Tom Hamilton is a busy man. Somehow, in between performances with Joe Russo’s Almost Dead, Electron, Billy and The Kids, and releasing a new album with his band, American Babies, Hamilton was able to put together a tribute to Bruce Springsteen – a beloved rock and roll legend who doesn’t generally get much attention from the jam band world. Acting as the band leader, Hamilton conducted the American Babies along with guest appearances from a slew of musicians – Jackie Greene, Ross James, Katie Jacoby, and the Superslick Horns – through a spot on musical impersonation of Springsteen throughout the night.Many of Springsteen’s songs sound like simple and straightforward rock songs, but there are a lot of moving parts involved. It was really fun watching Hamilton conduct the entire ensemble while also doing a Springsteen impression on the mic. At times, he put down the guitar to walk around stage and sing like The Boss, although there was no power slides or crowd surfing. You could tell these songs had been rehearsed – most songs sounded pretty close to the album versions, and the older Springsteen loving crowd seemed to approve of renditions by dancing and singing a long.It’s tough to find places to really provide true jams within Springsteen’s catalog. The solos are iconic at this point, there’s not much space to truly go off and improv. But, when given the chance, these musicians all know how to do it, providing some of the night’s highlights. The Ghost of Tom Joad, which works well as a jam vehicle, was probably the best of the night, including some incredible interplay between Hamilton and violinist Katie Jacoby, who really stole the show and came across as a star. The Boss and the E Street Band aren’t the easiest band to replicate on stage, but through Hamilton’s tight conducting and dedication to the material, this show worked extremely well. With more shows to come, hopefully the band takes some of these songs into new directions and really owsn them. Hopefully this project will continue to evolve and take a life of its own in the future.Check out videos below, and a full audio stream can be streamed via taper Eric McRoberts. The Ghost Of Tom JoadBadlands Load remaining images
moe. decided to make their abbreviated fall tour closer in Asheville one to remember for the locals and refugees of Hurricane Matthew alike. Their entire run has seen the band challenging themselves with tricky set lists and the musical gymnastics inherent in finding new ways to flow from one tune to the next. Thankfully for diehard fans and first timers alike, moe. was more than up for the task they’d set themselves.The New Mountain Ampitheater in Asheville, North Carolina is an imaginative stretch of the term, using a tree-lined lot next to the venue proper to host a series of outdoor shows over the warm summer months. The town itself is home to several college campuses and has long been a hot bed of the live music scene. With Hurricane Matthew zeroing in on the east coast and cancelling shows in the region music fans and storm refugees alike streamed into the city to escape the weather and get out and dance their blues away.When the set kicked off with the old-school classic “Bear Song”, savvy fans anticipated shenanigans and were quickly rewarded when the band took a left turn into the song “Assfinger.” The entire run has been filled with musical sandwiches and while the move wasn’t a shock, it was a welcomed move that showed a willingness to swing for the fences by moe. that is wonderful to see. The fun didn’t stop there however as they took an extended instrumental exploration that eventually wound it’s way into “Ricky Marten.”Guitarists Al Schnier and Chuck Garvey were a perfect mixture of focused and playful, grinding when needed but not afraid to bend a note farther than needed. With the first set dominated by early favorites the pair were playing around in very familiar territory and yet still managed to find new ways to engage the audience and themselves. Even the most satisfied composers can lose passion after 25 years of playing the same song, but the guitarist…hell, the entire band… was grinning with delight as they crossed freshly created musical divides.A new wrinkle was introduced when the band kept the non-stop jam going as they flowed into “Time Ed.” Bassist Rob Derhak tested his vocal range with the falsetto highs and baritone lows while continuing to work his instrument to it’s fullest degree. Slapping strings and pounding the body for resonance, Derhak wrung every last drop of funky power out of the beleaguered bass while smiling ear to ear at the results. Upon reaching the first big solo break, the tempo and sound itself started to morph and the band gracefully left the confines of “Time Ed” for some crowd-pleasing “Head.”Adding cliffhangers as they went the high speed, “Head” got the people off their seats towards the back of the venue and raging from the stage to the back gates. When familiar elements of “Bear Song” started creeping in around the edges, the cheers were deafening through the piece and long after the conclusion. The band had made it through the entire high wire, crowd-pleasing set seamlessly and had even left themselves a musical task for finishing.Returning to the stage, Garvey responded to calls for songs with a promise to do just that. “It IS why we’re here” he said with a grin. The languid drum intro to “Water” wound the crowd up and got a bit of a sing-a-long going. The harmony guitar duet between Garvey and Schnier was particularly intricate and impressive. Hearkening back to the unity of the first set, the band slipped into “Montego” without missing a beat and before giving the song an actual proper ending.Thanks to the efforts of our own videographer Rex Thomson we have some incredible highlights from the second set to share, starting with the opening double play:Though they elected to come to a full stop, moe.’s next blast of wickedness, “Crab Eyes,” started off like a rocket so there really was no time for fans to catch their breath. Between the soaring guitar lines being laid down and the stop and start razor sharp drumming of Vinnie Amico, the version of the song laid down was one of the more impressive in recent memory. You can watch the fun for yourself below:The always-stirring “Wind It Up” was up next. The spirit of the song is powerful, with it’s long slow build towards a frenzy that literally takes control of the listener, body and soul. While headbanging to the rhythm, the band passionately implores the audience, “Be on my side, I’m on your side.” For a band known for their levity, this message and it’s complete earnestness is a clarion call for unity that is impossible to ignore.That spirit isn’t confined to the stage or the band members mind you. moe. has one of the tightest knit road crews in the business. One of their most visible team members, guitar tech Frank Robbins, showed the kind heart that has made chanting his name a favorite pass time of fans across the country. Robbins noticed a young girl in the front row shielding her ears from the sonic onslaught and quickly fished out a pair of ear plugs and delivered them to her. That simple combination of awareness and caring exemplifies not just him, but the entire team and their mission to make the world a better place through music.Now ready to continue her first moe. show, the young girl faced the band who was preparing to launch into what would be the final stanza of music in the set, a half hour three song blast that started with “The Road.” Winding through the songs confines percussionist Jim Loughlin became more animated, adding flourishes and accents and generally acting as the seasoning on top of a rich meaty musical stew.Again, seemingly dead set on following their muse in whatever direction it led, the band abandoned the finale of “The Road” for the new confines of “McBain.” Managing to complete the rocker after over a dozen minutes of thick funky jams punctuated by massive xylophone and vibraphone solos work by Loughlin, moe. seemed to remember their unfinished “Time Ed” from the first set out of nowhere and worked their way back into the tune, giving it, and the set a truly satisfying conclusion.Check out the 33 minute-plus set ending three song jam below:Coming back onstage for his traditional “al.nouncements” segment, Schnier thanked the fans for braving the weather and apologized again for the cancellations of the final two shows. He read notes from the crowd celebrating anniversaries, birthdays, and plain old messages of love and appreciation from the sea of loving faces. With the outdoor music curfew coming up, moe. held a quick huddle and changed their encore plans to a crowd pleasing double header of covers, House Of Pain‘s “Jump Around” and Pink Floyd‘s “In The Flesh (Part 2).”Granted, these are not songs people would normally associate with each other or contemplate pairing. Thankfully, moe. is known for thinking outside of the box, and with some inspired rapping and singing on occasion vocalist Loughlin’s part the show ended to a resounding round of applause, cheers and calls for “Just one more song!” Sadly, their pleas went unheard for now, but who knows what the future holds. There is, after all, “The Road” left to finish, though in their hearts, moe. fans hope the road is never done for the five guys called moe.Check out their encore below, and don’t forget to check out moe. when they come your way sometime soon!
Can you love the art but hate the artist? That vexing question, a thorn in the side of critics and connoisseurs for generations, has resurfaced repeatedly in recent months in the wake of the #MeToo movement.New Yorker music critic Alex Ross ’90 waded into the discussion on Thursday at Harvard’s Paine Hall, an airy performance space where a frieze spells out the names of some history’s most revered men of music. Delivering the Music Department’s 2018 Louis C. Elson Lecture, Ross homed in on one of those men, German composer Richard Wagner, a titan of 19th-century culture whose creative genius has long been complicated, and often overshadowed, by his anti-Semitism.For 10 years, Ross has been at work on “Wagnerism: Art in the Shadow of Music,” a book that explores the composer’s influence on artistic, intellectual, and political life.“It’s a massive subject because Wagner may be, for better or worse, the most widely influential figure in the history of music,” said Ross, who counts Baudelaire, Du Bois, Eliot, Kandinsky, and Mann among the artists and writers who fell under the composer’s spell.“Wagnerian” has become a synonym for “grandiose, bombastic, overbearing, or simply very long,” added Ross, noting that the term has been applied to everything from monsoons to “Fight Club” to “the tantrums of Tennessee Williams, according to Tennessee Williams himself.”“Yet of the various Wagnerisms, the one with which most people are familiar is the Nazi version,” said Ross, referring to Hitler’s embrace of the composer’s work.Alex Ross, music critic of the New Yorker, delivers the Louis C. Elscon lecture at Paine Music Hall. Jon Chase/Harvard Staff PhotographerIf that idea is indisputable, Ross thinks it is less clear whether Wagner’s anti-Semitism laid the foundation for Hitler’s hate. He also questioned the depth of Wagner’s presence in Nazi culture.Hitler was introduced to Wagner early in his life, but his radicalism didn’t begin to take shape until years later, during his service as a German soldier in World War I. And though his rhetoric may have echoed Wagnerian ideas, there’s little evidence that the Nazi leader “absorbed Wagner’s more challenging themes,” said Ross, who sees the composer’s political influence as “greatly overstated.”Instead of dwelling on this disconnect, the author is most interested in “how the cult of art resonates into our own time and how we might learn from its persistence.”The prevalence of Wagner’s music in popular culture, including its use in films such as the racist epic “Birth of a Nation” and the Vietnam saga “Apocalypse Now,” has “a jolting effect,” said Ross, and makes us “think about the ways in which the darker side of the American genius employs its own art, a cult of popular art, to exercise its power.”The reality of Wagner’s ugly political views means he can no longer be idealized, said Ross. Yet, “to equate him with Hitler ignores the complexity of his achievement and in the end does little more than grant Hitler a posthumous victory. The necessary ambivalence of Wagnerism today can play a constructive role: It can teach us to be generally more honest about the role that art plays in the world.“In Wagner’s vicinity, we cannot claim to fantasies of the pure, autonomous work of art. We cannot forget how art unfolds in time and unravels in history. And so Wagner is liberated from the mystification of great art. He becomes something more unstable, perishable, and mutable. Incomplete in himself, he requires the most active and critical kind of listening.”One audience member wondered how Ross can continue to enjoy the composer’s work in light of his anti-Semitism. Ross said he is haunted by the same question “every time I see Wagner.”Whether it’s a “Heil” heard onstage or some particularly disturbing language in a libretto, all of Wagner’s operas contain a moment that “jolts me out of whatever kind of dreamlike immersion in the drama and the music I have achieved.”Even so, while it may be a loss not to be able to experience Wagner today as a 19th-century listener did — with a “kind of total bewitchment” — current and future generations have a chance to approach the music with a deeper, more nuanced understanding, Ross said.“I think this disturbing kind of intervention of reality and history might make for almost a deeper experience, certainly a more complex one. And so we shift from a kind of adoration and immersion to an experience that has this critical dimension to it. So we are always aware, we are always a little wary of Wagner. We should be.”
Harvard Yard woke from summer slumber on Monday even as a heat wave bore down on the region, with first-years taking a break from hefting boxes and suitcases into their dorms to exchange greetings with fellow members of the Class of 2022.Students and their families were welcomed by two other first-years — President Larry Bacow and Edgerley Family Dean of the Faculty of Arts and Sciences Claudine Gay. Bacow and Gay joined Danoff Dean of Harvard College Rakesh Khurana and Dean of Students Katherine (Katie) O’Dair on their traditional walk around the Yard. Together, the group chatted with first-years and their parents.As the temperature climbed toward 90 degrees, teams of peer advisers and College staff were quick to provide assistance to the 1,655 students who make up the class. A record 16.6 percent of class members are the first in their families to attend college, compared with 14.9 percent last year. The group is 50.3 percent male, 49.7 percent female. African-Americans make up 14.5 percent of the class, Asian Americans 22.7 percent, Latinos 10.8 percent, and Native Americans and Native Hawaiians 2.3 percent.The first day of classes is Sept. 4. The new First-Year Retreat and Experience program was among several pre-orientation options available to students.
A rape that allegedly occurred on campus in 1981 was reported to the University, according to Thursday’s Notre Dame Security Police (NDSP) crime log.The alleged rape occurred in a Notre Dame residence hall between Jan. 1 and Dec. 31, 1981, according to the report. It is currently under Title IX review.Information about sexual assault prevention and resources for survivors of sexual assault are available online from NDSP and from the Title IX office.Tags: NDSP, NDSP crime log, rape, sexual assault
Nathan Lane View Comments Cherry Jones Here she is boys! Check out the latest trailer for the bawdy and hilarious Elaine Stritch documentary, Elaine Stritch: Shoot Me, directed by Chiemi Karasawa. The film follows the Broadway icon giving fans an intimate look on her thoughts on her aging, battle with alcohol and diabetes and her fear of leaving the spotlight forever. Shoot Me features interviews with a slew of famous folks including Tina Fey, Nathan Lane, Cherry Jones, James Gandolfini, Alec Baldwin, Harold Prince, George C. Wolfe and John Turturro. Check out the video below to get a glimpse of the Tony winner forgetting the lyrics on stage and laughing at herself, in her signature no-pants look, of course, and then head to see the film when it goes on limited release February 21. I’ll drink to that! Alec Baldwin Star Files
In a statement, president of the Mayor’s Alliance for NYC’s Animals Jane Hoffman said, “This spirit of a collaborative community, manifested so clearly in Broadway Barks, is moving us closer to the day when no New York City dog or cat of reasonable health and temperament will be killed simply because we do not have a home for them. We congratulate Bernadette Peters and Mary Tyler Moore for 16 brilliant years of saving lives.” Joining Peters and Moore onstage to present animals are 2014 Tony winners Audra McDonald of Lady Day at Emerson’s Bar and Grill, Aladdin’s James Monroe Iglehart and Hedwig and the Angry Inch’s Lena Hall. Additional guests include Bullets Over Broadway stars Brooks Ashmanskas, Zach Braff, Nick Cordero, Betsy Wolfe, Lenny Wolpe, Heléne Yorke, Karen Ziemba, Marin Mazzie and Vincent Pastore; The Phantom of the Opera headliner Sierra Boggess; Matilda’s Paige Brady, Matt Harrington, Lesli Margherita, Christopher Sieber, Ripley Sobo, Jill Paice, Gabriella Pizzolo and Ava Ulloa; Motown star Krystal Joy Brown; Cabaret duo Danny Burstein and Linda Emond; A Gentleman’s Guide to Love and Murder’s Jane Carr; Cinderella godmother Victoria Clark; Mamma Mia! stars Lauren Cohn, Felicia Finley and Judy McLane; Jenn Colella of If/Then; Violet’s Colin Donnell and Alexander Gemignani; Newsies’ John Dossett; Wicked stars Christine Dwyer, Justin Guarini and Mary Testa; Once’s new ‘Girl’ Jessie Fisher; Beautiful’s Anika Larsen and Jarrod Spector; Les Miserables stars Will Swenson, Samantha Hill, Andy Mientus and Cliff Saunders; Pippin headliners Kyle Dean Massey, Ciara Renee and Rachel Bay Jones; Rocky’s Andy Karl and Margo Seiber; Aladdin princess Courtney Reed; The Cripple of Inishmaan’s Sarah Greene; Of Mice and Men’s Jim Norton; After Midnight’s Adriane Lenox and Karine Plantadit; Broadway funny lady Jackie Hoffman and Tony winner Bebe Neuwirth. Man’s best friend is in the spotlight once again! The 16th annual pet adoption event Broadway Barks is set for July 12 at Shubert Alley beginning at 3 PM. The event, founded by Bernadette Peters and Mary Tyler Moore, produced by Broadway Cares/Equity Fights AIDS and sponsored by the ASPCA, will benefit New York City animal shelters and adoption agencies. From 5 PM, a host of Broadway celebrities will present some of the lovable furry creatures available for adoption. View Comments Bernadette Peters Star Files
Attorney General William H Sorrell announced today that Vermont has joined with other states and the federal government and reached an agreement in principle with AstraZeneca Pharmaceuticals LP, to settle allegations it engaged in an off-label marketing campaign that improperly promoted the antipsychotic drug, Seroquel. AstraZeneca will pay the states and the federal government a total of $520 million in damages and penalties to compensate Medicaid and various federal healthcare programs for harm suffered as a result of this conduct. Vermont s federal and state share of the settlement is approximately a half million dollars.Since Vermont s Medicaid program is paid with both state and federal dollars, the Medicaid program will receive a check for approximately $200,000 after the federal share is deducted. Attorney General William Sorrell hailed the settlement as “a significant victory for Vermont and its consumers.” The improper marketing practices in this case were particularly egregious given the fact that the unapproved uses of these powerful medications were often targeted at our most vulnerable citizens.Seroquel is one of a newer generation of antipsychotic medications (called atypical antipsychotics) used to treat certain psychological disorders. From January 1, 2001 through December 31, 2006, AstraZeneca promoted the sale and use of Seroquel for certain uses that the Food and Drug Administration had not approved. The settlement resolves a government investigation into promotional activities undertaken by AstraZeneca that were directed not only to psychiatrists but also to primary care physicians and other health care professionals for unapproved uses in the treatment of medical conditions such as aggression, Alzheimer s disorder, anger management, anxiety, attention deficit hyperactivity disorder, dementia and sleeplessness.In implementing its marketing campaign, AstraZeneca was also alleged to have made illegal payments to physicians, paying their way to travel to resort locations to advise AstraZeneca about marketing messages for unapproved uses, to serve as authors of articles written by AstraZeneca and its agents, and to conduct studies for unapproved uses of Seroquel. The settlement resolves claims that, as a result of these promotional activities, AstraZeneca caused physicians to prescribe Seroquel for children, adolescents and dementia patients in long term care facilities, which are uses that were not medically accepted indications for which state Medicaid programs would approve reimbursement.As part of the settlement, AstraZeneca will enter into a Corporate Integrity Agreement with the United States Department of Health and Human Services, Office of the Inspector General, which will closely monitor the company s future marketing and sales practices.This settlement is based on qui tam cases that were filed in the United States District Court for the Eastern District of Pennsylvania by relators private parties who filed actions under state and federal false claims statutes.A National Association of Medicaid Fraud Control Units team participated in the investigation and conducted the settlement negotiations with AstraZeneca on behalf of the settling states. Team members included representatives from New York, Massachusetts, Illinois, Ohio, New Jersey, Texas and California.Source: Vermont AG. 5.5.2010
ShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr The mortgage market has moved right into credit unions’ sweet spot, according to one expert, who adds that if CUs are to capitalize on the shift they must begin offering new solutions.To do just that, CU Direct has now officially introduced a new platform, Origence, aimed at helping credit unions not just capture mortgage loans, but do so in a market in which a number of name brand lenders have given the impression a home loan can be had in a matter of minutes.Roger Hull, chief product officer at CU Direct, noted big banks have traditionally dominated the refinance market, which has been slowing, while credit unions have typically done better with first mortgage loans, which have been increasing.“Credit unions have about an 8% share of the overall first mortgage market today, and that percentage has grown slightly over the last few years,” explained Hull. “That’s what you’d expect as we shift away from a predominately refi market to more of a purchase market. And while credit unions have always done better in a purchase market, quite frankly they could have a much bigger market share—but there are some things they need to offer to get that.” continue reading »
The lawsuit – dubbed the “‘Flash Boys’ case”, after a best-selling book that exposed the practices of high-frequency traders (HFTs) – revolves around so-called “dark pools”, a trading venue where investors can trade stocks almost anonymously, preventing large block orders from influencing the market.Within a dark pool, investors do not have to contemporaneously reveal their buy or sell orders to others.The orders are therefore less likely to be picked off by HFTs looking to beat investors slower to react to new information.However, the lawsuit alleges Barclays not only allowed HFTs to trade in its own dark pool (Barclays LX) but encouraged them with unfair perquisites over other traders.The plaintiffs said the presence of so many predators within the pool meant institutional investors trading there suffered harm because share prices were influenced to their detriment.Meanwhile, Barclays’s marketing literature was claiming that very little of the trading within the dark pool was “aggressive”, when in fact, by May 2014, this kind of trading made up more than 30% of the activity, according to Barclays’s own analysis quoted in the court papers.The plaintiffs accused Barclays of deceit by concealment, unfair competition and false advertising.Furthermore, they claimed the exchanges rigged their markets in favour of the HFT firms, by offering products which shave infinitesimal fractions of a second off the time it takes to receive and respond to information from the exchanges.AP1 estimates it lost around SEK275m (€29.4m) over five years.However, the judge found the exchanges to be immune from the lawsuit, saying: “The SEC [which regulates the exchanges] has ample authority and ability to … address any improprieties by the exchanges.”He also said the plaintiffs failed to adequately plead that Barclays committed any manipulative acts, “and their claims do not allege reasonable reliance [on Barclays’s statements]”.An appeal has been lodged, but AP1 has now said it will step down as lead plaintiff if the appeal is heard in the courts, although it will remain as a passive member of the class if a court certifies it.Ossian Ekdahl, head of communication and ESG at AP1, said the main reason was the management time that would have to be spent on the case.“Up until now,” he said, “we have not spent too much time on the case, but if we take it further, the amount of time needed will be significant.”But he said no monetary considerations were involved, as AP1’s lawyers are paid on a no-win, no-fee basis.Ekdahl added that, besides recovery of presumed losses, AP1’s involvement in the lawsuit was also motivated by a desire to uphold fair trading standards for all market participants.“All institutions and individuals who have purchased US equities have suffered losses because of the actions taken by the firms,” he said.“Because AP1 is a major player in many of the world’s stock exchanges, it is important for us to promote exchange trading functions in a beneficial and fair way, so that no players can enrich themselves at the expense of others.” Swedish buffer fund AP1 has stepped down as lead plaintiff in a US class action against 40 securities brokers, high-frequency traders and exchanges, in view of a possible appeal, after a New York judge dismissed the case.Jesse Furman, US district judge, Southern District of New York, said the lawsuit, which was consolidated from five separate cases, was primarily a matter for the financial market regulators.Other lead plaintiffs include the City of Providence Rhode Island, and the Plumbers and Pipefitters National Pension Fund.Defendants include Barclays Capital, the New York Stock Exchange, Nasdaq and Bats Global Markets.