Klipsch Music Center AKA Deer Creek Is Now Called “Ruoff Home Mortgage Music Center”

first_imgThe beloved amphitheater in Noblesville, Indiana, formerly known as Klipsch Music Center, previously Verizon Wireless Music Center, but more affectionately remembered as Deer Creek, has announced a new partnership and name on Wednesday: Ruoff Home Mortgage Music Center. According to a press release, the venue has consistently been ranked among the top five amphitheaters worldwide, and the new partner is ranked No. 79 in the Top 100 Mortgage Companies in America in 2016.“We are thrilled to partner with Ruoff Home Mortgage and integrate their brand throughout this legendary venue, which is a major tour stop for some of the world’s most notable artists,” said Marc Abend, senior vice president of venue sales at Live Nation, in a local news story. “In the coming months, we will be announcing a great lineup for the 2018 concert season and Ruoff Home Mortgage will be front and center to engage and connect with music fans.”While name change is common in large concert spaces, the 24,000 seat venue will probably always be known as Deer Creek by Phish fans, who have difficult times letting go of the memorable years between 1995 and 2000 that Phish played the venue a total of 12 times. The Vermont quartet returned to the venue eight times between 2003 and 2010 when it was the Verizon Wireless Music Center, and only three times since 2012 when it became Klipsch Music Center. What might the future have in store?Let’s go back in time to one of the more memorable Deer Creek shows on 8/10/97:[cover photo by Phierce Photo]last_img read more

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nugs.net Adds 60+ Phish Shows And Albums To Subscription Service

first_imgnugs.net has been a go-to resource for fans of jam bands for years now. With their live show downloads, and, in recent years, their subscription service, they have been one of the best places for fans to re-live their favorite live music experiences, as well as catch on to new bands and special shows that happen across the country. One thing that has perplexed fans over the years is the overall lack of music by the scene’s pre-eminent contemporary icons: Phish.Phish has partnered with nugs.net for several years now to power their LivePhish.com download and streaming service. The relationship has been fruitful for fans, but when nugs.net launched their streaming service a few years ago, fans couldn’t help but notice that Phish wasn’t included amongst a variety of bands from the improvisational world such as Dead & Company, Umphrey’s McGee, The Disco Biscuits, and moe., to name a few, as well as more mainstream rock artists such as Red Hot Chili Peppers and Pearl Jam. As the service has grown to include more bands, such as Joe Russo’s Almost Dead, Railroad Earth, and up-and-comers like TAUK, Spafford, Pigeons Playing Ping Pong, and Aqueous, the elusive Phish still evaded nugs.net subscribers’ hook.That all late last week, when nugs.net added 60 officially-released Phish shows ranging from 1989-2016, as well as all of the band’s full collection of studio albums. Highlights include shows from each of the band’s annual 3.0 runs at Dick’s Sporting Goods Park, the Merriweather Post Pavillion “Tweezerfest” from 7/27/14, the famous original “Tweezerfest” show (5/7/94 at the Bomb Factory), their 3-night run in Amsterdam in 1997, all 8 of their “costumed” Halloween shows from over the years, and much, much more.Check out the selection hereHead to the nugs.net website to subscribe to the service.[h/t JamBase][Cover photo – Andrew Blackstein]last_img read more

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John Fogerty & ZZ Top Announce Joint “Blues And Bayous” Tour

first_imgThis spring, John Fogerty (Creedence Clearwater Revival) and ZZ Top will join forces for a U.S. tour. The 24-date run will begin on May 25th at Atlantic City, NJ’s Borgata Spa & Resort Event Center and make its way through much of the East Coast and the Midwest before wrapping up in Welch, Minnesota, on June 29th.The two acts commented on the tour partnership in statements accompanying the announcement. As Fogerty mentions, “ZZ Top is one of my favorite bands, and Billy Gibbons is one of my all-time favorite guitarists. Riffs, blues, and bayous…bucket list!!” As Gibbons said of Fogerty, “John Fogerty along with ZZ Top have been followers of blues and rock since the beginning, and we’re looking forward to rippin’ it up together this spring. We’ve got a great show lined up for ya’!”See below for a full list of “Blues & Bayous Tour” dates. Tickets go on sale Friday, March 2nd at 10 a.m. local time. Pre-sale tickets will be available on Tuesday, February 27th at 10 a.m. local time. For more information, head to Fogerty’s website or ZZ Top’s website.John Fogerty & ZZ Top “Blues and Bayous” Tour Dates:May 25 – Atlantic City, NJ @ Borgata Spa & Resort – Event CenterMay 26 – Holmdel, NJ @ P.N.C. Bank Arts CenterMay 27 – Uncasville, CT @ Mohegan Sun ArenaMay 29 – Vienna, VA @ Wolf TrapMay 30 – Vienna, VA @ Wolf TrapJune 1 – Pensacola, FL @ Pensacola Bay CenterJune 2 – Clearwater, FL @ Coachman ParkJune 3 – West Palm Beach, FL @ Coral Sky AmphitheaterJune 5 – St. Augustine, FL @ St. Augustine AmphitheaterJune 6 – Atlanta, GA @ TBAJune 10 – Oklahoma City, OK @ Zoo AmphitheaterJune 12 – Chicago, IL @ TBAJune 13 – Noblesville, IN @ Ruoff Home Mortgage Music CenterJune 14 – Cincinnati, OH @ Riverbend Music CenterJune 16 – Southaven, MS @ BankPlus Amphitheater at Snowden GroveJune 17 – Maryland Heights, MO @ Hollywood Casino AmphitheaterJune 19 – Youngstown, OH @ Covelli CentreJune 20 – Wantagh, NY @ Northwell Heath at Jones Beach TheaterJune 22 – Gilford, NH @ Bank of NH PavillionJune 23 – Canandaigua, NY @ Marvin Sands Performing Arts CenterJune 24 – Camden, NJ @ BB&T Pavilion*June 26 – Mt. Pleasant, MI @ Soaring Eagle Casino & ResortJune 27 – Detroit, MI @ DTE @ Energy Music TheatreJune 29 – Welch, MN @ Treasure Island Resort & Casino*with Willie Nelson[H/T Rolling Stone]last_img read more

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Buddy Guy Brings The Blues Back To Life At The Novo In Los Angeles

first_imgPhoto: Brandon Weil Load remaining images In today’s music landscape, the blues is both everywhere and nowhere—well, almost nowhere. Strains of what is arguably America’s most consequential contribution to world music can be found in places both obvious (rhythm and blues, rock, country) and not so obvious (hip-hop, electronic dance music).But the rolls of honest-to-goodness bluesmen and blueswomen are slim, and thin each year.In 2015, B.B. King, 89, and Wendell Holmes, 71, both passed. 2016 claimed Prince, 57, and Maurice White, 74, whose respective repertoires were offshoots of roots that trace back to the Delta. Come 2017, two of the greats who paved the way from the blues to rock n’ roll—Chuck Berry, 90, and Fats Domino, 89—went knocking on heaven’s door.Those losses have hardly been attended by the requisite replenishing of their ranks. Guitarists from John Mayer to Gary Clark Jr., Son Little to Dan Auerbach, Derek Trucks to Jack White have done their part to fill the void. But even their extraordinary efforts and talents have only done so much to keep the music alive, to make sure the blues has its own story to tell beyond the inheritance it has left to its musical descendants.Which makes what happened at the Novo in downtown Los Angeles on a pleasant mid-March night not only revelatory in its own right, but vital to the very existence of the blues.That was evident as soon as Buddy Guy strolled onstage on Sunday night. The 81-year-old patriarch of Chicago blues bypassed opening pleasantries and dove straight into a ripping solo to triumphantly declare “Damn Right, I Got The Blues.”“If you don’t like the blues,” he told the audience at the 2,300-seat theater, “you shouldn’t have called me.”Nobody there seemed anything less than thrilled to see Buddy in all his rocking, raunchy, age-defying glory. The whole front section stood and cooed through “Hoochie Coochie Man,” egged on by (and egging on) Guy’s erotic embrace of his guitar. Their support had Buddy blustering after “She’s Nineteen Years Old,” like a sailor fresh off the boat, “Y’all gonna make me play all fucking night. I don’t care.”Granted, it wasn’t all sunshine and rainbows between the octogenarian and his adoring fans. When the crowd flubbed the lyrics to “Hoochie Coochie Man”, he let them know about it, with plenty of profanity as well as praise…for an audience in Tokyo that knew the words better.By and large, though, Buddy was there to give attendees young and old more than a taste of America’s musical foundations. He painted a portrait of a musical Renaissance Man whose career carried him from the Bayou to the Windy City and on to every other place where music is treasured.With a hat that read “Buddy Guy, Our Friend For Life” and the initials “BG” glimmering from his guitar strap, he regaled a receptive audience with tales told with both his tunes and his words. He sang of what it was like going back to Louisiana on “That’s My Home”, shared his mother’s wisdom that physical beauty is only “Skin Deep”, and flashed back to recording with Chicago blues legend Sonny Boy Williamson before bounding into “Who’s Making Love”. He shared stories of playing at a Stanford fraternity in the 1960s, where he wasn’t paid but was appreciative to have been offered a place to stay, and of bringing his Muddy Waters record to school in hopes of scoring music lessons.But Buddy didn’t stay stuck in his own past. He shared his interpretations of where the blues went, from its blossoming with John Lee Hooker’s “Boom Boom” and King’s “Sweet 16” to subsequent distillations through the Rolling Stone’s “Satisfaction,” Jimi Hendrix’s “Voodoo Child” and Cream’s “Strange Brew.”He also acknowledged, both explicitly and implicitly, how changing attitudes in the wider world had altered his own. He credited the rise of hip-hop for his frequent cursing, and gave a nod to the #MeToo movement when, before some particularly edgy tunes (including Johnnie Taylor’s “Cheaper to Keep Her”), he reminded all within earshot that “I didn’t write these fucking songs. I’m just playing them.”Throughout a raucous romp that raged well past the designated 10:30 p.m. stop time, he channeled guitar savants from Hendrix to Tom Morello in showing off all the different ways to play. He plucked his string with a drumstick and strummed with a towel during a rendition of Little Milton’s “Grits Ain’t Groceries,” used his teeth to find tones during his brief ode to Jimi and rubbed the frets across his rear end while turning out his version of “Sunshine Of Your Love.”His most important work, though, wasn’t entirely what he did on stage. Buddy played his own classic, “Someone Else Is Steppin’ In,” while slipping out to the audience. He shuffled all the way to the bar on the opposite end of the venue, where revelers could experience his artistry up close, before circling back around to the front of the house.Along the way, he found a friend in the crowd: a seven-year-old named Quinn, who came equipped with his own guitar. Buddy invited Quinn onto the stage, where he showed the kid some tricks as they played Stevie Ray Vaughan’s standard “Pride and Joy.” “Whatever stage you be on from now on,” Buddy told Quinn, “put it on.”That same advice applied just as well to Buddy’s opener, Brandy Zdan. The Canadian rocker interrupted a run of her own plucky punk-ish songs, among them “More of a Man Than Me” and “I Want Your Trouble,” to show off her own eight-bar blues prowess with a riveting interpretation of Blind Willie Johnson’s “Nobody’s Fault But Mine.”In truth, Buddy’s message was one for the masses, the youth included. He won’t be around forever to captivate and inspire on behalf of the blues. Someday, he will go the way of so many of his contemporaries. The blues can survive on the brilliant efforts of the genre’s current, aforementioned heirs. But for the blues to thrive, to find renewed life in forms of music that have yet to be invented, its proprietors must extend a wider, deeper reach across times and places and generations. It’s a commendable, perhaps necessary effort that Buddy began when he moved from Baton Rouge to Chicago in 1957 and has continued in the six decades since then. With any luck, the Rock and Roll Hall of Famer will find, if not forge, more than a few musical scions before his playing days are done, to ensure that the thread shared by seemingly all American music still has a distinguishable presence within the planet’s ever-expanding sonic tapestry.Check out the gallery below, courtesy of photographer Brandon Weil.Buddy Guy | The Nova | Los Angeles, CA | 3/10/18 | Photos: Brandon Weillast_img read more

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Blackberry Smoke, The Marcus King Band, The Trongone Band To Play Summer Jam

first_imgOn Saturday, June 23, the Allman Brothers Band Museum at the Big House will host their annual Summer Jam at the Kingsland Farms in Hawkinsville, GA. The one-day event will see performances by Atlanta rockers Blackberry Smoke, blues-soul singer/songwriter/guitarist The Marcus King Band, and Richmond, VA’s jammers The Trongone Band. All three acts have a musical connection to the music originated by the Allman Brothers Band, so Summer Jam serves as somewhat of a continuation of their legacy.The event will provide food and beverages, as well as free and ample parking. For more information and to buy tickets, head to The Big House website.If you haven’t yet visited the Big House, make sure that you do at some point. You’ll see instruments, sheet music, personal photographs, clothes and other belongings once held by members of the originators of the 1970’s new sound dubbed “Southern Rock.” A walk through the house includes the instrument room where the band practiced, Duane Allman’s bedroom, Berry & Candace Oakley’s “casbah” and the kitchen where “Ramblin Man” was written. When the band sang “Please Call Home,” they were talking about The Big House. Come see it for yourself and relive the music, the vibe and the love shared by Allman Brothers Band fans worldwide. More information on the Big House website.last_img read more

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FoCoMX: Celebrating 10 Successful Years Supporting The Northern Colorado Music Scene

first_imgNorthern Colorado has become a hotbed of musical activity over the last decade, if not longer. Fort Collins and the surrounding areas are essentially a nurturing gestation hub for talent from across the spectrum. You name it—jam, folk, reggae, bluegrass, hip-hop, jazz, funk, indie rock, country, singer-songwriter, classical, experimental, electronic—and whatever strikes your mood on any given day, you can find it. With the inception of FoCoMX – Fort Collins Music eXperiment ten years ago, the slow build to becoming Colorado’s largest musical showcase (300+ bands, 30+ venues, 2 days) has been achieved, with new heights exceeded year after year. (Check out the full schedule of events here.)Presented by the Fort Collins Musicians Association and Odell Brewing Co., FoCoMX is $35 for a wristband that will get you into every event over the course of the weekend, which begins on Friday, April 27th, and runs through Saturday, April 28th. Additional sponsors include The Bohemian Foundation, Colorado State University, 105.5 – The Colorado Sound, and more. The festival’s main venues include the Aggie Theatre, Hodi’s Half Note, the newly opened Washington’s, Downtown Artery, The Magic Rat, Surfside 7, and Fort Collins Museum of Discovery, along with plenty of breweries and pubs on tap to grab some locally made barley-laced ales—making for one pretty epic weekend of venue hopping, having fun, and seeing live music. Get tickets here!FoCoMX 10 Promo Video[via FC Public Media]A few of the artists on the laundry list of talent include Patti Fiasco, Musketeer Gripweed, Stella Luce, Skydyed, Kind Dub, Colony Funk, Strange Americans, Brent Cowles, Slow Caves, Porlolo, Michael Kirkpatrick & The Honey Rider Band, Roots Massive, and Gasoline Lollipops. The festival will also see Jello Biafra of the Dead Kennedy‘s spinning vinyl at the Downtown Artery on Saturday, a laser Grateful Dead set at the Museum of Discovery, and a silent disco at Old Town Square with Beyond Existence, plus the 53:14 Music Video Experiment gives filmmakers and musicians a limited window (53 hours and 14 minutes) to conceive, shoot, edit, and deliver an original music video.FoCoMX is a massive undertaking, and it truly takes a community to, not only lend its support but to put every piece of the puzzle into place. We caught up with FoCoMA President and Co-Founder Greta Cornett and several artists that have played multiple FoCoMX’s over the years, such as Matt Mahern (aka P-Mann), Alana Rolfe, Stu Crair, Peter Knudson, and Shane Zweygardt, to discuss the importance of the event to the local contingent as well as some fun memories from past years.FoCoMX’s President & Co-FounderLive For Live Music: How did the idea for FoCoMX come about?Greta Cornett: FoCoMA, our non-profit that presents the festival, holds an Annual Peer Awards that precedes the festival by one year. It’s kind of like a local Grammys for our scene—red carpet, dress up, nominate and vote for “Best Of” categories. At our very first Peer Awards, one of the things we kept hearing was that our musicians wished they had a chance to see some of the artists perform before they had to vote on them; maybe they had never heard of the artists, maybe they hadn’t had a chance to see them live yet. So we thought to ourselves, next year we should have a showcase the weekend before so that everyone can have a chance to check some of these groups out. We thought it might be four venues, maybe sixteen bands. But year one, we had so much support from our musicians and also our community that it ended up being with 100+ bands and 12 venues. Which really seemed like a lot at the time…L4LM: It’s been 10 years, how has the event evolved from year one?GC: Well, this is most definitely a grassroots effort in its sincerest form. It’s a festival for musicians put on by musicians. We did the first FoCoMX out of my living room. We were a very new non-profit with no funding when we started this thing, so we did trades for printing which allowed us to handmake our tickets that first year. We used our personal money and went to Office Max, bought matching wristbands and paper (and our only choices were neon). We took those to Rock n Robins and sold them to the public. When we would sell a few and have a little more money, we would go back to Office Max to buy more paper and wristbands and start the process all over again. This went on night and day for weeks.We thought we might sell a couple hundred if we were lucky, but we ended up selling a couple thousand. We were pumping out those homemade tickets 24/7 the week, and most definitely the weekend of the festival. We bought Office Max completely out of wristbands and ended up borrowing random ones from the Sustainable Living Fair. There are so many things that have changed since that first year, but one thing that’s stayed the same is that we want to make this about our local music scene and create a community around it.L4LM: Where do you take things from here?GC: Probably one of my favorite things about FoCoMX is that it really is a community event where our community takes ownership over deciding where it goes. We try really hard to let it evolve into what it needs to be, to let it help our scene shine and to offer support in whatever shape that support might look like each year. FoCoMX stands for the Fort Collins Music eXperiment. Everyone calls Fort Collins FoCo for short. We went with the “M” for Music and the “X” for eXperiment because we were not sure if it would work that first year. Some people have asked us why we still call it an eXperiment since it’s been successful, but we wanted to keep that so that we never forget to try new things each year. I’m really proud that it’s something that our community has embraced and that we’ve been able to grow it in a way that we hope will continue to be a sustainable event in Fort Collins that people really look forward to attending.Matt Mahern & Constitution “Out On The Road”:[via Matt Mahern]The ArtistsLive For Live Music: What band or bands do you play in?Matt Mahern: Matt Mahern and Constitution, Ginger Whale, Lindsay O’Brien BandAlana Rolfe: Stella LuceStu Crair: Musketeer Gripweed, Dead FloydPeter Knudson: Patti Fiasco, Lindsey O’Brien BandShane Zweygardt: Wire Faces, Floor ModelsMusketeer Gripweed – “A-Train”[via MsktrGripweed]L4LM: What sets are you playing and where?MM: Solo set – Friday – 5:30 at Equinox / Ginger Whale – Saturday – 6:00 at Hodi’s / LOB –  Saturday – 7:00 at Hodi’s / Matt Mahern and Constitution –  Saturday – 11:15 at MainlineAR:  53:14 Music Video Festival – Friday – 6:15 at Lyric Cinema / Stella Luce – Saturday – Midnight at Hodi’s.SC: Musketeer Gripweed – Friday – 8:30 at Washington’sPK: Patti Fiasco – Friday – 11pm at Washington’s / Lindsey O’Brien Band – Saturday – 7:00 at Hodi’s.SZ: Floor Models – Saturday – 9:15 at The Whiskey / Wire Faces – Saturday – 10:30 at Downtown ArteryThe Patti Fiasco – “Rock n’ Roll Saved My Life”[via Patti Fiasco]L4LM: How many FoCoMX’s have you played in?MM: All 10AR: All 10SC: All 10 baby!PK: I’ve been a proud participant for, I think, 8 of them!SZ: I have played in nine of them!Stella Luce –  “Breeze”[via Alana Rolfe]L4LM: What is the best thing about FoCoMX?MM: I think one of the best things about FoCoMx is the crowds. It really doesn’t matter where you play, there is a built-in crowd really eager to see live music. With that out of the way, all you need to worry about is showing up and doing what you do best.AR: It’s local musician Christmas! People care about us more one weekend of the year, and we’re all nicer to and happier than usual.SC: In so many music communities I have lived in, there is a lot of competition between bands of different genres. In FoCo, there is a genuine collaborative effort to keep the music scene healthy, and all seem to support that in some fashion. FoCoMX is a great celebration of the community we’ve all helped to build over the years, and I get to enjoy some of the bands I might not normally make it out to see otherwise.PK: This festival is very important for all levels of musicians. The beginners get to cut their teeth in a go-go-go festival atmosphere—i.e. “Get your sh*! off stage very quickly!” The pros get to play to the most appreciative, enthusiastic crowds all year. The early set times give a lot of music fans a chance to check out the scene without staying up late. Win-win, baby!SZ: The sense of camaraderie and respect for your fellow local musicians that FoCoMX cultivates.Skydyed – “Memory Meditation”[via Skydyed Music]L4LM: How important has the event been to the local scene, and your own career, in particular?MM: I would say it sets Fort Collins apart from other music towns. There are not a lot of places that do something like this, and it’s not based on commercialism. It’s like a homage to all the great musicians and music lovers in this town. It really shows the Fort Collins thinks Music is important.AR: I think this event has been instrumental in exposing the local music in the Front Range to those who could or would otherwise ignore it. It cannot be ignored during FoCoMX!SC: It’s a form of a homecoming and allows me to stay in touch with so many musicians I respect but don’t see often. I think it really expands this sense of community here, which is such a big part of FoCo living, and keeps those relationships active, which only helps the scene and keeps us all moving this collective idea of what Northern Colorado music is all about forward.PK: My favorite memory is when I did seven shows: four on Friday and three on Saturday. Whew! The fans definitely kept me energized for every show. So much fun! I’m looking forward to another awesome event!SZ: Extremely important. I would be wearing sequined-jumpsuits, waking up in a pool of my own vomit, bloated, purple, dead on a toilet if it weren’t for FoCoMX.Brent Cowles – “Cold Times”[via Brent Cowles]L4LM: Tell us your favorite memory of playing the event.MM: There are so many, but one that comes to mind is one year Ginger Whale played at Choice City. There was an elderly couple sitting right next to the stage. At first, I was concerned because Ginger Whale can be pretty raucous at times. But a couple of songs in, I looked over and this couple was loving it. Hooting and hollering right back at us. That really sums it up for me. All ages and walks of life come out that weekend and support the great music in Fort Collins.AR: Two years ago at Surfside 7, Stella Luce killed “Surrender” by Cheap Trick. The entire place was jumping, chanting “Mama’s All Right, Daddy’s All Right!” I never thought we’d cover Cheap Trick, let alone be accepted doing so. Life is funny.SC: In one of the earlier years of the festival, Dead Floyd performed the Dark Side of the Moon album live to the Wizard of Oz movie behind us at the Aggie Theatre. It was a massive undertaking with a big production team, multiple movie screens, extra musicians, and more. I thought we absolutely crushed it, hitting the transitions of that movie spot-on with the music. Then, rocking out a whole other set with a who’s who of special guests from the local scene. The place was packed, and it was one of the sweatiest, rowdiest, and most technically precise shows I’ve ever been a part of.SZ: My favorite FoCoMX memory is the year we played at Hodi’s Half Note three years ago, and we brought in a guest sax player along with two of my fellow drummer friends out on stage to help add an extra percussive element to our last song.Slow Caves – “Desert Minded”[via Slow Caves]FoCoMX – Fort Collins Music Experiment is set to take place this Friday and Saturday, April 27th-28th. Tickets are currently on-sale and can be purchased here. For additional information and event updates, join the Facebook Event page.last_img read more

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Phish Shares Pro-Shot Video Of “Mercury” > “S.A.N.T.O.S.” NYE Gag [Watch]

first_imgSet Three: Mercury > Auld Lang Syne, Say it to Me S.A.N.T.O.S., Simple, Saw It Again > Limb By Limb > Rock and Roll > Suzy Greenberg Setlist: Phish | Madison Square Garden | New York, NY | 12/31/2018 Set One: The Moma Dance, Stray Dog, 555, Sand, Lawn Boy, Steam > Chalk Dust Torture > What’s the Use? > Play by Play, Waste, Ass Handed, Run Like an Antelope Phish has now shared pro-shot video of their spectacular NYE gag which you can enjoy below. When images of shiny silver balloons surfaced on social media earlier in the weekend, fans naturally began drawing conclusions about the annual New Year’s gag. The fast-moving element of mercury has crept its way into not one, but two different Phish songs with “Cool Amber and Mercury” as well as “Mercury”, which made fans accurately guess one of these two songs would be featured in the third set. With Anastasio and Gordon clad in silver jumpsuits, it was clear that The Garden was about to blast off, as Phish opened up their third set with “Mercury”. We also wanted to share an incredible fan-shot time lapse of New Year’s spectacle that captures the magic of this year’s Mercury/S.A.N.T.O.S. gag. Check it out below: On Monday night in NYC, Phish orchestrated yet another memorable New Year’s Eve performance to cap off 2018 and mark their 60th show at the fan-favorite Madison Square Garden. Mark Twain once wrote, “Wrinkles should merely indicate where smiles have been,” and after decades of shocking the brains of their beloved fans, one might assume that Mike Gordon, Trey Anastasio, Jon Fishman, and Page McConnell would be a lot more wrinkly. This is not the case with our four favorite Jedi. The final performance of the four-night extravaganza merely indicated that Vermont’s finest is not only ready to continue the tradition, but to do so with invigoration, innovation and í rokk. center_img As Fishman hopped from behind his kit to the Marimba Lumina, ten performers were lifted into the air wrapped in elongated silver streamers, and surrounded by gravity-defying smoke machines. The group of suspended aerial acrobats, in “unbreakable nets,” danced and swayed as Anastasio drew inspiration from their incredible talent. The arena was greeted by a NASA-sounding announcer that counted down from “T-minus 30 seconds”, prior to wishing everyone a “Happy New Year.” Phish – “Mercury” > “Say It To Me S.A.N.T.O.S”[Video: Phish] Set Two: Down with Disease > Farmhouse > Seven Below > Twist > Harry Hood > Passing Through, Harry Hood Encore: The Lizards, Character Zero For the 12th time at Madison Square Garden, Phish flipped to a new calendar year with the traditional “Auld Lang Syne”, as a deluge of silver balloons and enormous shiny streamers—like the ones attached to the acrobats—fell from the ceiling. The four-piece then charged forward with Kasvot Växt favorite “Say It To Me S.A.N.T.O.S.”, with Anastasio and Gordon rocking their white instruments that were first unveiled along with the Kasvot songs at Phish’s MGM Grand Arena Halloween run. With headset wireless microphones on their heads, Anastasio and Gordon were shot up into the air suspended by cables, literally dangling in midair. As if the silver-soaked chaos off stage wasn’t enough, dozens of dancers with various pool floats jumped on stage to join in the shenanigans. This was rock and roll at an entirely new level, and the four members of the world’s most theatrical rock band will always remember where they were on December 31st, 2018.last_img read more

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Phish Announces 2019 Mexico Webcasts

first_imgToday, Phish has confirmed their plans to webcast all three performances at their upcoming Phish Riviera Maya Mexican destination event. The third edition of Phish’s Mexican getaway is set to take place from February 21st–23rd at the Barcelo Maya Beach.Single-show streams are available in SD for $19.99 and in HD for $24.99. Discounted 3-night passes are available for $53.99 (SD)/$69.99 (HD), as are options including MP3 download bundles or event t-shirt bundles.You can pre-order your Phish Riviera Maya 2019 webcasts today here.Phish Releases Mexican ‘Live Bait Vol. 15’ CompilationYou can also prepare for the fun with this pro-shot video of “Down With Disease” from Phish’s inaugural Mexican destination event in 2016 below:Phish – “Down With Disease” [Pro-Shot] – 1/17/16[Video: Phish]Following their Mexican destination event and various side project dates throughout the spring, Phish will return to the stage for their 2019 summer tour with a two-night run at Chaifetz Arena in St. Louis, MO on June 11th and 12th. For a full list of upcoming Phish tour dates, head to the band’s website here.last_img read more

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The voice of reform

first_imgLiberian President Ellen Johnson Sirleaf, a Harvard Kennedy School alumna who at great personal risk played a key role in stabilizing and reviving a troubled nation that until recently was categorized as a “failed state,” will be the principal speaker at Afternoon Exercises of Harvard University’s 360th Commencement on May 26.“Over the course of her nearly 40 years in public service, President Sirleaf has endured death threats, incarceration, and exile, all the while challenging the inequality, corruption, and violence that defined life in Liberia for so long,” Harvard President Drew Faust said. “We are proud to welcome such a respected African leader and active proponent of democracy to speak on Commencement Day.”The first woman elected head of an African state, Sirleaf became her nation’s 24th president in the wake of the Second Liberian Civil War. She faced the daunting tasks of reconciling the country after two decades of strife, revitalizing its collapsed economy, reducing its national debt, and reforming its international reputation. Her work both nationally and internationally has earned her a reputation as a strong leader, an advocate for economic prudence, and an enemy of corruption. As a result, bilateral relations with several countries have been re-established, United Nations sanctions on Liberia’s diamond and forestry sectors have been lifted, substantial foreign direct investment has been attracted, and international support for the poverty-plagued nation has blossomed.“As Africa’s first female elected head of state, she stands as an example for a generation of girls in Africa and beyond of the ways in which education opens new frontiers,” Faust said.Raised in Monrovia and married at 17, Sirleaf came to the United States in 1961, studying at Madison Business College in Madison, Wis., and the Economics Institute in Boulder, Colo., before earning her M.P.A. degree as an Edward S. Mason Fellow at Harvard’s Kennedy School of Government in 1971.Sirleaf returned to Liberia in 1972 and served as assistant minister of finance, but resigned a year later in protest of government spending. In 1979 she was appointed minister of finance, but she was forced to flee the country after surviving a military coup in which President William Tolbert and all but four members of his cabinet were executed. Sirleaf returned to Liberia in 1985 to run for vice president. Her stances against dictatorial repression earned her prison sentences, and in 1986 she fled to the United States. She returned to Liberia to run in the 1997 general elections, placing second, but returning to exile soon after. In 2003, Sirleaf was selected to chair a governance reform commission, a position she left to run successfully in the 2005 presidential elections.“President Sirleaf is a prime example of an alumna who has embraced the ethic of public service and improved life for millions through her commitment to serving the public good,” said Robert R. Bowie Jr., president of the Harvard Alumni Association. “Her career is a reminder of the global reach of the graduates of Harvard and the importance of the University’s international engagement.”Sirleaf will speak during Commencement’s Afternoon Exercises, which serve as the annual meeting of the Harvard Alumni Association. The exercises will take place in the Tercentenary Theatre of Harvard Yard.last_img read more

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Harvard backs bike share program

first_imgHarvard University today (April 21) announced it will sponsor five bike share stations in Allston and Longwood as part of a newly launched regional Bike Share program, Hubway. Harvard has also committed to sponsoring four bike share stations in the city of Cambridge when the bike share program expands regionally in Phase II of the initiative. The program was officially introduced this afternoon by Boston Mayor Thomas M. Menino and state officials.“Over the past four years we have taken great strides toward making Boston a city that welcomes and encourages bicycling, but this innovative bike share system may be the most significant step yet,” said Menino. “We have worked tirelessly to build the infrastructure necessary to support such a system and we are confident that there is no better time to make Hubway a reality. I want to thank Harvard University for its tremendous support of this endeavor.”Kris Locke of Harvard’s CommuterChoice Program says the University plans to sponsor four bike share stations in Allston and one in the Longwood area. (The exact locations are still to be determined.) Hubway is a joint initiative of the Metropolitan Area Planning Council (MAPC), the city of Boston, the MBTA, and MassDOT.“Harvard has a longstanding commitment to sustainability and to using our campus as a living laboratory to support innovative solutions,” said Christine Heenan, vice president for public affairs and communications. “We are thrilled to partner with the cities of Boston and Cambridge on this initiative, and to work to reduce the environmental footprint of the University.”“Ultimately, Bike Share is part of Harvard’s commitment to sustainability and reducing our environmental impact by expanding efficient transportation choices, promoting active healthy transportation options, and providing a link to public transit,” said Lisa Hogarty, vice president for campus services.Harvard’s commitment to bicycling spreads throughout its 12 Schools and multiple campuses. There are covered bike parking locations on Francis Avenue and at the Harvard Law School, Harvard Graduate School of Design, and Longwood campuses. Bike racks throughout the campus provide an opportunity for cyclists to lock their bikes safely while at class or work. In 2009, Harvard collaborated with the city of Boston on the design and implementation of bike lanes on North Harvard Street and in 2010 the University collaborated with the city to stripe bike lanes and install a cycle track on Western Avenue. These efforts are coordinated through Campus Services’ CommuterChoice program, the Office for Sustainability, the University Planning Office, and other programs run individually by Harvard’s Schools and departments.last_img read more

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