Gary Clark Jr. has just released a new music video for his bluesy and dark rendition of The Beatles’ beloved number “Come Together”, which will be featured on the soundtrack for the new DC/Warner Bros. film, Justice League, which is due out on November 17th. The new music video for Clark’s cover of “Come Together” contains never-before-seen footage from the film—including footage of Batman, Wonder Woman, The Flash, Amazon Warrior, and Steppenwolf—and riffs off the theme of the superheroes, frequently featuring lo-fi filters and comic book-esque shots throughout.Listen To Jon Batiste, Leon Bridges, & Gary Clark Jr.’s Reinterpretation Of Neil Young’s “Ohio”Clark has previously spoken about his love of various superhero franchises, telling Airows, “Batman is my favorite superhero of all time. My mother had this black robe that I thought would be amazing for a cape. I ran around my neighborhood telling everybody I was Batman. Jump off my roof holding the cape thinking that I would fly and then just hit the ground.”Eric Clapton Invites Gary Clark Jr. To Close Night Two At Madison Square Garden [Videos]Gary Clark Jr. originally debuted his take on The Beatles’ “Come Together” during a previous performance on Late Night with Seth Meyers, and will perform the tune once again this Thursday during his appearance on Late Late Show with James Corden. Watch the sweet new video for Clark’s haunting take on the classic song below.
The opening day of Jazz Fest is always a great time to celebrate the Neville Brothers, as their storied history with the event spans many decades. Unfortunately, today we’re mourning the loss of Neville Brothers saxophonist Charles Neville, who passed away Thursday at the age of 79.Of course, Charles and the rest of the Neville Brothers’ storied history goes well beyond Jazz Fest and even extends to the realm of the Grateful Dead. The Nevilles collaborated with the Dead on a few occasions back in the 1980s, including during one of the band’s rare New Orleans performances (October 18, 1988, at the Lakefront Arena). Another notable collaboration came during the Grateful Dead’s 1987 New Year’s Eve show at the Oakland Coliseum Arena, though it technically took place at the very beginning of 1988.The 1987 New Year’s Eve show, which was broadcast live on pay-per-view and later immortalized on the Ticket to New Years VHS release, featured an opening set from the Neville Brothers, but their contribution didn’t stop there. The entire group—Aaron, Art, Cyril, Charles, and guitarist Brian Stoltz—returned to help the Dead with a run of four covers for the night’s encore. You can watch the entirety of their sit-in, which included renditions of New Orleans classic “Iko Iko”, Caribbean favorites “Man Smart (Woman Smarter)” and “Day-O (The Banana Boat Song)”, and Bob Dylan‘s “Knocking On Heaven’s Door”, below.Grateful Dead with The Neville Brothers (New Year’s Eve 1987)[Video: Dan G1]
In addition to judging the world class competition, Grohl took photos with barbecue celebrities like the Food Network’s Danielle “Diva Q” Barnett, who was on site as a member of Team Traeger Grills. He also jammed out with “This Bear Came To Party” and “Hillbilly Rich” singer Tim Montana, who joined Grohl for a “House of the Rising Sun” cover that saw found the former Nirvana drummer banging away on the cajón. Dave Grohl is the kind of guy who finds the time to perform with his daughters in the midst of a world tour—which is to say, Dave Grohl is the kind of guy who rarely takes a break. Consider this past weekend for example. Instead of using his brief time off the road to lounge around a pool or something, the Foo Fighters frontman made his way to the Memphis in May World Championship Barbecue Cooking Contest, where he served as a judge and hung out with the competitors. Grohl will hit the road against next month when the Foo Fighters head to Europe for a three week outing. After that, the band will return to the United States for a lengthy stadium/arena tour, including a two-night stand at Chicago’s Wrigley Field. You can check out a full list of their upcoming tour dates here.A full list of winners from Memphis in May’s World Championship Barbecue Cooking Contest can be found here.
A few more players have been added to NOLA 50: Celebrating The Music Of New Orleans. The show, set to take place on Friday, May 3rd at intimate French Quarter venue One Eyed Jacks, will honor New Orleans’ rich and beloved musical tradition. The band–featuring a previously-announced lineup of iconic New Orleans musicians, modern-day local heroes, several members of Dumpstaphunk, Lettuce, and more–will now feature the great piano player and vocalist Jon Cleary (Jon Cleary & The Absolute Monster Gentlemen), as well as the talented bassist George Gekas (The Revivalists). In addition, local favorites Boukou Groove, led by guitarist Derwin “Big D” Perkins, have been announced to open the show.For half a century, the New Orleans Jazz & Heritage Festival has consistently shined a spotlight on the Crescent City as one of the cultural capitals of the world. As Jazz Fest celebrates its 50th anniversary in 2019, Live For Live Music Presents: NOLA 50 will take the audience on a retrospective tour of the music and musicians that have helped build this legacy in the Big Easy.GRAMMY Lifetime Achievement award winner and bass hero, George Porter Jr. of The Meters, will lead the charge alongside Dumpstaphunk keyboardist/vocalist Ivan Neville. They will be joined by Neville’s fellow Dumpstaphunk members, Ian Neville and Alvin Ford Jr. on guitar and drums respectively, as well as Lettuce’s Adam “Shmeeans” Smirnoff on guitar and Eric “Benny” Bloom on trumpet. Guitarist and vocalist Walter “Wolfman” Washington, recent recipient of OffBeat Magazine’s Lifetime Achievement Award, will also join the band for this special occasion, as will the versatile and enigmatic saxophonist and late night jazz fest favorite, Skerik. Jon Cleary, the celebrated pianist and vocalist, and George Gekas, bassist for The Revivalists, will also make appearances during the show.Tickets to NOLA 50: Celebrating The Music Of New Orleans are sold out, but look out for a chance to win tickets to this special one-off show in the coming weeks. For full event information, as well as the event poster by artist Kellin Townsend, see below.Date: Friday, May 3rd, 2019Show: Live For Live Music Presents: NOLA 50 – Celebrating The Music Of New OrleansArtists: George Porter Jr., Ivan Neville, Walter “Wolfman” Washington, Ian Neville, Alvin Ford Jr., Eric “Benny” Bloom, Adam “Shmeeans” Smirnoff, Skerik, Jon Cleary, George Gekas w/ support from Boukou GrooveVenue: One Eyed Jacks – 615 Toulouse St, New Orleans, LA 70130Tickets: SOLD OUTTime: Doors – 9:00 PM / Boukou Groove – 9:30 / NOLA 50 – 11:00 PM
Load remaining images On Thursday, May 23rd, Colorado funk favorites The Motet brought their red-hot dance party to Jersey City’s White Eagle Hall.Following their brief two-night run in the Northeast, the band has a couple of weeks off before starting their summer festival schedule in earnest with June performances at Backwoods at Mulberry Mountain in Ozark, AR (6/1), Bonfire Music and Arts Festival in Yuba, WI (6/8), and Road Jam Music Fest in Stratford, CT (7/21). From there, they’ll link up with Galactic and Moon Hooch for their annual Red Rocks performance on July 12th.The Motet Releases Red-Hot New Album, ‘Death Or Devotion’ [Listen]For a full list of upcoming tour dates for The Motet, head to the band’s website here.You can check out a gallery of photos from the Jersey City show below courtesy of photographer Chris Capaci.The Motet | White Eagle Hall | Jersey City, NJ | 5/23/19 | Photos: Chris Capaci
When Elisa New first picked up her great-grandfather Jacob Levy’s entrancing and ornate carved cane, she immediately sensed the unfolding journey on which she would embark.New, an English professor at Harvard, had long been curious about her Jewish family’s origins in coming to America. But it was Levy’s cane — with its mysterious initials, names of foreign towns, and provocative question-mark shape — that compelled New to travel as far as Lithuania and as close as Baltimore in her home state of Maryland to research the past and narrate her discoveries in her book “Jacob’s Cane” (2009).Over the course of a decade, New said, she made “multiple trips … to London, the Baltics, and to other places that became part of the book’s story, from World War II battlefields in Belgium and France to the tobacco fields of North Carolina, and to Israel.”Among her familial revelations was that Levy hailed not from Austria, but from Lithuania, coming to Baltimore in 1884 as a businessman selling preshrunk fabric for clothing; and that her great-great-uncle Bernhard Baron was a cigarette magnate at the turn of the 20th century. A richly woven saga of American and Jewish histories, “Jacob’s Cane” also traverses the storied past of big tobacco, the Industrial Revolution, and New’s relatives killed in the Holocaust.New was awed by her many discoveries, which, she said, “connected my own individual family to currents of history in a way I hadn’t imagined possible.”“The international tobacco trade; the American struggles for the dignity of working people that gave us socialism and the labor movement, which inspired some to invent labor-saving devices and others to run for public office; the European Enlightenment with its manifold implications for ordinary persons in Europe; the terrible wars of the 20th century; America’s rituals of democracy: these large ideas and movements were all reflected in the lives of my own individual family,” said New.Though claiming she was “never very good at telling stories,” the newfound author is thrilled to pass these tales along, to her own family and beyond.“Learning to tell a historical story in a way that readers could appreciate is in some way what I’m proudest of,” said New. “Researching this book made clear to me that my family — that all families — belong to history and that history is all around us.”
Harvard President Drew Faust has renewed the University‘s partnership with the U.S. Department of Veterans Affairs to assist eligible veterans in meeting the costs of their education through the Yellow Ribbon Program. Last year, in the program’s inaugural year, 69 Harvard student-veterans received more than $350,000 in institutional assistance that was matched by the VA for tuition costs. Building on this effort, all of Harvard’s Schools are participating again this year. About 180 veterans were enrolled at Harvard this academic year.
This biography by Niall Ferguson, Laurence A. Tisch Professor of History and Professor of Business Administration, chronicles the life of Siegmund Warburg, a financial wiz, prophet of globalization, and strategic businessman.
Peter Sellars ’81 buzzed into a Harvard classroom. His hair standing famously at attention atop his head, the unconventional American theater director greeted students with bear hugs and engaged in a two-hour discussion on such topics as his take on critics, the historical and political themes in his work, and his creative process.“My work does not yield itself to offering its meaning in a 10-minute span. I am offering something way more complicated, and it takes a long time to digest,” said Sellars, who once staged Mozart’s “The Marriage of Figaro” on a set resembling an apartment in New York City’s lavish Trump Tower.He told the students during the April 5 discussion that he also loves “the presence of documentary inside a fiction form,” and recalled using declassified government documents to write the libretto for the John Adams opera “Doctor Atomic,” about the creation of the nuclear bomb. “You want surprises,” he said. “You want something to stick in people’s craw.” The teachers of Harvard’s new class “The Operas of John Adams” had invited Sellars to the session.Planned to coincide with the Metropolitan Opera’s premiere of “Nixon in China,” the Adams opera, inspired by the landmark 1972 presidential visit to China, the course explores the works of America’s most well-known and most frequently performed living classical composer famous for enriching musical minimalism. (Adams ’69 will drop in on the class later this month.)A recipient of the 2007 Harvard Arts Medal, Adams doesn’t shy from controversial themes. His works often examine historic events, as in “Doctor Atomic,” or his opera “The Death of Klinghoffer,” which recounts the 1985 murder of an American Jew by Palestinian terrorists.Artists like Adams and Sellars “are shaping art right in front of us and making new work all the time, and it’s often very controversial work,” said Carol Oja, William Powell Mason Professor of Music. Oja co-teaches the class with Anne Shreffler, chair of Harvard’s Department of Music and the James Edward Ditson Professor of Music.“Being able to get a sense of the inside process, of how they are shaping the balance of politics and their aesthetic is just really fascinating,” said Oja, who connected with Adams and Sellars with help from the Office for the Arts at Harvard.Students in the Harvard Glee Club, the Radcliffe Choral Society, the Harvard-Radcliffe Collegium Musicum, and the Harvard-Radcliffe Orchestra are also studying Adams closely as they prepare to perform his “On The Transmigration of Souls” on April 29 and 30 in Sanders Theatre.The work, commissioned by the New York Philharmonic Orchestra to commemorate those killed in the terrorist attacks of Sept. 11, 2001, won the 2003 Pulitzer Prize in music.Andrew Clark, Harvard’s director of choral activities, chose the piece after hearing about the new course, in order to connect his program directly with the University’s music curriculum. Federico Cortese, director of the Harvard-Radcliffe Orchestra, suggested combining Adams’ piece with Beethoven’s Ninth Symphony for the concert. Juxtaposing Adams’ work, which leaves the listener in a “disquieted and vulnerable” place, with the “message of humanity and unity and joy” offered by Beethoven’s iconic symphony, was a “perfect pairing” said Clark.Adams compiled the text for the piece from fragments taken from missing-persons signs posted in New York after 9/11, comments drawn mainly from interviews that appeared in the “Portraits of Grief” series in The New York Times, and a list of names of the victims.The composer, who refers to the piece as “a memory space,” has said he hoped the work would inspire listeners with the feeling of walking into a cathedral where, “you feel you are in the presence of many souls, generations upon generations of them, and you sense their collected energy.”“The general color is very soft,” said Cortese of Adams’ work, which requires a large orchestra. “It is a piece of private sorrow.”The Sanders performances will be the Boston area’s premiere of the piece. Adams plans to attend. For more information about concert.
Four Harvard College freshmen huddled around an iPad, trying to identify the race of the man in the picture before them. It was harder than they thought it would be.“That’s not a race,” said Rachel Gladstone as she looked at one of the choices on the bottom of the screen.“He’s Jewish,” said Morgan Matthews.“Look, you say what it is, and we’ll choose something else,” joked Luka Oreskovic.“How about Red Sox Nation?” asked Jermaine Heath. (It was, to be fair, an actual choice.)The four were playing a learning game designed for “Race: Are We So Different?,” an exhibit at Boston’s Museum of Science (MOS) that tells the story of race in the United States by exploring the science of human variation, the history of the idea of race, and contemporary experience. The students visited the MOS in May on a field trip organized by Harvard College Dean Evelynn M. Hammonds, their teacher last fall for the freshman seminar “The Concept of Race in Science and Medicine in the United States.”“This exhibit is really an extension of the discussion we had in my course about how we organize our societies,” said Hammonds, the Barbara Gutmann Rosenkrantz Professor of the History of Science and professor of African and African-American studies. “The goal for students is to understand that race is a human construct, and to be aware of the way that notions about race shape the world around them, which is filled with people of all colors and people who are different in various kinds of ways.”Gladstone said she was surprised to discover her own misconceptions about race when she took Hammonds’ seminar.“We watched a video about kids who were doing an experiment,” Gladstone said. “They took their DNA and sequenced it. They were all different races and they tried to predict whose DNA would be most similar in sequence to each other. I realized that I had preconceptions also about these two people of the same race. I thought that they would have a more similar DNA sequence, but it turned out that actually that wasn’t the case at all. There are physical differences between people, but the fact is that the majority of our DNA sequence is the same, even between people who look different.”At the MOS exhibit, Gladstone’s classmate Heath read about sickle cell anemia and learned that, while it disproportionately affects African Americans in the United States, the disease itself is tied to place, rather than ethnicity. (The gene that causes sickle cell also provides protection against malaria, which mostly occurs in sub-Saharan Africa.) He said the exhibit made him think about the implications of race-based medicine.“There are some underlying problems when you assume that, based only on race, some health problems — for example, heart disease and hypertension among African Americans — will always exist,” he said. “I think that genetic, evidence-based medicine would be a real advance, but right now, I think we tend to interpret results from our own perspective or a false perspective. We may have helpful data, but we’ll interpret it to be about things that are not naturally occurring.”Luka Oreskovic ’14 (from left), Morgan Matthews ’14, Jermaine Heath ’14, and Rachel Gladstone ’14 joined Hammonds (center) at the Museum of Science.The students in Hammonds’ class were themselves a diverse bunch. Heath grew up in Brooklyn, N.Y., the son of Jamaican immigrant parents. Other students in the class were from Africa or of Asian descent. Matthews looked at a display that showed the world’s genetic diversity and its origins in Africa and reflected on her own experience.“In science sometimes you classify by geographic origin,” she said. “But for me, I’m Canadian. I’m also heavily identified with the fact that my mom’s black and my dad’s white. My geographic origin would probably be Ireland or Africa. Here at the exhibit, you see how people classify themselves, which may not be how scientists would classify them. And how we classify people really affects the science that we’re doing.”Hammonds — a member of the MOS board of directors who returned to the exhibit on May 10 to host a conversation on race with award-winning actress Anna Deavere Smith — said that many young people don’t experience racism or discrimination in the same ways that their parents or grandparents did. The fact that students have grown up in a more diverse society is a good thing, but it can also make it hard for young people to identify the ways that race continues to shape the world around them. As an example, she pointed to President Barack Obama, a symbol to some of a post-racial society. Hammonds noted that the president is usually considered black or half-black, rather than white or half-white, a distinction that has more to do with our notions of race than with science.“Biologically, he’s as white as he is black,” she said. “He can’t call himself white, though, because he is phenotypically not white. That has to do with the way we understand people and the way we look at difference as a part of our world. We think that the legacy of racial difference is history, but it still plays out in our contemporary culture every day.”Matthews stood in front of a display that showed how the U.S. census had changed racial categories over time. She said that the class and the exhibit made her reconsider some of the ideas that she grew up with.“Race was always a concept that was just kind of accepted,” she said. “It’s something from birth that’s so ingrained in you. The class really challenged that notion. There’s a lot of nuance. It’s not just black and white.”