In 2017, Stevie Wonder was honored at the annual HEAVEN fundraiser. Past Spirit of Elysium award recipients include Camilla Belle, Elijah Wood, James Franco, Kirsten Dunst, Eva Mendes, and more. On January 6, 2018, John Legend will be honored by The Art of Elysium as the Visionary for HEAVEN. In celebration of the LA charity’s fundraising gala, Legend performs a solo piano version of Wonder’s 1970 hit “Signed, Sealed, Delivered I’m Yours.” Of course giving the Motown hit his own bluesy touch, Legend’s artistic beauty is displayed in full in this reinterpretation video.“Heaven is love, light and laughter,” Legend said in a statement. “I want to create an experience that celebrates love and justice, truth and light and the joy that connects us all.” Watch John Legend perform Stevie Wonder’s “Signed, Sealed, Delivered I’m Yours” in the video below:John Legend | Chapter: Creation from Elysium Bandini Studios on Vimeo.
Next Wednesday, November 22nd, modern jazz torch-bearer Kamasi Washington‘s will continue his ongoing national tour at New York’s Terminal 5, featuring a special guest appearance by slide guitar master Robert Randolph. Today, Kamasi’s camp has announced that fan favorite hybrid hip-hop/electronic duo Break Science has been added to open the evening’s festivities, rounding out an exciting and eclectic night of music that is surely not to be missed.In a recent conversation with Live For Live Music,Washington spoke about the unique energy of New York performances “It’s definitely a very inspiring place, energetic…what’s the word…intense. There’s an intensity to New York which I don’t think exists anywhere else.”INTERVIEW: Kamasi Washington On Truth, His New EP, Working With Jam Bands & Hip-Hop StarsFollowing his universally acclaimed debut album, The Epic, Kamasi Washington has been touring behind his latest release, a concept piece called Harmony of Difference. The new release was originally conceived and debuted as a multimedia art installation at the 2017 Whitney Biennial, with a film by A.G. Rojas (with WeTransfer Studios) and paintings by Kamasi’s sister, Amani Washington. The film featured five paintings focused on raw shapes and colors as the backdrop to five distinct compositions, each inspired by one of the first five movements of the suite. Amani then combined these paintings to create a sixth: an abstract depiction of a human face–the creation of harmony and cohesiveness out of difference–for the project’s layered final movement, “Truth”. As Kamasi states, “My hope is that witnessing the beautiful harmony created by merging different musical melodies will help people realize the beauty in our own differences.”While Harmony of Difference is no doubt incredible on record, Kamasi knows there is something about live performance that simply can’t be captured fully in the studio. “When you listen to a live performance,” he muses, “in a way, you’re a contributor. When you listen to a recording, you’re an observer…When you listen to a recording, you’re observing a moment in time. When you listen to a live show, you’re in a moment in time.”Don’t miss the opportunity to join in on this fleeting musical moment in time with Kamasi Washington on Wednesday, Novemeber 22nd at Terminal 5 featuring an appearance from Robert Randolph and newly added special guests Break Science. For tickets head HERE.**You can read our full feature interview with Kamasi Washington here, where we discuss the trials and tribulations of attaining Truth, the conceptual roadmap laid out by his latest project Harmony of Difference, and comparing playing with jam bands like The String Cheese Incident and rappers like Kendrick Lamar.**Enter To Win A Pair Of VIP Tickets Below!
My Morning Jacket always brings their A-game. Their prowess as a live band is unrivaled after years of honing their craft as road warriors. The band really knows how to turn a run of shows into something special, making sure to bust out rare songs, play unexpected covers, and perform unique versions of their best and most cherished material. When the band hit The Capitol Theatre in 2012 for a three-night run, the Jacket made good on their reputation, delivering the goods with three unforgettable nights of music. While each night’s show was special, the middle night found the band firing on all cylinders, turning in an incredible performance that won’t soon be forgotten.The show started off with a sublime pairing of beloved acoustic songs: “Wonderful (The Way I Feel)” from Circuital and “Golden” from It Still Moves. The Jacket would pick the energy up with “It Beats 4 U” and “First Light” and a rare performance of “The Bear”. Perhaps the best song run of the night followed, with Elton John‘s outstanding “Rocket Man” getting trotted out, before Jim James and co. turned in amazing performances of their epic songs “Lowdown” and “I’m Amazed”.MMJ kept things moving with “Old Sept. Blues” and Carl Broemel‘s “Carried Away”, before working in a cover of The Band‘s beloved ballad “It Makes No Difference”. After the cover, MMJ launched right into their improv magnum opus, “Dondante”, which was stretched in many different musical directions before the set was completed with “Librarian”, “I Think I’m Going To Hell”, and “Phone Went West”.For the encore, the band had a few tricks up their sleeves, delivering five of their most beloved songs. “At Dawn” started things off, before the Prince-esque funk of “Highly Suspicious” launched things into another gear. A high-energy “Dancefloors” came next before the band finished things up with “Holdin On To Black Metal” and “Touch Me I’m Going To Scream Pt. 2”.Throughout the show, My Morning Jacket showcased their unparalleled ability to own the stage. They delivered a little something for everyone that night, moving back and forth between indie rock, classic psychedelic rock, and straight up jamming with ease throughout the evening. Thankfully, some fans in the audience recorded a number of songs from the evening, which are embedded below for your viewing pleasure.“The Bear”, courtesy of YouTube user Leith Bayazid“First Light”, courtesy of YouTube user Zachary Hansen“I Think I’m Going To Hell”, courtesy of YouTube user Leith Bayazid“At Dawn”, courtesy of YouTube user Leith Bayazid
Photo: Andrew Blackstein Photo: Dave Vann Load remaining images On Friday, February 9th at the Neptune Theatre in Seattle, WA, Mike Gordon began a lengthy run with his solo outfit that will keep him on the road throughout the month of February, in addition to a handful of dates in March and April.The two-set show included runs through a number of songs from Gordon’s most recent album, 2017’s OGOGO, including “Crazy Sometimes”, “Steps”, “Equilibrium”, “Pendulum”, “Go Away”, “Marissa”, and “Let’s Go” as well as Overstep (2014) tracks “Jumping” and “Peel”, live Phish favorite “Destiny Unbound”, Max Creek‘s “Jones”, Jon Cleary and the Absolute Monster Gentlemen‘s “Got To Be More Careful”, Rancid‘s “Ruby Soho”, and a new Leo Kottke cover, “Noon to Noon”. Gordon and company finished off the show with an encore performance of Aerosmith‘s “Sweet Emotion”.Below, you can check out a gallery of photos from Mike Gordon’s tour opener in Seattle courtesy of photographer Dave Vann.Mike Gordon’s solo tour continues tonight at the MontBlue Resort & Casino in Stateline, NV. For more information, or to check out a full list of upcoming dates, head here.SETLIST: Mike Gordon | Neptune Theatre | Seattle, WA | 2/9/18SET 1: Crazy Sometimes, Steps, Jumping, Got To Be More Careful , Equilibrium, Destiny UnboundSET 2: Jones, Go Away, Noon to Noon, Marissa, Ruby Soho, Victim, Let’s GoENCORE: Sweet Emotion Mike Gordon debut.This show featured the Mike Gordon debuts of “Got To Be More Careful” and “Noon to Noon.” “Destiny Unbound” contained a “Live and Let Die” tease.[Cover photo via Dave Vann]Mike Gordon | Neptune Theatre | Seattle, WA | 2/9/18 | Photos: Dave Vann
Today, on the heels of their St. Patrick’s Day weekend run in the nation’s capital, Widespread Panic has announced the dates for their annual run at the storied Red Rocks Park and Amphitheatre in Morrison, CO, set to take place on June 22nd, 23rd, and 24th, 2018. The band has a long history with the iconic venue, selling out more than 50 consecutive shows and counting at the beautiful natural amphitheater.Other than the Red Rocks shows, Widespread Panic’s current touring schedule is unusually sparse, with just a handful of festival dates on the calendar including two nights at Wanee Festival at the Spirit of the Suwannee Music Park in Live Oak, Florida (April 19th-21st) two nights at the inaugural Trondossa Music Festival in North Charleston, South Carolina (May 5th and 6th) and a Friday headlining set at LOCKN’ in Arrington, Virginia on August 24th.Tickets for Widespread Panic’s 2018 Red Rocks run will go on sale this Friday, March 23rd, at 10 a.m. MT. For more information, or to grab your tickets this Friday, head to the Widespread Panic website.
On Wednesday night, Billy Joel performed his 100th show at the legendary New York City venue, Madison Square Garden. During the landmark performance at the “World’s Most Famous Arena”, Joel invited out another music legend, Bruce Springsteen, who lent a hand on takes of “Tenth Avenue Freeze-Out” and “Born To Run”.After debuting at the famed venue on December 14th, 1978, Billy Joel has become a staple of Madison Square Garden, consistently selling out the 20,000-person venue as part of his concert residency started in 2014, which finds the singer performing at least one show a month at MSG as long as there is continuing demand for his shows. During Wednesday night’s show, a banner commemorating Joel’s 100th show was raised up to the rafters, with the iconic musician and his family, crew, and fans celebrating the stunning achievement.However, Wednesday night’s show was not the only time that Billy Joel was honored for his landmark achievement. Rather, earlier on July 18th, the State of New York proclaimed the day “Billy Joel Day,” with the venue and Governor Andrew M. Cuomo hosting a special press conference for the declaration.In addition to words from Governor Cuomo, the executive chairman and CEO of the Madison Square Garden Company, James Dolan, also shared his thoughts during the daytime event, offering, “What Billy Joel has accomplished will quite possibly never be accomplished again by anyone in any of our lifetimes.” These kind words came ahead of Dolan announcing a public exhibit dedicated to Billy Joel, which will serve as a “fitting reminder of all you continue to mean to the Garden, to New York, and to music.”During the ceremony, Billy Joel also shared his thoughts on the special recognition, emphasizing his New York roots and declaring that “I’m from New York. I was born in the Bronx, I grew up in Long Island, so this is my venue,” as he gestured to his surroundings. He also gave his heartfelt thanks to the friends and fans gathered for the ceremony, which included high-profile guests like actor Chazz Palminteri, making for a fitting celebration before Joel took the stage for his 100th show later in the evening.You can watch a video recapping Billy Joel’s press conference on “Billy Joel Day” and the Piano Man’s 100th show at Madison Square Garden below.
When you think of “guitar music,” The War on Drugs probably isn’t what comes to mind. After all, frontman Adam Granduciel doesn’t wail away on his Fenders and Gibsons like master jamsmen John Mayer and Trey Anastasio, much less shred his axe like Metallica’s Kirk Hammett.What Graduciel does do, though, is captivate audiences with rich, ASMR-inducing tones in between his hapless-but-hopeful lyrics, sung like all the Traveling Wilburys rolled into one.To that end, the War on Drugs was on top of its game during a recent late-summer night at the Hollywood Bowl. To close out the U.S. leg of its tour in support of the Grammy-winning album A Deeper Understanding, the band busted out a scintillating 16-song set simmering with familiar riffs, strung together as only Granduciel can. Just as his rich soundscapes have helped to turn his band from an obscure Philadelphia-based outfit into a Grammy-winning act, they transformed the unusually thick air at the Hollywood Bowl into his personal palette and canvas.Following a pitch-perfect (and genre-appropriate) warmup set from Alvvays, the War on Drugs emerged with a pair of songs from 2011’s Slave Ambient (“Brothers” and “Baby Missiles”) before diving into a string of more recent hits, including “Pain,” “An Ocean in Between the Waves” and “Strangest Thing.”The rest of the set was comprised entirely of new songs and cuts from 2014’s Lost in the Dream, save for “Arms Like Boulders” from 2008’s Wagonwheel Blues and a cover of Warren Zevon’s “Accidentally Like a Martyr” to open the encore. The crowd, while not quite a sellout, nonetheless soaked up Granduciel’s ethereal riffs on “Red Eyes” and “Knocked Down,” “Under the Pressure” and “Thinking of a Place,” and everything in between. The emotional ‘80s inflections of “In Chains,” “Disappearing” and “Burning” managed to move molecules, to the point that at least one observer pondered the possibility of a total chemical transformation just from having been in the building.To be sure, Granduciel wasn’t short on talented support. David Hartley and Charlie Hall, on bass and drums respectively, built and maintained the rhythmic foundations behind the band’s melodic romps. Robbie Bennett and Anthony LaMarca connected the lead and the beat with a steady blend of guitar and keyboard. Jon Natchez stole the show with his saxophone on multiple occasions.But rarely, if ever, could the War on Drugs’ other players have won out over Granduciel. That’s no disrespect to them, but rather a reflection of the band leader’s somewhat understated powers of musical persuasion. With his direction, the band created a sound, a vibe, that was more atmospheric than the actual (and unusually heavy) atmosphere hovering over the Hollywood Hills.The group got a significant boost in that department from a lighting setup that, like the War on Drugs’ music, was far more capable and complex than it may have seemed at first blush. Multiple rows of lights combined to form mirrored parabolas that seemed to at once be doing battle and dancing beautifully above the band. Those theatrics blended perfectly with the venue’s own space-age arrangement beneath the unmistakable rows of the very Hollywood Bowl that encircles the stage.The War on Drugs’ date at the Bowl was hardly its first in Southern California on its latest sprawling tour. The band began promoting its latest LP with appearances at Apogee Studios in Santa Monica and on Jimmy Kimmel Live! in Hollywood in August 2017, ramped up its efforts at the Greek Theatre in L.A. last October, and kicked it into high gear for back-to-back weekends at Coachella this past April (along with the now-customary regional support dates in between) and the KROQ Weenie Roast in Carson in May. It’s understandable, then, that they may have had difficulty filling the 17,500 seats that make up the Hollywood Bowl.Those who turned out, though, were treated to transcendent set—enough so to suggest that, while the political “War on Drugs” may be continuing anew, at least one War on Drugs has already been won.“An Ocean Between Waves”“In Reverse”“Eyes to the Wind”“Burning”“Disappearing”[All Videos: Brian James]
Today, progressive-rock and space-synth outfit Papadosio has announced a batch of spring tour dates.The 15-show stretch will kick off with two nights at Covington, KY’s Madison Theatre on March 15th and 16th, before stops at Virginia Beach, VA’s Elevation 27 (4/10); Harrisburg, PA’s Club XL Live (4/11); a two-night stand at Brooklyn, NY’s Brooklyn Bowl (4/12 & 4/13); Richmond, VA’s National (4/14); Syracuse, NY’s Westcott Theater (4/17); Ithaca, NY’s The Haunt (4/18); Buffalo, NY’s Town Ballroom (4/19); Philadelphia, PA’s TLA (4/20); Holyoke, MA’s Gateway City Arts (4/24); Boston, MA’s Sinclair (4/25); Asbury Park, NJ’s Asbury Lanes (4/26); and a final show at Baltimore, MD’s Soundstage on April 27th.Papadosio is gearing up for a nine-show Colorado tour starting this weekend. The band’s other scheduled 2019 dates include festival appearances at New Orleans’ BUKU Music & Arts Festival and Chillicothe, IL’s Summer Camp Music Festival. Previously announced tour dates also include performances at two of the country’s most iconic naturally-inspired stages; Morrison, CO’s Red Rocks Amphitheater and Pelham, TN’s underground cave-accessed attraction, The Caverns.For more information on spring tour ticketing, or to check out a full list of the band’s upcoming tour dates, head to Papadosio’s website here.Papadosio 2019 Spring Tour Dates:03/15/19 – Madison Theatre – Covington, KY03/16/19 – Madison Theatre – Covington, KY04/10/19 – Elevation 27 – Virginia Beach, VA04/11/19 – Club Xl Live – Harrisburg, PA04/12/19 – Brooklyn Bowl – Brooklyn, NY04/13/19 – Brooklyn Bowl – Brooklyn, NY04/14/19 – The National – Richmond, VA04/17/19 – Westcott Theater – Syracuse, NY04/18/19 – The Haunt – Ithaca, NY04/19/19 – Town Ballroom – Buffalo, NY04/20/19 – TLA – Philadelphia, PA04/24/19 – Gateway City Arts – Holyoke, MA04/25/19 – Sinclair – Boston, MA04/26/19 – Asbury Lanes – Asbury Park, NJ04/27/19 – Soundstage – Baltimore, MDView All Tour Dates
As a novelist, literary theorist, journalist and philosopher, Maurice Blanchot (1907–2003) had a profound impact on the thinking of dozens of philosophers, novelists, and writers. Until recently, however, it remained unclear how Blanchot’s thinking had evolved over his lifetime. A famously reclusive figure in the literary world, it was believed Blanchot had destroyed most of his personal papers before his death.With the Houghton Library’s recent acquisition of corrected page proofs of Blanchot’s major 1969 work L’Entretien Infini (“The Infinite Conversation”), however, scholars should soon be able to shed new light on Blanchot’s changing political and literary attitudes.The pages were salvaged from a rubbish bin by the husband of Blanchot’s long-time housekeeper, and contain numerous handwritten annotations by Blanchot, along with typewritten sheets inserted into the proofs – some of which consist of small slips taped over pages, while others are multiple pages in length.The proofs, along with several other Blanchot manuscripts, came up for sale in March 2009. Hoping the material might find an institutional home where it could be preserved and made accessible to scholars, Smith Professor of Romance Languages and Literatures and Professor of Comparative Literature Christy McDonald approached Leslie Morris, Houghton Curator of Modern Books and Manuscripts with the idea of purchasing the items.McDonald has already put the material to scholarly use, examining the pages for an article, co-authored by Morris, for “The Romance Sphere,” an online journal of Harvard’s Department of Romance Languages and Literatures. Written in the form of a dialog, the article traces the material’s provenance, and McDonald highlights three key changes Blanchot made to his original text.The material is also attracting interest among scholars outside Harvard. Shortly after acquiring the proofs, Morris said, a Ph.D. candidate in the United Kingdom traveled to Houghton to examine the pages, and other researchers have studied them in Houghton’s reading room.
Experts at Harvard and elsewhere say that getting the world economy back on track will take time, despite the fact that the National Bureau of Economic Research recently said the U.S. recession was technically over a year ago.In a nod to the lasting and dramatic impact of the lagging economy and the urgent need to explore creative ways to improve it, Harvard President Drew Faust convened a University-wide forum on Tuesday (Oct. 12) to discuss the fiscal malaise, including its historic context, and possible policy solutions, including tighter regulations and financial reforms.“The Economic Crisis, Two Years Later: A Panel of Harvard Experts” took up where a discussion in the fall of 2008 left off. Then, students, faculty, and staff assembled in similar fashion at Sanders Theatre as Harvard authorities explained the Wall Street meltdown.“We had help then, as we do now, to understand how we got where we were and what the future might hold,” said Faust, who turned to the five Harvard scholars on the panel for their insights on the stalled economy that were gained in the last two years.The regulatory failures that helped to worsen the financial crisis were largely a result of an outdated system that had been designed to handle traditional banking transactions, such as deposits and loans, and was not geared for the “revolution in banking” that occurred in the past 30 years, said David S. Scharfstein, Edmund Cogswell Converse Professor of Finance and Banking at Harvard Business School.Discussing the fiscal reforms contained in the newly passed Dodd-Frank law, Scharfstein said the revisions affect a longstanding, market-based system of finance in which banks over time pooled loans, issued securities based on such loans, and traded them.“We did not adapt a regulatory system to deal with that new form of banking,” or “shadow banking,” he said, and he called the Dodd-Frank reforms an important first step in creating a regulatory regime that can begin to police banks more strictly, as well as “non-bank financial firms that pose systemic risk.”The challenge, he conceded, is for regulators to find the right balance between too much and too little regulation.The nation is going to have trouble figuring out what to do with its “exploding debt,” said Kenneth Rogoff, the Thomas D. Cabot Professor of Public Policy, who predicted that a raise in taxes, a drop in government spending, or most likely some combination of the two will be required to address the ongoing problem.But there will be good news eventually, said Rogoff, author of “This Time Is Different: Eight Centuries of Financial Folly.”Though recovery is “slow and sometimes painful,” and almost impossible to predict accurately, it always arrives eventually, he said.An ironic byproduct of the recession, one that financial authorities have advocated for years, is part of what propels continuing hard times, said Brigitte Madrian, director of the social science program at the Radcliffe Institute and Aetna Professor of Public Policy and Corporate Management at the Harvard Kennedy School.Partly because of a dried-up consumer credit market, and partly because of a shift in the public mindset concerning spending, worried Americans have begun saving more.“This restraint is … keeping us mired in the recession to some extent,” she said, adding that, on a brighter note, such saving would keep consumers better prepared for future downturns.Adjustable-rate mortgages are simply “unhealthy,” suggested John Campbell, chair of Harvard’s Economics Department, Harvard College Professor, and Morton L. and Carole S. Olshan Professor of Economics, who called for a stable restructuring of mortgages and a reassessment of the social goal of home ownership for most people, since renting would be a better option for some.The problem, he said, involves the institutions established by the government to promote long-term, stable mortgages, Fannie Mae and Freddie Mac. In the end, they “really got out of control,” becoming both part of the shadow banking system and too big to fail, which meant the government had to step in to support them financially.“Unfortunately we have not yet confronted this problem … This is unfinished business” even with the Dodd-Frank reforms, he said.In terms of the banking and corporate bailouts underwritten by the government, the panelists agreed that Washington’s interventions, including the Troubled Asset Relief Program, saved the country from a full-blown depression and also will cost the public significantly less than initially predicted.“I think that the goal of stabilizing the financial system was really a home run,” said Scharfstein.Moving forward, the panelists said that economists will have an important role to play in helping to avoid future crises. Campbell called for greater collaboration among economists, who too often work on small, segregated sections of much bigger problems.“A lot of people had specialties and could only see a piece of it,” he said, referring to the financial crisis. “It was very hard to put it together.”For Scharfstein, working directly on policy issues is an important way for economists to have a greater impact down the road.“Engagement with policy and engagement with Wall Street in understanding what is going on is very important, both because I think we have a lot to add to that and because it enriches our research,” he said.Richard Freeman, the Herbert S. Ascherman Professor of Economics, also participated in the discussion.