Beanstalk Music & Mountains Festival is one of Colorado’s standout summer music festivals. With the beloved event entering its sixth year in 2018, Beanstalk is looking to be better than ever when it returns to Eagle County, Colorado’s Rancho Del Rio from June 28th through 30th. With the host band, Magic Beans, on deck for three nights of performances, plus a stacked lineup of nationally renowned and regional acts and a focus on super jams, Beanstalk has dialed in a truly impressive weekend of music.5 Reasons You Won’t Want To Miss Beanstalk Music Festival This YearWith Magic Beans at the helm of the festival, the band’s guitarist, Scott Hachey, took the time to chat with two beloved guitarists from the jam scene who are joining the Beans on the Beanstalk lineup: Tom Hamilton and Mike Gantzer. Hamilton, widely known for his work with Joe Russo’s Almost Dead and American Babies, will perform with his newest project, Ghost Light. Gantzer, on the other hand, is one-fourth of the quickly rising Buffalo-based jam band, Aqueous.You can read Hachey’s interviews with Tom Hamilton and Mike Gantzer below. Tickets for the upcoming festival, which takes place June 28th to 30th at Colorado’s Rancho Del Rio, are available here. For more information about Beanstalk Music & Mountains Festival 2018, visit the event website or follow the event on Facebook.Tom HamiltonScott Hachey: Today we have Tom Hamilton, the genius behind many of your favorite acts on the scene—an artist, a thinker, a poet. Always a delight. Hi Tom. So, your new band, Ghost Light, it’s pretty cool, huh?Tom Hamilton: Yeah, I think it’s pretty cool. It’s really fun. We’re just kinda keeping it loose and fun, ya know? People seem to like it, which is an overwhelmingly nice feeling.Scott: I’ve been following you on Instagram, and it looks like there’s been a lot of work going on with the Ghost Light album. What stage are you at right now?Tom: Mixing… We are mixing this record, man. It’s getting close to go-time.Scott: But you don’t have a release date in mind, do you?Tom: Nah. Once we finish, we gotta figure out how we’re putting it out. Could be in a number of ways, but the nice thing about this band is we’re just trying to take it as it comes, you know? For me, this band is 20 years of me being in bands and seeing detrimental decisions to people or the business and their growth. So one of the main things I learned is to just relax, you know?Like, if this is what we’re doing, we’re all in the band, we’re here, we don’t need to rush into doing things just to do them. Let’s just wait and do things properly. Let’s write the songs and take our time, doing it right. It’s like when you’re in your 20s, and you wanna do things right now, and you’re putting this ridiculous pressure on yourselves and each other. That usually ends up destroying a band. Just do what you do and have a good time.Scott: I think that’s what they call the pocket.Tom: Yeah, man.Scott: That sounds healthy. That’s something obviously the Beans went through. You’re so eager when you’re young to get to a point, and then you realize, once you’re in the “shit,” you know? It’s just a big blob that is the scene, and all that matters is just making great music. If the music is good and the energy is good, you’ll have success… and even if you don’t, you can look back on it and be happy with it and proud of it.Tom: Totally. With the American Babies thing, that was a fun project for me. It didn’t get as big as I may have wanted, but looking back on it, those are all great albums. All very different from each other and all show very significant growth for me as an artist and a person. And that’s the stuff, to me, that matters—the intention, the art. No one will say I was resting on my laurels during my career. If you go from the first Brothers Past record to this latest one with Ghost Light, that’s lots of different music I’ve put out and lots of growth. I never repeated myself and did the same bullshit.Scott: No doubt. What’s the writing process with Ghost Light? Did you write as a band, or did people bring in songs?Tom: I brought in some stuff because the last record I put out was awhile ago, and I had some stuff stockpiled. Bims and bops. Raina [Mullen] brought in some stuff. But then, we kinda sifted through as a band and massaged everything into place as a unit. This isn’t a Tom Hamilton record at all. I’m just a part of the song, and everything is what it is. We all have our fingerprints on everything.Scott: For those of you not familiar with Tom’s work, I urge you to listen to An Epic Battle Between Light and Dark—in particular “Synth Driver”—which is divine. Moving on, remember JRAD at Beanstalk? That was pretty cool…Tom: I do, man. That was a helluva night.Scott: That was my Chris Farley on Farley Show for Saturday Night Live.Tom: Hey, Paul McCartney, remember when you said, “And in the end, the love you take is equal to the love you make?” Was that true?Scott: For our younger readers, this is a satire on an SNL skit from, like, 20 years ago.Tom: Kids are like, “What’s SNL?”Scott: You seem to like film and TV. What’s your favorite show that you’re watching?Tom: For me, it’s either super serious stuff or super hilarious. That’s where I live; there’s no middle ground. It’s either the first season of True Detective or South Park binge watching. I think South Park is the best social commentary on the planet right now.Scott: As someone who grew up with South Park, I will say it has bred a generation of critical thinkers. Maybe a tad cynical, but critical none the less. I completely agree with you. They run the gamut and hit it out of the park. On another note, there’s a big emphasis now on “jamming,” like “The longer, the better.” Do you agree?Tom: No. Not at all.Scott: [laughs] I didn’t think you would.Tom: Doing it, just to do it, is weird for me.Scott: Do you ever plan those things? Like a 30-minute jam or whatever? I always wonder when people put those up on online, are they planning on going for that long? Or are they just like jamming, and all of a sudden they’re like, “Whoops, there goes the whole fucking set.” We never really plan that stuff. Sometimes, we’ll just say let’s go big on something, but that can mean anything.Tom: No, it just is. This is one of my peeves with the scene in general—that people do things because other people do things. It’s like you don’t see a Domino’s trying to incorporate donuts and coffee cause Dunkin’ Donuts is making a killing. Just do what you do.Scott: I’ve been working on that in my writing recently. Trying to write whatever comes naturally and not think about its live application, or any application. Just writing as much as I can to express myself. Been getting some of my best material.Tom: For me, it’s just about doing what comes natural and putting it out there. We don’t use setlists for Ghost Light. We have a song list and try to piece it together out there on stage. If you’re gonna improvise, just improvise. If you’re not, I think people are gonna hear the difference. And I think that’s why people like JRAD and are liking Ghost Light.Scott: Dead fans like Joe Russo’s Almost Dead because you’re not trying to copy the Grateful Dead. You’re just honoring the songbook and the intention of the band. Staying true to who you are and how you play is the truest way to honor the band, not just copying what they do.Tom: I think lots of bands are afraid to have bad sets and trainwreck a little bit. It’s gonna happen if you’re truly improvising.Scott: I agree. Sometimes, I feel like the best stuff comes after a sour part of the jam. Like once it’s going south, people hear it, and you get this heightened sense of awareness from the band and listening. It can sometimes result in the most original and unexpected improv of the night.Tom: When nobody is in their comfort spot, that’s when the new stuff happens.Scott: So, I’m gonna wrap it up with the famous closing questions of Bernard Pivot. What is your favorite word?Tom: Probably… fuck.Scott: What is your least favorite word?Tom: No.Scott: If heaven exists, what would like to hear God say when you arrive?Tom: Good job.Scott: Solid responses. Alright, bud, thanks so much for taking this time. Always fun to chat with you. We appreciate you returning to Beanstalk for your fifth year—this time with your newest project, Ghost Light.Tom: Let’s do this.Mike GantzerScott Hachey: Hey Mike, how are you doing? Thanks for talking to me on what I’m sure is a rare Friday night off for you. First off, you guys—Aqueous—are great. We like to listen to you in the van, out on the road. Speaking of the road, how long have you guys been at it?Mike Gantzer: Believe it or not, this is our 11th year as a band. We started this thing in high school, you know? As a basement band learning, like, Pink Floyd covers for fun. Then, eventually, it turned into a real thing. Also, thank you. Appreciate you guys listening to us.Scott: That’s very similar to Magic Beans. We definitely started with us just making music in college to entertain ourselves and friends. It can be deceiving when you tell people “we’ve been a band for eight years” or something, but half the time, in the beginning, was just kinda messing around.Mike: Totally. I’d say the first half was way different from the latter half. We were just sitting around playing Mario Cart in the basement and playing some music too. Then, it changed quite a bit.Scott: So, Buffalo—where you guys are from—we love it. They’ve shown up for us since day one, and we just love playing there. Tell me what being from that community means to the band.Mike: That’s great to hear and honestly not surprising because Buffalo is a super passionate music city with a rich history—from moe. to Goo Goo Dolls, [laughs] and so much local music. Also, somehow, the scene has cultivated an appreciation for original music, which isn’t always common.When we started, we thought everyone wanted covers. When we went to the city, they were all like, “Shut up with those covers and play something real,” you know? It was a validating experience. So glad you guys had a similar experience there. I’d say this city is underrated.Scott: I’d put it as top three or top five cities for us, outside of Colorado. We love it. I’m from Minnesota, so I love the people there. They remind me of home—very honest and straightforward, just easy to read and easy to get along with.Mike: Oh yeah, I’ve noticed that touring too. Good vibes up around these Great Lakes.Scott: Yeah, I think the cold keeps you honest.Mike: I could definitely see that.Scott: What do you know about Beanstalk, if anything?Mike: Well, not a whole lot. Seen its lineups pop up these past few years, once you guys were on my radar. For me, I have some insight on how much work it is to put on a festival, so props to you for doing that. If you’re reading this, it is truly staggering what goes into it, so all the credit to you.I also noticed that at our Denver show a week ago, I heard people saying how they were going to see us there too. They all said how there’s such a vibe and talked about hanging out and floating down the river with us, which sounds great. Everyone reported excellent vibes.Scott: Yup, vibes are high for sure. No cell phone service up there, which brings people down to earth. Lots of music lovers. So feel free to get weird with it.Mike: Sweet. We can get weird there. Noted.Scott: [laughs] Yeah, you have my permission. Next up is a guest question from [saxophonist] Nicholas Gerlach: If you could go back in time, what instrument would you play instead of guitar?Mike: Piano, hands down. That’s easy for me. When I listen to the piano, I feel the most direct connection and emotion. My dad was a pianist, so when I grew up, I was inspired by watching him play. I just never a chance to really play it myself. From a theory standpoint, it makes so much sense. I think the piano allows you to learn music in a more general sense that’s easier to branch out from, whereas guitar can be specific to guitar. The second one would be a drummer. I tend to listen to drummers first when listening to a band. I’ve also taken to incorporating more rhythm in my playing, leading with my right hand and not left.Scott: Here’s another guest question from Nick Gerlach: If you weren’t in the jam scene, what scene would you wanna make music in?Mike: That’s a good question. I’d probably wanna be in the indie-rock, alternative area. Lots of my favorite bands I’ve been listening to recently—like Wilco and Fleet Foxes, Incubus—bands like that, to me, are just as engaging and cool. Like maybe try to take the musical sensibilities of the jam scene and refine it a little bit, in terms of trying to figure out how to write poignant songs and hone in emotion. With lots of my favorite bands, the emotional part comes first, and then the musical side comes afterward. Also, growing up listening to music and skateboarding, I’m really into punk and hip-hop still. It’d be fun to be in a scene like punk, where it’s a totally different energy.Scott: I hear you. I love that type of music. I feel like some of those bands—My Morning Jacket, War on Drugs, Wilco—can capture a lot of the magic you get at jam shows, but it’s more condensed and not as long-winded, which I think has its own merits.Mike: Yeah. We’re all lucky to be in the jam scene though, ’cause we’re free.Scott: I agree. I think the “jam scene” is a really terrible label because the scene encompasses so much, from players like Adam Deitch and Stanton Moore to Jimmy Herring and Warren Haynes. People like to put a stigma on the word, but some of the greatest musicians of our generation are making their living through the “jam scene.”Mike: Totally. I agree.Scott: Good time to segue here. Ballads: are they dead? Why do you think we don’t see them in our scene as much anymore?Mike: Good question. There’s something to be said about a band that has a lot to prove, and I think there’s less of a space for that in the set now. Maybe one of the critiques I have for the scene is that people don’t always appreciate dynamics as much, and I think sometimes people just wanna rage. There can be a split between people there for the vibes of the crowd, while some are there for the musicality and what’s happening on stage. I do have a sense that sometimes the younger generation of bands and their fans just wanna party. But like, I honestly love ballads and slower songs. All I listen to is ballads.Scott: That’s my shit! [laughs] We noticed when we started touring outside Colorado and trying to branch out, we’d play a ballad and see a migration from some for cigarettes or to get a drink. And it’s scary because, in our scene, you usually have one chance to impress someone before they decide they don’t like your band. So there’s definitely this fear of trying that again because you wanna be accepted.Mike: We definitely have been guilty of that sometimes—trying to deliver. It reminds me of being a Phish fan early on and how people would describe some songs as piss-break songs, and I would be like, “What?! You don’t like that song?” Those are the songs I’m there for. One the of the first songs that caught my attention was “Squirming Coil” and Trey [Anastasio’s] sustain on it. But Phish wasn’t playing at that point when I started listening. Then, when they came back and I started going to shows, people would describe “Coil” as a piss-break song, and that always blew me away.Scott: Phans can be hard critics. I remember traveling to see Phish, and after the set, people were describing it as lackluster cause there weren’t enough bangers. I ran into a kid who had traveled, like, 1,000 miles for the show. He was saying how the only song he wanted to hear was “Heavy Things”, which is not a banger, and how it was one of the best moments of his life. It really stuck with me—how any song or moment can mean something different to another person there, and how what you like isn’t always what is best for everyone. If you’re gonna ruin someone else’s experience because you don’t like a certain song, that isn’t really a good way to enjoy live music.Mike: Yeah, you never know what song could change somebody’s life or something. [laughs] Everyone has a different experience out there. You gotta respect that.Scott: There’s a big emphasis on “jamming” right now, it seems. Like, “The longer, the better.” Do you agree?Mike: You know, I don’t. It’s easy for people to get caught up in that side of it. The tangible number means something to them or equates to quality. I think a part of it is that people love the risk of it and putting it out there. But you can take a short time to get your point across or you can take a long time to do nothing. Recently we’ve been doing much longer jams, which is actually kinda new for us, but we’re also trying to find a balance with that.Scott: I’m good at that second part: taking a long time to do nothing—like in my life [laughs]. Do you ever plan those sorts of things? Like a big thirty-minute jam or something?Mike: No. In fact, that’s our whole thing. We don’t talk about it at all. We discuss the setlist and segues, but that’s kind of it. We’re trying to be honest and trying to real. I think if you try to plan, it can come out contrived. The whole point of live improvised music is that it’s fucking improvised. Like if I had sat and planned this conversation, then it would have been super weird.Scott: Well, I actually did kind of do that, but in my defense, that is because I need questions to ask you [laughs]. Speaking of which, I have another guest question from Shawn Swain of Kitchen Dwellers, who wants to know how many shows in a row is it acceptable for your band to wear the same shirt? For us, it is as many as you want.Mike: Zero. [laughs] That’s a hilarious question. You know, I never really thought about it. My biggest thing that I’m guilty of is that I wear the same pants sometimes. Usually, we all are wearing new shirts, but like, I’m guilty of probably wearing one of three pairs of pants.Scott: Does the band have a preferred fast food stop? If so, does it vary by region?Mike: You know, I don’t eat fast food, because I have dietary restrictions. But Dave [Loss] really likes Culver’s.Scott: That’s some Midwest shit, baby!Mike: I feel like there should’ve been a Bible on every table. [laughs] Beyond that, the dudes really love Chipotle, like every day.Scott: Yeah, I personally don’t care for Chipotle, but my band loves it. They see it as a healthy option, that’s not fast food. I see it as not that… but, I’ve also eaten over a thousand burritos from there, so I can’t really talk.Mike: I don’t know how accurate that healthy-option thing is…Scott: Here’s another guest question, this time from Taylor Frederik of Eminence Ensemble. What are some warm-ups or drills you and Dave practice to keep you guys so in sync on stage?Mike: We start by warming up separately, but then we’ll do something like playing a random melody and seeing how fast the other can lock into a harmony with it. Also, we’ve been trying to figure out how to give each more room on stage and let it flow. Maybe as opposed to matching up, one of us could find a support role in playing rhythm or trying to add layers.Scott: I think when you’re a four-piece, you wanna get more layers going. If you match up with the other lead instrument, it’s basically just one melody over bass and drums, so adding that rhythm is always good for filling out the sound.Mike: Absolutely, I agree you want the full sound. Sometimes, playing counter to the other players gets you that.Scott: Alright, so I’m gonna wrap up with the famous final questions of Bernard Pivot. What is your favorite word?Mike: Fuck. [laughs] I don’t know! Not a tasteful word, but nothing can get your point across like it.Scott: What is your least favorite word?Mike: Moist.Scott: If heaven exists, what would you like to hear God say when you arrive?Mike: Good to see you. I want him to be happy I’m there.Scott: Wow, great answer. Mike Gantzer everyone. We’re gonna have to get you up for a little jawn with Magic Beans at the festival. Check out Aqueous out on the road, on your Spotify, and at Beanstalk Festival at the end of June.Mike: Thanks, Scott. Sounds great. Let’s jam.With standout musical offerings, a plethora of other activities to keep your day filled, and a gorgeous setting, Beanstalk Music & Mountains Festival is shaping up to the best one yet. Tickets are available here. For more information about Beanstalk Music & Mountains Festival 2018, visit the event website or follow the event on Facebook.
Umphrey’s McGee has added their final concert to be announced as part of their upcoming fall tour. On Sunday, October 14th, Umphrey’s McGee will play The Capitol Theatre in Port Chester, New York, marking the band’s only New York show on fall tour. Southern Avenue, a five-piece blues and soul outfit from Memphis, Tennessee, will kick off the evening with their unique blend of gospel, R&B, and roots. UM pre-sale opens at 11 a.m. (ET) on Wednesday, August 1st. Venue pre-sale opens at 10 a.m. (ET) on Thursday, August 2nd. Public on-sale opens at 12 p.m. ET on Friday, August 3rd.Umphrey’s McGee’s Capitol Theatre show comes in addition to the group’s previously announced fall tour dates. Dubbed the it’s not us, it’s you tour, their fall tour draws its name from Umphrey’s two 2018 album releases, January’s it’s not us and its surprise May sister album, it’s you.The tour begins in Kansas City at Crossroads KC on October 4th, followed by a stop at The Sylvee, a new venue in Madison, Wisconsin, on October 5th. Next, they’ll head into their previously announced engagement at The Big Weekend in Chicago, where they will take the stage at the Aragon Ballroom on Saturday, October 6th.The following weekend, Umphrey’s McGee will venture east with stops in Charlotte, Raleigh, and Baltimore, with Southern Avenue joining them as support at the Charlotte (October 11th) and Baltimore (October 13th) shows and Zach Deputy providing support in Raleigh (October 12th). The weekend will culminate at the Capitol Theatre in Port Chester, New York (October 14th).Umphrey’s fall tour will wrap up by heading back to the Midwest for a return to the intimate Canopy Club in Urbana, Illinois, on October 18th and a two-night stint in St. Paul, Minnesota, on 19th and 20th with Buffalo-based groove-rock favorites Aqueous.As the original announcement explains, St. Paul will be the final stop on Umphrey’s McGee’s fall tour and will feature the only umVIP options for fans seeking ease and exclusivity on their big night out with UM, complete with a private show, multiple seating/viewing packages, exclusive merch, and more.For more information, or to take a look at Umphrey’s McGee’s full list of upcoming tour dates, head to the band’s website.
Dead & Company continues to build momentum ahead of their 2019 summer tour by gradually sharing official audio and video footage from the band’s 2017 fall and 2018 winter tours. So far, the band has released pro-shot videos of “Deep Elem Blues”, “If I Had The World to Give“, “Eyes Of The World“, and “Iko Iko“. Dead & Company continues their video vault rollout with the release of “Greatest Story Ever Told”, played during the first set from their performance on 11/28/2017 at Charlotte, NC’s Spectrum Center.Coming out of a slower segment midway through the first set, Dead & Co. kicked things up a notch with the Bob Weir-led “Greatest Story Ever Told”. The six-piece took their time with a breezy extended-intro, anchored by drummers Bill Kreutzmann and Mickey Hart, as well as bassist Oteil Burbridge. John Mayer worked through a gritty opening guitar solo, before Weir stepped up to the mic, dropping into the vocals. Mayer and keyboardist Jeff Chimenti locked into some high-octane interplay midway through the song, and carried out that energy through the remainder of the jam. The show also featured Dead & Company’s debut cover of The Band’s “The Weight”, placed in the second set opening slot.SiriusXM’s Gary Lambert also continues to provide thought-provoking liner notes to go with the release of every video and audio performance, as part of the band’s latest fan-friendly initiative. As he notes about this week’s video selection,It started as “The Pump Song” on Mickey Hart’s first solo album (1972’s “Rolling Thunder”), because its rhythm track was based (in an ingenious bit of what might be called proto-sampling) on the sound of a water pump on Mickey’s ranch. But once Bob Weir added some changes to the groove Mickey had found and lyricist Robert Hunter contributed a cinematic storyline that was part cowboy movie/part sci-fi/part biblical epic, it became something else again, and a highlight of many a show by the Grateful Dead and its musical successors. This version features a nice, lengthy jam leading up to the song and some fiery soloing by John Mayer and Jeff Chimenti.Watch pro-shot video of Dead & Company’s take on “Greatest Story Ever Told” from Charlotte below:Dead & Company – “Greatest Story Ever Told” (Pro-Shot Video)[Video: Dead & Company]Dead & Company fans should keep their eyes peeled on the band’s social media accounts, as more videos and audio recordings are expected to arrive in the upcoming weeks.Setlist: Dead & Company | Spectrum Center | Charlotte, NC | 11/28/2017 Set One: Hell in a Bucket, Bertha, Peggy-O, When I Paint My Masterpiece, Greatest Story Ever Told, Ship of Fools, Mississippi Half-Step > Let It GrowSet Two: The Weight, Playin in the Band > Uncle John’s Band > Lady with a Fan > Terrapin > Drums > Space > Standing on the Moon > I Need a Miracle > GDTRFBEncore: Black Muddy River > Playin in the Band (reprise)(First “The Weight”)
The ESSENCE Festival has announced the first wave of performers for its 25th anniversary when the three-day event returns to the Mercedes-Benz Superdome in New Orleans on July 4th-7th this summer.Main stage performers for this year’s summer event include Missy Elliott, Mary J. Blige, Nas, H.E.R., Jermaine Dupri, Pharrell Williams, and Teyana Taylor. Other other artists set to deliver performances on the main stage include RBRM (Ronny, Bobby, Ricky & Mike), Teddy Riley, and Timbaland. In addition, artists set to perform in the various Superlounges throughout the venue include Alunageorge, Amanda Black, Big Daddy Kane, Biz Markie, Nao, and Talk Box, just to name a few.Related: JMBLYA Festival Announces 2019 Lineups For Dallas, Austin Locations: Travis Scott, Lil Wayne, MoreThe event will also honor the career of MAZE singer Frankie Beverly hosted by Loni Love with special guest sets from Anthony Hamilton, Big Freedia, Doug E. Fresh, Ledisi, MC Lyte, Morris Day, Musiq Soulchild, Shelia E., and more to be announced.“When the Essence Festival was founded 25 years ago, it marked a pivotal moment of vision and reverence — a critical acknowledgment of an investment in the power of our culture,” Essence Communications CEO Michelle Ebanks added in a statement of this year’s lineup. “In the years since, it has set a standard that many other festivals have aspired to and today, the ESSENCE Festival has grown to represent an annual homecoming for black artists from across the globe. In honor of our 25th anniversary, more than 25 artists per night over three epic nights will come together to mount the world’s largest and most extraordinary cultural celebration.”Fans can reference the event poster below for the full list of performers announced on Monday, with more to be added onto the lineup in the coming months leading up to summer. Fans can head over to the event website for tickets, which are on sale now.
Phil Lesh has announced a new pair of Phil & Friends shows at his east coast home-away-from-home, Port Chester, NY’s The Capitol Theatre. The newly revealed dates will take place on Tuesday, June 11th and Wednesday, June 12th. The shows are currently billed as Phil Lesh & Friends featuring Jorma Kaukonen. Beyond the Hot Tuna guitarist, the full band lineups for the performances have yet to be revealed.The announcement of these new shows coincides with the former Grateful Dead bassist’s successful 3-night 79th birthday run at The Capitol Theatre this past weekend, which featured John Scofield, Benmont Tench, Jackie Greene, Grahame Lesh, John Molo, May Helm, Luther Dickinson, and more.Tickets for the two June Phil & Friends shows at The Capitol Theatre are now available here (Tuesday, June 11th) and here (Wednesday, June 12th).For more upcoming Phil Lesh concert dates, head here.[H/T JamBase]
Led Zeppelin continues to provide their legion of fans with gifts as the famous British rock band’s 50th-anniversary celebrations continue over into 2019. On Wednesday, Zeppelin shared a brief video as part of their new “Led Zeppelin History” series, which will feature a mix of short stories celebrating the band’s journey which began in 1968.The first episode, which runs at a manageable 1:07 minutes, tells the story of Zeppelin’s first time in a recording studio together in September 1968, when they entered London’s Olympic Studios to record the material for what would end up on their 1969 debut album. Viewers are treated to a grainy mix of animated and archival live footage of the band while “Babe I’m Gonna Leave You” plays throughout.Related: Peter Frampton Announces 2019 Farewell Tour With Jason Bonham’s Led Zeppelin EveningAs the video continues, a mix of quotes and facts about that era of the band’s history appear on the screen to educate fans on what went down in those early years of Zeppelin.“The group had only been together for two-and-a-half weeks when we recorded it,” guitarist Jimmy Page is quoted saying about their first time in the studio together in the video. “We deliberately aimed at putting down what we could reproduce on stage.”Bassist/keyboardist John Paul Jones also added, “We did [the album] in about 15 hours with another 15 for mixing, so it was about 30 hours in all.”Fans can watch the series’ premiere episode via the video below to learn more about the first chapter of the mighty Led Zeppelin.Led Zeppelin – History Of Led Zeppelin (Episode 1)[Video: Led Zeppelin]Recently, the band has celebrated their 50th anniversary by reissuing their 1976 The Song Remains The Same live album, released a history book filled with many never-before-seen photographs, and even released music as a vinyl single for last year’s Record Store Day.
Fanfare Harvard students are giddy with anticipation while walking outside the Yale Bowl before “The Game.” Harvard won, 14-10. Touchdown! Crimson wide receiver Chris Lorditch ’11 snares the winning touchdown pass over Yale’s Adam Money with just a minute and a half to go in the game. Photos by Jon Chase/Harvard Staff Photographer The Game: Harvard-Yale 2009 Star performance Crimson quarterback Collier Winters ’11 gets set to pass. Winters completed 10 of 26 passes for 211 yards and had 11 carries for 51 yards. He was named the Ivy League Player of the Week for his performance. Real men Yale students prove that real men aren’t afraid to wear pink. The oldest rivalry in college football dates to 1875, when Harvard and Yale played a bruising game that resembled rugby more than modern football. Back then, fans journeyed by train, horseback, and foot from around New England to view the rough-and-tumble spectacle. Old sepia photographs show Harvard Stadium filled to overflowing, with now-unlikely scores of 0-0.The 1968 game may have been the most memorable of 126 contests. That was when Harvard scored 16 points in the final 42 seconds to tie, generating the famous headline, “Harvard beats Yale, 29-29.” In this year’s game, held at the Yale Bowl, Harvard again rallied late, this time to win. Still, scores aside, this is more than a football game. At stake are bragging rights for graduates and students who compete with glee clubs, marching bands, and tailgate spreads, ribbing their rivals to gain the upper hand, keeping their jocular rivalry vibrant. Airborne After catching a pass, Yale running back John Sheffield is upended by Crimson defensive back Brian Owusu ’13. Starting to worry Yale student Brendan Fitzpatrick (right) looks apprehensive as he and Yale bandleader Kate Kraft stand watch on the sidelines during the second half. Harvard staged an improbable fourth-quarter comeback. Psyching up In the locker room, Yale football players psych themselves up before taking the field. Dogged fan Handsome Dan XVII, the Yale bulldog, wears his sideline pass as he basks in the sun on an unseasonably warm day. Victory hug Crimson linebacker Conor Murphy ’10 receives a well-deserved hug from wide receiver Adam Chrissis ’12 at game’s end. Murphy is holding the ball he recovered from a Yale fumble as the clock winds down. And the crowd goes wild … Harvard fullback Kyle Juszczyk ’13 rejoices while coach Tim Murphy lets out a shout from an ice-cold Gatorade shower at game’s end. Harvard overcame a 10-0 deficit with two fourth-quarter touchdowns to earn the victory.
Catherine Lord ’70 is known for creating challenging and provocative art that tests boundaries. But when she arrived at Radcliffe College in 1967 she was a confused and naïve first-year student.“The thing that saved me was discovering the stacks of Widener,” said Lord, who was presented with the Harvard Arts Medal on April 29 by President Drew Faust at the New College Theatre. “That was a utopia. I can’t even describe how powerful it was. I had never had access to that kind of library before, and I was able to just go in there and wander and wander and wander and take things off of the shelf and look at things that were actually quite rare.”An artist, writer, professor, and scholar, Lord’s challenging photography and writing explores feminist, queer, colonial, and cultural themes though language and image. Before receiving the award, actor John Lithgow ’67, Ar.D. ’05, moderated a spirited discussion with the artist, in which she reflected on teaching, her work, and her time at Harvard.Lord later went on to teach at Harvard, and she is now professor of studio art and women’s studies with the Department of Visual Culture at the University of California, Irvine. She is the first visual artist to receive the medal since the award was established in 1995.The event kicked off Arts First, a celebration of the arts from April 29 to May 2, presented by the Office for the Arts at Harvard and the Board of Overseers. The Arts Medal is presented annually to a Harvard or Radcliffe alumna or alumnus in recognition of excellence and achievement in the arts.Born in the Caribbean nation of Dominica, Lord attended a British boarding school in Barbados until her family moved to Iowa when she was 13.Lord hadn’t yet begun taking pictures while an undergraduate — she didn’t begin that until she attended a small photography school in Cambridge after graduating. She worked as a research assistant at the Schlesinger Library at Radcliffe and went on to pursue an M.F.A. at the Visual Studies Workshop at the State University of New York at Buffalo.While in graduate school, she became aware of the volume, the avalanche of images present in our society, whether high art or otherwise.“That really got me interested in trying to account for this huge, huge image culture, without recognizing any divisions,” said Lord.In his introduction, Lithgow described the ways her art explores the anxiety surrounding homosexuality and promotes lesbian visibility in contemporary art history. Much of Lord’s work exists at the intersection of photography and the written word. She has undertaken many projects that involve photographing books. Last Thursday, she talked about a project involving a series of photographs of book dedications. She explained that she was interested in the dedications’ back stories as well the fact that the text is not indexed.“That was the interest for me in photographing these bits of paper, this fascination with the idea of a category of writing that you can’t find easily. You have to go through the bookshelves,” said Lord. “I’m really interested in this idea of drawing and printmaking having to do with ink on paper, and then at the same time this ink on paper making a very, very complicated gift.”Lord also talked about her battle with breast cancer, which she was diagnosed with at 54. She documented that experience in her memoir, “The Summer of Her Baldness: A Cancer Improvisation.”Particularly in the past 15 years, Lord has been drawn back to the Caribbean for her work and her personal life. She has undertaken a recent project, titled “The Effect of Tropical Light on White Men,” surrounding a “commonplace book,” a kind of scrapbook or memory book that belonged to white plantation owners in the late 19th century.“When we created the Arts Medal in 1995, this was exactly what we intended,” said Lithgow as the evening concluded. “It’s very important that Harvard honor people like Catherine, with her kind of courage, audacity, nerve, and brilliance.”
Thanks to the generosity of Paul ’52 and Harriet Weissman, 50 Harvard College students will travel around the globe to explore their career interests and experience new cultures.Since 1994, Weissman internships have offered exceptional opportunities for professional, intellectual, and personal growth through a combination of work, observation, and cultural immersion. To date, more than 400 students have pursued internships in 79 countries on five continents.This year’s class will intern in 23 countries throughout Africa, the Middle East, Europe, Latin America, and Asia Pacific. They will work on a variety of projects, such as finding suitable health interventions for Alzheimer’s disease caregivers at a school of public health in China; educating former child soldiers through soccer at a nonprofit organization in Uganda; assisting an organization in the production of a summer opera festival in England; hosting wine tastings and wine cave tours at a Champagne house in France; breeding small reef fish in an ecology laboratory to study their reproductive biology in New Zealand; measuring functional traits in tropical forests with a research institute in Panama; and evaluating the efficiency of micro loans and investment projects at a bank in Rwanda.The interns met with the Weissmans, as well as members of the selection committee and guests, during an April 28 luncheon at Loeb House where they highlighted plans for their upcoming summer internships.Throughout the summer, the students will stay in contact with each other and the Weissmans. They will meet again in the fall to share their experiences.The Weissman Program is administered by the Office of Career Services.
It’s common to show appreciation for family, friends, and good health come November, but co-workers often get short shrift when it comes to Thanksgiving gratitude. This week, the Harvard Faculty of Arts and Sciences (FAS) is giving its staff the opportunity to celebrate their colleagues just in time for the holidays.Starting today (Nov. 16), FAS Human Resources is hosting its first Giving Thanks Open House, a three-day event that will allow FAS employees to appreciate one another for the little things they do each day.FAS staff can acknowledge their bosses, employees, or co-workers by writing personal notes of thanks on blank note cards handed out at the open house. The notes will be delivered by Harvard mail staff throughout the week of Thanksgiving.The open house will take place today and Thursday (Nov. 18) from 11 a.m. to 2 p.m. in the University Hall Faculty Room. On Wednesday, the reception will be held in the Northwest Science Building, Room 453, for staff housed on the other side of campus. Seasonal refreshments will be provided.Guests are also encouraged to bring nonperishable food items or a monetary donation to benefit the Harvard Square Homeless Shelter. All charitable contributions will be managed by the Community Gifts Through Harvard program, and individual contributors will be acknowledged.Staff had already begun to mingle on Tuesday morning. Katie Phelan, a trainer in FAS Office of Finance’s Administrative Systems Assistance Program, stopped in to write notes to her close co-workers and “a few people I don’t see very often,” she said. “I’m grateful that not only do they do great work, but they do it with a sense of humor.”Kean Hsu and Nate Moran, both identity management analysts at FAS Computer Services, dropped in to make donations of food and money and to write letters.“I’m lucky to have a job where I like my co-workers, I’m appreciated, and I’m actually able to get stuff done, to be productive,” Hsu said. “That’s a rare combination these days.”Creating holiday traditions like this week’s event helps to strengthen workplace culture at FAS, said Chris Ciotti, associate dean for human resources at FAS. In addition to Giving Thanks, FAS also gave its first Dean’s Distinction Awards earlier this year to honor 50 outstanding employees.“This event gives us an opportunity to create a new FAS tradition and provides us with a meaningful way to recognize staff and celebrate their contributions to their colleagues,” Ciotti said. “The first FAS Giving Thanks event also provides FAS staff a chance to give back to the community by making a contribution to the Harvard Square Homeless Shelter.”