Guitarist Warren Haynes continues to honor the music of the Grateful Dead with his Jerry Garcia Symphonic Celebrations, performing Garcia’s music not only with orchestras, but also with his own guitar, Wolf. With the exciting announcement yesterday that Melvin Seals, a longtime member of the JGB, would join Haynes for an upcoming Symphonic Celebration on Garcia’s birthday at Red Rocks, fans could not be more excited for these upcoming shows.To get his fans in a Grateful mood, Haynes shared a playlist chock full of his favorite Garcia songs. Check out the playlist, and read his thoughts on each and every track below, courtesy of the Warren Haynes website.Warren Haynes’ Favorite Grateful Dead SongsTERRAPIN STATION – The quintessential Grateful Dead “time capsule” song. CHINA DOLL – I much prefer “live” versions to the studio version. Beautiful haunting melody and lyrics. CRAZY FINGERS – I love the way the music and melody, which sound nothing like traditional reggae music, are superimposed over the reggae beat. Great chord changes. COMES A TIME – I always loved the Garcia/Hunter ballads. Gave Jerry plenty of space to emote in. His voice really delivers the emotion of the lyric and melody. BROKEDOWN PALACE – Another beautiful ballad with a timeless lyric and music that spans back through the history of American music. SHAKEDOWN STREET – I prefer the slower, funkier “live” versions to the studio version but it’s a classic part of the Dead repertoire. UNCLE JOHN’S BAND – One of Hunter’s best lyrics – really paints a picture of a beautiful, fictitious story. HELP ON THE WAY > SLIPKNOT – Classic 1, 2 punch – fans hate to hear them separated, but either on it’s own is great. Cool juxtaposition of a straight ahead, R&B influenced, tune in to a very complex instrumental that’s influenced by jazz and classical music. RIPPLE – The simplest, but perfect, melody – also one of Hunter’s best lyrics. The audience has to sing along-they have no choice. BLUES FOR ALLAH – Uniquely beautiful piece of music. KING SOLOMON’S MARBLES – Another complex instrumental very influenced by jazz and jazz fusion. STELLA BLUE – Another timeless ballad composed in a way that shows influences from decades before the birth of Rock and Roll. WHARF RAT – One of those “slow-burn” Dead tunes that signifies their unique, instantly identifiable sound. Great song but also a great vehicle for improvisation. SCARLET BEGONIAS > FIRE ON THE MOUNTAIN – Another pair of classics that the audience loves to hear together, but are equally powerful apart.
An ethereal beauty runs through the Harvard Art Museums’ new exhibit of Japanese paintings drawn from one of the largest and most significant gifts of art ever promised to the University. The more than 120 works that occupy all four of the museums’ third-floor temporary exhibition galleries have been carefully curated from the Feinberg Collection, a trove of more than 300 decorative scrolls, folding screens, fans, woodblock-printed books, sliding doors, and other works. The collection assembled by Robert ’61 and Betsy Feinberg highlights the range and richness of early modern Japanese painting during the Edo period, 1615‒1868.“They have collected so carefully and with such dedication over the years that they have formed a comprehensive collection. It really allows us to look at the whole gamut of Edo painting, which is incredibly diverse,” said Rachel Saunders, Abby Aldrich Rockefeller Curator of Asian Art at the museums, one of the curators of the new show. “It’s a comprehensive history of Japanese art through objects.”The Feinbergs’ love affair with Japanese works began almost 50 years ago on a trip to New York’s Metropolitan Museum of Art, where the young couple purchased a poster for $2. “Our imagination was captured by its image of a painted 17th-century Nanban screen — a robust, naïve view of a Portuguese sailing ship moored in Nagasaki harbor, manned by strange-looking men with prominent noses and curly moustaches, dressed in outlandish pantaloons and flamboyant hats,” they told the arts magazine Orientations earlier this year. “Edo Japan had never seen anything like them, and neither had we!”,Visitors to the exhibit will encounter a pair of large, multipaneled screens with almost identical imagery. Nanban art reflects the Japanese response to contact with Europeans, primarily from Portugal and Spain. The screens in Harvard’s show are striking in their detail and composition, said Saunders, and in what they reveal about how the Japanese viewed these outsiders.“There’s a real sense of the West being exoticized,” she said.That greater engagement with the wider world was a hallmark of the shogunate, or military dictatorship, that ruled Japan during the Edo period. The era’s peace and prosperity led to a greater openness and ushered in significant social, political, and cultural change, including a vibrant urban culture in which merchants and craftsmen were eager to acquire the visual and material comforts traditionally reserved for the wealthy elite.,The Feinberg Collection’s depth of material reflects those trends and shines a light on the varied schools, or lineages, of painting during the period — distinct classifications that embraced different media, subject matter, and even notions of who could be considered an artist. Among the many ideas reflected in the different schools are the embrace of regional landscapes, the foregrounding of human subjects and scenes of everyday life, the influence of Western-style painting, the emulation — and rejection — of classical motifs, and the rise of amateur scholar-painters or literati who employed pared-down materials. Taken together they help illustrate the visual complexity of Japan’s evolving pictorial culture, a key goal of the show, said its curators.“This exhibit is an opportunity to showcase an artistic tradition that can be likened to early modern European painting as a whole in terms of the breadth of artistry it features,” said Yukio Lippit, Jeffrey T. Chambers and Andrea Okamura Professor of History of Art and Architecture, who co-curated the exhibit. “There are so many schools, so many disparate visual modes, so many lineages of artists active in early modern Japan over 250 years.”,One example of that diversity is the art of the floating world, a school inspired by the period’s rapid urbanization as thousands of residents from the country moved to the shogunate capital, Edo, transforming what was a traditional fishing village in the 1600s to the most populous city in the world by 1800. In part a reaction to the shogunate’s orthodoxy and status-driven structure, in the floating world tradition, said Lippit, the people begin to see themselves.“It’s the world of commoner painting in which the contemporaneity and buzz of the city, the fashions, the hairstyles, and the demimonde — the pleasure quarters and the kabuki theater, those areas supposedly off-limits for the warrior status group — are depicted,” said Lippit. “Here you see the floating world of the imagination in contrast to the fixed world of social obligation and feudal hierarchy.”,A small hanging scroll, “Early Evening at a Yoshiwara Inn” by the artist Hishikawa Moronobu, “is a real gem of a painting,” and perfectly captures that essence, said Lippit. The painting depicts an intimate moment between a couple at an inn separated by folding screens from others nearby who are preparing a meal. “It’s meant to be generic; it’s meant to suggest a narrative without actually explicitly providing the story,” said Lippit. “In a work like this, the viewer is meant to project certain kinds of narratives of their own onto the scene.”,Regardless of category, the show’s overall theme is beauty, one that often evokes a sense of something beyond words. Viewers are drawn to that ineffable quality with the large hanging scroll “Grasses and Moon” by Tani Bunchō, which opens the show and which curators liken to a giant window.“It’s a very evocative way to start. We wanted that window, that essence there,” said Saunders of the horizontal work that honors the ancient Japanese tradition of viewing the harvest moon. “It’s what’s called a true-view painting — in Japanese, it’s shinkeizu. And the idea is not to represent an optical reality; it’s to represent the essence of something. And that is true of a lot of Japanese ink painting. You are not looking at an optical reality. It’s capturing something more.”,Other works in the show are odes to both Japan’s natural beauty and the functional nature of many of the works from the period, such as the large folding screens that doubled as temporary walls or the hanging scrolls that could be unfurled to ornament a room for a specific event or season, then rolled back up and stored neatly in small, handmade wooden boxes. “Fish and Turtles” by Maruyama Ōkyo, a small, two-paneled screen, would have been placed on the floor for tea ceremonies and likely displayed in the summer months, said Saunders.“You might bring out a painting for a particular season, a seasonal observance, or a particular guest was coming, or if you had a ritual going on. It’s about your taste; it’s about your guest’s taste; it’s about understanding your guests’ tastes; it’s about being in tune with the seasons,” she said.What sets the small tea screen apart is how the artists incorporated two layers of silk, painting the aquatic life and one side and the water on the other, said Saunders. “When the light comes through this translucent stretched silk there’s a moiré effect, so it looks as if the fish are moving,” she said. “It’s a really special piece.”,Timed to coincide with the run-up to the 2020 Summer Olympics in Tokyo, when many eyes will be on the Japanese capital, the curators hope the show will connect visitors with a seminal moment in the nation’s art and history and inspire them to “ask questions and to think differently.”“We are habituated to the ways we think and the ways we interact with the world,” said Saunders, “and when you encounter something like these Nanban screens, it reminds you to move your feet occasionally and to take another look and to practice some empathy for a very different way of looking.”On March 19, the Harvard Art Museums will host a symposium, “The Feinberg Collection: Six Works,” in which scholars from Harvard and beyond will engage key works from the collection. The free event will take place in the museums’ Menschel Hall from 1 p.m. to 5 p.m. Reunited with a ‘transcendent’ figure Curating a classic ‘Genji’ exhibit at the Met Conservators and curators are researching and restoring a portrait of King Philip III of Spain that is one of a series of identical works Unraveling a fine arts mystery Art historian Melissa McCormick brings Japanese masterpiece to life The Daily Gazette Sign up for daily emails to get the latest Harvard news. Related Walter C. Sedgwick can’t remember a time without ‘Prince Shōtoku at Age Two’ in his life
Stuff.co 24 October 2013Want to live a long life? Get married.Study after study has shown that married people, particularly married men, live significantly longer than their single friends. Some of the research is overall correlation, while other studies look at specific diseases and possible mechanisms. Doctors at Harvard tossed some more data on the pile last month, showing that married patients were more likely to identify cancer in its early stages and less likely to die from the disease than their unmarried peers. Epidemiologists refer to the well-established correlation between marriage and longevity as the “marriage protection hypothesis.”The marriage protection hypothesis isn’t entirely surprising. Unlike the connection between alcohol and longevity, which still lacks a fully coherent explanation, there are a handful of intuitive and attractive reasons why marriage might extend your life.Having a family gives people something to live for, which may discourage risky behaviours like smoking and riding a motorcycle. Married men commit suicide at lower rates than singles, possibly for the same reason. Your spouse may urge you to get a mammogram, wear sunscreen or have that worrisome mole checked out. A life partner provides an outlet to discuss personal stresses. (One medical argument in favour of the legalisation of same-sex marriage is that gay people have significantly lower stress levels when married.) Married people may remain more intellectually engaged with others, which helps avoid dementia. And healthy people may be more likely to attract a mate and marry than unhealthy people.It’s not all good news for married people, though: marriage also increases obesity rates. Getting married raises the risk of a woman becoming overweight by 3.9 percentage points compared to peers who did not marry, and marriage increases her risk of obesity by 1.4 percentage points. The effect is more pronounced for men. Married men see a 6.1 percentage point rise in the risk of becoming overweight and a 3.3 percentage point increase in the risk of obesity.http://www.stuff.co.nz/life-style/love-sex/9321124/Married-people-are-happier-and-fatter
And Press Association Sport understands the anticipation is that Downing will still be in that position come the visit of Hull to The Hawthorns this weekend. In that match, West Brom will be looking to halt a losing streak that extended to four games with the 1-0 defeat at Cardiff on Saturday which preceded the confirmation of Clarke’s dismissal. Albion are 16th in the table, two points clear of the relegation zone, and have won only seven of their 34 top-flight games in 2013. The club are not making any comment regarding who their new permanent boss might be, but various people have been linked with the vacancy since Clarke’s departure. Prominent among them are Roberto Di Matteo – who guided West Brom into the top flight in 2010, was sacked by them in February 2011 and then went on to win the FA Cup and Champions League during a stint in charge at Chelsea in 2012 – and ex-Albion player Martin Jol, recently dismissed from his post as manager of Fulham. Others being mentioned as possible candidates are Molde boss Ole Gunnar Solskjaer, ex-Schalke coach Ralf Rangnick, Real Madrid assistant coach Paul Clement, Mike Phelan – most recently Sir Alex Ferguson’s assistant at Manchester United – and ex-Blackburn boss Michael Appleton, who has managed Albion on a caretaker basis before. Both of the latter pair are also former Baggies players. Clarke was appointed as West Brom’s head coach in June 2012 – taking on his first managerial role – and went on to guide them to their highest-ever Premier League finish of eighth last season. The 48-year-old is overseeing first-team affairs following Albion’s decision to sack head coach Steve Clarke and his assistant Kevin Keen. In their statement announcing the news on Saturday, the Baggies gave no indication of how long they might take to appoint Clarke’s successor, saying simply that joint-assistant head coach Downing would assume control “whilst the club considers all available options”. Albion lost the services of their 2012-13 top-scorer over the summer when Romelu Lukaku’s loan spell with them ended, and the players subsequently added to the Baggies attack have not really truly sparkled. Nonetheless, the club managed to achieve some notable results this term, such as a 2-1 win at Manchester United and a 2-2 draw at Chelsea. Giving his reaction to Clarke’s dismissal, former West Brom player Cyrille Regis, quoted by the Birmingham Mail, said: “I am shocked – I didn’t see that coming at all. “If you’re looking at the bigger picture then I thought he might get longer but it shows the pressures of staying in the Premier League. “Certain players haven’t come to the level that was expected either, which didn’t help him. “Martin Jol would be a strong candidate. He knows the club, he knows the continental system Albion have in place and he’ll know the parameters Albion work under because he had them at Fulham. “He’s managed at the top level across Europe so he ticks many boxes.” Regis, who played for Albion at the same time as Jol, added: “I think with the position Albion are in they need a ‘been there, done that’ manager. “It needs someone with experience to stop the slide.” Meanwhile, it is understood that West Brom will be dealing with Saido Berahino internally, with it looking likely that he will be disciplined, after a foul-mouthed message was posted on the Albion striker’s official Twitter account. The message, which appeared on Saturday after news of Clarke’s sacking broke, said: “Wow i cant believe it, that’s f****** s***!!!!” A subsequent message appeared saying: “By the way i apologise for my last tweet. This was related to a personal issue and nothing else. Please don’t take the wrong way.” Another then said “I just had a flat tyre”, accompanied by a picture of one. Both that message and the first one have been deleted. Keith Downing is expected to be in charge of the West Brom first team for Saturday’s Barclays Premier League clash with Hull. Press Association