Mungion is quickly rising the ranks of the jam scene. Despite being a relatively new act—the group formed in spring of 2015—the group has earned enormous buzz with their high-octane live performances and dynamic compositions. Today, as a follow up to the group’s first-ever official live release, Live Fun Vol. 1, which was released back in May, Mungion has announced that they will be releasing their sophomore studio album, Ferris Wheel’s Day Off, this fall.Due out on October 5th, Mungion’s forthcoming Ferris Wheel’s Day Off finds the quartet—comprised of Justin Reckamp (guitar/vocals), Joe Re (keyboards/vocals), Sean Carolan (bass/vocals), and Matt Kellen (drums/vocals)—joined by a rotating cast of musicians, including a full horn section. The album was produced by the band’s good friend, Ben Factor, and showcases the group’s stellar sense of humor and explosive improvisations.As Reckamp shared in a press release, “We have spent the last ~15 months grinding away in different cities, studios, and apartments are very proud of the way the whole thing turned out. … There’s a little something for everybody here – some tracks are funky, others heavy. Often times, multiple genres are represented inside one tune; that’s the essence of what we do, and the records’ diversity is something we are very proud of.”In addition to detailing the new album, Mungion has also released the first single off the album, “One Night Stan”, which was premiered yesterday via Relix and can be streamed below or on Apple Music. The group also recently announced plans for an extensive fall tour, which will see the group supporting The Motet and Aqueous. For more information, head to Mungion’s website here. Ferris Wheel’s Day Off Tracklisting:1. One Night Stan2. Makanda3. Ferris Wheel’s Day Off4. Quemaste Tu Cabello5. Basketball6. Parn Kournt vs. Card Farm7. Herbert8. Windows9. Chatterbox10. Sloob SyndromeView All TracksMungion Upcoming 2018 Tour Dates:8/9 – 8/11 – Caledonia, MI – Cowpie Music Festival8/10 & 8/11 – Kenosha, WI – Peachtree Music Fest8/16 – Asbury Park, NJ – Jams on the Sand9/7 – 9/9 – Capon Bridge, WV – Valley Fusion Festival9/26 – Columbus, OH – Woodlands Tavern9/27 – Pittsburgh, PA – Cattivo9/28 – Erie, PA – Kings Rook9/29 – Schuylkill Haven, PA – Meeting of the Minds10/1 – Indianapolis, IN – Hi-Fi10/3 – Detroit, MI – El Club *10/4 – Grand Rapids, MI – Elevation *10/5 – Chicago, IL – Concord *10/6 – Covington, KY – Madison Theater *10/7 – Louisville, KY – Diamond Ball Room10/24 – Hamden, CT – Space Ballroom ^10/25 – South Burlington, VT – Higher Ground Lounge ^10/26 – Cambridge, MA – The Sinclair ^10/27 – Albany, NY – The Hollow ^10/31 – Brooklyn, NY – Knitting Factory ^11/1 – Asbury Park, NJ – Wonder Bar ^11/2 – Washington, D.C. – Union Stage ^11/3 – Philadelphia, PA – The Foundry ^11/29 – Milwaukee, WI – Turner Ballroom *11/30 – Minneapolis, MN – First Ave *12/1 – Omaha, NE – Waiting Room *12/5 – Fort Collins, CO – Hodi’s ^12/6 – Frisco, CO – 10 Mile Music Hall12/7 – Steamboat Springs, CO – Old Town Pub ^12/8 – Boulder, CO – Fox Theatre ^* w/ The Motet^ w/ AqueousView All Tour Dates
Over the weekend, the legendary Chicago blues guitarist Otis Rush passed away at the age of 84. Rush pioneered West Side Chicago blues, with Rolling Stone ranking him number 53 on their countdown of 100 Greatest Guitarists. Known for his dramatic bent notes and patient builds, Rush came to prominence in the 1950s and 1960s alongside other greats like Magic Sam and Buddy Guy—in fact, Buddy Guy credits Rush with giving him his start. Otis Rush was one of the most influential guitarists in history, with artists like Eric Clapton, Jimmy Page, Peter Green, Stevie Ray Vaughn, Michael Bloomfield, and many others citing him as an inspiration.Born in Mississippi in 1935, Otis Rush moved to Chicago at the tail end of the 1940s. Though he had played guitar from the age of eight, after seeing a Muddy Waters concert, Rush decided to pursue music full time, eventually releasing his debut single, the Willie Dixon-penned “I Can’t Quit You Baby”, on Cobra. The song became a hit and was later revived by Led Zeppelin, with the British rock act covering the tune on their 1969 debut album.Otis Rush – “I Can’t Quit You Baby”[Video: Eirek Sandnes]Over the years, Otis Rush continued to build up his catalog, releasing a number of classic tunes such as “My Love Will Never Die”, “All Your Love (I Miss Loving)”, and “Double Trouble” (which Stevie Ray Vaughn used as inspiration for the name of his band). However, Rush was perpetually followed by label issues. His initial label, Cobra, went bankrupt, and Rush jumped around to different labels, releasing singles here and there. The guitarist didn’t release a full album until 1969, and other finished albums took years to be actually released.Otis Rush w/ Eric Clapton – “Double Trouble”[Video: montreuxlive]Rush was a successful touring and recording artist throughout the ’60s and ’70s. In 1994, after not releasing an album in 16 years, Otis Rush released Ain’t Enough Comin’ In, effectively bringing him back into the national spotlight. As a follow-up, his final album, Any Place I’m Goin‘, won him a Grammy for Best Traditional Blues Album in 1996. Though Any Place I’m Goin’ is considered his last full album, in the decade since its release, Rush continued to serve as a highly sought-after collaborator and regular road dog. Otis Rush suffered a stroke in 2003, which forced him off the road for good until his death earlier this week.Rest in power, Otis Rush. You will be missed and never forgotten.
Progressive bluegrass outfit The Infamous Stringdusters has announced the forthcoming release of a new concert album titled, Live From Telluride. The 20-track live album was recorded during the band’s show at The Palm Theatre as part of the 2018 Telluride Bluegrass Festival back in June, and is scheduled to arrive this Friday, November 16th via Tape Time Records.According to the band’s announcement shared via press release on Tuesday, the album will include a mix of covers and original material from their 12-year career, including “No More To Leave You Behind”, “Soul Searching”, and “Run To Heaven”. One of said covers included on the album will be the band’s performance of Grateful Dead‘s rural rock anthem, “Tennessee Jed”, which can be heard in full here ahead of its release on Friday. The album will be the Stringdusters’ second live LP in as many years following 2017’s Laws of Gravity: LIVE!, which consisted of a mix of concert recordings from songs off their last studio album, Laws of Gravity.“Telluride Bluegrass has been the center of the acoustic festival universe for many years, and we have been really honored to be involved in that,” the band’s banjo player Chris Pandolfi said in a statement about their forthcoming release. “You feel [the energy] every time you step on stage there, and this show was no exception. We knew pretty much right after the show that this was a show worth putting out there. Hope you guys enjoy!”The Infamous Stringdusters also announced their next batch of North American concert dates to go with Tuesday’s live album announcement, with 23 shows set for February and March of 2019. The new dates will start a few weeks after their previously announced run of January shows, beginning on February 14th in Bozeman, Montana, and continuing until March 31st with a performance at Wilmington, North Carolina’s Greenfield Lake Amphitheater. The band will be joined at select shows throughout the winter run by Shook Twins and John Craigie.General on-sale for tickets to newly announced February/March concert dates will begin this Friday, November 16th at 10 a.m. local time. Artist pre-sale tickets for select shows are available now via the band’s website.The Infamous Stringdusters New 2019 Tour DatesFeb. 14 Rialto Bozeman · Bozeman, MTFeb. 15 Wilma · Missoula, MT*Feb. 16 Commonwealth Room · SLC, UT*Feb. 17 Community Concert Hall · Durango, COFeb. 19 Orpheum Theater · Flagstaff, AZFeb. 20 Meow Wolf Santa Fe · Santa Fe, NM*Feb. 21 Sheridan Opera House · Telluride, COFeb. 22 Belly Up, Aspen · Aspen, CO*Feb. 23-24 WinterWonderGrass · Steamboat Springs, COMarch 8 Ponte Vedra Concert Hall · Ponte Vedra Beach, FLMarch 9 Revolution Live · Ft Lauderdale, FLMarch 10 Gasparilla Music Festival · Tampa, FLMarch 12 The Englert Theatre · Iowa City, IAMarch 13 The Bourbon · Lincoln, NEMarch 14 Varsity Theater · Minneapolis, MN**March 15 Granite Peak Ski Area · Wausau, WI**March 16 The Vic Theatre · Chicago, IL**March 27 The Vogue Theatre · Indianapolis, INMarch 28 Headliners Music Hall · Louisville, KYMarch 29 Marathon Music Works · Nashville, TNMarch 30 Variety Playhouse · Atlanta, GAMarch 31 Greenfield Lake Amphitheater · Wilmington, NC* w/Shook Twins** w/John CraigieThe Infamous Stringdusters New 2019 Tour Dates
In the summer of 2018, the Grateful Dead’s ongoing Dave’s Pick’s CD subscription series made its first foray into the band’s so-called “dirty eighties” era when it released the Boise, ID show from September 2, 1983 as the 27th release since its inception in 2011. It remains a standout show from one of the more inconsistent eras from the Grateful Dead’s 30-year history from 1965 to 1995, and after repeated listens, it prompted a deep dive into the two weeks of shows in the western U.S. that followed it–and what we re-discovered was too much fun not to share.The so-called “dirty eighties” era ran from March 1983 through July 1986, in the middle of an 11-year period from 1979 to 1990 that featured the longest run of one lineup in the band’s history: guitarists/vocalists Jerry Garcia and Bob Weir, bassist Phil Lesh, keyboardist/vocalist Brent Mydland and drummers Bill Kreutzmann and Mickey Hart. Musically, the “dirty eighties” era is frequently defined by Jerry Garcia’s inconsistent performances due to health issues, but the band continued to sell out arenas because the “on” shows, (or the “on” portion of a shows) would contain unusual bursts of creativity that came out of nowhere but then were almost never repeated. Shows from this era can also be immediately identified by Brent Mydland’s polarizing use of a more synthesized keyboard sound (as opposed to a piano) as his primary tone, but this was the era Brent also made significant leaps as a creative contributor out of necessity. He had to be much busier on Garcia’s off-nights, and by the time Garcia’s health had returned in 1987, Mydland’s ability to follow his playing and react accordingly bordered on the telepathic.PRELUDEThe Boise show was always on the shortlist for official release as it has a great performance and a great setlist, but it was also the first show of a great run for this era. After a week of gigs in the Pacific Northwest (a fertile territory for Grateful Dead music from the early days), and still remains so now that generated momentum, the Boise show kicked off an 8-show run bolstered by a “secret weapon”: a lovestruck Phil Lesh.A look back through Phil Lesh’s memoir Searching for The Sound reveals that the bassist was in the early days of his relationship with his soon-to-be-spouse Jill (the couple recently celebrated their 34th anniversary), and he was looking for a way to spend some extra time with her on the road:“So I stayed up late one night in Eugene, Oregon, concocting a plan: I would rent a car and we would drive, just the two of us, through Portland and Pendleton on the way to our next gig, Boise – and maybe even from there…we laughed and talked our way across the countryside, picking up local radio stations wherever we could, discovering incredible synchronicities between the places we were and the music we heard.” (SFTS, p. 262)BOISE – September 2ndAs one might expect, Phil was in a great mood at the Boise show, taking a rare step to the mike to good-naturedly declare, “Citizens of Boise! Surrender or perish, for you are a conquered people!” before the band eased into a surprise opener of “Wang Dang Doodle” in its second-ever airing, followed by “Jack Straw”. The remainder of the first set contained a healthy selection of western-themed songs, but the second set went deep into psychedelic territory with stellar versions of “Help on the Way” > Slipknot > Franklin’s Tower” and “Estimated Prophet” into “Eyes of the World” into a long Bob & Brent jam.Unfortunately, the Dave’s Picks version of the show is sold out and is not found on streaming services, but a link to an audience recording of the show is here.However, Boise was only the beginning, and it was already far from a “normal” road trip when Jill and Phil had a real-life close encounter of the first kind after the show: “While traveling from Boise to Park City, Utah, we saw a flying saucer streak across the sky in front of us.” SFTS, p. 262Well, then.PARK CITY – September 4thThe Grateful Dead’s next show at Park City Mountain Resort on September 4th took place in a decidedly casual setting, even for the era–an uncovered stage was set up next to the resort’s ski lift, and some well-connected fans were actually able to view the daytime show from the balconies of the ski condos situated directly behind the stage. And while the Boise show got the nod for a Dave’s Picks release, the Park City show could have easily been chosen in its place.A strong 10-song first set kicks things off, featuring 1983 regular and subsequent rarity “Brother Esau”, “Althea”, an early “Hell in A Bucket” and “China Cat Sunflower > I Know You Rider” to close. Meanwhile, the second started with a standout 27-minute “Scarlet Begonias” > “Fire on the Mountain” and a surging sequence of “Spanish Jam” > “Other One” > Wharf Rat” out of space before Bob changed the lyrics throughout the “One More Saturday Night” encore to “One More Labor Day Night”.RED ROCKS – September 6th, 7th and 8thThe legendary Red Rocks Amphitheatre in Morrison, Colorado, a venue carved into a hillside between two stone monoliths, is a venue that conjured up musical magic from the Grateful Dead from 1978 onwards, and Phil didn’t half know it: “I had been talking up Red Rocks and the music we made there all the way from Portland, and I was going to make sure she got some great shows. With a crescent moon in the sky, I showed off for Jill by dropping bass bombs (loud, profoundly percussive low notes or chords) left and right. By the third show I was bopping around the stage with a fiendish grin on my face–it was that much fun.” SFTS, p. 263The first night on September 6th was the band’s third straight exemplary show, with a first set highlighted by “Bird Song” and one of the Grateful Dead’s final performances of the much-missed “Lazy Lightning > Supplication”, while the second set centered around an interstellar 54-minute journey comprised of “Playing in The Band” > “Drums” > “Space” > “Uncle John’s Band” > “Playing in The Band”.The second night on September 7th contained a more “standard” setlist on paper with the notable exception of “I Need a Miracle” leading off a second set for the first time since 1979, and playing remained powerful and energetic throughout. The final night of the run on September 8th started with the only “Shakedown Street” on this run and a strong “Deal” to close out the first set, and the show’s peaks came from a pre-drums sequence of the second 27-minute “Scarlet > Fire” in a week, followed by a bass-driven “Estimated Prophet” into “Terrapin Station.”After the final Red Rocks show Phil and Jill headed south on the day off, but they made a point to undertake some of the journey after dark: “We stopped and got out, walking away from the car under the high plains stars. Not quite as an intimate experience as in Egypt, these stars, but more brilliant, more colorful, sharper and clearer. We at first stood, transfixed, then climbed on top of the car to lie on our backs, drinking in the glory.” SFTS, p. 263SANTA FE – September 10th and 11thThe next morning, Phil and Jill continued south to New Mexico for the next two shows at the Downs of Santa Fe racetrack, but not without incident:“We cruise over the last rise before the turnoff in Santa Fe, and–what’s this? State police standing on the side of the road, waving everyone over? They pull seven or eight cars, including us, over to the side and give us all speeding tickets. Apparently they’ve been tracking us, along with hundreds of Heads on their way to the show, for thirty miles by plane. So after a thousand miles, the journey ends with a speeding ticket, literally within sight of our destination.” SFTS p. 262-264That minor setback had no effect on the Santa Fe shows, with a pair of weekend daytime shows that each took place at 2:00 p.m. The first show on September 10th features a highly unusual set list, nearly always the sign of a strong show: “The Music Never Stopped” was the surprise opener, while Phil subsequently donned a large sombrero to the delight of the crowd for one of the last first-set appearances of “China Cat Sunflower” > “I Know You Rider” in this slot before its permanent move to the second set. Following a rain-induced intermission the second set kicked off with “Man Smart, Woman Smarter” in its only second set opener appearance of 1983, and later came a five-minute jam after “China Doll” led by Bob and Brent, a rare “no ballads” post-drums sequence of “The Other One” > “Goin’ Down The Road Feeling Bad” > “One More Saturday Night” and an only-time-ever “Cold Rain & Snow” encore as grey skies and rain clouds approached.The band then celebrated Mickey Hart’s 40th birthday on September 11th by delivering the fourth of the four exceptional shows from this run. While the 10-song first set was rock solid, the second set rivalled Boise with another “Help>Slip>Franklin’s” trio, a rare second-set appearance by “Let It Grow” (one of only seven after 1980), and the tasty post-drums salvo included the still-new “Wang Dang Doodle” (extended to nearly 11 greasy minutes due to equipment problems) into the sole “Morning Dew” performed during these 8 shows.AUSTIN – September 13thPhil and Jill then turned in their rental car and flew to Austin with the rest of the band for the final show of the run on September 13th at the Manor Downs racetrack in Austin, Texas. While this show doesn’t quite match up to the previous shows on this run, it’s still an above-average show by 1983 standards and serves as a nice “encore” to the preceding seven. The first set is set apart by a completely random middle-of-the-set version of “Don’t Ease Me In” (well away from its usual position as the set-closer), and the second set’s clear highlight was the 30-minute “Scarlet > Fire”, followed by the autobiographical anthem “Truckin,”, which couldn’t be better placed for the fortunate souls that experienced some (or all!) of this western swing firsthand.Happy listening and safe travels!
Today, Dispatch has announced the “Dispatch Summer Stops,” a series of three summer 2019 performances at “iconic outdoor venues” across the country.First, the band will head to Morrison, CO’s Red Rocks Amphitheatre on June 9th for a performance with support from The Record Company. Next, on June 29th, Dispatch will head to Vienna, VA for a gig at Wolf Trap‘s Filene Center with help from Anderson East. Finally, the band will head to Portland, ME on July 20th for a show at Thompson’s Point featuring an opening set by Moon Taxi.Fan presales for Red Rocks and Thomspon’s Point start Monday, January 28th at 12 p.m. EST with code: WIMPY. The Wolf Trap performance is a series show that has a member presale starting February 15th at 10 a.m. local. A Dispatch Fan Presale for the Wolf Trap show will begin on February 20th at 10 a.m. local with code: WIMPY.The summer shows will also have a community service aspect, which you can learn more about here. As the announcement notes,In true Dispatch fashion, each day will begin with a service project. It’ll be your chance to hang with the band while making a difference in your community. If you’re road tripping out to a show, it’ll also be a great opportunity to meet some fellow Dispatch fans.In addition, the band notes that if you are planning to hit all three “Summer Stops,” you can contact them via email once you have your tickets and they’ll “put something special together for you and your concert companions.”For more information, head to the band’s website here.
Vampire Weekend recently shared a two-hour long audio clip titled “120 Minutes of Harmony Hall Guitars”, which teases their new song “Harmony Hall”, set for release this Thursday, January 24th. “Harmony Hall’s” upcoming release will also be accompanied by a new tune “2021”.Recently, frontman Ezra Koenig revealed that Vampire Weekend will release an 18-track double album, FOTB, which will be preceded by the band releasing two new tracks from the record, once a month through March. The upcoming songs will mark Vampire Weekend’s first new material since 2013.Pitchfork notes, “the ‘120 Minutes of Harmony Hall Guitars’ video features a graphic labeled ‘The Sacred Tree of the Sephiroth,’ and shares a structure with the traditional ‘Tree of Life’ diagram used in Jewish Kabbalah doctrine.” Watch Vampire Weekend’s new “120 Minutes of Hall Guitars” video below:Vampire Weekend – “120 Minutes of Hall Guitars”[Video: Vampire Weekend]Head to Vampire Weekend’s website for more information and a list of the band’s upcoming tour dates.On a recent podcast episode of the “Time Crisis” radio show, Koenig dove into his love for Twiddle, marveling the band’s festival Tumble Down, as well as their song “Jamflowman”. Fans can click here to listen to the entire episode in full.[H/T Pitchfork]
“The Bizarre World Of Frank Zappa” is set to launch in 2019 with a Frank Zappa hologram, alongside members of the Mothers of Invention. The tour will kick off with nine U.S. dates in April followed by seven European dates in May, with additional dates set to be announced in the coming monthsA Penguin’s Ass Ignites New Frank Zappa Censorship Controversy Surrounding Upcoming Hologram Tour [Video]If you’ve been wondering what the heck this hologram tour will look like, organizers have shared a sneak peek from rehearsal to be viewed below:Frank Zappa Hologram Rehearsal VideoThe Frank Zappa hologram was created by Eyellusion, the company behind a hologram of Ronnie James Dio that embarked on a world tour last year, and will serve as the centerpiece to “hours of never-before-seen (or heard) Zappa performance footage from the early seventies.”As a previous press release detailed,In 1974, FRANK ZAPPA transformed his Los Angeles rehearsal space into a sound stage and cranked out some unbelievable performances seen and heard only by the camera operators in the room. The audio from these performances–locked away in the ZAPPA vaults for 44 years–will serve as the basis for what will be the world’s most ambitious hologram tour to date. The “can’t miss” concert spectacle is being produced in close cooperation with the ZAPPA FAMILY TRUST.The “Bizarre World of Frank Zappa” hologram tour band is comprised of former Zappa bandmates for this unique series of shows. The touring unit boasts guitarists Ray White and Mike Keneally, bassist Scott Thunes, multi-instrumentalist Robert Martin, percussionist Ed Mann, and drummer and Zappa archivist Joe “Vaultmeister” Travers.The “Bizarre World of Frank Zappa” tour is approved and organized by the Zappa Family Trust. Ahmet Zappa, a co-trustee and the trust’s executive vice president of business development, enthused in a statement: “We’re excited to world premiere a handful of Frank Zappa compositions; these mind-melting concerts we’re putting together celebrate the music, often surreal imagery and humour synonymous with Frank.”Ahmet continues, “As a futurist, and hologram enthusiast, Frank fearlessly broke through boundary after boundary as an artist and in honouring his indomitable spirit, we’re about to do it again, 25 years after his passing.”Check out the promotional video, which includes audio of Frank Zappa speaking out about Holograms, below:“The Bizarre World Of Frank Zappa – Coming 2019”[Video: Frank Zappa]The Bizarre World Of Frank Zappa U.S. Tour Dates4/19 Port Chester, NY – Capitol Theater4/20 Rochester, NY – Kodak Center Theater4/22 Red Bank, NJ – Count Basie4/24 Long Island, NY – Paramount Theatre4/26 Boston, MA – Shubert4/28 Albany, NY – The Palace Theatre05/1 Wilkes Barre, PA – Kirby Center05/2 Collingswood, NJ – Scottish Rite Auditorium05/3 Baltimore, MD – The Modell LyricThe Bizarre World Of Frank Zappa European Tour Dates5/9 Edinburgh, UK – Playhouse5/11 Gateshead, UK – Sage5/12 Manchester, UK – Bridgewater Hall5/13 Birmingham, UK – Symphony Hall5/14 London, UK – The Palladium5/16 Ostend, BE – Kurssal5/17 Amsterdam, NL – Rai TheaterView All Tour Dates
In April, The Flaming Lips announced their 15th studio album, King’s Mouth: Music And Songs, set for release on Friday, July 19th via Warner Bros. Records. King’s Mouth: Music And Songs is the follow-up to band’s 2017 album, Oczy Mlody. The new album will feature 12 tracks and the music will be connected by narration provided by The Clash’s Mick Jones.On Friday, the band released “Giant Baby”, the second single off of their forthcoming album, King’s Mouth: Music And Songs. The new single follows the release of the forthcoming album’s lead single, ““All For The Life Of The City.” The dreamy new song features opening narration from Mick Jones before the band takes over and coasts into a psychedelic soundscape. Watch The Flaming Lips’ new “Giant Baby” lyric video below:The Flaming Lips – “Giant Baby”[Video: flaminglips]The Flaming Lips issued a limited run of 4,000 copies of the LP on Record Store Day, which were pressed on gold vinyl and only available at participating independent record stores.The album parallels frontman Wayne Coyne’s 2015 art installation, also called King’s Mouth, where participants crawl into a large metallic head to experience a music-driven LED light spectacle. King’s Mouth: Music And Songs will also be accompanied by a book, King’s Mouth: Immerse Heap Trip Fantasy Experience, which Coyne wrote and illustrated.The Flaming Lips and The Claypool Lennon Delirium will team up for a run of 2019 summer tour dates with Particle Kid. Announced in late April, the two psych-rock bands along with the indie-Americana Particle Kid will hit the road for 12 performances beginning on July 23rd in Wichita, KS and continuing through August 7th with a show in Raleigh, NC.For a full list of the band’s upcoming tour dates, ticketing, and more information, head to The Flaming Lips’ website.
A team of researchers led by a Harvard School of Public Health (HSPH) postdoctoral research fellow and a Massachusetts General Hospital physician report for the first time that using antidepressant medication to treat depression among HIV-positive individuals not only alleviates suffering from depression but improves adherence to HIV antiretroviral medication and virologic outcomes.The study appears in the December 2010 issue of the Archives of General Psychiatry. “The study’s findings provide concrete evidence for why there should be renewed attention to diagnosing and treating depression among people living with HIV/AIDS,” said lead author Alexander Tsai, a psychiatrist and Robert Wood Johnson Health and Society Scholar in the Center for Population and Development Studies at HSPH. “Our study shows that treatment with antidepressant medication can improve HIV antiretroviral therapy adherence and virologic outcomes.”The study, conducted in San Francisco, involved 158 homeless and “marginally housed” HIV-positive men and women, a population generally considered difficult to treat or study. Many had significant psychosocial impairments such as alcohol and illicit drug use, factors that often result in exclusion from most antidepressant medication randomized trials.The analysis was done among participants in the Research on Access to Care in the Homeless (REACH) study, observed between April 2002 and August 2007. The average follow-up time was 2.9 years. During the follow-up period, 38 of the 158 participants died and 17 were “lost” to follow-up (moved away, unable to be contacted, etc.). “During the course of the study, participants who were treated with antidepressant medication increased self-reported antiretroviral adherence by 25% and were twice as likely to achieve complete viral suppression,” Tsai said.“There is an urgent need for HIV care providers to recognize and treat depression among their patients or to refer their patients to mental health specialists for diagnosis and treatment when necessary,” Tsai said.Senior author of the study was David Bangsberg, a Massachusetts General Hospital (MGH) physician specializing in HIV/AIDS research and director of the MGH Center for Global Health. The study was conducted in collaboration with researchers at the University of California, San Francisco, and the University of California, Berkeley.–Marjorie Dwyer Read Full Story
The earthquake of January 12, 2010 turned the already critical shortage of housing in Haiti into a brutal crisis. A year and a half later, 80% of the rubble has yet to be cleared, and an estimated 680,000 residents still live in tent camps. Because of this precarious situation, political leaders are pushing hard for housing solutions, which has created three potentially drastic situations: first, building houses first without consideration for ecological forces of soil and water systems on a site puts any new community in danger; second, without understanding long-term infrastructural requirements, new communities will find themselves without basic provisions; and third, without building livelihoods, job opportunities, and job training, new communities will foster social unrest.It is clear that sustainable long-term urbanization of the Port-au-Prince region cannot be created through the construction of houses alone.In January 2011, a multidisciplinary team of designers and planners led by Christian Werthmann, associate professor of landscape architecture at Harvard Graduate School of Design, and Phil Thompson, professor of urban politics and planning at MIT School of Architecture and Planning, were charged by Deutsche Bank and the Clinton Foundation with the development of a small 125 unit Exemplar community at the outskirts of Port au Prince, in the small suburb of Zoranje. The goal: to create a replicable model and process for resettling earthquake refugees. In the face of 680,000 homes needed for earthquake refugees across the region, the research team substantially increased their scope and scale of study, successfully proposing to their funders that, in order to achieve successful, sustainable, community development, a series of core principles must be enacted before the construction of houses. Read Full Story