Glastonbury Festival in Somerset, England, is the largest greenfield music festival in the world, boasting a capacity of a little over 200,000 people daily. While the festival is taking a year off in 2018, it’s clear the UK festival is still hard at work preparing for next year. Most recently, Glastonbury has made waves with its announcement that it will be banning plastic bottles on site when it returns in summer of 2019 ahead of its 50th anniversary in 2020.With an estimated one million plastic water bottles used during the course of the five-day event, festival organizer Emily Eavis told BBC 6 Music that the new ban “is an enormous project; it’s taking a lot of time to tackle with all the different people we work with.”As noted by The Guardian, the plastic bottle ban falls in line with the five-day festival’s previous efforts to be environmentally friendly. In 2014, Glastonbury offered stainless-steel bottles and introduced water kiosks for cost-free water refills, while in 2016, the festival added reusable stainless-steel pint cups (though the festival designed the cups to be “non-aerodynamic, to minimise injuries from throwing”). In 2016, the festival also started a “Love The Farm. Leave No Trace” initiative, which the new plastic bottle ban seems to be piggybacking off of.[H/T Consequence Of Sound]
17-year-old Llantrisant, Wales native Lloyd Gunton has been handed a life sentence after being convicted of plotting a terror attack at Justin Bieber‘s June 2017 show in Cardiff. He will serve at least 11 years in prison before being given the opportunity for parole.In November of last year, Gunton was found guilty of planning the foiled attack, which was set to take place just weeks after an Islamic State-inspired bombing claimed more than 20 lives at Ariana Grande‘s May 22nd concert in Manchester, England. As The Guardian reports, prior to Bieber’s Cardiff, Wales show, Gunton researched the security in place for the performance. He also penned a “martyrdom letter,” recovered when authorities raided his home on the day of the show. It read:“I am a soldier of the Islamic State. I have attacked Cardiff today because your government keep on bombing targets in Syria and Iraq. There will be more attacks in the future.”When they raided his home, police also found a backpack containing a knife and a claw hammer. According to The Guardian, jurors at Birmingham crown court, where the case was tried, were told Gunton had also written a note with bullet points including “run down the non-believers with a car” and “strike the infidels who oppose Allah in the neck.”The defense for Gunton, who is on the autism spectrum, argued that the teenager was simply curious about the Islamic State (ISIS), and had no intention to actually carry out a terror attack. As The Guardian reports, “He told the jury he had a ‘stupid interest in the gory’ and was curious about ISIS, but claimed he had no intention of carrying out a terrorist attack…In the witness box, Gunton said he did not possess a copy of the Qur’an, did not believe in Islam and ate ham.”As Gunton told the court during his trial, “I wanted to see how easy it was for people who had an interest in terrorism to go online and get information, because the police and the government are trying to crack down on terrorism and radicalization. I wanted to see if it was possible, not for me, but from someone else’s point of view.”During sentencing, the judge did not let Gunton’s disorder affect his decisions, explaining:Yours is not a condition from which you will recover… It is important that, having been tempted to commit a serious offence such as this, you are under some form of supervision for the rest of your life.You can read the judge’s full verdict and sentencing explanation here.[H/T The Guardian]
Nine Inch Nails have officially released their first single, “God Break Down The Door”, from the upcoming album, Bad Witch, due out June 22. Bad Witch is the final volume in the trilogy that began with 2016’s Not The Actual Events and 2017’s ADD VIOLENCE. Listen to the new track below:<span data-mce-type=”bookmark” style=”display: inline-block; width: 0px; overflow: hidden; line-height: 0;” class=”mce_SELRES_start”></span>Last week, the industrial rock band announced the Cold and Black and Infinite North America 2018 Tour for this fall. The band have an extensive global tour that will bring them across the world this summer, before spending the fall in North American with support from The Jesus and Mary Chain. To encourage fans to explore the music of each opening act, frontman Trent Reznor has curated a playlist of their songs, which you can listen to here.Starting September 13, the band will bring their reinvented concert to some of the most iconic venues in the USA–including two-night stands at Colorado’s Red Rocks Amphitheatre (September 18 and 19), New York City’s Radio City Music Hall (October 13 and 14), and the Aragon Ballroom in Chicago (October 25 and 26). It will culminate with four shows at the Palladium in Los Angeles (December 7, 8, 11 and 12).According to a press release, the band is taking a new attempt at getting their tickets directly into the hands of fans instead of resellers. Read below for full instructions on how to snag yours in person on Saturday, May 19:The band will be selling all seats to the tour in person at The Physical World presale events, taking place May 19th at each venue’s box office, with the exception of Red Rocks for which the presale will take place on May 20th at the Denver Coliseum Box Office.All seats (including the best seats) will be available for purchase in person only, first come, first served. Fans can purchase up to four tickets per show. Visit this website for a complete list of box office locations and further information. Limited quantities of tickets may be released via additional ticketing channels, subject to availability, at a later date to be announced. Ticket inventory available via phone and online channels will include ADA tickets.Set for release on June 22, Nine Inch Nails’ Bad Witch is now available for pre-order here. Fans who pre-order the record in digital format or from the band’s website will instantly receive a download of “God Break Down the Door”.
Voodoo Dead has announced an additional date on their upcoming Colorado run, set to take place at Boulder’s Fox Theatre on Sunday, November 11th. The band, an all-star tribute to the Grateful Dead colored by the spirit of American roots music and the character of New Orleans, will feature bassist Oteil Burbridge (Dead & Company), guitarist Steve Kimock (The Other Ones, RatDog), keyboardist Jeff Chimenti (Dead & Company), and drummer John Kimock (Mike Gordon), and some as-of-yet unannounced special guests. The newly announced Boulder date on November 11th will come on the heels of two previously announced Colorado shows that week, on Friday, November 9th and Saturday, November 10th at the Gothic Theatre in Englewood, CO.Voodoo Dead Welcomes Brandon “TAZ” Niederauer For Meters Cover In NYC [Photos/Video/Full Audio]Voodoo Dead debuted in 2015 during NOLA Jazz Festival as a supergroup with Steve Kimock, Bill Kreutzmann, Jeff Chimenti, Dave Schools, and Keller Williams. With a slightly varied lineup, it’s gone on to become an annual late-night staple at JazzFest in addition to playing a sold-out Northeast tour in February 2017. Voodoo Dead also amazed fans on Jam Cruise 16 with two guest-heavy performances featuring collaborations with Roosevelt Collier, Jen Hartswick, Tom Hamilton, Kat Wright, and others. The band has also included such outstanding players as George Porter Jr., Wally Ingram, Papa Mali, and many more.Tickets for Voodoo Dead’s newly announced Boulder show go on sale this Friday, September 14th at 10 a.m. local time here. Tickets for Voodoo Dead’s Gothic Theatre shows are now available here.
On Friday, October 26th, Bob Weir and Wolf Bros continued their cross-country trek with a performance at Salt Lake City, Utah’s Eccles Theater. Bobby, drummer Jay Lane, and bassist Don Was kicked off the show with a first-set mix of Grateful Dead favorites (“Friend of the Devil”, “I Need A Miracle”, “Althea”, “West L.A. Fadeaway”), RatDog cuts (“Even So”, “October Queen”), and classic covers (“Good Morning, School Girl”, “Queen Jane Approximately”).Set two got significantly more interesting. After beginning with Little Feat‘s “Easy To Slip”, and Rob Wasserman‘s “Easy Answers”, Weir and company commenced their second “Dark Star” of the tour. As he’s made a habit of with Dead & Company, Bobby spread the “Dark Star” out amid interspersed song selections. This time, the first verse of “Dark Star” led into “Tennessee Jed”. “Jed” led back into a brief instrumental “Dark Star” interlude, which in turn shifted gears into “Cassidy”. From there, the band worked its way back into “Dark Star” for the song’s second verse before once again touching on “Cassidy” and, finally, landing in Bob Dylan‘s “All Along The Watchtower”. The band followed-up this complex segment with a heartfelt reading of The Beatles‘ “Dear Prudence” before finishing up with “Turn On Your Love Light” and encoring with their third Dylan song of the night, “It’s All Over Now, Baby Blue”.You can watch a selection of fan-shot videos from Bob Weir and Wolf Bros’ Salt Lake City performance below:Bob Weir and Wolf Bros – “Good Morning, School Girl” [Sonny Boy Williamson cover][Video: malady]Bob Weir and Wolf Bros – “Friend of the Devil”[Video: malady]Bob Weir and Wolf Bros – “Althea” [Partial] Bob Weir and Wolf Bros – “Dear Prudence” [The Beatles cover, Partial] Bob Weir and Wolf Bros – “Tennessee Jed” [Partial] Bob Weir and Wolf Bros – “Dark Star” [Verse 1] View VideosBob Weir and Wolf Bros tour continues tonight, Saturday, October 27th, with a performance at Kiva Auditorium in Albuquerque, NM. For a full list of their upcoming dates, head to Weir’s website here.Setlist: Bob Weir and Wolf Bros | Eccles Theater | Salt Lake City, UT | 10/26/18Set One: Good Morning, School Girl, Friend of the Devil, I Need A Miracle, Queen Jane Approximately, Althea, Even So, October Queen, West L.A. FadeawaySet Two: Easy to Slip, Easy Answers, Dark Star (verse 1) > Tennessee Jed > Dark Star (instrumental) > Cassidy > Dark Star (verse 2) > Cassidy > All Along The Watchtower, Dear Prudence, Turn on Your Love LightEncore: It’s All Over Now, Baby Blue
**featuring Z-Trip, Cut Chemist on turntables and samplers, Wil Blades on Hammond B3 Before we knew it, DJ Williams had started sneaking in the chicken-scratch riff that announces KDTU’s much-beloved swag anthem “Groove On”, a song that encapsulates this band’s glorious halcyon era maybe more than any other. This joint had been on the shelf for many years, after being an integral part of KDTU’s repertoire for a decade. It had also been a long time since we’d heard Karl lecture the “fellas” on gettin’ themselves right, before they step up to try and talk to a lady. That humorous banter was always the introduction to this steezy staple, and everybody in The Fillmore that remembered the time, knew precisely what was coming. Keyboardist David Veith tickled the Fender Rhodes just right, Karl blew his horn and strutted his stuff, bassist Chris Stillwell was the sturdiest of anchors, while drummer Zak Najor pushed the libidinous rhythms towards the sky, not unlike he did back in 2002, his last stint in this band. The full circle nature of this monumental moment was not lost on those of us who’ve been riding on the Tiny Universe train a very long time. KDTU is steamrolling into 2019, “twice as nice, twice as strong.” At 62 years young, it’s crystal clear that Karl Denson still has got his groove on, and he’s showing zero signs of stopping. After one hundred minutes of steamy, sexy, birthday funk, on this San Francisco night, the Diesel was the best in town. Denson invited longtime pal Z-Trip to the stage and the renowned DJ assumed his position behind an enormous station, with turntables, a mixer, samplers and more. Williams started up the beefy riff to Lenny Kravitz’s deep cut “Straight Cold Player” and Z-Trip took the reigns, leading the band in and out of the funk, scratching and mixing breaks while Denson and his squad burrowed through the burly jam. Chali 2na reappeared, he stepped up and showed out with a hot verse in his inimitable magnanimous baritone. As the Tiny Universe caught wreck, Z-Trip veered in and out of Public Enemy (“Rebel Without a Pause”) and LL Cool J (“Going Back to Cali”) for a thrilling segment. Denson then led the boys into a trifecta of tracks off their forthcoming album Gnomes and Badgers, due in the Spring. “I’m Your Biggest Fan” was probably the best of the bunch, more of the old-school soul-dream funky-jazz vibe that was KDTU’s bread and butter for a very long time. The newer material is spiced with a blues-rock edge that is enhanced by Seth Freeman’s Stratocaster style and slide guitar touch. On these three new joints from the long-anticipated follow up to New Ammo, it appears KDTU has found a happy medium between the glorious grooves of yesteryear, and Karl Denson’s (of the Rolling Stones!) modern-day fascination with classic rock n’ roll. Opening with a couple uptempo pop numbers in “My Baby Likes to Boogaloo” and “Shake it Out”, Karl Denson grabbed the mic and fronted the band, singing and offering some choreographed dancing with veteran trumpet sideman Chris Littlefield. Denson made sure both his band and the audience was properly limbered up and loose, prepared to get the show underway from the stage and the dancefloor alike. Reaching back over fifteen years, KDTU uncorked a massive take on “The Bridge”, including a groovy reworked outro-jam, chased by a mouthwatering re-entry into the classic. Guitarist DJ Williams really shined on the new “The Bridge”, offering a series of lusty, Isaiah Sharkey-like licks. Karl, on the other hand, unveiled something of a beloved rarity these days, in the form of a lengthy, scintillating, downright sexy flute solo. *featuring Chali 2na on vocals From there, Karl and company entered the home stretch, and dipped into the reggae-skank’d R&B of “Mighty Rebel”, another deep cut, this one found on 2009’s Brother’s Keeper. For the encore, Z-Trip returned (along with Cut Chemist) for a torrid run through Beastie Boys’ “Sure Shot.” Z-Trip had something special up his sleeve for the hardcore Denson heads; while the band bobbed and weaved through the Ill Communication classic, the DJ scratched in the nugget of all nuggets: the badass break from “Ruffneck Jazz”, the debut LP from DJ Greyboy that features, you guessed, Karl Denson. The California brotherhood continued when Bay Area favorite son and Hammond organist extraordinaire Wil Blades joined David Veith on the keyboards. The squad closed out with DJ Williams original “New Ammo”, and with that wrapped up two tremendous nights at The Fillmore. On the first night, Friday December 28th, NOLA stalwarts Dumpstaphunk came out for direct support. In one of the bigger surprises in recent memory, Dumpsta welcomed Bay Area icon Carlos Santana to the stage for a soaring sit-in on a white Fender Stratocaster. Unfortunately, there were too many incredible musical options in the area, so on the 28th this writer found himself at the Erykah Badu show at The Warfield (read my review here.) Therefore, for the purposes of this story, we will skip to the following night at The Fillmore, where Jurassic 5 alumni Chali 2na and Cut Chemist dropped a proper duo set to open the festivities; two turntables and a microphone warmed up a capacity crowd before KDTU took over The Fillmore with a positively mammoth performance. In celebration of their bandleader’s 62nd birthday, Karl Denson’s Tiny Universe strutted into San Francisco in late December for their customary engagement at The Fillmore, a historic room Karl D has been packing for many years. For their final California shows of 2018, KDTU started their BDay/NYE run in San Diego, calling on old friend (and local SD favorite) Z-Trip to join them onstage for a funky-live-hip-hop segment, before traveling north to the Bay for a boisterous two-fer with the venerable DJ in tow. The boys arrived to a blustery Bay Area primed for a proper celebration, and rest assured they did not disappoint. KDTU Setlist 12/29/18 The Fillmore, San Francisco, CA.-My Baby Likes to Boogaloo, Shake It On, The Bridge, What if You Knew, Biggest Fan, -Z-Trip segment- Straight Cold Player* > Rebel Without a Pause> Going Back to Cali, Freedom, Nowhere to Run, The Answer, Groove On, Mighty Rebel. Encore- Sure Shot**, New Ammo words: B.Getz Z-Trip sliced up a passionate benediction from poet Saul Williams, and KDTU took that handoff and (appropriately) ran all the way to “Freedom”, unveiling a rollicking Afrobeat style for the first time in a while. Seth Freeman shined bright on guitar and vocals, fronting drummer Zak Najor‘s cut “Nowhere to Run.” The KDTU wayback-machine then continued with the salacious R&B come-on “The Answer,” the old-school chestnut once a treasured Tiny Universe track before Karl benched it for a few years, as he leaned a bit harder into rock and blues.
If slavery and totalitarianism were the great moral issues of the 19th and 20th centuries, then the worldwide oppression of women and girls will be the defining issue of the 21st, said Nicholas D. Kristof, Pulitzer Prize-winning columnist for The New York Times, in a talk Monday (Sept. 27) at Harvard Medical School’s Carl Walter Amphitheater.Ending that oppression is an issue not only of justice but also of economic progress, Kristof said. Educating girls and empowering women to enter the labor market or run businesses — even on a small scale — makes a huge difference in a community’s economy. Empowered women may help lower poverty rates and diminish support for terrorism, he said.“Women are more likely to invest money or assets in their children or small business, and men are more likely to spend on instant gratification, like alcohol, cigarettes, prostitution,” said Kristof.Kristof’s talk, “Half the Sky: A Journalist Reports on Women Around the World,” combined two lecture series: the Lawrence Lader Lectureship on Family Planning and Reproductive Rights and the George W. Gay Lecture, the oldest endowed lectureship at the Medical School.Kristof’s most recent book, co-written with his wife, Sheryl WuDunn, is “Half the Sky: Turning Oppression into Opportunity for Women Worldwide.” It was published last September by Knopf, but the first spark came in 1990, when Kristof wrote about a girl living in rural China who was forced to drop out of school because her parents lacked the $13 it would cost to keep her there. The column led to donations from readers, including what Kristof thought was a $10,000 gift. Turns out, he told the audience, that the bank had mistakenly added zeroes to a $100 donation but, with some persuasion, agreed to pay the $10,000, which funded a scholarship program for girls in the remote Chinese village.Returning years later, Kristof found that the money for the girls’ education had made a significant difference.“This community really was transformed far beyond the neighboring communities. It is precisely the example of the kind of virtuous cycle … when you bring girls into education and watch what happens,” he said.Kristof asked his audience if there were more men or more women in the world. Most thought there were more women (as in the United States and Europe), but he said that worldwide the male population is greater, mostly likely due to male favoritism in food, medical care, education, and other resources.“In an equitable world, there would be more females,” he said. “In any 10-year period, more girls are discriminated against to death than all of the people who died in all the genocides of the 20th century.”Many in the audience — by a show of hands — had experience traveling and working internationally. Kristof urged them to be aware that they may have to “market” humanitarian aid to draw attention to issues and to create “effective storytelling.”Kristof illustrated this point by sharing stories about girls and women he has met: a 14-year-old Ethiopian girl who suffered horrendous injuries giving birth and was left to die. The girl fended off hyenas through the night, managed to crawl to a missionary’s home 30 miles away, and received medical treatment. She recovered and later became a nurse.He talked about two young Cambodian girls he bought from a brothel in an attempt to help them find a better life. “What struck me the most: When I bought them I got receipts,” he said. “When you get a receipt for buying someone in the 21st century, that is something to shame us all.”And there was the Indian woman whose husband beat her daily but who managed to start her own embroidery business with a $65 loan. Eventually she hired other people in the village—including her husband. The beatings ended.Kristof said, “There is the misperception sometimes [that] the problem is men. It’s really much more complicated than that.”Men eventually realize that opportunities for women open doors for everyone, he said. But women need education and income opportunities.“Women aren’t valued in a society when they don’t bring commercial value to the table; when women bring income to the family, they are valued more in a broader sense,” he said.
Harvard-affiliated scientists at Dana-Farber Cancer Institute have discovered new details of how cancer cells escape from tumor suppression mechanisms that normally prevent these damaged cells from multiplying. They also demonstrated a potential link between this cell proliferation control mechanism and the cognitive deficits caused by Down syndrome.The findings add to a still-sparse understanding of how normal and cancerous cell growth is regulated and have potential implications for improved treatments, say the authors of a pair of articles in Genes & Development.James A. DeCaprio of Dana-Farber said the results may provide new targets both for blocking the progress of cancer and perhaps for facilitating the growth of neurons in the developing brains of infants with Down syndrome.DeCaprio, who is also an associate professor of medicine at Harvard Medical School (HMS), is the senior author, and Larisa Litovchick of Dana-Farber and HMS is the first author of one of the papers. They also are co-authors on the second article, whose senior author is HMS Professor of Medicine Nicholas Dyson of the Massachusetts General Hospital Cancer Center. In that report, the researchers revealed a previously unrecognized link between two cell-signaling pathways, called Rb and Hippo in scientific shorthand, that help regulate the formation of cells and organs during early development. Both pathways are frequently disrupted in cancer.The life of a cell is defined by phases in which it grows, creates a duplicate set of chromosomes, and divides into two daughter cells — all governed by external signals such as growth-stimulating factors and internal “checkpoints.” Cells can also exit the growth cycle in two ways — becoming quiescent or inactive (which most of our cells are most of the time) until they re-enter the growth cycle, or senescent. Cells entering senescence are damaged or nearing the end of their lives, and ultimately die.Cancer cells survive, in part, by ignoring signals to become senescent and continuing to make copies of themselves at will, or by entering a quiescent state from which they can be re-activated. Scientists don’t have a good understanding of how cells negotiate the molecular checkpoints that control these transitions.“Our study identifies a molecular switch required for entry into quiescence and senescence,” said DeCaprio, whose laboratory group focuses on cell cycle regulation.The gatekeeper to cell senescence and quiescence is a group of eight proteins that assemble themselves into the so-called DREAM complex, which helps cells exit the active cycle by turning off more than 800 growth-related genes.A key player that triggers the assembly of the DREAM team is p130, a member of the Rb family of proteins. DeCaprio said the new research highlights p130’s underappreciated role in DREAM action.“We have for the first time linked p130 itself to quiescence and senescence” — the latter contributing to cancer formation, said DeCaprio.The report also for the first time reveals that a molecular switch, an enzyme called DYRK1A, performs a crucial step in assembling the p130-DREAM complex, and thus is a novel control point for quiescence and senescence. When DYRK1A is turned on, it acts through p130 to set in motion the assembly of DREAM, which turns off the growth genes and allows cells to depart the growth cycle and become quiescent or senescent.DYRK1A’s ability to turn off cell growth genes may also be involved in the lower-than-normal development of brain neurons in Down syndrome, say the scientists, who are investigating possible new avenues to treating the disorder.While they tend to have cognitive losses, people with Down syndrome have a markedly lower risk of most types of cancer. DYRK1A is made by a gene on chromosome 21, which is present in three copies instead of the normal two in people with Down syndrome, causing the enzyme to be overproduced.DeCaprio said this abnormal activity could explain both outcomes: DYRK1A-triggered DREAM formation could help suppress cancers by driving them into senescence, and also it would help reduce the generation of brain cells during development.The second paper in Genes & Development describes a functional connection between the Hippo signaling pathway and the Rb pathway that contains DYRK1A. The researchers showed that a component of the Hippo pathway, a protein called LATS2, can activate DYRK1A.The authors said that the LATS2 gene is located in an area frequently missing in cancer cells, suggesting that LATS2 might be a new control point for suppressing cancer cell growth.Co-authors on the first paper, along with Litovchick and DeCaprio, are Laurence Florens, Selene Swanson, and Michael Washburn of the Stowers Institute for Biomedical Research in Kansas City, Mo. The research was funded by grants from the U.S. Public Health Service and the Department of Defense.Authors on the second paper, in addition to Dyson, are first author Katrin Tschop of MGH Cancer Center; Andrew Conery and Ed Harlow of Harvard Medical School; Litovchick and DeCaprio of Dana-Farber; and Jeffrey Settlema of MGH Cancer Center. The research was funded by the National Institutes of Health.
When Harvard acquired the archives of conductor Sir Georg Solti in May, the Loeb Music Library had many reasons to celebrate.Solti, a Hungarian best known for conducting the Chicago Symphony Orchestra, is widely regarded as one of the greatest conductors of the 20th century, earning the record for most Grammy Awards before his death in 1997.But as the musicians and scholars from Harvard and Greater Boston who gathered at the Loeb Music Library on Wednesday (Oct. 26) would attest, the archives are much more than a boon for historians. They also represent an insight into the art and science of conducting, thanks to Solti’s extensive and meticulous notetaking on his many scores.“He loved to share what he was doing,” said Lady Solti (left), “and the thought that these scores would be shared with young people, with young musicians, and eventually with musicians all over the world, that would have been his dream.” Lady Solti was joined by Robert Dennis (center), recordings librarian, and Helen Shenton, executive director for the Harvard Library.And thanks to Harvard, those browned pages are already being digitized and put online for budding conductors around the world.Whether Solti was studying a new score or preparing for a performance or recording of a score he already knew, he always purchased a new copy and annotated it extensively. As a result, the collection has elicited equal parts excitement, awe, and trepidation for the librarians and scholars who have set out to catalog and study it.“All of us agree these are the most marked-up scores we have ever seen,” said Sarah Adams, Loeb’s acting Richard F. French Librarian and acting curator of the Archive of World Music. The cocktail hour honored Solti’s widow, Lady Solti, who was visiting the archives’ new home at Harvard for the first time.This past summer, the library began to digitize the scores for scholars, students, conductors, and musicians.“We’re already seeing a stream of visitors who would like to come and consult the scores, and more often than not they’re interested in seeing very particular passages to see what Solti did in that instance,” Adams said.The archives — the first full ones from a conductor to be housed at Harvard — represent a shift in thinking for Harvard Library, said Thomas Kelly, Morton B. Knafel Professor of Music.“This University is finally beginning to understand the importance of performance in the study of the performing arts,” Kelly said. “Mostly we have scores that are there waiting to become music. Now we have scores … that have become music.”Harvard’s ability and eagerness to put the scores online for a global audience was the deciding factor in finding the Solti archives a home, Lady Solti said. The Solti family agreed they should work with a university that could digitize the archives, and in 2008 they began talks with library staff at Harvard.Finally, after being gathered from locations around the world, being classified and boxed in the Soltis’ London apartment, and getting mixed up again in a moving company mishap, the papers arrived at Harvard this past spring.“It was all fraught with great excitement,” Lady Solti said with a laugh. “These scores were like my baby. It’s very difficult for an old nanny to hand over her child.”The reception marked not just the acquisition of the papers and Lady Solti’s visit, but also the opening of an exhibit at the library, “Music first and last: Scores from the Sir Georg Solti Archive.” The exhibit displays his scores (and his famed red pencil) alongside his surprisingly candid reactions to the performances.Most of his thoughts — his “fears and anxieties” over a Schoenberg piece; his feeling of being haunted by Mozart during a performance at St. Stephen’s Cathedral, where the composer’s funeral was held — were taken from his memoirs, said Robert Dennis, recordings librarian at Loeb, who curated the exhibit with the help of the Weissman Preservation Center.“There was no pretense at all,” Dennis said of the writings of Solti, whom Harvard awarded with an honorary degree in 1979. “He was a mensch — you could tell he just loved working with people.”The crowd was full of musicians, professors, and scholars from around Boston, who turned out see the scores in the flesh and to meet the guest of honor. Hugh Wolff ’75, head of orchestras at the New England Conservatory, called the exhibit a fascinating teaching tool.“My students will be coming out here,” Wolff said.Solti’s scores show students firsthand that conducting is not just an artistic act but a highly intellectual undertaking as well, said Federico Cortese, a senior lecturer on music who is using the Solti materials for a course on Verdi’s “Falstaff.”“It’s very humbling but also very inspiring,” Cortese said. “There’s always something exciting about seeing the work of a great man, whatever the field.”Harvard students have already begun to take advantage of the collection. Matt Aucoin, a Kirkland House senior who turned up for the reception, grew up listening to Solti’s recordings. Now, he said, he’s studying Solti’s marked-up copy of Mozart’s “The Marriage of Figaro,” which he will conduct for the Dunster House Opera Society’s production next spring.“His notes are immensely practical,” Aucoin said, like those of “someone who had never seen or heard it.”The finding wouldn’t surprise diehard fans of Solti, who once told an interviewer he liked to wait at least 10 years before returning to a piece he’d already conducted, according to Helen Shenton, executive director of the Harvard Library. Even then, Solti said, he would never rely on his old notes.“That’s the only way to keep it fresh,” Shenton quoted for the crowd. “A piece you play again and again is a Xerox copy.”For young conductors now studying Solti’s work, the continual joy of the discovery seemed to come through on the page.“It’s a thrill,” Aucoin said.That sort of student engagement with his aging, hash-marked scores is exactly what Solti would have wanted, his widow told the crowd.“He loved to share what he was doing,” she said, “and the thought that these scores would be shared with young people, with young musicians, and eventually with musicians all over the world, that would have been his dream.”
The largest indoor sport fish hatchery in North America is the first ever recipient of the EnvisionTM Gold award for sustainable infrastructure. The award ceremony on July 24 that honored the William Jack Hernandez Fish Hatchery of Anchorage Alaska was the culmination of 6 years of collaboration by the Zofnass Program for Sustainable Infrastructure at the GSD with the Institute for Sustainable Infrastructure to create a rating system for infrastructure sustainability. It also marked the start of a new phase in implementing the Envision standards on a wide scale.The Zofnass Program, directed by Spiro Pollalis (professor of design technology and management), began in 2008 to do for infrastructure what LEED has done for building-scale sustainability: develop and promote tools that help quantify the sustainability of infrastructure, facilitate the adoption of sustainable solutions and expand the body of knowledge regarding sustainable infrastructure. Faculty and student research associates from across Harvard (including the College and Schools of Public Health, Business, Government and Law) worked with the Institute for Sustainable Infrastructure and an impressive team of the largest and most knowledgeable architectural engineering firms to create and disseminate the Envision Rating System.Envision provides a holistic framework for evaluating and rating the community, environmental and economic benefits of all types and sizes of infrastructure projects. It gives recognition to initiatives that use transformational, collaborative approaches to integrate sustainability measures through the course of the project’s life cycle. Read Full Story