the Almost Dead Facebook Page at the times noted. Head to the band’s website for more information on 2017-2018 dates.FEBRUARY, 2018Thu, February 15, 2018: War Memorial Auditorium ~ Nashville, TNFri, February 16, 2018: The Pageant ~ St. Louis, MOSat, February 17, 2018: Riviera Theatre ~ Chicago, ILSun, February 18, 2018: Orpheum Theater ~ Madison, WITHERE WILL BE A BAND FACEBOOK PRE SALE FOR ALL FEBRUARY SHOWS ON WEDNESDAY, OCT 18 AT 12:00PM NOON EST.General on sale for all the February shows will be on Friday, Oct 20 at 12:00PM noon EST.MARCH, 2018:Thu, March 15, 2018: Landmark Theatre ~ Syracuse, NYFri, March 16, 2018: Palace Theatre ~ Albany,NYSat, March 17, 2018: State Theatre ~ Portland, METHERE WILL BE A BAND FACEBOOK PRE SALE FOR ALL MARCH SHOWS ON WEDNESDAY, OCT 18 AT 1:00PM EST.General on sale for all the March shows will be on Friday, Oct 20 at 1:00PM EST.MAY, 2018:Fri, May 4, 2018: Mardi Gras World ~ New Orleans, LASat, May 5, 2018: Mardi Gras World ~ New Orleans, LATHERE WILL BE A BAND FACEBOOK PRE SALE FOR THE NEW ORLEANS SHOWS ON WEDNESDAY, OCT 18 AT 2:00PM EST.General on sale for the New Orleans shows will be on Friday, Oct 20 at 2:00PM EST.
Yonder Mountain String Band Announces 2018 New Year’s Eve RunFor a complete list of upcoming Yonder Mountain String Band tour dates, head to the band’s website.You can enjoy a beautiful gallery of photos of Yonder’s New York performance below courtesy of Andrew Blackstein.Yonder Mountain String Band | Brooklyn Bowl | 11/11/17 | Andrew Blackstein Last night, Colorado-based jam-grass favorites Yonder Mountain String Band continued their ongoing Fall Tour plans with a performance at Williamsburg, Brooklyn’s Brooklyn Bowl. According to a post on the band’s Facebook, the show marked the celebration of their friend and die-hard fan Michael Walker‘s 300th Yonder show.Yonder Mountain String Band Delivers Spooky Covers And Massive Jams For Halloween [Videos] Load remaining images
Following the recent release of her All American Made album, everyone is talking about Margo Price. The Nashville-based singer/songwriter released the album through Jack White’s Third Man Records, marking her second full-length record to date. Margo Price brought the universally acclaimed music to The Late Show with Stephen Colbert on Tuesday with the performance of “A Little Pain”, from the album of 12 originals dedicated to Tom Petty.Watch Margo Price perform “A Little Pain” from All American Made on The Late Show with Stephen Colbert below:Enjoy her full album here:Head to Margo Price’s website for information on upcoming tour dates.
Due to inclement weather, Panorama NYC has cancelled the first day of their three-day event. Attendees at Randall’s Island were alerted about the forced cancellation via push notification before 6 pm, which read “We are evacuating due to severe weather. Please exit the way you entered. Panorama has been cancelled today and will re-open tomorrow.” Soon after, the festival posted about today’s cancellation via their Facebook page, noting that the festival would resume tomorrow as planned. Tonight’s artist lineup was set to include The Weeknd, Migos, Father John Misty, The War On Drugs, Dua Lipa, Jhene Aiko, Daniel Caesar, Charlotte Gainsbourg, Sabrina Claudio, The Black Madonna, Soulection, Yaeji, Mall Grab, Supa Bwe, Mike Servito, Turtle Bugg, and Bearcat.Weather permitting, Panorama NYC will begin in earnest tomorrow with Janet Jackson, Lil Wayne, SZA, Gucci Mane, St. Vincent, PVRIS, Japanese Breakfast, Floating Points, Sigrid, Bicep, Jay Som, Kyle Hall, Avalon Emerson, Lo Moon, DJ Python, Kalin White, and Riobamba.
Load remaining images Bob Weir and Wolf Bros boogied into Red Bank, New Jersey on Wednesday, March 13th, for the first of two nights at the historic Count Basie Theatre. Weir, along with bassist Don Was and drummer Jay Lane enthusiastically performed a mix of covers and original tunes to a tie-dye soaked crowd of around 1,500 at the nearly sold-out venue. Predictably, the easygoing vibe of the audience and the intimacy of the venue made for an exceedingly friendly atmosphere and attending the show felt like going to a family reunion.Related: On Tour With The Grateful Dead 1987: Reliving The First East Coast Shows After Jerry Garcia’s ComaThe band kicked off the show with a beautiful rendition of “Only a River”, a cut from Weir’s 2016 solo album Blue Mountain, and followed it with “The Winners” from Weir’s live collaboration with bassist Rob Wasserman. They then dug into the Grateful Dead’s repertoire, delivering a grooving “Jack Straw” before Weir swapped his acoustic guitar for an electric to rumble through crowd favorite, “Tennessee Jed”. Together, the rhythm players locked down the beat to allow Weir to launch his musical explorations during the song’s extended solo section; moments like this defined the night and provided insight into Weir’s mind and musicality. For those in the audience who only knew Weir as a rhythm guitarist (albeit one of the very best and most unique), these moments proved especially captivating.A cover of Bob Dylan’s “Maggie’s Farm” came next, showcasing Weir’s slide guitar techniques while Lane kept a tight and energetic beat as Was dug deeply into funky, inventive basslines. Weir returned to his own songbook and donned his gray Stratocaster for a quick “Shade of Grey” before moving purposefully into the Dead gem, “Weather Report Suite”. The gray-haired guitarist then launched into the turbulent and expected “Let It Grow”, ending the first set with a raucous jam.Weir and the boys started the second set with a spirited singalong in covering Kris Kristofferson’s “Me and Bobby McGee”. A second Grateful Dead song pairing followed, with “Lost Sailor” cascading satisfyingly right into “Saint of Circumstance”. Weir returned to the Dylan stockpile to break out “All Along the Watchtower” to roaring applause, and from the outro emerged a spicy reggae jam which brought seated holdouts to the aisles to dance. The band kept up the energy through “I Need a Miracle”, which saw Weir orchestrating blistering slide licks while the rhythm section swung.A tender “Looks Like Rain” fell next, delighting many in the audience with the raw emotion of one of Weir’s staple tunes. The outro saw Weir hit his soulful peak for the evening, belting improvised lyrics and howling “Here comes the rain!” An exceptionally smooth and energetic transition brought the band into a dynamic performance of “The Music Never Stopped”, and Weir colored the solo section with his last real bit of creative exploration for the evening. He then brought out special guest Sasha Dobson of Puss N Boots, a talented jazz singer from Weir’s Bay Area sphere, who provided backing vocals on a downright mean “Easy Answers”. The band transitioned from a final jam back into the outro of “The Music Never Stopped” with Dobson to end the second set. After a few moments of anticipatory applause, Weir, Was, Lane, and Dobson returned to the stage to deliver a heartrending “Knockin’ On Heaven’s Door” encore.Fans can check out the photos from Wednesday night’s show in the gallery below, courtesy of Chris Capaci.Bob Weir and Wolf Bros continue their tour tonight, March 14, with a second concert at the Count Basie Theatre in Red Bank, New Jersey, at 8 p.m.Setlist: Bob Weir and Wolf Bros | Count Basie Center for the Arts | Red Bank, NJ | 3/13/2019Set One: Only A River, The Winners, Jack Straw, Tennessee Jed, Maggie’s Farm (Bob Dylan cover), Shade of Grey, Weather Report Suite > Let It GrowSet Two: Me & Bobby McGee (Kris Kristofferson cover), Lost Sailor > Saint of Circumstance, All Along The Watchtower (Bob Dylan cover) > I Need A Miracle > Looks Like Rain > The Music Never Stopped > Easy Answers* > The Music Never Stopped*Encore: Knocking On Heaven’s Door* (Bob Dylan cover)* w/ Sasha DobsonBob Weir and Wolf Bros | Count Basie Center for the Arts | Red Bank, NJ | 3/13/2019 | Photos: Chris Capaci
Tame Impala has released their latest single “Borderline”, a song that the Kevin Parker-led psych-rock outfit previously debuted and performed live on their recent Saturday Night Live appearance. “Borderline” follows up Tame Impala’s March release of their nostalgic new tune “Patience”, which was the band’s first new track since their 2015 Currents release and its supplemental companion EP, B-Sides & Remixes.Whereas “Patience” is a watery sonic breeze, “Borderline” comes in with a more pronounced, danceable backbeat. While it comes across with a decidedly different vibe, “Borderline” shares some similar sonics with “Patience”, with ethereal psychedelic elements popping up throughout to augment Parker’s spectral vocals. It’s equally as likely to get caught in your head—the mark of yet another great new Tame Impala track. Here’s hoping there’s more on the way.Listen to Tame Impala’s new track “Borderline” below:Tame Impala – “Borderline”[Video: Tame Impala]See below for a list of Tame Impala’s upcoming dates. For more information, head here.Tame Impala 2019 Tour Dates:April 13 – Indio, CA – Coachella Valley Music & Arts FestivalApril 20 – Indio, CA – Coachella Valley Music & Arts FestivalMay 2 – Nashville, TN – Ascend AmphitheatreMay 3 – Asheville, NC – ExploreAsheville.com ArenaMay 5 – Atlanta, GA – Shaky Knees Music FestivalMay 6 – St. Augustine, FL – St. Augustine AmphitheaterMay 11 – Miami Beach, FL – Fillmore Miami Beach at the Jackie Gleason TheaterMay 11 – Guadalajara, Mexico – Corona Capital FestivalMay 25 – Boston, MA – Boston Calling FestivalMay 31 – Barcelona, Spain – Primavera SoundJun 1 – Paris, France – We Love Green FestivalJun 5 – Gothenberg, Sweden – GardenJun 6 – Aarhus, Denmark – NorthSideJun 21 – Sheebel, Germany – Hurricane FestivalJun 22 – Neuhausen ob Eck, Germany – Southside FestivalJun 26 – Pilton, England – GlastonburyJuly 27-28 – Detroit, MI – Mo Pop FestivalAug 1-4 – Chicago, IL – LollapaloozaAug 9 – Helsinki, Finland – Flow FestivalAug 14 – Hasselt, Belgium – PukkelpopAug 15 – Rennes, France – La Route Du RockAug 16 – Walibi Holland, Netherlands – Lowlands FestivalView Tour Dates
A new boxset of Bob Dylan‘s Rolling Thunder Revue Tour will be released in conjunction with Martin Scorsese‘s forthcoming documentary about the tour, Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese. The box set is due out on June 7th, with the Scorsese-directed documentary arriving on Netflix and in select theaters a few days later on June 12th.The 14-disc boxset, Rolling Thunder Revue: The 1975 Live Recordings, comprises 148 tracks from five full Dylan sets that were professionally recorded throughout the tour. The box set will also include three discs of rehearsals and one disc of rare performances.Rolling Thunder Review Tour was more of a traveling musical caravan than a well-structured concert run. It began back in October 1975 and continued until March 1976, with 57 total shows performed over two legs. The tour featured an impressive mix of guest musicians including Joan Baez, T-Bone Burnett, Beatnik icon and poet Allen Ginsberg, Mick Ronson, and many more.Dylan’s Desire LP would also be released in January 1976 between the two parts of the lengthy tour, which was initially chronicled in a 1978 film, Renaldo and Clara. The tour was titled in tribute to a Native American shaman by the same name, although some have claimed the tour name was a reference to the aerial bombardment campaign by the U.S., which took place during the late 1960s as part of the Vietnam War.Rolling Thunder Revue: The 1975 Live Recordings Disc Listing:DISC 1: S.I.R. Rehearsals, New York, NY – October 19, 1975DISC 2: S.I.R. Rehearsals, New York, NY – October 21, 1975DISC 3: Seacrest Motel Rehearsals, Falmouth, MA – October 29, 1975DISC 4-5: Memorial Auditorium, Worcester, MA – November 19, 1975DISC 6-7: Harvard Square Theater, Cambridge, MA – November 20, 1975DISC 8-9: Boston Music Hall, Boston, MA – November 21, 1975 (afternoon)DISC 10-11: Boston Music Hall, Boston, MA – November 21, 1975 (evening)DISC 12-13: Forum de Montreal, Quebec, Canada – December 4, 1975DISC 14: Rare PerformancesView Boxset Deatils
In mid-April, Trey Anastasio and his new Ghosts Of The Forest offered up a performance at Boston’s Orpheum Theatre before rounding out their east coast tour with a pair of performances at the stunning United Palace in upper Manhattan.Trey Anastasio Discusses Plans For Ghosts Of The Forest Live Album On SiriusXMDuring a chat with SiriusXM JamOn host Ari Fink, Trey announced a special live recording plan for Ghosts of the Forest’s New York City shows. He explained,This has been in place all along, but, the idea was to take the two nights and record the shows as a live album at the United Palace Theatre. It will almost be like a regular recording session, with two passes at the shows. For example, when Aretha Franklin was famously recording a record she would do two passes and that was it. Everyone had to play live. So for us, this is like we get two takes at the United Palace Theatre, but most importantly, the full picture of the Ghosts of the Forest document will have our community members and family in the audience. The recording will end up being a live album.Although Ghosts of the Forest’s NYC shows are the only performances set to be included in the forthcoming live album (as far as we know), it now appears that Anastasio will release live video footage from different shows throughout the brief tour. On Thursday, after sharing “Ghosts of the Forest” and “Drift While You’re Sleeping“, Anastasio continues to roll out pro-shot video with “Friend” from Boston, which you can watch below:Ghosts of the Forest – “Friend” – 4/10/2019 (Pro-Shot)[Video: Trey Anastasio]Trey Anastasio Band (which features Ghosts of the Forest members Ray Paczkowski, Tony Markellis, and Jennifer Hartswick) is gearing up for a run of shows in late May before Trey and Ghosts of the Forest drummer Jon Fishman turn their attention back to their main project for Phish‘s 2019 summer tour, beginning with a two-night run at St. Louis, MO’s Chaifetz Arena on June 11th and 12th. For a full list of upcoming dates, head here.Setlist: Ghosts of the Forest | Orpheum Theatre | Boston, MA | 4/10/2019Set: Intro, Ghosts of the Forest, Drift While You’re Sleeping, Friend, Sightless Escape, Halfway Home > If Again, In Long Lines, There’s a Path Above, About to Run, The Green Truth, Beneath a Sea of Stars Parts 1 & 2 > Mint Siren Dream, Stumble Into Flight, Ruby Waves, Shadows Thrown By Fire, Wider, A Life Beyond The Dream, In This Bubble > Beneath a Sea of Stars Part 3 (blue)Encore: Brief Time, Pieces in the MachineThe Intro that debuted at this show was the fourth prerecorded piano intro played over the PA to debut on the Ghosts of the Forest tour.
Harvard University today (Jan. 20) launched the library module of the Harvard mobile app, offering access to the world’s largest university research library from virtually anywhere.The University is restructuring its library system in response to a rapidly changing technological and intellectual landscape, and the app will allow the Harvard Library to better serve patrons who increasingly rely on an array of mobile devices. It gives users access to the HOLLIS catalog, a database containing 12.8 million records of journals, manuscripts, government documents, maps, microforms, music scores, sound recordings, visual materials, and data files in the University’s collection. In addition, users will be able to access information about Harvard’s library facilities and archive collections.“Academic libraries must not only collect and preserve materials, but must also be engines of innovation in this rapidly changing world,” said Helen Shenton, executive director of the new Harvard Library. “This is a big step toward making the Harvard Library collections accessible to our patrons, regardless of their location or platform.”Harvard launched its University-wide mobile initiative — both a native iPhone app and a mobile web application for any Internet-enabled phone — last September, providing users with access to campus maps, directories, and dining hall menus, as well as University news, events, shuttle schedules, and course catalogs. Since then, the native iPhone app has been downloaded more than 10,000 times, and the mobile web application has received hundreds of thousands of page views from campus community and visitors. The University will continue to develop and improve these applications, and expand the initiative by bringing in more mobile-aware and mobile-appropriate content.The Harvard native iPhone app is free and can be used with the iPhone 4, 3GS, and 3G hardware, but users must download the free iOS 4 software update. Users with earlier versions of the iPhone app can access the new library component by refreshing the app. The mobile web application is available at m.harvard.edu.The library component is the product of a collaboration among Harvard Public Affairs and Communications, Modo Labs in Cambridge, and staff in Harvard University Library’s Office for Information Systems. Library staff provided key user testing as the mobile-friendly site was completed earlier this month.The site is located at http://m.harvard.edu/libraries/.
Harvard’s Lizabeth Cohen recently began her first academic year as dean of the Radcliffe Institute for Advanced Study, where she was interim dean from July 2011 until her permanent appointment in March. Cohen is a scholar of 20th-century American social and political history and is the Howard Mumford Jones Professor of American Studies. She also was a Radcliffe Fellow from 2001 to 2002. Harvard Gazette staff writer Colleen Walsh sat down with Cohen for a question-and-answer session about the institute and her role in managing it. Cohen presented her inaugural lecture, “Place, People, and Power: City Building in Postwar America” on Oct. 15.GAZETTE: How would you describe Radcliffe today?COHEN: I would say that we are an institute for advanced study like many of our peers, which means that we are committed to promoting research and creativity, bringing people from all over the world to take advantage of the resources we make available to them to further their research, but that we have another component that is not typical for an institute for advanced study, which is we are very committed to sharing those ideas and those new ways of thinking with a variety of publics: Harvard faculty, Harvard students, but also … to a larger public. So it’s that translation, that intersection, that bringing ideas to a broad public that I think makes us distinctive. … [Also] we have from the beginning integrated the arts, and we have spanned all the fields. So we have scientists, social scientists, humanities scholars, as well as artists. And we also have people outside the academy: professionals, journalists, people in the world of policy. And that, I think, makes it a broader, more interesting conversation.GAZETTE: How does your mission fit with that of “One Harvard”?COHEN: In a world of tubs, we are the only tub that has as its mission the responsibility of bringing all the other tubs together and finding ways for them to communicate with each other, supporting faculty within the different tubs, but then bringing them into communication with one another. We encourage them when they apply for an exploratory seminar — for example, resources we make available to help them launch their research that their own Schools do not have to give them. We encourage them to put in applications that [include] faculty from multiple Schools, so we are encouraging a kind of cross-fertilization in our convening role at Harvard.GAZETTE: What do you mean when you say you think of Radcliffe as, in a way, acting as Harvard’s front door?COHEN: We go out of our way to say our events are open to the public. They are free to the public. We are encouraging all of our speakers to communicate well with people outside of their own specialization, and in that way I think of us as Harvard’s front door. We are welcoming, we are easy-access, and we take pride and pleasure in bringing people thinking the latest cutting-edge thoughts together with a larger public.GAZETTE: What kinds of future goals do you have for Radcliffe?COHEN: We certainly feel good about what we are doing … we have these three major program sites, the Fellowship Program, the Schlesinger Library, and what we call Academic Ventures, which supports the conferences and the faculty seminars, and seminars that former fellows initiate, and so forth. So there are these three pieces, but we have been working for the last year to try to integrate these three much better, and I feel pretty good about the progress we’ve made. It’s easy for people to be siloed. But we have been working on finding ways of crossing over. And so, for example, the website … is not set up actually around those three programs. It’s set up around people, programs, and collection. And all three of those programs contribute to each of those categories. So we are trying to look for the synergies within ourselves and not try to replicate the tub structure of larger Harvard.GAZETTE: How do your plans involve the arts?COHEN: The president has asked us to take responsibility for more generally convening around the arts, and we are doing that in a variety of ways. We have invited a faculty member named Yukio Lippit, professor of history of art and architecture, to be an adviser in the creative arts, and he will start that the year after next — he is on leave this year — and that is very exciting. We are trying to use the gallery that is in Byerly Hall, which was planned for an exhibition space for fellows who are practicing artists, trying to program that to be much more a part of the life of the institute. … We already do an annual exhibition that supports the theme of the gender conference in the spring. But we want to make more use of it, and so I do think the arts will be more present.GAZETTE: Initially, you had no plans to stay on as dean. What changed your mind?COHEN: It was a gradual process. I did accept, as a good Harvard citizen. I knew that Drew [Faust] needed somebody. I cared a lot about the Radcliffe Institute and the Fellowship Program in particular, since I had been a fellow and had benefited hugely from it. I cared a lot about the Schlesinger Library as a historian. It seemed like an appropriate thing for me to do, so I accepted. … Now, I have to kind of laugh when I think back to how completely strange it was for me to even be in an office like this on a daily basis. I didn’t even have any systems. I had this little notebook that I bought, and I would mark it for all the people who were my direct reports, and then write little notes in it for all the things I wanted to say to them. … I had not ever been in this kind of a job. But over time, I would say there were many things I discovered I enjoyed that were not part of the kind of work I have been doing.GAZETTE: Can you describe some of those things?COHEN: Working with people more collaboratively than a typical professor does as a historian — this would not be true in all fields, [but] historians work independently, pretty much. … Basically, we work on our own. … I also enjoyed program planning. I did have a life before I went back to graduate school, working in museums … doing some of the things I have been enjoying a lot in this job, thinking about how to communicate ideas to the public, how to take ideas that historians, art historians, scientists, or political scientists speak to themselves about in fairly technical terms, and figuring out how to really make that exciting and accessible to a larger public.GAZETTE: Is there any part of your new role that surprised you?COHEN: I actually learned to enjoy a piece, which I thought I was going to hate, which was the fundraising side. I thought, “This is going to be awful. I don’t like to ask anybody for money. How am I going to do this?” … I actually discovered that I enjoyed it. I did. I was really surprised. I actually realized that the people who stay in touch with the University that they went to many years out are people who are still hungry for ideas and want to be stimulated, and they are wonderful to work with.GAZETTE: Can you describe what alumnae relations are like these days? Has there been anything lost or gained with time?COHEN: I think that that struggle is really behind us by now. That was the theme during Drew Faust’s deanship during the first five years. There was an awful lot of endless discussion about why Radcliffe College didn’t make sense as an institution and why Radcliffe Institute was a desirable use of those resources. At this point, we are 13 years down the road. … And now we are more focused on how to make the Radcliffe Institute more valuable and important for Harvard.GAZETTE: What do you do for fun?COHEN: I used to have fun [laughing]. Now I have to find my fun in my work. I have to say that I haven’t figured out yet how you have leisure in a dean’s job at Harvard. … When I do have time, I have a lot of interests. I love to read novels. I love fiction. I learn a lot about writing from how I react to writing that I enjoy. I like to garden. I love traveling. I am trying to weave that into the job. … It is a struggle. It isn’t just being a dean at Harvard. I think this is a problem for lots of people in demanding jobs in the 21st century, because you can always be working. The emails don’t stop, any time of the day or night. You have to impose your own structure of when you are working and when you’re not. And the “not” is the part I am having a hard time with [more laughing]. I am also still learning the job, so it will hopefully get easier.
Read Full Story Scholars and social media experts convened at Harvard Law School Feb. 6 to examine the ways in which electronic interactive media can sway human decision-making and behavior.The conference, “Social Media and Behavioral Economics,” was sponsored by Harvard Law School’s new Program on Behavioral Economics and Public Policy and created by the program’s director, Cass Sunstein ’78. Sunstein returned to the HLS faculty last August following three years in the Obama Administration as administrator of the White House Office of Information and Regulatory Affairs in the Office of Management and Budget.While serving in the OMB, Sunstein was known for trying to make the federal regulatory system “as sensible as possible” by applying cost-benefit analyses and assessments of human behavior to his reviews of proposed governmental rules. It was an approach in keeping with his previous work, such as the 2008 book, “Nudge: Improving Decisions About Health, Wealth, and Happiness,” co-written with behavioral economist Richard H. Thaler, in which Sunstein has advocated that low-cost solutions are often better options than government regulation.Read more on the Harvard Law School website.
The innovative international scholar Tamar Herzog has been appointed the Monroe Gutman Professor of Latin American Affairs in Harvard University’s Faculty of Arts and Sciences (FAS). She also will become the Radcliffe Alumnae Professor at the Radcliffe Institute for Advanced Study. Herzog comes to Harvard from Stanford University, where she has been a professor of Latin American, Spanish, and Portuguese history since 2005.Being “engaged in a community of scholars” is what brings Herzog, 48, to Harvard and its Radcliffe Institute. “I ask questions,” is how she characterizes her study of people and places in Latin America, Portugal, and Spain.In the process of exploring borders, citizenship, communities, belonging, and belongings, her work connects with many areas of study. “In addition to the wonderful history department, it will be an opportunity to connect with scholars in the areas of law, anthropology, Latin American and American studies, art history, political science, literature, and philosophy,” she said.“I am very pleased that a scholar of Tamar Herzog’s caliber has agreed to join the History Department,” said FAS Dean Michael D. Smith. “She will enrich the FAS community with her groundbreaking research, and represents an exciting opportunity for Harvard College students to learn from a world-renowned scholar.”“Professor Herzog’s approach to finding answers to her questions by crossing disciplinary and geographical borders is the kind of wide-ranging intellectual pursuit the Radcliffe Institute is dedicated to supporting, and that Harvard encourages,” said Radcliffe Dean Lizabeth Cohen, who is also the Howard Mumford Jones Professor of American Studies in the same department that Herzog will join.Herzog received her Ph.D. from École des Hautes Études en Sciences Sociales in Paris, and since then has conducted research in Spain, Portugal, Latin America, France, Germany, Israel, Italy, and the United Kingdom. Her international experience and orientation is one reason she chose to join the Harvard faculty. For her, “the University offers a concentration and intensity of intellectual engagement that draws people from around the world.”The Radcliffe Professorship means that Herzog will be a fellow at the Radcliffe Institute for two of her first five years as a professor at Harvard. Professorships at the Radcliffe Institute are offered in conjunction with tenured positions at the University and help attract leading scholars who will bring greater diversity to the Harvard faculty. The Radcliffe Alumnae Professorship was funded by contributions from hundreds of Radcliffe College alumnae who wanted today’s Harvard undergraduates to benefit from a more diverse teaching faculty than they had in the past.Herzog, who has previously been a fellow at the Institute for Advanced Study in Princeton and the European University Institute in Florence, Italy, and this year is a Guggenheim Fellow, recognizes the Radcliffe Professorship as “an exceptional opportunity.”In her fellowship years, Herzog will pursue independent research in the institute’s stimulating community of artists and scholars. She expects that being a fellow will be perfectly timed as she determines the scope and nature of her next major project.“The early stages are so crucial,” said Herzog, “and Radcliffe will be wonderful for that because there are so many different scholars, with different disciplines, and from different places who come together for intellectual exchange.”Starting in the fall of 2013, Herzog will be welcomed to that “intellectual exchange” in an array of departments and schools across Harvard.
Inside the Antimatter Factory at CERN, the ATRAP antimatter experiment seeks to slow and trap antimatter for comparison with ordinary matter.On desktop, click and drag your mouse for 360° views. On mobile, use the YouTube app to watch these videos, and move your phone to explore. With a headset, such as Google Cardboard, use the YouTube mobile app to load the video and look around.“Those four years at CERN doing research were a very important part of my training,” said Harvard Physics Department chair Masahiro Morii, who was a research scientist at CERN early in his career. “It taught me things that are a bit difficult to quantify, but changed my perspective very drastically on what it means to be a scientist, what it means to be a high-energy physicist.”Year-round, the graduate students and postdoctoral fellows taking their initial career steps work among established scientists, learning and gaining experience difficult to get outside of CERN or a handful of other facilities around the world. Harvard’s Donner Professor of Science John Huth said what becomes apparent is science’s messiness.“They see the process as it unfold with all its warts. Science is pretty messy when you get into the nitty-gritty,” Huth said. “It’s just an invaluable experience. Even if you become a scientist in a different discipline or you leave science entirely, understanding that intrinsic messiness is really important.”In an environment focused on the practice of physics rather than the teaching of it, CERN puts the onus for learning onto the student, Morii said. Students build and test equipment, make sure what’s installed is running properly, and pluck the most meaningful pieces from the resulting data tsunami. They analyze it at all hours of the day and sometimes deep into the night, since there’s always someone awake and logged onto Skype to answer a question or share an insight.“People are really passionate, so it doesn’t really feel like you’re up until 11 doing your job. Maybe you’re thinking about something on the train home and you wanted to look into it. It’s not regular hours, but I don’t think that deters anyone,” said Harvard physics Ph.D. student Julia Gonski. “People like the work and it’s fun. Twenty-four hours a day, you can get on Skype and someone you know is on Skype and working.”While fellows and graduate students are at CERN year-round, each summer the campus’ population swells as undergraduates eager to take part in the world’s most famous science experiment step off the plane in Geneva.At CERN, they become part of a unique city of physicists from around the world, with different educational and cultural backgrounds but the same passions and similar goals.“It was this enormous scientific laboratory, with thousands of people working all hours of the night trying to understand the fundamentals of the universe, as corny as that is to say,” said Harvard postdoctoral fellow Alexander Tuna, who first came to CERN as a summer undergrad from Duke University in 2009. “It was really immersive and fun. There’s always someone around with an interesting insight or an answer to a question.”The secrets of the universeAs a visitor approaches CERN, the giant brown orb of the multistory Globe of Science and Innovation comes into view.The globe, looking like an enormous particle half-buried in the earth, serves as a CERN welcome center and is far more visually appealing than the main campus across the street. Protected by fences with access limited through guard stations, the campus’ narrow, twisting roadways wind between boxy, industrial-looking buildings numbered instead of named, as if creativity there is reserved for science instead of infrastructure. Even the cafeteria that serves as a central gathering spot is named simply “Restaurant 1.”“It was different than I expected,” said Harvard junior Matthew Bledsoe. “I figured a place on the forefront of physics would look fresher and newer, new buildings and stuff. But [they are] 1950s and ’60s-era buildings, so the buildings are pretty old. It looks like a factory.”Visitors quickly learn to look past the boxy exteriors to what’s inside. There they find thousands of people working on 18 experiments, seven associated with the LHC and the others with smaller accelerators and a decelerator, which is used for antimatter experiments like those run by Harvard Physics Professor Gerald Gabrielse’s ATRAP collaboration.ATRAP, short for “antihydrogen trap,” relies on the LHC’s high energy to make protons collide with a target to create antiprotons. The experiment then cools and slows the antiprotons, and combines them with positrons, the antimatter equivalent of electrons, to create antihydrogen for study and comparison with ordinary hydrogen. Gabrielse, who pioneered antimatter experiments at CERN, said that for students who want to go into high-energy physics, getting a taste of the enormous collaborations that are behind such experiments is key.“If you’re interested in making a career in doing those kinds of things [experimental particle physics], it’s extremely important to have this experience,” Gabrielse said.The LHC, with its potential to pierce the veil between the known world of the Standard Model and the mysteries that the model does not address, takes center stage. Yet to visitors wandering the halls and sidewalks of CERN, the LHC is nowhere to be seen.That’s because the LHC is buried 300 feet underground in a massive tunnel that runs 17 miles from Switzerland into France and back again. Its twin proton beams circle in opposite directions, crossing four times on their journey. At those crossings are four major particle detectors, one of which is ATLAS, a massive machine backed by a worldwide collaboration in which Harvard scientists play lead roles, and which was one of two experiments to detect the Higgs boson.Outside the ATLAS control room at the LHC. Joe Sherman/Harvard Staff Photographer“You can think of it (ATLAS) as a really large camera surrounding the collision point where protons collide,” Tuna said.ATLAS, which stands for A Toroidal LHC Apparatus, is 180 feet long, 82 feet in diameter, and weighs 7,000 tons. When the proton beams collide, they scatter particles in all directions. ATLAS dutifully records these collisions, producing far more data than current computing technology can store, so filters are employed that screen out more mundane results and keep only the most promising for analysis.The complex undertaking requires a collaboration that is as massive as the task the researchers have set for themselves. It includes about 3,000 physicists from 175 institutions in 38 countries.“This is the center of particle physics right now,” said Harvard Ph.D. student Karri DiPetrillo. “As a scientist, you like asking nature questions and seeing what the answer is. Because we have thousands of people working on a single experiment, you know we’re asking some of the hardest questions in the universe. If it takes thousands of people to find the answer, you know that it’s a good question.”For decades, physicists exploring the most basic particles that make up the universe were guided by the Standard Model, which held that everything is made of a limited number of quarks, leptons, and bosons. Over the years, one by one, experimental physicists, including Harvard faculty members, found the particles predicted by the theory: bottom quark, W boson, Z boson, top quark. In 2012, they found the Higgs boson, the last theorized particle.When the huge hubbub over the Higgs discovery faded, particle physicists began to assess the field’s new reality. After decades in which theoretical physicists were leading, telling experimental physicists what new particle to look for, the roles are now reversed.As reliable as the Standard Model has been, it doesn’t explain everything. And, while theoretical physicists have several ideas of where those mysteries might fit into current knowledge, no evidence exists to tip the scales toward one idea or another.Even the Higgs boson still holds secrets, as detecting it didn’t completely explain it. Scientists who continue to probe the Higgs boson hope that the particle may yet reveal clues — inconsistencies from what is expected from the Standard Model — that will outline the broader path forward.“There are really two paths. One path is to really push on what we understand about the Higgs boson because that has the strangest properties associated with it and if you push the theory at all the Higgs creates the most problems for it,” Huth said. “The other is the discovery region for something new, like dark matter.”The undergraduate summerA scientist’s path to CERN usually starts with a passion for physics. Graduate student Nathan Jones credits a family road trip to Colorado during which he read a library book about the universe. Undergrad Bledsoe was wowed by a trip to Fermilab outside Chicago as a high school freshman, while grad student Gonski traces it to the annoyance she felt when she learned her high school chemistry teacher had gotten the science wrong.“I remember being in chemistry class in high school when they told us protons and neutrons are indivisible,” said Gonski, who learned otherwise from Stephen Hawking’s “A Brief History of Time.” “I was so offended … I remember being frustrated and asking my parents, ‘Did you guys know?’ At that point I wanted to see how far down we can go [in particle size].”After that initial spark, students take classes and often work in a campus laboratory before heading overseas. Some undergraduates go to CERN through the Undergraduate Summer Research Experience program run by the University of Michigan for students across the country. Several Harvard students benefitted instead from the Weissman International Internship Program Grant, established in 1994 to provide faraway opportunities for them. <a href=”https://www.youtube.com/watch?v=87w92dMVlrE” rel=”nofollow” target=”_blank”> <img src=”https://img.youtube.com/vi/87w92dMVlrE/0.jpg” alt=”0″ title=”How To Choose The Correct Channel Type For Your Video Content ” /> </a> Second in an occasional series on Harvard’s wide-ranging programs and research in Europe.GENEVA — Once you know enough math, Harvard Ph.D. student Tony Tong said, you get to know physics. And physics, he said, is simply amazing.“[Physics] is always helpful to answer the question of ‘Why?’ Why the skies are blue, why the universe is so big, basic stuff,” Tong said. “I’m always curious about those questions and the solution is always so beautiful.”Tong, it seems, had come to the right place. He was speaking on a warm July day in a small courtyard at the European Organization for Nuclear Research, known as CERN, the scientific campus on the outskirts of Geneva that is the world’s beating heart for high-energy particle physics. Home of the world’s most powerful particle accelerator, the Large Hadron Collider (LHC), CERN made world headlines in 2012 when scientists announced the discovery of the Higgs boson, the final undiscovered particle in the theoretical framework of the universe called the Standard Model.The eyes of the scientific world remain focused on CERN today because the LHC is back in operation after a major upgrade that boosted its energy to 13 tera electron volts, allowing it to crash beams of protons into each other more powerfully than ever before. Now that the Standard Model is complete, scientists are looking for what’s still mysterious, sometimes called the “new physics” or “physics beyond the Standard Model.” Its form, presumably, would involve a particle born of these high-energy collisions, one that points the way to an even broader understanding of the universe, shedding light on such puzzling areas as dark matter, supersymmetry, dark energy, and even gravity, which has stubbornly refused to fit neatly into our understanding of the universe’s basic forces.CERN fired up its first accelerator in 1957. Among its milestone discoveries are the elementary particles called W and Z bosons, antihydrogen — the antimatter version of the common element — and the creation of the World Wide Web to share massive amounts of information among scientists, scattered at institutions around the world.The CERN campus, which straddles the Switzerland-France border amid breathtaking views of the distant Alps, produces more than just science, however. In ways technological, theoretical, educational, and inspirational, it also produces scientists. <a href=”https://www.youtube.com/watch?v=LXiOlrzgUvo” rel=”nofollow” target=”_blank”> <img src=”https://img.youtube.com/vi/LXiOlrzgUvo/0.jpg” alt=”0″ title=”How To Choose The Correct Channel Type For Your Video Content ” /> </a> A field of sunflowers stands at the roadside on the approach to CERN.On desktop, click and drag your mouse for 360° views. On mobile, use the YouTube app to watch these videos, and move your phone to explore. With a headset, such as Google Cardboard, use the YouTube mobile app to load the video and look around.Once the funding is set, there’s nothing left but the plane ride and moving into their new digs. Undergraduates live in settings ranging from downtown Geneva to the French countryside. Last summer, three Harvard students — Ben Garber ’17, Gary Putnam ’17, and Bledsoe — rented an apartment over the border in France and commuted to work each day by bike, while Katie Fraser ’18 stayed closer, at CERN’s on-campus hostel.Days consisted of morning lectures on topics relevant to their work. After those lectures — and the occasional pickup basketball game at lunchtime — they’d spend afternoons working on a project. Garber worked with Tuna and DiPetrillo on an analysis of Higgs boson decay (the particle itself exists for a tiny period of time) into two W bosons. Bledsoe worked on hardware, building and testing a circuit board to be used in the planned 2018 ATLAS upgrade, in the cavernous Building 188 under the tutelage of Theo Alexopoulos from the Technical University of Athens. Wherever they were, whether doing project tasks or having cafeteria conversations, the students were steeped in physics.“It was a lot of fun, different than I expected. You learn stuff just by being there, pick up vocabulary in lunchtime conversations,” Fraser said. “It definitely solidified my desire to go into high-energy physics.”Melissa Franklin, Mallinckrodt Professor of Physics, said lessons can be found behind almost every door at CERN.“I was just amazed, it was unbelievable,” said Franklin, who first visited between her undergraduate and graduate years. “I went to every place I could on site and just knocked on doors and bugged people … You learn so much by osmosis. You have to learn to hang around and ask good questions.”Jennifer Roloff, a Harvard physics Ph.D. student, first came to CERN in 2011 as an undergraduate and has been back every summer. Now she helps manage the University of Michigan summer undergraduate program, which gives her a broad view of the student experience.“There are definitely some students who do miss home,” Roloff said. “For a lot of them it’s the first time out of the country [or] the first time long-term out of the country. For a lot of them, they realize this is not what they want to do. CERN is not for everyone. There are challenges and difficulties that are not in other physics.”That understanding, Gabrielse said, is as important a lesson as finding your intellectual home.“Some decide, based on it, to go into the field. Some decide not to,” Gabrielse said. “That guidance too is valuable.”Yet being at CERN is not just about science. Students have their weekends free and can explore their new surroundings. Some hike the Alps or the closer Jura Mountains. Others walk the ancient streets of Geneva, visiting its lakefront, restaurants, museums, and other attractions. Putnam loved a park near the University of Geneva where people played on large chessboards with giant pieces. He also soaked up the area’s natural splendor.“It’s so beautiful here,” Putnam said. “Sometimes I forget and do the normal thing of looking down and not paying attention, but being able to look up and see the mountains is really special.”On call for a particle emergencyLife at CERN as graduate students is not quite so fancy-free. Visits are limited to summers early in graduate careers as they complete coursework, but once that’s done, they can come and stay to conduct dissertation research.To keep the ATLAS collaboration running, graduate students are required to spend a year of research time doing work to benefit the experiment itself, to ensure that high-quality data is collected, for example, or that potentially significant collision events aren’t lost in the data.“We have to make sure the data we’re receiving is like you expect it, ready for analysis,” DiPetrillo said. “[It’s taken] probably half of my time in the last year; the other half has been working on Standard Model measurement of the Z boson.”A little physicist humor written on a CERN blackboard. Joe Sherman/Harvard Staff PhotographerPart of DiPetrillo’s duty is assisting in ATLAS’ day-to-day operation, working in the ATLAS control room — with its Mission Control feel, and dominated by a wall-sized screen — and monitoring one of several subsystems that make the whole operation work. Monitoring those subsystems makes ATLAS a 24/7 proposition.In addition to working overnight in the control room, DiPetrillo is often on call to back up someone on site. While on call, she has to stay near her phone and within an hour’s drive of the facility in case something goes wrong. If that happens, she troubleshoots the problem with the person in the control room or pushes the problem up to someone more senior.“You can think of ATLAS as always taking data so we always need people watching it, making sure ATLAS is working in a way that we want [it] to, that the detector is working … and that data looks the way we expect,” DiPetrillo said.When not on call or manning the control room overnight, a graduate student’s life at CERN is full of meetings to share and hear the latest findings, and of hours poring over the latest data looking for the kind of statistical bump that might indicate a new particle — or a new something else.The LHC’s recent upgrade has made scientists hopeful that a new particle will be discovered soon. But if not, another upgrade planned for about 2018 may do the trick. While the recent upgrade made the energy of the proton beam higher, the next one will increase luminosity, or the number of protons in the beam, multiplying the number of collisions at any given moment and improving the odds of detecting extremely rare events.“We’re all here to … discover stuff, but it’s so difficult. It’s impossible to do as one person,” Gonski said. “I would love to be one person on the 500-person team to discover [supersymmetry’s] stop quark. It’d be great for physics if we all discovered this and for me to say I want to do this — be a tiny fraction of a large group effort.”SaveSaveSave
It’s an oft-overlooked part of the theater experience, but without it, the audience would be stuck in the dark.As the lighting designer on the American Repertory Theater’s “Fingersmith,” a Victorian England-set thriller full of twists and turns, Jen Schriever knows her craft doesn’t captivate like a scene-stealing dance number or a mesmerizing monologue, but she’s obsessed with it nonetheless.One of lighting’s key roles “is to transport us moment to moment,” said Schriever, taking a break from one her final technical rehearsals at the A.R.T.’s Loeb Drama Center.For “Fingersmith,” on the Loeb’s main stage, her lighting is in overdrive. With only one main set to work with, Schriever and the design team had to get creative, using lighting not just to convey feeling and mood, but also to quickly and frequently shift locations — from a series of rooms in a London slum to the expansive hallways and library of a vast countryside estate to a garden, a graveyard, even a gallows.“This is one prime example of why lighting is so important,” said Schriever, adding that the lighting-enhanced scene changes take the actors and the audience to close to “20 different locations” during the show’s 2½-hour run time.Video projections feature prominently in the set design of “Fingersmith,” which is based on Sarah Waters’ 2002 novel. Onstage a scrim fills with the image of a full moon or the dark silhouettes of gravestones. Schriever worked closely with projection designer Shawn Sagady to use lighting to help amplify the images, their sense of scale, and their ability to convey movement from one location to the next. Playwright stirs conversation with provocative show on U.S. education Related Smith gives voice to broken promise “It’s just important that the image being projected is integrated with the set … it’s beautiful when it fits together.”Highlighting those evocative projections sometimes calls for as little light as possible. During a number of violent scenes involving a small curtain and a macabre magic trick, Schriever’s job was to “artfully get out of the way.” Certain visual tricks work best in the dark, she said.At other times her role is to use lighting as a sleight of hand or a focal point, distracting the audience during a scene change, or making sure they see exactly what is unfolding on stage.For Schriever the week of previews was all about perfecting transitions in the show — ensuring that the lighting synchs with the music, the quick costume changes, and the movement of actors to help create a seamless production. It’s a largely computerized process, one she refers to as a “complicated, integrated, fully disciplined ballet.”Help has come from a talented group of collaborators eager to offer up suggestions and listen to hers, including the show’s director, Bill Rauch ’84, who also helmed the A.R.T.’s “All the Way,” a drama based on Lyndon Johnson’s presidency, in 2013.“I think it makes a tighter and better production when the director is involved and interested and curious about lighting,” said Schriever.The designer has also found inspiration in the evocative source material.“I had visuals in my head from the book. I thought ‘I know what this looks like’ because I imagined it from the adjectives and descriptions [Waters] used … it was fun to bring that image to life.”“Fingersmith” is at the A.R.T. through Jan. 8.
The biographical form for William Clarence Matthews, member of the Harvard College Class of 1905, with an explanation that Matthews’ mother, Elizabeth, was a former slave who had no last name before her marriage. To tell the story of Harvard President Charles William Eliot, the American academic who transformed the School in the late 19th century from a regional college into the model of a modern research university, one need only consult Harvard’s archives, where rich and detailed material fully documents his lasting impact.But to tell the story of Harvard’s long-forgotten ties to slavery, one must dig much deeper. For several years, a number of Harvard historians, faculty, students, researchers, and archivists have been doing exactly that, scouring documents both at Harvard and beyond looking for clues that help paint a picture of the enslaved men and women whose lives were intimately tied to the University’s early years and to the broader slave-based economy that helped Harvard thrive.It’s painstaking work, as the new exhibit “Bound by History: Harvard, Slavery, and Archives,” which contains much of what researchers have uncovered so far, makes clear.“You really do have to read through these documents almost line by line because there are just these tiny little references that are hidden,” said Harvard archivist Juliana Kuipers, who worked on the exhibit. “It’s not going to be something that jumps out.”For example, a researcher could easily have missed the note in a detailed diary from 1748 kept by John Holyoke, the teenage son of Harvard President Edward Holyoke. In it, John recorded the weights of his father, his mother, his several siblings, and someone simply referred to as “Juba.” (Slaves were often denoted by a single name, one frequently taken from the Bible, said Kuipers.) To confirm Juba’s status, archivists consulted digitized records at First Church in Cambridge that indicated he married a slave owned by a Harvard professor.The diary is part of the new exhibit opening today that was developed in tandem with Friday’s daylong symposium at Harvard’s Radcliffe Institute for Advanced Study titled “Universities and Slavery: Bound by History.”“We thought it would be really interesting to put some of this material up on display at the very moment that the conference was going to be happening” said University archivist Megan Sniffin-Marinoff. The show includes material discovered by students from a 2007 Harvard and slavery seminar led by historian Sven Beckert, and the subsequent Harvard and Slavery research project and 36-page booklet titled “Harvard and Slavery: Seeking a Forgotten History.”Assistance also came from The Colonial North America Project at Harvard University, an ongoing effort to digitize all known archival and manuscript materials in the Harvard Library that relate to 17th- and 18th-century North America. “As we digitized and cataloged these materials for first time, we discovered a lot of [information relating to] slaves,” said Sniffin-Marinoff.The material in the new show ranges from letters and diaries to photos and class notes and is organized around three main themes: physical evidence of enslaved persons on campus, slavery as a topic of intellectual debate and discussion at the School, and tracing the lasting legacy of Harvard and slavery. An entry in the diary of John Holyoke lists the weights of his family, including Juba, an enslaved man owned by the Holyokes. Juba weighed 141½ pounds. In his pocket diary, George Everett Marsh noted attending a morning lecture by Professor Louis Agassiz — a proponent of polygenism, then touted as a scientific defense of slavery — before venturing into Boston for an abolitionist meeting. On display near the Holyoke diary is a bill sent from the shoemaker William Manning to Sarah Bordman, the widow of Harvard steward Andrew Bordman, on Aug. 23, 1771. The invoice details the monthly repairs to the shoes of “her negro Cato.”Other exhibit ephemera point to how Harvard faculty and students took up discussions and debates about the institution of slavery as far back as the 18th century. Some of that evidence comes in the form of a printed copy of a Commencement debate from 1773 between Theodore Parsons and Eliphalet Pearson, both members of the graduating class. Pearson argued that the institution ran counter to the “law of nature,” while Parsons defended it. Another item illustrates how the racist stereotype promoted by Swiss-born naturalist and noted Harvard Professor Louis Agassiz, who believed each race had a different origin, made its way into the School’s classrooms.In lecture notes taken during a geology course given by Agassiz on April 26, 1860, George Everett Marsh, Class of 1862, noted the professor was teaching his theory of differing racial origins, called polygenism, which was a concept often used to defend the idea of slavery.“Even in this geology course, Agassiz is teaching these ideas, and students are taking them in,” said archivist Ross Mulcare, who helped prepare the show. Interestingly, entries in Marsh’s pocket diary dated April 6, 1861, indicate the Harvard student attended a class taught by Agassiz in the morning, and an anti-slavery meeting in Boston later that day.The show also explores slavery’s lasting legacy at Harvard, and some of the countering attitudes opposing the institution. There are images of several campus buildings, such as the Dana-Palmer House built in 1822. Harvard College and Law School graduate Richard Henry Dana Jr. spent some of his early years in the yellow clapboard home, once located where Lamont Library now stands, and currently nestled up against the Harvard Faculty Club. In 1848 Dana helped found the anti-slavery Free Soil Party and served as a lawyer for fugitive slaves through the 1850s.Harvard President Drew Faust, a historian of the Civil War and lifelong Civil Rights activist, previewed the show and suggested including an image of Greenleaf, the Brattle Street home of the Radcliffe dean, where Faust lived for several years as the head of the institute in the early 2000s. James Greenleaf, who made his fortune in the slave-based cotton trade, built the house in 1859.The Greenleaf home, Faust said in an interview, is a “piece of Harvard’s heritage and an example of how slavery, which was illegal in New England, in Massachusetts after 1783, nevertheless was very much a presence in the economy in Massachusetts and New England.”Ensuring viewers remember those lasting ties is paramount, said its curators. “There are so many iconic buildings and important spaces on campus, most of which have connections to the stories we are trying to tell here,” said Mulcare.Exhibit organizers said the new show is just the beginning of an ongoing effort to explore the difficult dimensions of Harvard’s past.“The story really isn’t fully understood yet,” said Sniffin-Marinoff. “What we are trying to do is put on display examples of the kinds of evidence that you can find when you start doing this research that begin to help build this story.”Sniffin-Marinoff envisions another exhibition in the near future, one that builds on research by faculty and others in the coming years “who are looking at this much more.”“Bound by History: Harvard, Slavery, and Archives” is on view at Pusey Library through early April.A recently unveiled Harvard website will focus on ongoing efforts to understand the history and legacy of slavery at the University. A printed copy of the Theodore Parsons and Eliphalet Pearson debate on slavery held at their Commencement in 1773. Photos by Rose Lincoln/Harvard Staff Photographer
While Khadka knew she wanted to attend college, for most students at her high school that meant perhaps Iowa State or the University of Iowa, not faraway Harvard.“Out-of-state schools aren’t really on the radar unless someone from your family went there,” she said. “But I wanted to see what Harvard was like … so I did a lot of research on the website. If you asked me where anything was on the site, I could tell you, because I read that site thoroughly.”While Khadka earned top grades in high school, the notion of attending Harvard didn’t feel as though it was in reach until she stumbled on a video about Lucerito Oritz ’10, a student from California who had received aid.“Just seeing that story made me realize that maybe I could afford this,” she said. “I went online and checked the net price calculator, and that was when I found out my parental contribution would be zero.“It felt unreal,” she added. “You hear things about how expensive college is all the time, but to get into my dream school, and then to see the financial aid offer, I said to myself, ‘Oh my God, this is real.’”As Harvard’s doors open wide to students from increasingly diverse backgrounds, Khadka, a Cabot House resident and social studies and statistics concentrator, said that it’s natural to see that shift reflected across campus and in classrooms.“Last semester, I took a class called the Economics of Education,” Khadka said. “And as we talked about the different aspects of education here in the U.S., what was interesting was that no single person in the class had the same experience. There were students who had gone to private schools, students from public schools, and students who had qualified for Head Start programs.“Whereas before you might only read about something in a paper, students in the class were able to give real-life insights,” she continued. “So the diversity in terms of socio-economic status has really transformed the classroom dynamics in some ways as well.”For new graduate Alicia Hamilton ’18, coming to Harvard was in many ways the culmination of her parents’ efforts to instill in her the importance of education.,Growing up in Kingston, Jamaica, Hamilton remembers her father picking her up from school every day and taking her to the travel agency he managed, where he would make sure she and her sister were conscientious about completing their homework.“Because he didn’t have a college education, my father went from managing a travel agency to working the front desk at a car rental agency,” said Hamilton, an Eliot House resident and history concentrator. “But even when he was working crazy hours, he always made it a priority to wake up in the morning and walk me to school, and still made sure that my homework was completed.”And as incredible as it felt to be accepted, knowing that not only would she be able to afford to attend Harvard but would graduate debt-free was beyond imagining. Hamilton will spend the next year teaching 11th-grade U.S. history in California as part of the third cohort of Harvard Teacher Fellows through the Graduate School of Education, with a goal of getting her license to teach in Massachusetts and working toward a master’s in education.“I thought it was a joke at first,” when she heard Harvard’s financial aid offer, she said. “My family was prepared to take out hundreds of thousands of dollars in loans for me to have this Harvard experience, so being able to attend what many people would consider the top university in the country for less than it would cost to attend community college, it’s not something you can wrap your mind around. You can’t put into words the blessing that it is.“For me, the Harvard Financial Aid Initiative has made Harvard a place of hope,” she said, reflecting on how it has changed the campus. “Harvard has become an attainable place of hope — somewhere people can invest their dreams in. It’s diversity in its truest form.” “The initiative was launched as a call to action for institutions of higher education to make sure they continued in the important societal role of being engines of opportunity for young people,” Donahue said. “We did a great deal of research to make sure we were reaching all talented students who might think of Harvard as an opportunity, and we actually came to the conclusion that we weren’t.”That realization, she said, led to the initiative and to new efforts to make sure that students around the world understood that Harvard was within their reach.“We wanted to deliver a clear message that Harvard’s doors are open to all talented students, so … what we said when we launched HFAI in 2004 was that if your family makes less than $40,000 a year, we will not ask them to contribute to the cost of your education,” she said. “We wanted to be simple and transparent and encourage young people to apply to Harvard, to assure them they would be considered on the merits of their achievements, without regard for their family’s ability to pay.”Two years after the initiative was launched, the income ceiling at which families pay nothing for the cost of a Harvard education was increased to $60,000, and in 2011 it was increased again, to $65,000. In addition, families with incomes between $65,000 and $150,000 contribute from zero to 10 percent of their income.“Access and affordability, enabled by generous financial aid, are fundamental to Harvard’s identity and excellence,” Harvard President Drew Faust said in 2011 in announcing expansion of the aid program. “We admit students without regard to their financial need, and we make sure that they are given the means to attend and take advantage of the Harvard College experience. This is a bedrock commitment.”,That commitment has led to a dramatic growth in funding for aid, from $80 million in 2005 to more than $190 million today. During this time, more than $1.8 billion in need-based scholarships has been awarded though the program.The initiative quickly became so deep a part of the Harvard experience that when the international financial crisis struck in 2008, Faust and Edgerley Family Dean of the Faculty of Arts and Sciences Michael D. Smith made it a point to protect it from budget cuts.“At the time I felt strongly, and I still do feel, that we had to find a way to continue to fund that, and to keep that program headed in the right direction,” Smith said. “We had done a tremendous amount to invest in financial aid and have it truly help talented students realize that they could come to Harvard and take advantage of the opportunities we have here, and not be held back because of their family’s particular financial circumstances. It was having such a huge impact on our students and the kinds of talent we were bringing here that it was clear we didn’t want to interrupt that in any way.”Five years later, Faust and Smith again made student aid a priority in Harvard’s capital campaign, drawing significant philanthropic attention to the issue, perhaps most notably in the form of Kenneth C. Griffin AB ’89.In 2014, Griffin made the largest gift in Harvard College history — more than $125 million — principally focused on supporting Harvard’s financial aid program. When announcing the gift, Griffin, founder and CEO of Citadel LLC, cited the importance of breaking down barriers to education.“The greatest legacy I can leave behind is for Harvard to open its doors to everyone who’s qualified to go there,” he said at the time. “Simply put, my Harvard experience changed my life. My hope is that with this gift we will make it possible for the best and brightest in our nation and in our world to have the same experience that I had at Harvard.”That generosity, Donahue said, has extended across the country and even around the globe.Roughly 12 percent of the Class of 2022 is composed of students from outside the country.“Another thing that is unusual about Harvard,” Donahue said, “is that we are able to fully extend our financial aid to admitted students from countries all over the world. As a result, we have a very different international student population than many other colleges and universities. Intelligence, leadership, and talent don’t fall along economic lines, and we want to be sure our doors are open to young people from across the globe.”One such young person is Ahilya Khadka ’19, who emigrated from Nepal to Iowa at age 16.“I went to an all-girls Catholic school in Kathmandu through 10th grade,” Khadka said. “But the main reason my parents decided to move to the U.S. was for the educational opportunities. Nepal has schools through secondary school, but after that it’s not as specialized, so a lot of students move to the U.S. for college.” “Everyone benefits from this increased socio-economic diversity in the classroom and beyond. All members of the Harvard community have to grow and listen to points of view that are very different from their own, and this has enhanced our collective understanding of what it means to be an educated citizen.” — Sally Donahue, Griffin Director of Financial Aid This is the fifth and final installment in Learning from Difference, a series on diversity at Harvard.When Brandon Buell applied to Harvard, he expected to be rejected. But here’s the twist: He got in.“I wanted to apply to one school that seemed like a real reach just so I could get rejected, move on to some other school, and never have to wonder ‘What if?’” said Buell ’20. “Harvard wasn’t even on my radar. I don’t think it was until I was accepted that I truly considered Harvard a possibility.”Often, though, getting into college and paying for it are two very different challenges, particularly for a kid like Buell, whose parents are factory workers and whose grandparents were dairy farmers.But that’s where Harvard’s Financial Aid Initiative (HFAI) comes in.Announced by then-President Lawrence Summers in 2004 and later expanded under President Drew Faust, HFAI was intended to open the College’s doors to exceptional students regardless of their economic backgrounds by providing grant aid to support — or in some cases cover the full cost of — attending Harvard for students from low-income families.For Buell, who grew up in a small, upstate New York town of fewer than 5,000 people and was one of just 28 students in his high school graduating class, that changed the game.“One of the primary reasons I came here was because the aid I received was far beyond what any other school gave me,” said Buell, a Leverett House resident and applied math and statistics concentrator. “There were schools giving me full-tuition merit scholarships, but I would have ended up paying more there than if I came here.”,While the initiative’s impact on students’ lives can be hard to overstate, Buell said its effects aren’t limited to the balance sheet.“One of them is the idea that this is an institution that belongs to you,” Buell said. “There is a connotation of Harvard as a bastion of wealth and elitism. If you feel like maybe you don’t belong here, that can stop you from wanting to snap up that acceptance letter. HFAI and the financial aid office do a great deal of work with low-income students to make Harvard feel much more inclusive.“But there is also just the fundamental question of ‘Can I afford this?’” he added. “HFAI has dismantled the financial obstacles to coming here.”That dismantling, Griffin Director of Financial Aid Sally Donahue said, was among the initiative’s goals from the beginning.By opening the College’s doors to exceptional students regardless of their family incomes, the initiative has brought to campus new diversity — both racial and economic — and has created opportunities for students from a wide range of backgrounds to interact and learn from one another.Since the start of the initiative, “We’ve seen about a 30 percent increase in the number of low-income students in the College,” Donahue said. “Over 16 percent of the Class of 2022 are first-generation students. Those changes are largely the result of our enhanced financial aid program, and have changed the face of the College.“Everyone benefits from this increased socio-economic diversity in the classroom and beyond. All members of the Harvard community have to grow and listen to points of view that are very different from their own, and this has enhanced our collective understanding of what it means to be an educated citizen.”Though financial aid for students has been part of Harvard’s educational model from the start — the College’s first scholarship was awarded in 1643 — the HFAI program takes the notion of providing aid to students and runs with it. “Intelligence, leadership, and talent don’t fall along economic lines, and we want to be sure our doors are open to young people from across the globe.” — Sally Donahue, Griffin Director of Financial Aid
The Daily Gazette Sign up for daily emails to get the latest Harvard news. It’s been more than three years since the U.K.’s historic vote to leave the European Union, known as Brexit, and the stalemate over how and when (and even, still, whether) to exit has consumed political bandwidth and a few careers. Prime Minister Boris Johnson, a fervent Brexit supporter who was pressing to hit an Oct. 31 deadline for departure, presented Parliament with a new withdrawal agreement he etched with EU leadership late last week and pressed for a vote, which was denied. House of Commons Speaker John Bercow also refused Monday to allow a quick balloting on whether to give the deal a tentative blessing. To gain some insight into what happens next, the Gazette spoke with Lord Peter Ricketts, a former Fisher Family Fellow of the Future of Diplomacy Project at the Harvard Kennedy School’s Belfer Center for Science and International Affairs, a highly respected diplomat, and a life peer in Britain’s House of Lords.Q&ALord Peter RickettsGAZETTE: Where do things stand?Ricketts: Johnson tried to [push] for a vote on his deal in principle with the EU by the House of Commons on Saturday. MPs declined and effectively said that they needed to study the legislation in the normal way. The government tried a second time [Monday] and again, that was rebuffed. What will happen now is the government will introduce a 100-page-plus bill which will go to what they call “second reading” in the House of Commons [Tuesday]. That is where we’ll get the first indication of: Is there a majority in principle for Boris Johnson’s deal? Because if it passes second reading, it will spend two or three days in committee stage in the Commons, with a very tough, time-tabling motion, which will limit the time for discussion. That will be controversial, but that’s what the government will try to do. Then it will come to the [House of] Lords this coming weekend with the aim of getting it back to the Commons and ironing out any differences in time for the thing to become law by, say, Tuesday or Wednesday next week, and for Britain to leave [the EU] on the 31st. It’s an incredibly ambitious timetable, but given that there is quite a strong mood here now that, after three years or more, Britain has got to take some decision or other, I think, probably Parliament will try to meet that deadline if the government can show Tuesday that there is a majority [that favors it] in principle.GAZETTE: Which side has the momentum in their favor?Ricketts: This is the closest that Britain has come to a proposition that can get a majority of support in the House of Commons. Theresa May’s previous attempts at this fell short by a long way. The Saturday vote was not so much on the substance of the bill; it was more about not having enough time and being rushed into a decision. Now that the government is proposing some time to look at the draft law, I think they have a reasonable chance of having a small majority in favor. And if that’s the case, then the Lords certainly won’t stand in the way because we’re not the elected chamber. So there is now a reasonable chance Britain will leave on the 31st with this deal. If that doesn’t happen, then there will be a further delay because it’s very clear that there is no majority for leaving into the chaos of a no-deal Brexit and so, if this deal falls short, I think there will be a delay, possibly for several months, to give time for either a general election or a second referendum and to reshuffle the political cards, so to speak.GAZETTE: What about Johnson’s political future? Is this make or break?Ricketts: He has staked his reputation on getting a deal on the 31st of October. I think if he winds up getting a deal, but it’s slightly after the 31st, that isn’t a great problem for him. He would then go for an election as soon as he could. The Labour Party is in rather a weak state, and Johnson would try to capitalize on an impression that he had sorted out the mess; he had delivered a deal, delivered on the referendum, and he should therefore have a majority to govern. If this deal falls apart and he’s forced to go into a referendum or an election having failed to get a deal, that is a serious setback for him because he’s been a one-issue prime minister; he’s not really put any focus on anything else. So, yes, it’s high stakes for Johnson and his party and equally for the Labour Party, as well.GAZETTE: Has the possibility of a second referendum or election substantially increased?Ricketts: The polls have consistently shown over the last six or nine months that people would like to have a second opportunity to express an opinion because everyone’s learned a lot more about what leaving the EU means. I think there is a growing momentum behind the idea of a second referendum. I would say it’s not really represented in the House of Commons, where there’s an awful lot of people still against it, people who worry about unpopular reaction from those who voted leave once and then find, three years later, they’re being asked to vote again. The other alternative is to have a general election — the political parties might prefer that. The problem with a general election, of course, is that then the Brexit issue gets intertwined with all the other issues in voters’ minds — the economy, the personalities of the leaders, and all that. Whereas a second referendum keeps the focus on: Do you like this deal or would you prefer to stay in the EU? I can’t predict how that will turn out. Looking at the political landscape, it’s more likely to be a general election than a referendum, but this is a very volatile and unpredictable moving target here and if this deal is voted down in the House of Commons, with all the anger that will go with that, it may be that the mood will swing toward a second referendum. There’s certainly quite a lot of support for that. Definitely.GAZETTE: The EU indicated Monday that another extension will be granted, if necessary. What is its calculus?Ricketts: From the European side, big picture, everyone is fed up, tired of Brexit. They want to get on with their new agenda. They’ve got a new commission taking over on the 1st of November, a new parliament, new set of issues to grapple with. Everyone would like to see the Brexit issue out of the way, but no one wants to take the historic responsibility of being seen pushing Britain out because that’s the kind of thing that could leave bruises for decades to come. There are two scenarios — if the House of Commons is struggling along on the point of reaching agreement on legislation [and] just needs a few more days, that sort of short, technical extension would be no problem on the European side. If the thing falls apart, I think the Europeans would prefer to give us the time to sort ourselves out and think again rather than pulling the plug on the whole process and saying it’s all over now.GAZETTE: How will the agreement affect the U.K. economy and national security?Ricketts: There is a difference between leaving with a deal and leaving with no deal. If it was this deal, it at least gives a transition period, which is more than a year. It could be extended, where things stay as they are effectively while a new relationship is worked out. That’s good for business. But if it turns out that the longer-term destination is a more distant one between Britain and the single market, then that is going to be bad for business because regulatory barriers, potentially tariff barriers and others, will go up in due course. A bit the same on security: If it’s a deal, there’s time to renegotiate Britain being involved in all the different security instruments that the EU has — shared databases, extradition agreements, police alerting systems — a whole range of cooperation instruments that the law-enforcement systems use a lot. If we have a year or two to stitch that back together again, that will avoid the knife edge that people worry about. But if there’s a no deal in all those areas, then there’s a much more immediate and more disruptive impact on both businesses and on security and all our other interests.Bottom line, in whatever kind of Brexit it is, Britain will wind up being worse off because the best possible relationship we have with the European Union is the one we have now. Any deal will mean less trade, less investment, a more difficult and clunky relationship on security. The Bank of England forecast is that, with a deal, Britain might lose, for example, 6 or 7 percentage points of GDP looking five to eight years ahead. And with no deal, it could be 8 to 10 percentage points [less] overall after 10 years than it would be if it stayed in the EU. So there’s a serious economic impact. There’s going to be a reduction in the capacity to work with other European security agencies, which overall increase the risks here. The areas that are least affected are intelligence cooperations, which don’t go through the EU. On defense, NATO, the relationship with the U.S., is our paramount defense alliance, and that is not affected. The amount of EU defense is pretty modest. So in defense and security, there’s least impact. Foreign policy, on the economic agenda and the law enforcement agenda, I would say, is the biggest impact.GAZETTE: How does this agreement benefit the EU?Ricketts: I don’t think it benefits anyone. I think it’s a lose-lose. For individual EU countries, they will see some advantages. For example, our French friends will see opportunities to draw jobs away from London and into Paris because banks will need to have operations that are licensed to operate in the European Union, so there’ll be some job opportunities. But overall, there will be an impact on the European economy as well, but it will be less than for the U.K. Perhaps the biggest impact on the European economy is to lose one of the three big players in the EU, leaving only two, Germany and France, who have their own differences. Losing the country that is perhaps the most globally focused, with the most global interests, the biggest defense player in Europe, the country with a historic investment in trading relationships around the world — losing that country out of the EU will change things inside the EU. It may reduce the EU’s weight in the world, its appetite to be a global political player, it leaves France as the only really global country in the EU. So I think it has geopolitical impact on the EU in the way the EU operates in the world.GAZETTE: What’s the next thing to watch for to gauge where this all may be going?Ricketts: The very important vote in the House of Commons on the second reading of this legislation will be critical tomorrow. Because if that passes second reading, it means Britain is on course to agree to this bill, whether by the 31st of October or slightly later, and leave the EU in an orderly way or be it to a destination that some of us do not much fancy. If the vote tomorrow does not pass, then Boris Johnson is in a real mess, then I think we’re in for a longer delay and it’s probably a general election in a very chaotic, political context.This interview has been edited for clarity and condensed for length.
This is one in a series of profiles showcasing some of Harvard’s stellar graduates.Shanna Peeples was back in her home state of Texas. It was week eight of the COVID-19 quarantine and despite the circumstances, Peeples was feeling grateful.After spending three years in the Doctor of Education Leadership (Ed.L.D.) program at the Harvard Graduate School of Education (HGSE), she had at last reached a milestone: Her final paper, all 25,240 words, was written, edited, revised, and uploaded to her adviser.The paper was an interesting end to her time at Harvard. Although she had worked for years as an education reporter before spending 15 years teaching middle and high school students in Texas (and earning the honor of National Teacher of the Year in 2015), Peeples had never really expected writing to continue to play such a major role in her graduate school life. Yes, there would be term papers to knock out and emails to answer; that was a given. But during her three years at the Ed School, she also managed to write content for “Pedagogy of the Obsessed,” the education podcast she started with a few other students in her program, and blog about current events. She even wrote and published a book for teachers, “Think Like Socrates: Using Questions to Invite Wonder and Empathy into the Classroom, Grades 4‒12.”“That’s been the biggest surprise, how much I’ve leaned on writing while here,” Peeples says. “I guess, in a sense, writing becomes a pair of lungs. It is so much a part of me. Still, I didn’t think it was good enough, for want of a better term. When you’ve done something for so long, and you go to a place like Harvard, you think, now I need to step up my game. I’ve got to do something new and groundbreaking. For me, it was more of the same, but with different opportunities with the writing” — the blog, the podcast, and the book. “If I think about the deepest part of what Harvard did for me … it gave me this integration of so many things and it let me write myself into more authenticity.” — Shanna Peeples, Ed.L.D. ’20 Writing also gave her the chance to synthesize the three areas that she has found her life consistently orbiting around: connecting through words, schools and learning, and social justice. Never was this more apparent than during the second year of her doctoral program, when she took a class at the Harvard Kennedy School with public policy lecturer Timothy Patrick McCarthy. McCarthy asked the class to write an op-ed. If they got it published, great, but the goal was to play around with advocating for something.Peeples knew exactly what she wanted to write about. She had just finished co-teaching a section on gender and sexuality as a teaching fellow in one of Kay Merseth’s undergraduate education courses. While teaching the section, she did something she had never done before: She stood up in front of a group of students and identified herself as someone who is gay.“Having a gay identity in the Texas panhandle was always something I had to hide and be quiet about,” she says. “I certainly couldn’t be out at all as a teacher. That was always something that was difficult for me as a teacher. I always felt like I was not being authentic, and being authentic was a deep value for me. I always felt like I was in my own way there.”But sharing her truth to the undergraduates as a teacher in Merseth’s class changed everything.“I wasn’t prepared for what that would do for me, and certainly not what it would do for these kids,” she says. “One of them came up to me after and said, ‘I’m a senior and you’re my first out teacher.’ That was really surprising to me. I had a very emotional experience with the students.” “Having a gay identity in the Texas panhandle was always something I had to hide and be quiet about.” — Shanna Peeples The Daily Gazette Sign up for daily emails to get the latest Harvard news. She ended up interviewing four of the students who identified as gay, bisexual, queer, and transgender, and then wrote her op-ed for McCarthy’s class. Not wanting it to end there, Peeples decided to post “The Importance of an Out Teacher for LGBTQ Youth” last September on her Medium account, where it gained attention from educators from all over the world.“That was the piece where all of this came together for me as far as an identity,” Peeples says. “That was amazing, and it continues to get hits. The people I’ve heard from, the teachers around the world who read it and said it helped them. There are so many places where that’s a dangerous thing: to be out and a teacher.”Now back in Texas, Peeples is consulting with a number of schools on issues of equity and working with teachers who were also past teacher of the year winners at the national, state, and territory level — something she has done for the past four years. She is also thinking deeply about what’s next in our new virtual realities, and what this means for how we communicate, at work and in schools. And she is writing, for others — and herself.“If I think about the deepest part of what Harvard did for me, and my time at Harvard, it gave me this integration of so many things and it let me write myself into more authenticity,” Peeples says. “It let me write myself into the courage to be who I am. It helped me do the one thing I couldn’t do in 15 years in a Texas classroom: be a role model for students, particularly queer students.”