Everybody knows the iconic television music series Austin City Limits. For the last forty plus years, the show has hosted some of the most legendary musicians, including Willie Nelson, Beck, Radiohead, Stevie Ray Vaughan, Eddie Vedder, Ray Charles, and so many more.To highlight those years, the show is hoping to finish production of a new documentary A Song For You: The Austin City Limits Story. The documentary, which was directed by Keith Maitland, had its world premier at this year’s SXSW Film Festival, and received incredible reviews. In order to release the documentary publicly, however, the documentary creators have made a Kickstarter page, as they need our help fundraising $125,000 in the next 30 days to secure music rights for the 70 songs that make an appearance in the 96-minute documentary.The funds from the campaign will go towards paying for the music rights, finishing the film, the use of archival footage, and cost of distribution. For those that help support funding of the documentary, the perks include “the chance to play the infamous Studio 6A piano immortalized by the likes of Ray Charles, Norah Jones, and Leon Russell, or to sign the exclusive Graffiti Wall, colorfully autographed by many of the music giants who have performed on the show, including Dave Grohl, Kings of Leon and Eddie Vedder. Other “thank you” gifts include pieces of the original wooden stage, graced by legends of music from Willie Nelson to Beck, and Stevie Ray Vaughan to the late Merle Haggard.” Pledges also include commemorative stickers, guitar picks, koozies, t-shirts, DVD’s, etc.Check out the ACL Documentary Kickstarter campaign here.Watch “Not Fade Away” from ACL’s 40th Anniversary celebration below:
Jimi Hendrix fans have a lot to look forward to this fall, as a new live album has been announced from his first show with his short-lived Band of Gypsys trio. The album, called Machine Gun: The Fillmore East First Show 12/31/69, will be released on September 30th.The show, recorded on December 31st, 1969, comes shortly on the heels of Hendrix’s peak as a performer. The virtuosic guitarist wanted to switch gears from his Jimi Hendrix Experience-era band and catalog, and, after the explosion of fame that followed him after his legendary performance at that summer’s Woodstock festival, turned to bassist Billy Cox and drummer Buddy Miles to create a new set of songs. All of the songs performed at the show came from this new material, and it was filled with songs that would go on to be Hendrix classics like “Machine Gun” and “Power of Soul”.You can watch the footage of the set-opening “Power Of Soul” below, courtesy of Rolling Stone.Tracklisting for Machine Gun: The Fillmore East First Show 12/31/691. Power of Soul2. Lover Man3. Hear My Train a Comin’4. Changes5. Izabella6. Machine Gun7. Stop8. Ezy Ryder9. Bleeding Heart10. Earth Blues11. Burning Desire
Fans of Phish keyboardist Page McConnell are sure to recall his work with The Meter Men, performing the funk catalog of The Meters with three of their founding members – George Porter Jr., Zigaboo Modeliste, and Leo Nocentelli. Consider last night’s performance a “Meter Men” light, as McConnell sat in with George Porter Jr. & The Runnin’ Pardners last night at the Burlington, VT club Nectar’s.McConnell has kept himself busy in Vermont, recently making a rare guest appearance with Twiddle on their song “When It Rains It Poors” at Waterfront Park. You can watch the exclusive video of that sit-in by following this link.The Phish keyboardist joined Porter Jr. for two songs, Meters original “Just Kissed My Baby” and the Allen Toussaint classic, “Sneakin’ Sally Through The Alley.” It’s a safe bet that Leo killed it, though only one sideways video has surfaced thusfar. Watch that clip, which was discovered by JamBase, below.[Cover photo via dennislemoine//Instagram]
On October 7th & 8th, electronic pioneer Pretty Lights will take over Nashville’s Municipal Auditorium for two nights of musical mayhem in Music City. We’re giving away a trip for two to Nashville, including flights, hotels and VIP tickets to the shows!Winner Receives:Round-Trip Airfare for Two (Continental US Only)(2) Nights of Hotel Accommodations for Two in Nashville, TN(2) VIP Tickets to October 7th & 8th at Municipal Auditorium Invitation to pre-party with complimentary food and cash barEarly entry into the venueTwo (2) limited edition event postersTwo (2) limited edition Pretty Lights merchandise giftsOn site concert conciergeTickets to Pretty Lights in Nashville are available for purchase here.Contest will end on Monday October 3rd at 11:59pm CDT. Enter to win below, then follow the instructions for sharing to increase your chances of winning! Good luck! VIP Tickets Include:
You can watch the band rehearse for the themed Halloween run and get the low down on the Mixtape from vocalist Lyle Divinsky in the video below:The Motet have also assembled a special Mixtape 1979 playlist to get fans prepared for the second half of their Halloween run, which hits Suwannee Hulaween and Asheville, NC’s The Orange Peel after tonight’s performance in New Orleans. Listen to the sounds of 1979 below, courtesy of The Motet:And if all that isn’t enough to get you excited for Mixtape 1979, check out some videos of the band’s Mixtape performance at Dallas, TX’s Gas Monkey from Wednesday night:Tickets for The Motet’s Mixtape 1979 run finale in Asheville on Monday night are available now via the band’s website. You can also enter to win tickets to their Halloween blowout via their Facebook page: Colorado funk force The Motet is off and running on their Mixtape 1979 Halloween run. After smokin’ shows in Dallas, Houston, and Austin the last three nights, the band will continue to spin Mixtape 1979 tonight along with a monstrous supergroup featuring Bernard Purdie, Leo Nocentelli, Ivan Neville, Oteil Burbridge & The Dirty Dozen Brass Band horns as part of Monsters Of Funk at New Orleans’ Joy Theater.
Tim Carbone is a busy, busy man. His band Railroad Earth is embarking on one of the busiest summer tour schedules they’ve seen. As one of the main producers for the LoHI record label, he’s constantly turning out stellar work on the knobs from established acts like Great American Taxi. Add to that his recent travels abroad, and it’s a wonder he ever has a chance to sit down, much less add anything else to his work slate. That said, Tim Carbone is diving right into the newest material from his all-star side band The Contribution. With members of The String Cheese Incident, Everyone Orchestra, New Monsoon, and more. The Contribution is readying their new album and releasing a new single “Passengers Of Darkness.” They are living up to their name by contributing to society, with all proceeds from the new single going to the voter registration non-profit HeadCount!With all these exciting things on the docket, we thought it might be a good time for our own Rex Thomson to sit down with Mr. Carbone and go in depth about his thoughts and designs. Check out the debut of The Contribution’s new single below, then read on for our chat with the prolific musician and producer, Tim Carbone, below.“Passengers Of Darkness”Live For Live Music: Railroad Earth just moved past their fifteenth anniversary. You guys not only survived, you seem to be thriving. When did you start to realize this was gonna be a thing that could very well be your life’s work?Tim Carbone: I kinda knew pretty much from the get go. I always saw that it was a good band, and after the first couple of tours it was obvious that people were enjoying it too, that we were going over. Once we had that, we started honing it. I guess I knew pretty much right away. Not instantly, but right away.L4LM: From those early days to now, Railroad Earth has developed a rather rabid and dedicated fan base. Does it make it easier playing for uber fans, as they may be more forgiving, or harder, as you really want to be sure and give them the best show?TC: For me, it has never been a problem. I learned a long time ago that I don’t have much of a choice about that. As a player, you, know . . . personally . . . I only have one gear that I am stuck in. I just play my ass off. Sure, I may have better days because of how I physically feel. I’m blessed though in that, even if I do feel sick or am fighting something off, when I play, all that seems to go away until I stop playing. For me, it’s all about letting go of everything. I have a pretty good facility with my instrument, so I just kinda let go and something kinda steps in. I’m never 100% sure that its all me. I never take full responsibility or credit for what I do. It’s like riding a third rail.L4LM: So if you encountered some sort of cosmic entity that could prove it was your muse, would you feel liable to kick part of your royalties their way?TC: “Hey, how much of no money would you like?” (Laughter)L4LM: Have you ever heard of the term “Stage Heath?” Stand-up comics describe it as the boost you get just from stepping on the stage.Tim Carbone: I’ve never heard it called that, but I am definitely aware of it. I’ve experienced it.L4LM: We just had a chat with Andrew Altman, and he mentioned there was some new Railroad Earth material on the way. Anything you want to share there?Tim Carbone: We’ve got six new songs, which is cool. One of them is mine, which is kinda cool, because I rarely get one in there. We’re going to be doing a video, which looks like it is gonna be interesting to a song Todd (Shaeffer) wrote called “Add My Voice.” It will have footage from some of the marches that have been happening since the election. We’re psyched about it, it looks like it is gonna be cool. That’s gonna be coming out sooner than I thought. Sometime in the next couple weeks actually. We also have one last song that we haven’t even played live yet. It’s called “Captain Nowhere,” and it’s pretty cool. The song has a very interesting melodic shape to it and hopefully people will dig it. We’re stoked.L4LM: Altman also mentioned that you folks were embracing the newer “single song at a time” constant-content way of doing things. How do you like this method?Tim Carbone: I’m torn a little bit. I’m such an old school guy. I still appreciate the concept of making a whole record that serves as a statement from the band. Maybe we need to find some combination of methods. I love the idea of putting out singles and eventually an LP of ten songs on it. Say an album is ten songs, so you set it up so you release five singles—every other song, basically. When you get done with that, you release the ten-song collection and say “Hey, if you liked those songs, here’s ten more.” Another cool concept would be to put out two EPs—five songs each, like a ten-inch record instead of a twelve. You could do two of those in a year, then put them out as a little box set with a cool package with some unique art work. Maybe there is more than one way to skin a cat.L4LM: Your touring schedule for the summer is jam packed. Are you looking forward to hitting the road so intensely?Tim Carbone: I always love to play. This upcoming summer is going to be maybe the busiest we ever have had. I prefer to work than to not work, but that’s just me.L4LM: You’re involved with a couple of really interesting side projects, like the LoHi record label. How is that going?Tim Carbone: Yeah, I’m still working with LoHi. We just put out a record from Great American Taxi, which is a fantastic record that’s doing well and high on the Americana charts.L4LM: You’ve had plenty of experience on the other side of the console. The list of artists you’ve had a hand in bringing to life in the studio is awe inspiring.Tim Carbone: I’m really lucky, blessed actually. I get to work with a lot of really talented people, and I love it. I get a lot of energy from it. It is a great pleasure to be in the room with so many creative minds. And to have them allow someone to have creative input, and they’re not actually in the band. . . That’s amazing. When you’re a producer, you have to wear a lot of different creative hats, and not the same ones all the time. With that Great American Taxi one, I almost felt like I was a member of the band.L4LM: Do you try and predetermine what sort of input you are going to have, or is it all on the fly?Tim Carbone: I’ve developed a sixth sense in my own way. I get the songs, and when I start on my production notes, I focus on how it sounds to me as a listener. I try and detach myself from my work role and focus on how the song makes me feel as a listener. I take notes on those kinds of things. Sometimes when you’re a songwriter, it’s easy to get caught up in things that may be similar thematically, that you have done before. Like say, come out of a verse and go into a chorus, or tend to accent a note after this point or that.I open myself to shaping a song so that it gets to the point a little bit faster, if that makes any sense. Not to take away from it, but to try and help make everything clearer. How could you utilize the instrumentation to make things more expressive? What could you strip away to make the message clearer? These are the things I think about.I am a big fan of reductive production, reductive mixing. I am not about adding more. I want to distill it to what is the most unique and good, and find ways to make the point be heard. And sometimes that means taking something away that might be distracting from that. I’ve found that eight times out of ten, I am going with my original production notes. I’ve learned to trust my instincts, and I’ve found that those seem to resonate with the artists the most as well.L4LM: Do you ever want to try and work with wildly outside of your comfort zone artists just to see what would happen? Like, produce a hip hop album or something?Tim Carbone: I haven’t produced a hip-hop album, but I just finished recording an album with a woman named Daniella Katzir, and she used some really interesting material. I really enjoyed working with a keyboard player named Borham Lee, who is part of Break Science. He brought a whole new skill set to the mix. I’m getting some opportunities to bring some other sonic and tonal elements to the project. Borham has been a real pleasure to work with there. He is so creative beyond just the actual keys. And I am working with some different horn arrangers and getting different feels to the songs. Daniella kinda reminds me of Sia, and some of it has an EDM edge. Some of it is even kinda singer-songwriter-y, kinda girly. Her diversity is actually one of the things that is easy to struggle with, bringing all the things she can do together cohesively.Actually, I have recorded a lot of different stuff over the course of my career. The Americana and other “jam band-y” stuff is the reality I live in now, but before I joined Railroad Earth, I recorded blues albums, jazz albums, Christian music, lot of folk and singer-songwriter stuff, even a classical orchestra. I’ve been doing this a while now. Daniella’s record is my sixtieth album production wise.L4LM: Most impressive! How much more difficult would working as a producer for RRE be than working for a band you aren’t in?TC: I would never do that. I “co-produce” in that I will always want to have some say, but there isn’t enough money. There would need to be a dump truck full of money to do it. Mostly it’s because the band already has enough producers.L4LM: Makes sense that everyone would want a say in it. Besides, how tempting would it be to just go “I think the fiddle should be turned up here…”TC: Exactly. The fiddle always should be louder. Self-interest is only natural, and it is better, I think, to come at it from the outside. When I mix a record and the band wants to be there, I always say, “Just one or two people. Preferably one.”L4LM: Let’s talk about your newest work with your side project The Contribution? Who have you got working with you in this iteration of the band?TC: Originally we had Jeff Miller and Phil Ferino from New Monsoon. Our bass and drums were Keith Mosely and Jason Haan from The String Cheese Incident. I used the vocal trio The Black Swan Singers, and they joined a few of the limited amount of live shows we did in promotion of the first record, Which Way World. During those shows, one of the Swans, Sheryl Renee, and the band hit it off, and she asked about joining. I started writing songs with her in mind, and here we are five years later.We’ve had to switch out drummers a couple of times. We used two different ones on this one. On seven of them we have Matt Butler from the Everyone Orchestra, and the other three have Duane Trucks from Widespread Panic. The Monsoon guys, Sheryl, and I are the core that will be going out on the road, but for the live shows, we will probably be using the rhythm section from a band called Fruition. Jeff Leonard and Tyler Thompson are great guys, and I love that band.L4LM: When I was looking at the instrument attribution, I noticed that the entire band was listed as “The clappers.” I’ve always been a huge fan of the hand clap, and it has always bugged me not knowing who was responsible. So thanks for that.Tim Carbone: I have a way of recording claps where I have folks clap on their finger, then I get them switch to the meaty part of their hands. I want the full range of claps!L4LM: You’re partnering up with HeadCount to release the first single from The Contribution with the sales going towards that organization. Can we assume the current political tumult was behind this decision?TC: People have been assuming that, but we started working on this record seriously at the start of last year, way before the election. Besides, I have been working with HeadCount for like thirteen or fourteen years now. It was always on my mind that we wanted to work with this charitable group first. We want to continue to work with groups and causes like this that we believe in. The song itself is one about truth and transparency. Our publicist Erin Scholze, however, pointed out how perfectly the song worked well as a metaphor for the recent election.L4LM: HeadCount does a lot of good work in the area of getting folks involved with politics. Their work, out of necessity, is non-partisan. Do you worry about possibly alienating a segment of your fan base by picking a side?TC: In my comments about “Passengers Of Darkness,” I try to focus on the general, things like lack of transparency and such, which can lead to chaos wherever it is. I tried not to be specific, but it isn’t to hard for people to know exactly what the hell I am talking about. As far as being concerned about it, I suppose I am the most likely person in Railroad Earth to just bluntly speak my mind. Not sure who reads my various social media posts, but I try and keep my discussions and opinions wide open. I won’t ban anyone or anything like that unless they get too out there or just nasty.In Railroad Earth, we try and keep things a bit more general. We are a band, and as humans, we generally agree, but people come to the table with different thoughts. With The Contribution, things are a bit more lyrically based in a Buddhist vibe, so they are even a bit more opaque. But on my social media accounts, that is all me. I like to say what I feel and mean what I say.L4LM: Sounds like you have ten thousand plates spinning at once right now between the new album, new music and tour with Railroad Earth, and all the production work. Thanks for squeezing in a few minutes to talk to us about all you impressive doings!Tim Carbone: Hey man, thanks for spreading the word. Much appreciated!
Greensky Bluegrass and friends delivered a weekend for the ages at their 2017 Hoxeyville Music Festival headlining gig, and the lucky fans in attendance are still reeling from almost-seven hours of high-energy bluegrass mayhem across Greensky’s four sets. Luckily for the boys in the band, Greensky had some friends on the lineup—like jamgrass pioneer Sam Bush, flat-picking superhero Larry Keel, Fruition‘s own Jay Cobb Anderson, and the enigmatic Mr. Jimmy—to help fight exhaustion.After a last-minute cancellation from soulful superstar Charles Bradley due to health concerns, Greensky managed to sneak a fourth set onto their Saturday schedule this past weekend. That simple gesture was a perfect example of how Greensky has come to own Hoxeyville in the eyes of most everyone on the grounds, though that ownership was never truly in question, mind you. After eleven appearances over the fifteen years of Hoxeyville’s existence, Greensky Bluegrass has risen to the exalted rank of “Festival Ambassadors,” with their shows at this humble Michigan farm becoming the stuff of legend for followers and supporters of the band.We’re hard at work making videos and writing the tales of the weekend, but we thought we would go ahead and put together a collection of Greensky Bluegrass’s wonderful set of guest stars from the Hoxeyville Music Festival to tide you over. First up, Sam Bush helped Anders Beck with eight words he really loves saying.“The Four” > “Bringing In The Georgia Mail” The skies opened up during Friday night’s Greensky set as Larry Keel sat in and wrecked things. When the rains came, the band didn’t stop—even when their various pedal boards were getting drenched. After their tune ended and they stepped out of the onslaught, Dave Bruzza, Larry, and the Sam Bush Band banjo wizard Stephen Mojen kept the party going almost acoustic style. Check out the fun below!“Guitarmageddon”Fruition and Greensky Bluegrass have a mutual love affair going that spilled over to the Greensky set on Saturday night. Guitarist Jay Cobb Anderson joined Greensky for a couple of passionate covers, including a rocking take on the Roling Stones’ classic “Jumpin’ Jack Flash!”“Fixin’ To Ruin”“Jumpin’ Jack Flash”Rayland Baxter and his trio brought a strong rock sensibility to the primarily Americana and roots line up at Hoxeyville on Saturday. After touring with Greensky multiple times Paul Hoffman and Baxter’s keyboardist realized a connection both had totally forgotten. Check out the story and the fun take on a snarky Greensky classic below:“I’d Probably Kill You”After all the fun of the sit-ins, we thought we would sneak in one song that waas just plain fun. Check out Greensky’s take on the Rod Stewart’s ode to youth, “Young Turks”, below.“Young Turks”
Photo: Dave Vann Photo: Dave Vann Photo: Dave Vann Photo: Dave Vann Photo: Dave Vann Photo: Photo: Dave Vann Photo: Dave Vann Photo: Dave Vann Photo: Dave Vann Load remaining images Photo: Dave Vann P Photo: Dave Vann Jam Cruise 16 was one for the books, offering up one of the best editions of the music cruise since its start in 2004. Aboard a new boat, the Norwegian Jade, fans and musicians alike embarked on a loop around the Carribean after leaving port from Miami, on January 17th, 2018. Two music-packed days at sea bookended the five-night voyage in between stops at Roatan, Honduras, and the Grand Cayman Islands before Jam Cruise returned to Miami on the morning of January 22nd.The stacked lineup featured a huge range of artists, including Medeski Scofield Martin & Wood, Galactic, Karl Denson’s Tiny Universe, Maceo Parker, Lotus, Electron, Lettuce, Steel Pulse, Keller Williams, Voodoo Dead (Steve Kimock, Anders Osborne, Jeff Chimenti, George Porter Jr., John Kimock), The New Mastersounds, Dumpstaphunk, Antibalas, Turkuaz, The Marcus King Band, Pigeons Playing Ping Pong, Con Brio, The Main Squeeze, Naughty Professor feat. Chali 2na, Andy Frasco & The U.N., Aqueous, and more.Jam Cruise 16 also hosted a number of all-time super jams, ranging from Robert Randolph’s super jam on the final night on the main stage, to a fan-favorite performance by Everyone Orchestra in the Stardust Theater, to late-night (into the early morning) sets in the Jam Room hosted by George Porter Jr., Jennifer Hartswick, Roosevelt Collier, Dan Lebowitz, and Michelangelo Carruba. Outside of these, the event also saw nightly jazz jams curated by the likes of Shira Elias, Eddie Roberts, Skerik, DJ Logic, and Mike Dillon, though these performances frequently took on a life of their own and ranged outside the constraints of typical “jazz” performances.Of course, while the music stands out, as Jam Cruise frequently hosts some of the greatest musical moments of the year, the main draw and beauty of the event is the close community it draws together. Jam Cruise offers fans the chance to connect with their favorite musicians on a more personal level, through events like a poker tournament (hosted by Ivan Neville), ping pong tournament (hosted by Pigeons Playing Ping Pong), curry “jam” (hosted by chef Archna Malhotra and featuring a number of artists onboard), and more. However, outside of these curated events, considering that everyone onboard calls the boat home for the better part of a week, there is a unique sense of camaraderie that is exceptional for any musical event—new friends are made, new bands discovered, and magical moments created.You can relive some of these special moments below, with an extensive photo gallery from Jam Cruise provided by Dave Vann. Enjoy, and see you next year! Photo: Dave Vann Jam Cruise 16 | Photos: Dave Vann Photo: Dave Vann
The Oregon Country Fair is set to return for its 50th anniversary this summer on July 12th, 13th, and 14th. The annual three-day festival in Veneta, Oregon–about 15 miles west of Eugene–offers the finest in entertainment, hand-made crafts, delectable food, and information sharing.The festival recently announced its 2019 musical lineup, with Phil Lesh & The Terrapin Family Band, Jim James (Solo), and The Polish Ambassador sitting at the top of the bill. OCF will also see performances by ALO, The Dandy Warhols, Zero with Melvin Seals, Wildlight, Everyone Orchestra, MarchFourth, Ace of Cups, Swatkins and the Positive Agenda, Midnight North, Scott Law, and many more.Started in 1969 as a benefit for an alternative school, the OCF has a rich and varied history of alternative arts and performance promotion, educational opportunities, land stewardship, and philanthropy.Fans can head here for a variety of various ticketing options.For more information on the Oregon Country Fair, head to the festival’s website.
Created in 2001, Mariachi Véritas de Harvard is a student-run group that focuses exclusively on the mariachi musical tradition. While many members have strong backgrounds in jazz and classical music, most have had little or no prior exposure to this Mexican musical form. They rely largely on learning techniques from each generation of members, and on YouTube videos of the mariachi style.
Harvard men’s basketball head coach Tommy Amaker has been selected for induction into the Washington Metropolitan Basketball Hall of Fame, adding to the growing list of honors he has received this offseason. The ceremony will be held Sept. 24 at the Omni Shoreham Hotel in Washington, D.C., as part of “An Evening with the Legends of the Game” event.In six seasons at Harvard, Amaker has reinvented the Crimson into an Ivy League power with a national presence. Under his guidance Harvard has experienced an unprecedented run of success, highlighted by back-to-back NCAA tournament appearances and three straight Ivy League championships. Harvard has also posted four consecutive 20-win seasons and is 112-66 (.639) overall with Amaker on the sidelines, 54-30 (.642) in Ivy League play.During the 2010-11 season, Harvard won its first Ivy crown, going 23-6 and 12-2 in the Ancient Eight, and followed that performance by winning a program best 26 games during the 2011-12 campaign en route to the program’s first trip to the NCAA tournament since 1946. The Crimson also earned the first national ranking in program history that season, reaching as high as No. 22 in the AP Poll and No. 21 in the ESPN/USA Today Coaches Poll.In 2012-13 the Crimson captured its third straight Ivy title with a 20-10 overall record and an 11-3 conference mark. Harvard then upset No. 3 seed New Mexico in the NCAA tournament to advance to the Round of 32, marking the first postseason win in program history. Following the season Amaker was named the Clarence “Big House” Gaines College Basketball Coach of the Year Award, presented to the top minority basketball coach in NCAA Division I, the NABC District 13 Coach of the Year and was honored with the Harvard Foundation’s Leadership Award for Outstanding Leadership in Harvard Athletics and Excellence in Fostering Character, Integrity, and Intercultural Cooperation in College Athletics.Amaker’s student-athletes have been rewarded with many individual accolades as well, including 16 All-Ivy League honors, a pair of Ivy League Rookie of the Year awards, and one Ivy League Player of the Year nod. This last year’s squad was no exception, as four Crimson were named to the all-conference teams while freshman Siyani Chambers, the Ancient Eight’s Rookie of the Year, became the first freshman in conference history to be named to the first team.A native of Falls Church, Va., Amaker starred at W.T. Woodson High School before heading off to Duke where he would lead the Blue Devils to four NCAA tournament appearances and win the Henry Iba Corinthian Award as the nation’s top defensive player. Amaker is already a member of the W.T. Woodson Hall of Fame, the Duke Sports Hall of Fame, and this summer was inducted into the New England Basketball Hall of Fame.Amaker will be joined at the event by his former coach at Duke and Naismith Basketball Hall of Famer Mike Krzyzewski, who will accept the Nell and John Wooden Leadership in Coaching Award. Other honorees include another former Blue Devil in Grant Hill, Phil Chenier and Paul “Red” Jenkins. Morgan Wootten, Kevin Grevey, Mike Brey and Danny Ferry are also expected to be in attendance.To purchase tickets to the event or learn more, visit “An Evening with the Legends” website.A portion of the proceeds will benefit Ronald McDonald House Charities of Greater Washington, D.C., and Ronald McDonald House Charities of Chicagoland and Northwest Indiana.
Harvard University announced today that its endowment posted an 11.3 percent return and was valued at $32.7 billion for the fiscal year that ended June 30, 2013. The return was 223 basis points in excess of the 9.1 percent return on the benchmark Policy Portfolio.“As I mark my fifth anniversary as the chief executive of the Harvard Management Company, I am very proud of the internal and external managers we have in place and the results they have achieved,” said Jane Mendillo, president and CEO of HMC. “Thanks to this talented team, we have made a strong recovery since the global economic downturn of 2008-2009, and our outperformance this year alone contributed about $600 million of additional value to the portfolio over and above the markets.”Harvard’s endowment helps to fund operations critical to the University’s educational and research mission, including academic programs, science and medical research, as well as student financial aid programs that allow the University to admit qualified students regardless of their ability to pay. In fiscal 2013, distributions from the endowment contributed more than a third of the University’s operating budget.“The HMC team produced strong results at a time when the revenue streams that have traditionally supported institutions of higher education have been under increasing pressure,” said James Rothenberg, University treasurer. “HMC also beat its benchmark Policy Portfolio for the fourth consecutive year, and its performance relative to the market was once again positive in most asset categories.”The endowment has earned an average annual return of 12.0 percent over the past 20 years, outperforming the Policy Portfolio benchmark by substantial margins.The endowment is key to supporting Harvard’s generous financial aid programs.More than 60 percent of Harvard undergraduates are receiving need-based scholarship aid this year, totaling more than $182 million. The average undergraduate student on financial aid pays only $12,000; in addition, an average of one in five students pays no tuition, based on economic need. Throughout Harvard, scholarships and awards to students from University funds have almost tripled over the past decade. The College’s industry-leading financial aid policies are designed to make Harvard more affordable for families across the economic spectrum, a commitment that has remained a high priority despite times of economic uncertainty.The endowment is not a single fund, but comprises more than 12,000 individual funds, many of them restricted to specific uses such as support of a research center or the creation of a professorship in a specific subject. The funds are invested by HMC, which oversees the University’s endowment, pension, trust funds, and other investments at a significant savings relative to outside management.The endowment’s total value is affected by several factors each year, including investment returns, new contributions, and the annual payout for University programs.Contact: [email protected], 617.495.1585
Sandra Naddaff, director of the College’s Freshman Seminar Program and director of studies in literature, will become dean of the Harvard Summer School, Huntington D. Lambert, dean of the Division of Continuing Education, announced today.Naddaff will succeed Donald H. Pfister, Asa Gray Professor of Systematic Botany, who left as Summer School dean to become interim dean of Harvard College in July.In addition to her directors’ positions, Naddaff ’75, A.M. ’78, Ph.D. ’83, is also a senior lecturer in literature. Her long history at Harvard includes serving as Mather House master (1993-2010) and membership on numerous faculty committees.“Sandra Naddaff has a true love of our students and the Harvard experience, as well as a wealth of teaching and administrative experience here at Harvard, which will be tremendous assets as we continue to strengthen and grow the Summer School,” said Lambert. “Across the Division of Continuing Education, we are committed to our goal of preserving the core while stimulating progress by being leaders in learning and pedagogy through innovation, access, and sustainability. Our goal every day is to extend the high quality Harvard is known for to students from around the world. Having Sandra lead the Summer School and our existing amazing team assures that we will achieve those goals for the students who come here to live the Harvard experience in the summer months.”Naddaff first came to Harvard as an undergraduate and began teaching in the Department of Comparative Literature soon after receiving her Ph.D. from the Graduate School of Arts and Sciences. She has been an instructor in both undergraduate and graduate courses. As director of studies in literature, Naddaff oversees the undergraduate program in comparative literature, which includes advising students, developing curriculum and pedagogy, and formulating policy related to the program. She also oversees the development and management of more than 130 seminars designed for first-year students as director of the Freshman Seminar Program. Her appointment as Summer School dean is effective immediately.“I am delighted to be joining the Harvard Summer School, and am especially excited by the opportunity to work with such a broad range of programs and students, both here on our Cambridge campus and abroad,” Naddaff said. “The connection between the Summer School and the College is a strong and important one. I look forward to working with my colleagues to support the work of the Harvard Summer School in this exciting moment of pedagogical and curricular innovation.”The Summer School is a credit-granting academic program that provides opportunities for students to experience Harvard and utilize its resources. Founded in 1871, it is the oldest academic summer session in the nation. The School enrolls about 6,000 students in more than 300 courses on Harvard’s Cambridge campus and abroad. It boasts a diverse student body that ranged in age from 14 to 81 last summer, from every state and 103 countries. In addition to bringing students to Harvard, the Summer School sends about 550 students — led by Harvard faculty — to 25 international sites.About 20 percent of Summer School attendees are Harvard College students taking courses for credit to fulfill academic requirements. Other participants include high school students, students from other colleges seeking course credits, and adults and professionals looking to bolster their knowledge and skills. Most students live on campus with Harvard proctors, gaining a taste of the Harvard College experience.All Summer School students have access to distinguished faculty from Harvard and to visiting scholars, well-equipped labs, exceptional museums, and the largest university library system in the world.
Read Full Story HarvardX for Allston is a new educational initiative which brings HarvardX content and edX online courses to the Allston-Brighton community and general public by offering programs that integrate the latest in virtual education technologies with opportunities for in-person interactions and discussion.The endeavor, part of the University’s community benefits program for the Allston-Brighton community in association with the institutional master plan for Harvard’s campus development in Allston, is open and free to anyone with a passion for learning.
In May 2014, as Cynthia A. Torres ’80, M.B.A. ’84, looked ahead to her upcoming term as Harvard Alumni Association (HAA) president, she remarked on the “magic of Harvard” that is at the center of its community of alumni, students, faculty, and staff.Now, reviewing her year at the helm of the HAA, Torres reflects on how strongly she feels that magic — through visits with alumni around the world as part of the Your Harvard event series, collaborations with Harvard Club and Shared Interest Group (SIG) leaders, and work with volunteers who come back to campus for meetings.“Every time I walk into a room with alumni, my heart is full,” says Torres. “This year, I’ve had the honor of traveling for the HAA around the globe — to Brussels, Mexico City, Beijing, and beyond — and every time I go out to meet with alumni, I’m struck by their enthusiasm and their connectedness with the University.”Incoming HAA President Paul L. Choi ’86, J.D. ’89, a longtime Harvard volunteer, an active member of Harvard Law School alumni organizations, and former president of the Harvard Club of Chicago, shares Torres’ sense of awe about the strength of the alumni community and the role it plays in Harvard’s future.As president, he will focus on highlighting the inherently University-wide nature of the HAA, a vision that aligns with President Drew Faust’s overarching goal for a more unified Harvard as part of The Harvard Campaign. “When you graduate from a Harvard School you are an alum of that School, but, more importantly, you are also an alum of the University,” he says. “You may leave the campus with a diploma in hand, but you don’t leave the broader alumni community.”Looking to his term as HAA president, Choi praised Torres as a source of inspiration: “It would be hard to find an alum more dedicated and passionate than Cynthia — I aspire to bring that same commitment to my work, and I look forward to what the next year will hold.”Torres shares Choi’s excitement for the year ahead. “We alumni carry the Harvard name throughout the world in the work that we do. We are Harvard,” she says. “And I am confident that Paul’s leadership will strengthen our community even more.”
The road to success for female entrepreneurs remains a steep climb, but women who combine passion for their company mission with smart business strategy have a shot at making it to the top in the competitive marketplace.That was the theme of “She Got Game,” a panel discussion at the Harvard Business School (HBS) on Wednesday about the challenges that women face in starting and growing large-scale businesses, and how they are learning to overcome them.The forum, part of the Harvard Business School Association of Boston’s new venture competition event series, featured four women who have navigated their way through the still-male-dominated world of entrepreneurial startups. In addition to recounting their stories, they offered tips and encouragement to other women with business dreams.“Just get used to the fear,” said Susan Hunt Stevens, co-founder and CEO of WeSpire, about the anxiety that comes with trying to start and build a company “There is constant fear. But it’s so much fun, the fear kind of motivates you.”Stevens, whose firm helps businesses improve employee engagement, said the failure of a previous firm she started taught her “to make sure you are in love with the problem” the business seeks to address ― “Not the product, not the service, but the problem you are solving.”Lynda M. Applegate, the Sarofim-Rock Professor of Business Administration at HBS and the panel’s moderator, cited the results of a 2014 study by Babson College to underscore the difficulties women face in a critical area of entrepreneurship: raising capital.The study found that less than 3 percent of firms receiving venture capital funding had female CEOs, noted Applegate, chair of HBS’ Executive Education Portfolio for Business Owners & Entrepreneurs. With another of the panelists, Janet Kraus, Applegate is working on a paper about female entrepreneurs who have had success raising venture capital.One way for women to gain access to venture capital is by forging personal connections, said Kraus, the CEO of Peach, a startup that sells intimate apparel through a network of “stylists” who visit customers’ homes to ensure proper fittings.“People invest in people they know … You will not raise money by putting a pitch in someone’s hand coldly,” said Kraus.Also emphasizing the importance of networking was panelist Sheila Marcelo, who is CEO of Care.com, an online site for finding and managing family care.“You need to try and make sure you surround yourself at every stage of the game with champions,” she said, citing the importance of having mentors. Marcelo, M.B.A. ’98, J.D. ’99, is currently advising several female-led companies.Women also “have to be looking at billion-dollar opportunities,” advised Kraus, who has taught entrepreneurship at HBS. “If you want to go into venture capital or any kind of external money, you have to be setting your sights on something very large.”Stevens said that achieving some early success can help a fledgling business.“Data can start to really tell an amazing story,” she said. “If you are sitting on a great business that is starting to do that, and you are building those networks and connections, people will start to take notice.”Another panelist, Marie Schwartz, lamented what she said is a “huge bias towards youth” on the part of venture capitalists.“It seems like people are much more willing to give someone who is 25 a check than someone who has actually worked and has experience,” said Schwartz, M.B.A. ’85, who is founder and CEO of TeenLife Media, which provides extensive listings of out-of-school programs and activities for teenagers both on the Web and in publications.The panelists spoke of the passion they feel for their businesses, and the personal experiences that helped inspire those convictions.Marcelo was spurred to create her business by her difficulty finding child and elder care for her family while she was running a startup earlier in her career.“It’s an economic imperative,” she said of providing quality care for children and the elderly. “It’s often assumed to be a women’s issue, and it’s not.”Schwartz, a strong believer in the value of experiential learning, founded her company as an outgrowth of efforts to find summer activities for her teenage sons after they moved to Boston.“I want TeenLife to be a household name and place that people can come to to help them raise successful teens,” she said.