Instrumental Magic: A Recap of Maz Festival -By Chadbyrne R. DickensShhhh! I’m going to let you in on a secret! Once the secret is out, then there is the possibility it may lose much of its special appeal and allure, so get in on the fun while it’s hot! For those lucky few, like myself, who saw Phish play in a bar for 10 people for free in the late 80’s, we knew that it was magic to be bottled and probably never able to be captured again as they grew. Much of the same can be said for the 3rd annual Maz Festival, the euphoric and enthralling musical weekend soiree set in Roscoe, NY in the Catskill Mountains over August 1st-4th. Tickets cost $80 for the entire weekend, including camping. Roscoe, NY located a mere 2 hours North of New York City, 4 hours from Boston and 200 miles from Philadelphia.With most of the sets scheduled with allotments as short as 40 minutes, this allowed for many more and varied artists to grace the stage when juxtaposed to other festivals. Over 60 different musical artists performed over the weekend, covering music genres including but not limited to jam, rock, funk, bluegrass and electronica on multiple stages, with an unintentional focus on some of the great instrumental artists in the music sphere. The Fest host and promoter, Jordan DuMond (Taste Da Thumb), along with his staff and volunteers, prepared an ideal music adventure. It was intensely personal due to its intimate size and presentation. One would make a new friend and see them over and over, like the first day at a small new school. There was only one place to get food, minimal vending and it provided a feel of personal “ownness” and comfort inherent in such a small setting – something innocent and free that gets lost in a larger more commercial festival setting. There were random people sporadically spinning fire and a troupe of girls swirling hips, including Vestopia Hoops, and strutting their ware with the hoop. Sometimes when at one of the endless quality shows, one couldn’t help but feel that one was very fortunate, as if it was a private show just for you and your friends. The entire experience is so peaceful and therapeutic – the ideal feeling we all seek from a festival experience.Many festivals claim to be about “family” when really it’s an excuse for narcissism and self-destruction. Maz Fest was so small that you met so many friends and spent real time with them over a 3 night weekend, it was like bonding at an Outward Bound Course complete with indelible memories from a camping trip with like-minded strangers. Maz Fest is a festival the way we wish it always could be – innocent, without crowds, without assholes, with no lines, and with friendly folks languishing in the language of imagery through music.Thursday, August 1stSome of the music on Day 1 included the local trippy dance band Squid Parade; the stimulating heavy rock of Maz Myth; the jazzy psychedelic rock from The Mushroom Cloud; the late night exploratory noodling from Cosmal; and a rare and exquisite and intimate acoustic set from Consider the Source.Friday, August 2ndSome of the bands that performed included the soulful rock funk fusion of The Kollectiv; the progressive rockers Avente; the brass heavy psychedelic Dixieland ragers Primate Fiasco; and the full frontal funk assault from Providence’s Resin Ed.Highlights:Mother’s Wine :: 7:00pm – 8:10pm : Main StageFrom the exploratory noodling commencing the beginning of “Vector” to start the show, reminiscent of the band YES, the ascending band consisting of Eric Marcazo (bass), Joe Harris (guitar), Jordan Simms (keys), Mark “Mook” Mammano (guitar) and Nick Salgo (drums) quickly warmed up a blossoming crowd on a Friday evening to start of the weekend festivities at Maz Fest. With tight transitions and jams one would never have known it was the live debut of two songs, “Curveball” and “Full Circle.” However, the band didn’t always have to jam to be effective as “Blue Moon’s” opening melody is reminiscent of the floating guitar work of Phish’s “Esther” with Mook’s strumming proving pleasantly addictive, “Tweedle Dee Right” has a “Scarlet Begonias” style hook that allows Mook’s uber talent on the axe to shine through. His stellar finger work and overall play trumps his skills (and jokes) behind the mic, but his groove more than impresses those in ear shot as he rips solos in “Curveball” that inspired many to dance. Jeff Mann of Consider the Source added some bombastic beats on the final two songs, “Full Circle” and the cover of Metallica’s “For Whom the Bell Tolls” which saw vocals by drummer, Nick Salgo.Set List: Vector, Blue Moon, Tweedle Dee Right, Curveball, Pharmland, Full Circle*, For Whom the Bell Tolls* > You and All You See (reprise) *with Jeff MannConsider the Source :: 10:30pm – 12:30am :: Main StageWriters keep repeating the band’s tagline for themselves ad nauseam, as if everyone needs to be pigeon holed with a specific “label” and for Consider the Source the mantra is, “Sci-Fi Middle Eastern Fusion.” However, what does it mean? The reality is that Consider the Source defies logic, barriers and traditional boundaries of genre setting. Three extraordinarily talented musicians, Gabriel Marin (guitar), John Ferrera (bass) and Jeff Mann (drums) take us down an exciting path to the unknown. Although personable and music-savvy gentlemen off the stage, they turn into face-melting powerhouses of instrumental psychedelic rock on it. Unlike their peers, fans are guaranteed to be literally jaw-dropping in awe at the masterful musicianship at hand and the carnage left in its path. Led by the double-necked fretless guitar wizardry of Guru Gabe Marin, the band forages new galaxies with a palette of unique time signatures and funky chord progressions over a bed of strict over-the-top relentless energy. The trio, dressed in all-white, similar to the Droogs, continues to rapidly build a fan following and act unwittingly as trailblazers as progressive players making their own indelible mark. It is refreshing to see a talented band continue to improve and one can credit their legendary practice habits for that. They will continue to bend minds and impress new audiences next weekend at The Big Up where they will be performing an acoustic and electric set as well as teach a class.Set List: Moisturize the Situation, Up to But Not to Exceed Whoa, The Great Circuiting, Tihai for the Straight Guy, Abesense of a Prominent tooth, This Dubious Honor, ./, Paranoid Android, Keep Your Pimp Hand Strong, Good Point Wandering Bear, You Go Squish NowSaturday, August 3rdSome of the acts that performed on Saturday include New Jersey’s progressive Jam/jazz rock act Cocktail Party Phenomenon, Nyack’s Mr. Breakdown playing in support of their Shake Daddy Jupiter record, the intense jam that is Blendmode, the funky improvisational quartet called Tigerman, and a late night jamtronica/trance set by Duntzcap. Educating more than a few festival-goers in music, The Stick Men (Tony Levin, Markus Reuter, Pat Mastelotto) delivered a heavy set of songs written with the rare instrument, the Chapman Stick. Having released their 2nd album, Deep in February, Levin (from nearby Kingston, NY) and Mastelotto formerly worked together as part of King Crimson and their presence added professional credibility and experience to the weekend’s festivities.Highlights:Brummy Brothers :: 4:00pm – 4:40pm :: Electric Love StageDave Brumberg (bass), Eric Brumberg (mandolin), Russ Gottlieb (banjo) and Andrew Morris (guitar) brought the banging bluegrass that left many breathless after a bout of bouncing to their bombardment of beats. The only bluegrass act on the bill, the tight group of young men from New Jersey utilized the opportunity to dominate the groove. Just like CSN, who found each other accidently at a party, BB also provide luscious harmonies and some of the players were found using Craigslist! Each performer alternates taking lead vocals and each contributes equally to quality songwriting. Having been busy touring throughout the northeast and at festivals all summer, the quickly-ascending band has only just begun their voyage, the night before Maz Fest marked their 100th show and recently a local NJ news television program shared a detailed expose on the bluegrass outfit. Gottlieb’s penned “Cell Phone Blues” is traditional bluegrass with 4-part harmony, “cry cry cry” but with modern lyrics about a relationship gone wrong and a man avoiding the answering of his cell phone when his girl calls – its up-tempo, toe-tappin’, hootin’ and hollerin’ fun! Dave Brumberg’s “Bat Shit Crazy” resonates with many men as a song about an insane woman and it has a chorus that won’t escape your soul for days. “Shaking Your Brum” at a Brummy Brothers show is a wonderful excuse to just act care-free and enjoy the simple things in life like dancing, smiling and an everlasting feeling of pure exalted joy.Set List: Weed, Whiskey, Women, Batshit Crazy, Cell Phone Blues, Money, Comin’ Home, Sins & Lies, 60 Miles to BostonMun :: 4:30pm – 5:20pm :: Main StageWiley Griffin (guitar) is a pretty cool cat and his on stage performances exude a calm confidence. Backed by the heavy frenetic rhythms of Hershkowitz behind the kit, Andrew Ostenfeld (keys), and Doug Gresh (bass), funky transitory grooves ensue on the delightful track “Ufunko”, with call and response between Griffin and Ostenfeld. Griffin’s guitar possesses an alluring tone which subtly mesmerizing one into a euphoric groove that slowly builds to a crescendo that cascades over the audience like a glowing waterfall. These musicians create a brand of sound that forces one to get so caught up dancing that the set is over before one takes a breathe – 50 minutes of constant spinning. While rooted in jam structure, they pull of a hybrid of multiple genres well. They invited Plutonian Ode’s Kyle Ryan onstage for a rare vocal track, a cover of The Doors’ “Peace Frog”, as practice for their live karaoke set next weekend at the Big Up which should be a treat for all and one that Mun themselves are very excited about!Set List: Alchemy, Ufunko, Celestia, Peace frog (feat. Kyle Ryan of plutonian ode), AyoTauk :: 5:40pm – 6:40pm :: Main StageAn instrumental outfit named after the most Eastern town on Long Island, Montauk, The Beatles cover “She’s So Heavy” is an ideal vehicle to showcase the diverse skillsets of this talented NYC band. At times heavy handed and at times played with subtle nuance, Tauk, Matt Jalbert (guitar), Charlie Dolan (bass), Alric “A.C.” Carter (keys), Isaac Teel (drums) knows how to properly gel and fill up space. The tight jam showcases each member’s prowess on their instrument as it builds to payoff. As a band that was once lauded by this writer as “Phish meets Lotus” they continue to improve, as evidenced by the reggae-tinged rhythms of “Dead Signal” which contagiously pulls one into its sphere like a tractor beam. Playing in support of their Homunculus CD, they are currently opening a few dates for Robert Randolph and are slated to do the same for Dopapod in NYC this fall. You can catch them at Peach Fest on August 16th.Set List: She’s So Heavy (I Want You), Sweet Revenge, Mindshift, Carpentinos Rebirth, Dead Signal, Energy Muff, The Chemist, In the Basement of the AlamoShwizz :: 7:00pm – 8:10pm :: Main StageFounded in 2009, Ryan “Shwizz” Liatsis (guitar/vocals), Frank Coda (bass/vocals), Billy Schmidt (guitar), Gianluca Trombetta (keys), Paul Hollands (percussion), and Andy Boxer (drums) are a hard-working band currently a fixture at Olives and the Nyack area, and currently performing another residency at the famed Bitter End in NYC as they prepare for The Big Up next weekend and yet another throw down session at Catskill Chill soon thereafter. The soulful jam outfit, heavily influenced by Frank Zappa and James Brown, delivers an abundance of fresh frenetic energy led by Coda who drops bombs on his bass with authority. The gyrating groove and pulsating rhythms of the funk explosion “Doorbell” enlists the audience to participate in the rambunctious romp while showcasing the stellar slide work of Liatsis before Coda delivers deeper funkier beats as the song becomes more infectious as layers are added, including an impressive keys solo by Trombetta. The more introspective “Dreamdrop” allowed fans to kick back and enjoy the dance-athon before the vocals of “Slow Down” hurriedly picked the tempo up and offered a frenetic stage jam led by Coda’s fast thumping. The show concluded with the thicker and denser jam material of “Orange Wreck” and “#12”, leaving the audience satiated with delight from the non-stop barrage of sound.Set List: My Bad Side, Doorbell, Dreamdrop, Slow Down–> My Good Side, Duggan, Orange Wreck, Du Hast Annie–> #12Sunday, August 4thHigh-energy jazz and funk fusion act, UZO, played in support of their recent release, Demolition of Pluto; the sounds and style of Miles Davis meets Pink Floyd in the incarnation known as Jazzmosis; Taste Da Thumb’s Symphony was composer/arranger Jordan DuMond’s funk/rock fusion leadership of eight talented musicians; and Rock and Roll Hall of Famer, Bernie Worrell, former keyboard player for Parliament Funkadelic and Talking Heads closed the festival with an intimate show-stopping performance with his Orchestra.Check out a full gallery of pictures from Maz Fest here. Thanks to Jill Smith, Nick Irving, and Paul Holland for the pictures.
Politics put aside, music lovers everywhere would be happy to know that Governor Chris Christie is just your average Bruce Springsteen enthusiast. The often loud and blunt politician even recently released his top 10 favorite Springsteen songs for Esquire Magazine, with number one being Thunder Road, also featured on Bruce Springsteen’s Greatest Hits Album. Now knowing the great appreciation Christie has for Bruce, can we expect an endorsement deal between the two? Perhaps a collaboration? We sure hope not…
The Foo Fighters have announced that their HBO series, “Sonic Highways,” will premiere on October 17th at 11:00 ET/PT. The series, which was announced several months ago, will document the band as they travel around the country, recording a song in several cities known for their musical communities.The band traveled to a total of 8 cities – Chicago, Austin, Nashville, Los Angeles, Seattle, New Orleans, Washington, DC and New York – and recorded at renowned studios in each location. Guests also joined them in the various studios, including Gary Clark Jr., Joe Walsh, and Cheap Trick’s Rick Nielsen.The first episode of the series will also feature the debut of a new song from the band’s 8th studio album, which, according to producer Butch Vig, has been completed. Vig tweeted the following last week: Dave Grohl, in an interview with The Hollywood Reporter, commented about the process of recording this album, and the evolution of Foo Fighters: “The music is a progression or an evolution for sure, but it’s a Foo Fighters record… Honestly, there are sections of songs that will really take you by surprise. And then there are choruses that you’ll just recognize as Foo Fighters within the first three seconds.”No word on an official release date on the new studio album, but we imagine it will be released near the premiere of the series. We’ll be sure to update once we know more!-David Melamed (@DMelamz)
Following the tragic accident that killed crew member Sarah Elizabeth Jones (details here) on the set of the Gregg Allman biopic Midnight Rider, Allman and his manager Michael Lehman were among the defendants involved with the subsequent lawsuits. Today, however, we have learned that Allman and Lehman are to dismissed with prejudice, meaning they will be cleared from all involvement with the accident.Lehman said, “Gregg and I are pleased that the claims against us have been dismissed, but it’s still with a heavy heart. We continue to have great empathy for the pain Sarah’s family is enduring and for the other members of the crew who were injured.” Allman continued, saying, “We know that this news doesn’t bring Sarah back. This was a terrible tragedy. Sarah’s memory must be an ongoing testament to film safety.” The producers and directors of Midnight Rider still face a wrongful death lawsuit from Jones’ family.
U2’s frontman Bono injured himself while biking in New York’s Central Park earlier this week, forcing the band to cancel their scheduled performance on The Tonight Show with Jimmy Fallon. According to a new report in Rolling Stone, those injuries may have been pretty serious, though the Irishman is expected to make a full recovery.The article states that Bono was involved in a “high energy bicycle accident,” and underwent five hours of surgery after multiple CAT-scans and X-Rays. Bono fractured several bones, including a “facial fracture involving the orbit of his eye,” three fractures in his left shoulderblade, and a fracture of the upper part of his left humerus – a particularly damaging injury which shattered “in six different places and tearing through his skin.” Ouch!Fallon did a great job filling in for the band on short notice, leading The Roots through a version of U2’s “Desire.” Watch that here.Here’s the full statement from Dr. Dean Lorich, who operated on Bono at the hospital:On November 16th, Bono was involved in a high energy bicycle accident when he attempted to avoid another rider. Presented as a Trauma Alert to New York Presbyterian/Weill Cornell’s Emergency Department, his Trauma Work-up at that time included multiple X-rays and CAT scans showed injuries that include:1. Left facial fracture involving the orbit of his eye. 2. Left scapula (shoulder blade) fracture in three separate pieces. 3. Left compound distal humerus fracture where the bone of his humerus was driven though his skin and the bone was in six different pieces. He was taken emergently to the operating room for a five-hour surgery Sunday evening where the elbow was washed out and debrided, a nerve trapped in the break was moved and the bone was repaired with three metal plates and 18 screws.4. One day later, he had surgery to his left hand to repair a fracture of his 5th metacarpal.He will require intensive and progressive therapy, however a full recovery is expected. Dean Lorich, MDOrthopedic Trauma SurgeonNew York Presbyterian/Weill Cornell Medical Center and Hospital For Special SurgeryRead more: http://www.rollingstone.com/music/news/bono-intensive-therapy-bike-injury-20141119#ixzz3JXQBLbre Follow us: @rollingstone on Twitter | RollingStone on Facebook
The recent Kanye West and Paul McCartney collaborations have come as a shock to many. The seemingly opposite performers and human beings have put out tracks that are surprisingly pretty good.Listen to ‘FourFiveSeconds’ Featuring Kanye West, Paul McCartney, and RihannaIn a new interview with NME, McCartney explains what first attracted him to the rapper. It was when Kanye and Jay-Z’s Watch the Throne tour came to the O2 Arena in London, and he finally “got rap.” “I was expecting it to be, ‘Oh it’s great, it’s hip-hop, it’s loud…,” he said. “But I hadn’t until then got the urban poetry aspect. Like, Bob Dylan is a poet. And so is Jay Z and Kanye.”New Video For ‘Only One’ Ft. Paul McCartney Shows Kanye’s Sensitive SideHe goes on to explain how what he saw in the music, a lack of formula, is the same thing that’s driven him all his life.“People used to say to The Beatles in America, ‘Who writes the words and who writes the music?’ And we’d say, ‘…Both of us!’ ‘So what’s your formula?’ We’d go, ‘Well if we had one, we’d bottle it but then probably break the bottle and lose the formula.’ You know, you don’t want a formula. I don’t ever wanna find out what I’m doing.”As for why someone at his age would go to a Kanye/Jay-Z show in the first place?“If I’m gonna do a tour I like to go and see what other people are doing. I didn’t wanna bring my tour out and be amazingly old-fashioned. So people if are going, ‘Oh man, Beyonce, she was killer!’ I like to go there and go, ‘Yeah, we can do better than this.’”Stay forever young, Macca.[Via NME]
No matter that To Pimp a Butterfly was released prematurely, fans of Kendrick Lamar are listening to it repeatedly across the globe and raving about the new project. Although the bar was set incredibly high after his chart topping 2012 release Good Kid, M.A.A.D. City, Lamar follows through with a story and message so thoughtful and new it can only be seen as a gasp of fresh air from today’s seemingly monotonous hip-hop world.On a superficial level, To Pimp A Butterfly has a very different sound, really contrasting with GKMC. The album embodies a funky and jazzy feel throughout, epitomized by female vocals demanding “the funk” in one of the hyped singles off the album, “King Kunta.” TPAB’s potency and depth establishes it as one of the most respected albums of 2015 thus far, earning accolades from celebrities like Taylor Swift and Kanye West on Twitter. Kendrick Lamar convinces the listener that every single second of every track has a purpose and was crafted so deliberately and with much intention with comments on today’s social, civil, and political scenes.What might separate this album from the rest to be released this year is the lack of a specific hit. It was clear that he didn’t make a specific song for radio plays or to be the next banger at a party. He clearly crafted this album without a desire for commercial success. Whether he gets it or not, however, is a different story. Overall, he exploded artistically and his fans reaped the benefits.Specifically, “King Kunta” is a song that (as the oxymoronic title suggests) contrasts riches and poverty, upper class and lower class, which is probably a take on his rise to stardom from his Compton roots. In congruence with his self-proclaimed throne dating back to the “Control” days, this track opens with him denouncing “monkey mouth motherfuckers” who may have forgotten who reigns supreme in the hip hop world.Delving deeper into Kendrick Lamar’s psyche, the juxtaposition of the positive, egocentric hit “i” with its complement “u” shows a lot of reflexive thought. “i” is the type of song you would listen to after finally getting that cute girl’s number or acing that final exam, filled with self-praise. In stark comparison, “u” is the type of song you would listen to during darker times, with Lamar ripping himself apart through the voice of an old friend between gulps of booze.These three tracks only scratch the surface in describing the masterpiece that is To Pimp a Butterfly, check it out for yourself.
Stephen Stills has announced dates for a summer tour, hitting a number of cities across the country on an extensive tour between July 6th through August 5th. With stops at several City Wineries (including NYC’s) and various intimate venues, look for Stills to play beloved music both new and old.The tour will feature Stills playing both an acoustic set and electric set, the latter with backing band comprised of Kevin McCormick, Todd Caldwell and Mario Calire. Stills will also be debuting new music along the way.Tickets go on sale this Friday, May 15th, with more information on the guitarist’s website.Stephen Stills Tour Dates:July 6 Alexandria, VA—The Birchmere July 7 New York, NY—City Winery July 9 Glenside, PA—Keswick Theatre July 11 Louisville, KY—Brown Theater July 12 Greensboro, NC—Carolina Theatre July 14 Charlotte, NC—Neighborhood Theatre July 15 Richmond, VA—Carpenter Theater July 17 Nashville, TN—City Winery July 18 Atlanta, GA—Bulkhead Theater July 21 Tulsa, OK—Brady Theatre July 23 Austin, TX—Paramount Theatre July 24 Dallas, TX—Majestic Theatre July 26 Phoenix, AZ—Celebrity Theatre July 27 Riverside, CA—Fox Performing Arts Center July 29 Napa, CA—City Winery July 30 Paso Robles, CA—California Mid-State Fair August 1 Solana Beach, CA—Belly Up August 2 Solana Beach, CA—Belly Up August 4 San Juan Capistrano, CA—Coach House August 5 San Juan Capistrano, CA—Coach House
It looks like soon-to-be-opened venue The Fillmore in Philadelphia, PA, is preparing for some major shows. While still unconfirmed, it appears that Joe Russo’s Almost Dead will be celebrating New Year’s Eve at the 2500-capacity space.Joe Russo’s Almost Dead Prove Why They’re So Much More Than A Cover Band At The Capitol TheatreJRAD has already dropped some hints via the band’s Facebook page, but perhaps this screenshot of a Joe Russo post is the most enticing:The venue is scheduled for a grand opening in Fall 2015. General public ticket sales will begin on June 4th via The Fillmore’s website.
This piece originally ran in the Midlife Rocker blog. Writer Steve Houk had the unique opportunity to sit down with legendary rock icon David Crosby recently, to discuss his storied career, his ongoing solo tour, and his relationship with the Grateful Dead. Here’s what Crosby had to say: When you ask David Crosby what he thinks separates the music that he’s done solo, or with those three other guys named S, N & Y, from the rest of the pack, it’s a no-brainer.“It’s the songs, man. Everything is the songs,” an animated and engaging Crosby told me from his home in California as he prepares for his summer solo tour. “That’s what really separates the men from the boys. You can take a mediocre song and do all the production you want on it, and you’re still just polishing an ‘excrescence.’ There’s a polite word. But look, I think that we’re good writers. In whichever combination, either three good writers or four good writers, it gives us a very wide pallet of colors to work from. And I think that’s why the couch album and ‘Deja Vu’ were so strong. There’s a very wide scope of material there that one person couldn’t have written. I think that gave us a huge advantage.”As Crosby, 73, traverses through his 52nd year of creating music — still immersed in a career that has seen him enter the Rock and Roll Hall of Fame twice, for his work with The Byrds and CSN — right now, his gift is in full bloom. Coming off his critically acclaimed solo release Croz in 2014, his senses are sharp, and his seasoned instincts appear keen. His songwriting spark is in the now, not just the then, the songs are coming fast and furious, and a lesser man might not know what to do with such a rush. But David Crosby does. If anyone knows how to handle a rush, it’s Croz. Take it and go with it.“I’ve always written in kind of bursts of activity over the years,” Crosby said with a twinkle in his voice. “I’ll write two, three things in a row and then a couple of months will pass by before I write another thing. I don’t know why that is, but I’ve been in now the longest most sustained burst of writing that I can remember in probably thirty years. I’m just amazed it’s going this long. I wrote two things this week. So I don’t know what to think. I feel very grateful, I don’t really understand it, but I guess I don’t have to understand it, I just have to work with it. I was stunned by the amount of material that’s coming my way and very grateful. And I’m smart enough to pay attention to it so that’s what I’ve been doing. I pick up the guitar every day several times, and try to work at it and it’s been working.”(L-R) Jerry Garcia, David Crosby, Phil Lesh and Neil Young during recording of Crosby’s 1971 album If I Could Only Remember My Name (photo courtesy Jim Marshall)Although Crosby has been prolific in his songwriting, he has only released four true solo records, beginning with the stellar, star-studded If I Could Only Remember My Name in 1971. That record came at a devastating period in his life, when writing songs was the only thing that kept him going when nothing else could.“That was a life saver, that record man, absolutely a life saver,” Crosby said with a clear remembrance. “I was going through a really rough period in my life there, my girlfriend had just gotten killed in a car wreck. I had no way to deal with it at all. I was in pretty bad emotional shape when we finished ‘Deja Vu’ and the only place I really felt comfortable was in the studio. So I just stayed in there. And that’s the record that happened. Jerry Garcia was a good friend of mine and came almost every night, some of the other guys, Phil Lesh, and Paul Kantner and Grace Slick and people from Santana and the Dead and the Airplane and other bands up there would come by. And sometimes Nash and Joni Mitchell. It was a rough time but that’s how I stayed alive, making that record.”Forty-four years after that album was released, and as the Dead celebrate their 50th anniversary this year, Crosby recalls his relationship with the Grateful Dead band members with much fondness, relationships that continue even today.“I was friends with all of them, and I’m still friends with Phil, we are buddies and have been for a long time and I’m sure we will be for a long time. I love ’em, they are a bunch of great guys, we would jam alot and spend time at Bob Weir’s place in Mill Valley which is right near my place and I would go over there when they were rehearsing, and just interfere and get in the way and pester them. Start jams right when they were trying to learn new tunes and stuff.”David Crosby soars live (photo courtesy David Crosby)Crosby will be back out there with his longtime mates this fall for a CSN European swing — “Why do we do it? I guess we love it, that’s the answer” — but for now, it’s just him and his guitar, naked out there. And that’s just how he wants it to be right now.“It’s more challenging, it’s how I started out,” Crosby said. “One guy, one guitar. But it’s also a way that I can do one of the things I love the most, which is tell you the story of the song. The words really count, and if it’s just you and the guitar, you get to really actually make the words count. And they’re a big deal for me, poetry’s a big deal for me. A BIG deal to me. I love doing it this way, it’s much more challenging, and at this point in my life, challenging myself is a very healthy thing to do.”And as always, when it comes right down to it, it’s all about…the songs.“To carry it yourself, it has alot more to do with the song. If you got a whole band there, you can play something that’s only moderately good and get away with it. If it’s just you and the guitar, it has to be a really good song. That for me is crucial stuff. I really like that. I do have some good songs. It’s a different ball game than playing with the band, completely. Not everybody wants to do it and not everybody can do it. I do really love doing it.”And will Crosby be pulling out any buried treasures from his legendary canon, any big surprises, on this short solo soiree?“Oh definitely, but I’m not gonna tell ya,” he says, laughing. “You have to come to the show, man. I hope you do come, I think you’ll like it. If you like songs, you’ll love it.”
With his solo album Rattle That Lock due out on September 18th, Pink Floyd guitarist David Gilmour has unleashed the second single from the album. After releasing the title track a few weeks ago, Gilmour is back with “Today”.The song originally premiered on BBC Radio 2, but you can stream an audio rip of it below:Gilmour also shared a making-of “Today” video to accompany the new single, which you can check out below:Rattle That Lock is Gilmour’s first album since 2006’s On An Island. Gilmour also has added a handful of South American dates to his world tour, which kicks off next Saturday in Croatia. The full schedule can be seen below:David Gilmour 2015-2016 Tour Dates 09/12 – Pula, HR @ Arena Pula 09/14 – Verona, IT @ Verona Arena 09/15 – Florence, IT @ Teatro Le Mulina 09/17 – Orange, FR @ Theatre Antique 09/19 – Oberhausen, DE @ König Pilsener Arena 09/23 – London, UK @ The Royal Albert Hall 09/24 – London, UK @ The Royal Albert Hall 09/25 – London, UK @ The Royal Albert Hall 12/12 – Sao Paulo, BR @ Allianz Parque 12/14 – Curitiba, BR @ Pedreira Paulo Leminski 12/16 – Porto Alegre, BR @ Arena do Gremio 12/18 – Buenos Airs, AR @ Hipodromo de San Isidro 12/20 – Santiago, CL @ Estadio Nacional 03/24 – Los Angeles, CA @ Hollywood Bowl 03/24 – Los Angeles, CA @ Hollywood Bowl 03/31 – Toronto, ON @ Air Canada Centre 04/01 – Toronto, ON @ Air Canada Centre 04/04 – Chicago, IL @ United Center 04/08 – Chicago, IL @ United Center 04/11 – New York, NY @ Madison Square Garden 04/12 – New York, NY @ Madison Square Garden
The only thing better than an amazing show on a Friday night is a FREE amazing show on a Friday night. NYC venue Webster Hall has just announced an exclusive promotion, where you can get into tonight’s top floor Girls & Boys showcase featuring Pomo, Exmag, Chris McClenney and Geotheory before midnight free of charge! All you have to do is RSVP here and tell the person at the door that you’re on the GBH guest list.The line up features serious future vibes, with each artist bringing their own unique, soulful, electronic flare. To say the least, it’s a far cry from your standard “EDM” show. These guys lean towards more tasteful, melodic stuff that will hit the the sweet spot for a wide range of listeners, from hip hop heads to chill-wave fans.Pomo’s exclusive THUMP single “Aerobix”, for example, features deep textures, silky smooth vocal samples, fat synth chords and a tasteful pinch of unusual percussion sounds. It does a great job of packing a dance floor punch, while remaining palatable for people who prefer more chill stuff. This is totally cliche, but it’s like something you’d blast in your headphones as you’re biking down a beach boulevard into the sunset.Exmag is returning for what is sure to be another stand out set. These guys have been isolated, deep in the lab, at a mysterious, undisclosed location in Pennsylvania, working on a new album for the past few months. Only through their extremely strange Snapchats have we been able to catch a glimpse of what they’ve been up to. Lucky fans may get a chance to get a sneak peek at the new music.As a bonus, today only, their intergalactic world is leaking out onto Webster Hall’s main Snapchat & Instagram channels (@websterhall). It’s essentially the social media equivalent of an alien sighting.Enjoy the show tonight!
Coming out of the Kansas City scene is Captiva, the alternative rock sensation taking the country by storm. Just a few years into their existence, Captiva has played stages at Backwoods Festival, SXSW, and Audiofeed, and has even opened for Twenty One Pilots! Not too shabby for a band started during a detention sentence in high school!The band is gearing up for the release of Captiva, their debut EP. The album is due out today, December 15th, and thanks to the band, you can stream it all below:Featuring the single “Road to Ruin,” Captiva shows their chops with powerful progressions and lyrics. The band will be celebrating the release with a televised performance in Des Moines, IA, followed by a two-week run in Colorado on the SnoDaze College Ski Trip.For all things Captiva, head to the band’s official website! Check out the tour dates below:Captiva Upcoming Tour Dates12/22 – Des Moines, IA @ KCWI 23 Live Performance1/5 – Copper Mountain, CO @ MU SnoDaze College Ski Trip*1/12 – Breckenridge, CO @ Iowa SnoDaze College Ski Trip1/13-15 – Steamboat Springs, CO @ KU SnoDaze College Ski Trip** w/ The Expendables
Earlier this month, the Ash Institute for Democratic Governance and Innovation at Harvard Kennedy School (HKS) announced eight semifinalists for the 2008 Annie E. Casey Innovations Award in Children and Family System Reform. These government programs were selected from a pool of 100 applicants and offer tangible solutions to children and family services issues. The 2008 winner will receive a $100,000 award toward replication and dissemination of best practices.The Annie E. Casey Innovations Award in Children and Family System Reform was created in 2004 to highlight successful innovation in public systems affecting children and families, and to encourage other systems to adopt these reforms. Through a partnership with the Annie E. Casey Foundation and the Ash Institute for Democratic Governance and Innovation, this annual award encourages improvements in public policy to support disadvantaged children and families.After a series of thorough rounds of evaluation, a panel of child and family service policy experts selected the semifinalists. Five state, one county, and two city programs make up the semifinalist group. Finalists will be announced June 3, and the winner will be honored at an awards gala in September.“The eight semifinalists have shown us that effective and innovative programs can play a role in improving the futures of children and strengthening children and family service programs,” said Douglas W. Nelson, president and CEO of the Annie E. Casey Foundation. “This is the third year that we are funding this Award, which we feel contributes meaningfully to the Casey Foundation’s mission: improving opportunities and outcomes for America’s most vulnerable children and families.”Established in 1985 at HKS by the Ford Foundation, the Innovations in American Government Awards Program has honored 181 federal, state, and local government agencies over its 23-year history. The program provides concrete evidence that government can work to improve the quality of life of citizens. Many award-winning programs have been replicated across jurisdictions and policy areas and serve as forerunners for today’s reform strategies and new legislation.“The semifinalists for the Annie E. Casey Innovations Award in Children and Family System Reform are at the forefront of some of our nation’s most pressing children and family challenges,” said Daniel Paul Professor of Government Stephen Goldsmith, director of the Innovations in American Government Awards Program. “They are bringing about core reforms in how we treat domestic violence, juvenile justice, and foster care issues.”The semifinalists for the 2008 Annie E. Casey Innovations Award in Children and Family System Reform follow:• Child welfare reform, state of Maine: Motivated by the vision that every child needs a family, Maine has achieved child welfare reform over the past six years through conscious, data-driven management.• Construyendo Circulos de Paz/Constructing Circles of Peace: Santa Cruz County, Ariz.: A long-term, restorative justice counseling program that brings together multiple stakeholders (perpetrators, victims, families, and community members) in response to crimes of domestic violence.• Division of Youth Services, state of Missouri: A national model for juvenile justice reform, Missouri’s Division of Youth Services has achieved exemplary results and cost-effectiveness through regionally based, small, humane treatment centers; group and family systems approaches; universal case management; and community engagement.• Family Civil Intake Screen Process, state of Connecticut: A scientifically validated, comprehensive assessment methodology designed to identify parenting conflicts and match the dynamics of the family with a corresponding array of evidence-based alternative dispute resolution services.• No Child Left Inside, state of Connecticut: This initiative reconnects families to nature by exposing them to outdoor recreational opportunities, thus growing healthier kids, fostering environmental stewards, and showcasing the joy of playing outside.• Positive Youth Development, city of Washington, District of Columbia: The nation’s first juvenile justice agency that strives to meet the needs of young people by building their competencies and enabling them to become successful adults.• Project Zero, New York City: Department of Probation project that enhances public safety and reduces the number of juvenile delinquents removed from home and incarcerated in New York state facilities through family-focused, community-based programs.• Youth Leadership Advisory Team, state of Maine: A program that engages youth in foster care with state and federal policymakers to create significant improvements in child welfare policies, legislation, and programs.
Following are some of the incidents reported to the Harvard University Police Department (HUPD) for the week ending July 22. The official log is located at 1033 Massachusetts Ave., sixth floor, and is available online at www.hupd.harvard.edu/.July 17: Officers responded to a report of a suspicious individual in the area around International House 199 in Boston. Officers arrived and conducted a field interview and background check. After finding negative results with the check, the individual was sent on their way with a trespass warning for all of Harvard University property.July 18: An officer was dispatched to Weld Hall to take a report of a theft. Upon arrival, the officer was informed that a box containing bank statements, a checkbook, and other personal information was gone. The case is open pending further information.July 20: Officers were dispatched to a report of an individual attempting to break into the bicycle cage at 77 Ave. Louis Pasteur. Upon arrival, officers conducted a field interview. During the interview, the individual attempted to flee the area. The officers gave chase and after stopping the individual, placed the individual under arrest.July 21: An officer was dispatched to Pforzheimer House to take a report of a stolen bicycle. There were no suspicious individuals seen in the area at the time of the theft.Near Gund Hall, officers observed an individual trying to light fireworks. Officers approached the individual and conducted a background check. The individual was sent on their way with a trespass warning for Harvard University.
The Davis Center for Russian and Eurasian Studies has announced its fellowship, prize, research travel grant, and internship recipients for the 2008-09 academic year.A total of seven fellowships have been awarded for research pertaining to Russia and the former Soviet Union in the humanities and social sciences. Postdoctoral Fellowships have been awarded to Denis Kozlov, visiting assistant professor of history at Dalhousie University, for research on his project “The Readers of Novyi Mir, 1945-1970: 20th-Century Experience and Soviet Historical Consciousness”; Mie Nakachi (Ph.D., history, University of Chicago) for study on the politics of reproduction and demography in the postwar Soviet Union, 1944-68; Dassia Posner, a lecturer on theater at Boston College, for work on the Chaliapin family diaspora; Benjamin Tromly for investigation of the social and political meanings of higher learning in the Soviet Union through a study of student politics, 1948-64; and Emily Van Buskirk (Ph.D., Slavic languages and literatures, Harvard University) for research on the intermediary prose of Lydia Ginzburg. A senior fellowship was awarded to Jacques Rupnik, director of research and professor, Center for Study and International Research at Sciences Po, for research on his new project “The Other Europe Twenty Years On: Trajectories of Political Change in East-Central Europe and the Balkans Since 1989.” A regional fellowship was awarded to journalist Masha Gessen for a study of censorship in the era of the Web.Dissertation completion fellowships were awarded to Diana Kudayarova for her research on engineers in Soviet society and to Mikhail Pryadilnikov for his study of the evolution of regulatory reform in Russia.Fainsod Prizes, intended for top incoming graduate students in the field of Russian, Soviet, or post-Soviet studies, were awarded to the following students:Eric Ciaramella (Russian, East European, and Central Asian Studies [REECA]), whose research interests focus on Russian and Soviet policy toward minority language groups; Melih Egemen (Inner Asian and Altaic studies), who will study relations between the Russian and Ottoman empires; Alexandre Gontchar (Slavic) who will examine the shift from the visual to the conceptual mode in the plastic arts in the early 20th century; Philippa Hetherington (history), who will focus on late 19th and early 20th century Russian and East European history; Mihaela Pacurar (Slavic), who will study the works of the first post-Communist generation of writers; and Yuri Zhukov (government), whose interests include military analysis, counterinsurgency, civil-military relations, Cold War studies, state-building, and institutional design.A total of 29 graduate students received research travel grants from the Davis Center. Details on the awards, including recipients’ names, departments or Schools, research topics, and destinations appear below.Masha Hedberg (government) received the Padma Desai Research Prize for her project “Representing Business Interests in Post-Communist Politics” in Moscow.REECA Alumni Prizes were awarded to Christina Jarymowycz (REECA) for “Clash of Memories: Reconstructing World War II in a Kiev Museum” and to Molly Pucci (REECA) for “How the 1948–1954 Show Trials Helped Build a Stalinist System in Czechoslovakia.”Eight students received Abby and George O’Neill Fund Awards. They are Jennifer Howk (government), “Losing Ground: Climate Change, Uncertainty, and Social Mobilization in Three Arctic Communities”; Diana Kudayarova (history), “Engineers in Soviet Society, 1947–1965”; Inna Mattei (Slavic), “How the Steel Was Corroded: Aesthetic Dissent and the Crisis of Utopia in Late Soviet Culture”; Ana Olenina (comparative literature), “Intersections Between Cinema and Biomedical Science in Russia in the 1910s–20s: The Cases of Rudovkin and the FEKS”; Maya Peterson (history), “Technologies of Rule: Empire, Water, and the Modernization of Central Asia”; Rebecca Reich (Slavic), “Pleading Insanity: Diagnosis and Self-Definition in the Late Soviet Period”; Katherine Rose (Slavic), “Folk Culture and the Remnants of Tradition: The Art and Culture of Irkutsk and Vladimir”; and George Soroka (government), “Representation and Democracy in the Post-Communist Space: Political Elites and the Conception of Governance.” Soroka also received an Optimus Award to carry out research for the same project in Warsaw, Poland.Maurice Lazarus Fund Awards went to 18 students. They include Mikhail Akulov (history), “The Origins and Development of the Atamans in Southern Ukraine during the Civil War (1917–1922)”; Johanna Conterio (history), “Constructing Soviet Paradise: Health Resorts, Environmental Medicine, and the Mobilization of Nature in the Proletarian State”; Nataliya Kun (Slavic), “Normative Literary Language and Conscious Mistake as Literary Device”; Kyongjoon Kwon (Slavic), “Archaism and Innovations in the Old Novgorod Dialect”; Hassan Malik (History), “Russia as an Emerging Market”; Kyle Marquardt (REECA), “Language and the Assertion of Autonomy and Independence: A Comparative Analysis of Language Policy in Kazakhstan and Tartarstan”; Dylan Myles-Primakoff (REECA), “Indigenous Land Rights in Russia”; Tamara Pavasovic (sociology), “Socializing Children into Ethnic Prejudice and Hostility in Serbia, Croatia, and Bosnia”; Sabrina Peric (social anthropology), “Silver Bosnia: Precious Metals and the Western Balkans, 1390–2008”; Maxim Pozdorovkin (Slavic), “Shadows of the Golden Man: Turkmenistan and Turkmenbashi”; Sara Rhodin (REECA), “Love for the Motherland Starts at Home: Russian Family Policy Since 1936”; Jonathan Schlesinger (history), “Natural Frontiers in the Qing Empire in Boreal Manchuria, 1570–1907”; Aleksandr Senderovich (Slavic), “The Soviet Shibboleth: Translation and Border-Crossing in Russian-Jewish Literature (1917–1939)”; Katherine Surmanski (REECA), “Surface and Substance: The Political and Economic Causes of Soviet-Era Pokazukha, and Its Post-Soviet Legacy”; Andras Tilcsik (organizational behavior), “Rebuilding Civil Society in Eastern Europe: The Effect of ‘Percentage Laws’ on the Nonprofit Sector”; and Olga Voronina (Slavic), “Winning Hearts and Minds: The Cold War in Russian Literature (1946–1968).”Two graduate students received grants for language study. Oliver Bevan (government) for Russian study and Sofiya Grachova (history) for German.Six undergraduates received Goldman Undergraduate Research Travel Grants from the Davis Center. Details on these awards, including recipients’ names, departments or schools, research topics, and destinations appear below.Alexander Berman (visual and environmental studies), “Another Russia: A Documentary on Rangers in the Kamchatka Penninsula,” Petropavlovsk-Kamchatsky; Laura Crisafulli (Russian), “The Art of Russian Realist Vassili Vereshchagin,” Uzbekistan; Emmet McDermott (literature), “Banned Literature and the Investigation of the Satirical Purpose in Soviet Russia,” Moscow; Katherine Peisker (government), “The Relationship Between Religious Affiliation and Voting Patterns in Ukraine and Russia,” Lviv; Jan Straka (social studies), “The Relationship Between Charter 77 and Ecological and Pacifist Movements in 1980s Czechoslovakia,” Prague; and Anna Whittington (history), “From One Adopted Heimat to Another: German Emigration from the Soviet Union to Germany,” Berlin.The Davis Center expanded its awards for undergraduate internships this year, enhancing student support for work experience in the region. Details on these awards, including recipients’ names, departments or Schools, internship placements, and destinations appear below.Goldman Undergraduate Internship Grants were awarded to the following students: Arnold Behrer (economics, government), environmental education, World Wildlife Fund, Ulaanbaatar, Mongolia; Alexander Brown (classics), archaeological excavation, Romania and Belarus; Dimitry Doohovskoy (Slavic, economics), real estate investment, Jensen Group, St. Petersburg; Davida Fernandez-Barkan, executive search, Accent Advisory, Moscow; Peyton Greenside, pediatric medicine, Hospital for Mother and Child, Chisinau; Sean Loosli (Slavic and psychology), Web-based curriculum development, Moscow State University Center for International Education, Moscow; Dimitrije Ruzic (economics), outsourcing, consulting, and auditing, Bellerage Vostok, Moscow; Saba Sulaiman (economics, Middle Eastern Studies) and Cathy Sun (social studies), corporate communications and public relations at MCS Global Strategies, Moscow; Mary Szpak (Earth and planetary science), political science curriculum development, Jagiellonian University, Kraków; and Jan Zilinsky (economics; applied mathematics), health care system analysis, Institute for Economic and Social Reforms, Bratislava.Two students were awarded Andrei Sakharov Program on Human Rights Summer Internships for 2008: Marino Auffant (history) interned at the Slavic Center for Law and Justice and the Civic Assistance Committee in Moscow; and Nafees Syed (government) interned at the International Criminal Tribunal for the Former Yugoslavia, The Hague.
On this day in 1795, 21 Harvard students gathered in a dorm room and formed a secret social club to cultivate “friendship and patriotism.” Members agreed to take turns providing a pot of hasty pudding for the meetings. Thus did the Hasty Pudding Club, the nation’s oldest dramatic institution, get its name…Read full story
RELATED: Playoff standingsDETROIT — If Dale Earnhardt Jr.’s final full NASCAR season ends without a playoff-clinching win, team owner Rick Hendrick says it won’t sour what has been an impressive body of work in stock-car racing.Hendrick’s remarks came Thursday at Chevrolet’s unveiling of the Camaro ZL1,which the automaker will field in the 2018 Monster Energy NASCAR Cup Series. Earnhardt, 42, has driven for Hendrick Motorsports since 2008 and has 26 career wins, the most recent coming in November 2015; he announced in April that this season will be his last.Earnhardt sits 23rd in the series standings and in need of a victory in the remaining four regular-season races to secure a playoff berth. Hendrick said he would cherish a storybook send-off with one final trip to Victory Lane, but that Earnhardt’s legacy in the sport is secure regardless.RELATED: Dale Jr. photos through history | Playoff bubble watch“It won’t matter a bit,” Hendrick said. “To me, you’ll look at the championships that he won in XFINITY, you’ll look at his contribution, what he’s done to mentor young drivers, what he’s done to give people an opportunity, the way he’s conducted himself with the fans and the kids. I mean, his contribution … being a genuine, real person. If you’re a champion and you win a lot of races, that’s great, but I think you’ve got to look at what contribution did you make to the sport that wasn’t just for you, it was for a lot of other people.”The backdrop for Hendrick’s statements was Earnhardt taking selfies and chatting with General Motor employees attending Thursday afternoon’s Camaro reveal. It’s part of what has made Earnhardt the series’ most popular driver for 14 years running.“Of course, we’d love to see him win and get in the (playoffs) and how great it would be if he won the championship,” Hendrick said. “I think that would be great, but I think all the good things that he’s done, all the people he’s helped, and he has been a champion and he has won. When you see people like today just gravitating toward him, he’s been an ambassador.“He’s done a lot for a lot of people, me included. He told me he was going to make me popular,” Hendrick said through laughs, “so I appreciate that.”
RELATED: Weekend schedule for TalladegaIt feels quite appropriate. Seven-time NASCAR champions Jimmie Johnson and Richard Petty open up the newly released 2018 Daytona 500 commercial with heartfelt sentiment and high expectations about this epic event.“There is no greater feeling,” reigning Monster Energy NASCAR Cup Series champ Johnson says, opening the new commercial unveiled Saturday by Daytona International Speedway.“There is no greater history,” answers the legendary NASCAR Hall of Famer Petty in the very next frame.And there are no greater voices than the drivers and NASCAR fans featured in this spot to remind people to purchase tickets for the Feb. 18, 2018 Daytona 500 — the 60th anniversary of the sport’s most famous race.“We’re really proud of the commercial,” Daytona International Speedway President Chip Wile said. “We took a little different approach than we’ve taken in the past using fans as part of our creative. I thought the end product was just phenomenal.“Using Daytona 500 fans and champions to promote the 60th running of the Daytona 500 is a perfect mix of competition on track and fan experience we’ve been talking about for years.“This is a prime example of pushing the envelope and really melding the drivers of the sport and stars of sports with the fans who keep the sport going with the passion they have behind it.”Wile says there is much to look forward to as the track prepares a proper celebration of its six decades of celebrated competition.“We’re ultra-focused on making sure the 60th is special and this is one more example of doing that,” Wile said.
DAYTONA BEACH, Fla. — Ricky Stenhouse Jr. is a realist.Approaching the halfway point of the Monster Energy NASCAR Cup Series season, the driver of the No. 17 Roush Fenway Racing Ford is embroiled in a tight points battle for one of the last spots in the Playoffs.MORE: Full Daytona schedule | Fords fast in early practiceThrough 17 races, Stenhouse is 16th in the standings, but the defending winner of the Coke Zero Sugar 400 (7 p.m. ET Saturday on NBC, MRN and SiriusXM NASCAR Radio) is not currently in a Playoff-eligible position, give that 19th-place Austin Dillon has secured a top-16 spot with his victory in the season-opening Daytona 500.But Stenhouse can make the points issue moot by repeating as the winner of Saturday’s race, and he’s practical enough to know that the last restrictor-plate of the regular season gives him his best chance.“Yeah, for sure,” Stenhouse said Thursday between practices at Daytona. “I think we’ve got Daytona, and I feel like Bristol—there are two tracks that we can still potentially win at, being able to go out and win a race. “Obviously, there are race tracks where things can play out. I don’t think we have the speed at the mile-and-a-halves yet to go out there and win like we want to, so I think, realistically, when I go to those mile-and-a-halves, I’m like, ‘Hey, let’s somehow manage a 12th-place finish.’ “Whether you get a couple stage points and you finish 15th and you’re averaging basically a 12th-place finish, that’s what we look at when we go to some of those tracks, but Daytona definitely Saturday night is a really big opportunity for us, but for everyone else, too.”
Kevin Harvick rolled to the Busch Pole Award in Monster Energy Series qualifying Friday at ISM Raceway in Phoenix.Harvick, a nine-time Phoenix winner, landed a best lap of 139.340 mph around the 1-mile track, putting the Stewart-Haas Racing No. 4 Ford in the first starting spot for Sunday’s Can-Am 500 (2:30 p.m. ET, NBC/NBC Sports App, MRN, SiriusXM NASCAR Radio). The pole position is the fourth for Harvick this season, his second at Phoenix and 25th of his Monster Energy Series career.RELATED: Qualifying results | See every car in the field | Weekend scheduleHarvick is competing this weekend with interim crew chief Tony Gibson calling the shots in place of Rodney Childers, who is serving a two-race suspension for a technical infraction after last weekend’s win at Texas Motor Speedway.“It’s pretty awesome to see a group of people come together — old man Tony Gibson and Nick (DeFazio, interim car chief) — coming out to fill the gaps for the suspensions,” Harvick told NBCSN. “Like I told the radio a second ago, everybody on our Busch Light Ford has been there before and we know what we need to do. This is a great race track for us. I really wasn’t expecting that. Our cars are usually a lot better in race trim than in qualifying trim, and just got fortunate to hit a good lap right there and it came at a good time.”Chase Elliott will share the front row after registering the second-fastest lap (139.152 mph) in the Hendrick Motorsports No. 9 Chevrolet.“Yeah, unfortunately not good enough,” Elliott said. “The guys brought me a great NAPA Chevy this week and one of these days I’ll figure out how to qualify on a non-plate track, maybe. I had a car to do it today, and I didn’t get it done. So, we’ll go to work on Sunday.”Elliott starts Sunday’s race 17 points behind Harvick for the final spot in the Championship 4.Ricky Stenhouse Jr., Ryan Blaney and Alex Bowman rounded out the top five in qualifying for the penultimate event in the 10-race playoffs, with title-eligible Kyle Busch snagging sixth.The 312-lap event is the final race in the Round of 8. After Sunday’s race, the championship-eligible field will be trimmed from eight to the four drivers who will race for a title Nov. 18 at Homestead-Miami Speedway.Joey Logano, the only driver assured of a title shot after his Martinsville win clinched an automatic berth, qualified ninth in the 39-car field.Defending series champ Martin Truex Jr. was a late arrival to the qualifying grid after his Furniture Row Racing No. 78 Toyota failed inspection three times. The issues resulted in the ejection of Blake Harris, the team’s car chief, and a loss of 30 minutes in Saturday’s final practice.Truex was bumped out of the final round of the session by a last-minute lap from Brad Keselowski. Truex will start 13th.“It was a battle,” said Truex, who was 20th-fastest in Friday’s practice. “Kind of par for the course for us here lately, so I say 13th is a pretty good starting spot for the day we’ve had. I really didn’t get a good crack at anything in practice and we didn’t end up having much time and we were pretty far off. Made some good gains for sure. I wish we could’ve ran again. I definitely feel like I could pick up some more. Car was just pretty tight, so we’ll start 13th and get to work tomorrow.”MORE: Playoff standingsOther postseason drivers missing out of the final session were the Stewart-Haas Racing trio of Kurt Busch (starts 14th), Clint Bowyer (16th), Aric Almirola (18th) — all of whom sit outside of the elimination cut-off line.Cody Ware, who crashed during Friday’s lone practice for the series, did not make a qualifying attempt in the Rick Ware Racing No. 51 Ford.Contributing: NASCAR Wire Service
BROOKLYN, Mich. – According to Daniel Suarez, if you want to win races, a drastic change in behavior among competitors leaves no room for kindness on the race track.During the Stewart-Haas Racing driver’s media availability Friday at Michigan International Speedway, Suarez dove into detail regarding how much driver etiquette has changed since he first came onto the Monster Energy NASCAR Cup Series scene, a conversation he and Ryan Blaney and Corey LaJoie actually had at dinner with fellow Ford Performance drivers Thursday night.“In today’s racing, nobody gives respect,” Suarez said. “It’s way different than two years ago. When I came to the Cup Series in 2017, everyone was very polite. In the first half of the race, if someone was faster than me, I would let the guy go. But right now, … Lap 2 … we’re driving it with everything.RELATED: Suarez fast early at Michigan | Full schedule for Michigan, Texas“That’s how it is,” Suarez continued. “There’s just no more respect or polite drivers out there. If you’re polite, you won’t last.”With track position at a premium based on how competitive the Cup Series field has become, Suarez noted restarts have become more aggressive, with drivers jockeying to gain every position possible.“Everyone has to make positions,” Suarez said. “If you don’t make positions, you’re going to lose positions. You have to have that mentality.“I’ve had a lot of good race cars in the past where I’m good on the long run, but on the restarts I’m not great,” he added. “It takes me seven laps to finally get going. In today’s racing, you can’t have that. It’s one of those things where you have to be at least decent on restarts to have a good trade off.”Although Suarez acknowledged being nice doesn’t get you very far in today’s day and age, he’s also not complaining about it. He actually enjoys it.“Nobody gives anyone a break,” Suarez said. “It’s very hard, but it’s fun. I like it, driving hard; I don’t have a problem with that. It’s just a different style of racing now.“The lead cars — the guys out running the top 15, top 10 – I think it’s how it’s supposed to be. I don’t mind driving hard. That’s what we get paid for, right?”RELATED: SHR cars lead 10-lap averages in Michigan practiceDespite the lack of give-and-take on the race track, Suarez believes firmly in drawing a line in the sand to separate what happens on the race track from relationships in the motor coach lots.“Personally, I try to be good with everyone, but on the race track it’s a whole different deal,” Suarez said. “There’s a lot of drivers like that. Joey Logano … he’s a great friend of mine and we get along extremely well off the race track. But when we’re on the race track, we’re always banging and hitting and talking trash on the radio. That’s how it is and that’s how I like it to be.“It has to be that way. He (Logano) does a good job on that. He’s an extremely aggressive driver. I will say, I’m the same way. Maybe some people will say sometimes it’s too much, I prefer to be on the too much side and not too little.”If there’s any doubt that Suarez gets a thrill out of ultra-aggressive racing and standing up to his competition, he’s quick to remind of his scuffle with Michael McDowell at ISM Raceway in March.“Do you see when I was fighting in Phoenix, I was smiling, too,” Suarez said with a grin. “I don’t have a problem with that. I’ve been in tougher situations, believe me.”
An upbeat Jimmie Johnson said Friday that his feelings have spanned anger, anticipation and ultimately optimism in the week since his positive test for COVID-19, setting an emotional tone for his return to stock-car racing this weekend at Kentucky Speedway.Johnson’s remarks came Friday morning in his first interview since he received clearance to return to NASCAR competition. The seven-time Cup Series champion will be back in the No. 48 Hendrick Motorsports Chevrolet for Sunday’s Quaker State 400 (2:30 p.m. ET, FS1, PRN, SiriusXM NASCAR Radio).RELATED: Jimmie Johnson cleared to return | Kentucky weekend schedule“Obviously, just an interesting week or so to have the positive test and then the two negative tests,” Johnson said in a Zoom video conference with reporters. “Just emotional and a journey that you go through worrying about your safety, your family’s safety, watching a race with somebody else in your race car and the emotion that goes with that. Coming to grips with the reality of all that has been challenging, but I’ve always subscribed to growing through these tough moments, and I feel like I’m a smarter, stronger person today experiencing all this.”Johnson revealed a positive COVID-19 test July 3, which sidelined him for last weekend’s race at Indianapolis Motor Speedway. He also said that his wife, Chandra, had tested positive for the virus, while his children — daughters Genevieve and Lydia — had tested negative. Johnson said he has been asymptomatic throughout; he said Friday that his wife was in good health, save for allergy-like symptoms common this time of year near their Colorado home.NASCAR officials cleared the way for Johnson’s return Wednesday. The 44-year-old driver was required to have two negative COVID-19 tests spaced at least 24 hours apart, an absence of symptoms, plus clearance by a physician.Johnson said his initial reaction upon receiving word of his first negative test was anger directed at multiple sources, in part from his uncertainty over the pandemic, his strange lack of symptoms, his children’s fears and his absence from the race track.RELATED: Jimmie Johnson’s all-time wins | Career highlights for Jimmie Johnson“I started cussing and used every cuss word that I knew of, and I think invented a few new ones,” Johnson said. “So it was just so weird, the anger, because I’ve been asymptomatic. So anger hits, and then speculation in my mind and it’s like wait a second, there is nothing good to come of this. It’s just time to move on. Then I got very excited, started looking at the facts that I’ve only missed one race, I’ve still got a good gap above the cut line and then this optimism about getting that second negative, and then I did. So I feel like I’m more on the optimistic side of things and really out of the dark headspace that I was in and just moving in the right direction and looking forward in all this.” The Brickyard absence snapped Johnson’s consecutive-starts streak at 663 races. Xfinity Series regular Justin Allgaier — on standby for Hendrick Motorsports as an alternate driver since the sport returned in May with coronavirus protocols in place — filled in with the No. 48 team. He mustered just a 37th-place finish when a pit-road pile-up ended his day after just 17 of the 161 laps, a result that Johnson said he felt short-changed Allgaier’s chance to shine in a top-tier Cup Series seat.Johnson said that the reality of missing the Indianapolis event began to set in as the hours ticked down to the green flag, but that participating in the No. 48 team’s pre-race meeting offered a sense of relief.“Saturday night was the peak,” Johnson said, adding that he had trouble sleeping on the eve of the Indy race. “Sunday morning wasn’t great, but I joined the team call that we do an hour, hour and a half before the race. I was just able to hear the voices of my crew guys, give them a shot in the arm and pump them up and just be involved in that team moment. It’s crazy how it just relaxed me because I was convinced I wasn’t going to watch the race. I’m like, I can’t do it.“But having that moment to talk to Cliff (Daniels, crew chief), talk to all the guys. Justin was clearly on the call and to hear the words he had to say to the team, it let a lot of that go and I actually watched the race.”One other element of the Indianapolis weekend that Johnson missed was a scheduled IndyCar test for Chip Ganassi Racing. He got a taste of the vehicle last Thursday at Indy chassis builder Dallara, where he turned laps on its driving simulator. While Johnson said all parties involved were eager to reschedule the session, he added that “everybody’s just giving everything a little time to breathe right now” before setting a makeup date.As for his stock-car pursuits in what is set to be his final full-time Cup Series season, Johnson sits 15th in the Cup Series standings, just inside the provisional 16-driver playoff field. He received a medical waiver for the postseason if he meets all other criteria for eligibility.Johnson’s self-reporting of a positive test made him the first driver in NASCAR’s top three series to reveal a COVID-19 diagnosis and to make his way through the sanctioning body’s health protocols for reinstatement. As other sports attempt to resume or start their seasons, and NASCAR continues to navigate through pandemic conditions, Johnson said he doesn’t necessarily have newfound perspective about the process, but only his own experience and course back to the track.“I don’t know how to add clarity and advice in what changes need to take place,” Johnson said. “I unfortunately feel that there’s a lot to still be learned in the professional field on this, in the medical field on this, and I — like everyone else — am eagerly awaiting that instruction, that knowledge, a vaccine, better testing if it’s required, better screening. There’s just more questions than answers for a lot of us. I certainly don’t have the answers for everybody.”
NASCAR officials on Wednesday cleared Jimmie Johnson to return to competition this weekend at Kentucky Speedway.The seven-time Cup Series champion self-reported a positive COVID-19 test last Friday, forcing him out of the circuit’s most recent race at Indianapolis Motor Speedway. He is set to return to the driver’s seat of the Hendrick Motorsports No. 48 Chevrolet in Sunday’s Quaker State 400 (2:30 p.m. ET, FS1, PRN, SiriusXM NASCAR Radio) in the Bluegrass State.“My family is so grateful for the incredible love and support we’ve received over the last several days,” Johnson said in a team release. “I especially want to thank Justin Allgaier for stepping in for me at Indy and being a true pro. I’m excited about getting back to business with my team this weekend.”RELATED: Every Jimmie Johnson victoryJohnson, 44, met the criteria established by NASCAR officials since the sport returned to action in May after the coronavirus outbreak. The requirements include two negative COVID-19 tests at least 24 hours apart, an absence of symptoms, and medical clearance from a physician.According to Hendrick Motorsports, Johnson tested negative twice this week – on Monday and Tuesday – and was cleared by his physician Tuesday evening in accordance with NASCAR guidelines. The driver never experienced symptoms.Following Johnson’s diagnosis, four Hendrick Motorsports crew members were tested for COVID-19 with all four receiving negative results, according to a team release. The No. 48 team will have its regular personnel roster for Sunday’s event at KentuckyJohnson became the first NASCAR driver to reveal a positive coronavirus test. A member of Hendrick Motorsports’ road crew who had been in closer contact with Johnson was also self-quarantined after Johnson’s positive test.Allgaier, an Xfinity Series regular for JR Motorsports, finished 37th Sunday at Indianapolis in an interim role in the No. 48 Chevy. His fill-in role ended after just 17 laps after he was snared by a multi-car tangle on pit road during the first round of stops.The driver change ended Johnson’s streak of consecutive Cup Series starts at 663, a span that stretched back to his rookie season in 2002.PHOTOS: Jimmie Johnson through the years
Austin Dillon is delivering on his NASCAR Playoffs Media Day promise to “mess up a lot of brackets.”The Richard Childress Racing driver wasted no time backing up his runner-up finish at Darlington Raceway to open the 2020 NASCAR Cup Series Playoffs. A fourth-place finish in the Federated Auto Parts 400 at Richmond Raceway — his first-ever run of back-to-back top-five finishes at the Cup level — have catapulted Dillon into a strong spot heading into the Round of 16 finale at Bristol Motor Speedway.Dillon now sits at a +36 position on the cutline and a sixth-place spot in the standings — knocking on the door of playoff advancement with one race to go in the Round of 16. He is also only one of two drivers — Joey Logano is the other — with back-to-back top fives to open the playoffs.RELATED: Quick analysis of Richmond race | Keselowski scores win at Richmond“I felt that our team has turned the corner the last couple weeks and I felt like RCR as a whole has had speed all year,” Dillon said. “Between myself, Justin (Alexander, crew chief), my engineer Billy Scott, spotter Brandon (Benesch) and everybody at the shop — our mechanics — we got a really good team. We’ve shown a lot of speed this year and didn’t get some of the finishes that we deserved.”Dillon noted he had circled Richmond coming into the playoffs as a track where his crew could win, given his two top-six finishes in the previous three races there. He also noted driving up through the field “four times” into the top five at Martinsville Speedway in June before the car overheated.Dillon parlayed two second-place stage finishes into 18 stage points to grow his cushion to the cutline, but it wasn’t as easy as it looked on the points sheet. The 30-year-old had to overcome a speeding penalty after Stage 1 but rallied to get his track position back. The speeding penalty was the sixth of the season on pit road for Dillon, according to the NBCSN telecast. He later missed getting to pit road on Lap 336 while running sixth in a strategy play to bring everyone with him for fresh Goodyear tires.“I wish I wouldn’t have had the speeding penalty but we overcame that,” Dillon said. “I should have been a little more patient trying to get to pit road there to drag everybody down and it cost us a little bit of time. Either way, what a night for our team. I’ve been pretty confident in this team all year and now it’s starting to show more and more because we are getting finishes.”The race marked a career-best laps led in one race by Dillon — 55 — who first passed polesitter Kevin Harvick for the lead on Lap 21 and led late in Stage 2 before passed by eventual race winner Brad Keselowski with 18 to go in the stage.Those finishes are catching the attention of his competitors. Martin Truex Jr., the runner-up at Richmond, noted the No. 3 car has “taken a big step forward, so that’s cool to see.”This is a big moment for Dillon, a seven-year veteran of the Cup Series. While he has three Cup wins and has qualified for the playoffs four times (counting this season), he has only advanced out of the Round of 16 once.“I feel like I’ve matured as a driver,” Dillon said. “I’m in that age zone where things start clicking a little bit. You notice these guys when they get a little older in age that stuff starts coming to them really well and some people do it faster than others, but it’s a good time right now for me and the 3 team and everybody at RCR.“We want to keep seizing the moment. We get these opportunities to start up front, collect as much as we can. I’m not disappointed. Unbelievable top fives back to back, but that car was pretty impressive. Definitely could have finished second and had a shot at Brad (Keselowski) I feel like. We weren’t that great on a short run, but long-run speed I don’t think anybody had much for us.”
Grammy Award-winning bluegrass quintet The Infamous Stringdusters have announced a special performance at Denver, CO’s Mission Ballroom, set for Saturday, January 11th, 2020.The Dusters will be joined by The String Cheese Incident‘s Michael Travis and Jason Hann for some musical collaborations. Denver-based indie-folk outfit Trout Steak Revival will handle the evening’s opening duties.The Infamous Stringdusters’ official announcement reads,Oh hey Denver! The Dusters are pleased to announce that we’ll be playing the brand new Mission Ballroom on Saturday January 11, 2020 and we’ve put together something very special. Not only do we have support from our friends Trout Steak Revival, we’ll also be joined by Michael Travis and Jason Hann of The String Cheese Incident for some musical collaborations. It’ll be a special night in a special venue. See you there! Tickets go on sale to the general public beginning on Friday, August 23rd at 10 a.m. (EST) here.Head to The Infamous Stringdusters’ website for a full list of the band’s upcoming tour dates, ticketing, and more information.
Spike Jonze has announced a forthcoming Beastie Boys photo book that chronicles his work with the rap trio. The book will feature text from surviving Beastie Boys members Adam “Ad-Rock” Horovitz and Michael “Mike D” Diamond. The book is set for release on March 17th.Jonze, the American filmmaker, photographer, and actor, is well-known for his decades of work with the rap trio. In addition to directing music videos, designing album covers, and helping to write a memoir, Jonze has even directed a stage show with the New York-based group.Beastie Boys will be Jonze’s first photo book and it will contain 256 pages of photos highlighting his time with Mike D, Ad-Rock, and the late Adam “MCA” Yauch. It will cover everything from the early “Sabotage” music video to “The Sounds of Science” album cover.The book is sure to satisfy the needs of Beastie Boys enthusiasts as well as fans of photography and hip-hop in general. Fans are certainly familiar with the work Jonze and the Beastie Boys have collaborated on. It’s a decades-long relationship that has produced some of the most iconic images of the three-piece.However, Jonze’s Beastie Boys will focus on a different aspect of the relationship between Spike Jonze and the Beastie Boys. It will chronicle the never-before-seen and take fans on a journey behind the scenes. It will also feature new text by Ad-Rock and Mike D in addition to an afterword written by Jonze.Fans can pre-order a copy of the book, due out on March 17th, here.
This past Friday, Circles Around The Sun shared the single “Money’s No Option”, set to appear on the band’s forthcoming studio album. The band’s self-titled third studio effort is due out March 13th and will feature the final recordings of late founding member and guitarist, Neal Casal.On Saturday, the band followed the song’s arrival by sharing a behind-the-scenes video of Casal playing his guitar in the studio while tracking his guitar part to the recording.Related: Listen To Circles Around The Sun’s Aggie Theatre Performance With Scott Metzger [Full-Show Audio]The video runs at 91-seconds and showcases Casal front and center, riffing away on the funky rock track with a white Fender Stratocaster while accompanied in the studio’s control room by the wine-drinking session engineer. Casal looks totally locked in and even shows a little bounce in his legs during his performance throughout the video.“‘Money’ is Neal’s tune,” the accompanying copy reads. “We would play it in soundcheck and he pushed Adam to finish writing it. Then Neal basically ripped over the whole song!! Also credit to Sam Blasucci for help with the title.”Watch the behind-the-scenes video of Casal below.Neal Casal Records “Money’s No Option” In Studio[Video: Circles Around The Sun]Building up the March release of their final album featuring Casal, Circles Around The Sun will team up with guitarist Scott Metzger (Joe Russo’s Almost Dead) for a run of performances beginning later this month. Tickets are available via the band’s website.
Dave Matthews, Grace Potter, Chadwick Stokes (Dispatch), and more will take part in the Hug Your Farmer virtual benefit on Thursday night (6/25) to raise money for local food systems as much of the country’s agricultural industry has also been turned upsidedown over the past few months due to COVID-19.The one-night event, which is scheduled to begin at 9 p.m. ET and free of charge to watch, will also feature at-home performances from Broadway singer Kelli O’Hara, Martin Sexton, Kat Wright, Posh Panda, Bob Wagner, The Sweet Remains with the Hug Your Farmer All-Star Band, and Ashley Betton. Fans are encouraged to donate what they can to benefit Shift Meals, a non-profit which connects local farmers to restaurants and helps to provide food to communities in need.Related: Justice Comes Alive – A Virtual Festival For EqualityDave Matthews has been a longtime supporter of America’s commercial agriculture, as the guitarist helps raise large amounts of money with the annual Farm Aid benefit alongside longtime business partners Willie Nelson, Neil Young, and John Mellencamp. This year’s virtual edition of Farm Aid raised over $500,000 for farmers around the country.Click here to tune into Thursday’s Hug Your Farmer livestream beginning at 9 p.m. Click here to learn more about Shift Meals.
This past Monday evening, the sublimely talented Maggie Rose invited some of her musical friends to join her in Nashville, TN for a recreation of Bill Withers‘ seminole live recording, Live at Carnegie Hall. The live album is considered by many music critics to be one of the finest ever to put on record. Back in 2015, Rolling Stone even ranked the album 27th on its list of the “50 Greatest Live Albums of All Time.”Rose felt compelled to pay tribute to Withers, who passed away in April, via last night’s livestream as well as with her recently released single, “20/20”. Rose indicated in recent interviews that she was actually thinking of Withers and his music when she penned “20/20” alongside co-writers Alex Haddad, Larry Florman, and Sarah Tomek.In a previously released statement regarding how “20/20” came together Rose commented,It started to form when those endless days under quarantine began to blur together, right around the time when all of those bread starters people had been making were ready to yield some loaves. Instead of bread making, I opted to trudge up the hill in our backyard to our shed where an old electric keyboard had been patiently waiting for someone to play it. Performing my songs on piano was the big one on my list of ‘things I will do when I have the time’ and let’s face it, I had the time and desperately needed the inspiration.Rose had some of Nashville’s rising stars join her for this past Monday’s stream that included local singers David Gilfillian, Joy Oladukun, and Wil Merrell. The songstress also tapped a few industry veterans for the performance such as R&B and adult contemporary artist Wendy Moten, the Barber Brothers horns, as well as her long time collaborators and tourmates, Them Vibes.Highlights from the evening of music were not hard to come by as the entire performance turned out to be brilliant from beginning to end. Rose herself may have had her best moment at the very beginning of the night with an effulgent and funky performance of the Withers’s classic, “Use Me”. The song lends itself to people coming together, embracing and even dancing with one another, thus it served as the perfect vehicle to start things off in Nashville.When Rose reached for the high notes in “Use Me” I’m guessing the walls in many viewers’ homes began to shake, rattle, and roll to the delight of any and all of the viewers taking in the performance from the comfort of their own living rooms.Another noteworthy performance from Monday evening came via Olakuden and Rose’s take on one of Withers’s most recognizable hits, “Ain’t No Sunshine.” The song ended up having an uptempo reggae flavor to it with the two singers trading radiant harmonies throughout. Olakudun turned out to be an excellent choice for “Ain’t No Sunshine,” as her own music is raw, passionate and breathtakingly real. Anyone who knows Rose personally must not be surprised in the least that she and Olakuden found a way to find one another in Nashville.Another moment of brilliance from Monday night’s stream came in the form of Gilfillan’s slow burn take on Withers’s, “World Keeps Going Around”. The Nashville-based singer is an admirer of vocalists spread throughout the worlds of rock, soul, and blues thus he seemed to be the perfect choice to take a run at a song that aligns closely with his very own musical DNA. Gilfilian’s music itself has a classic sound interwoven into it, yet he’s seamlessly able to inject something new and contemporary into the equation. The singer’s performance of “World Keeps Going Around,” this past Monday in Nashville did little to alter that narrative.Another standout from Monday evening came via Merrell’s emotive rendition of “I Can’t Write Left Handed”. Withers wrote the song for a buddy of his he served with in Vietnam who had been shot and injured at one point during the conflict. Merrell shared a personal story of his own that was tied to his brother’s similar experience in combat while serving in the Army throughout several tours of duty in the Middle East. There’s a certain kind of melancholy and darkness tied to Merrell’s own music that’s also laced with themes of hope and redemption. Thus for a number of reasons, it seemed quite apt that Rose tapped the singer to perform, “I Can’t Write Left Handed.”Rose herself rose to the occasion throughout the evening countless times. However, the singer seemed to make a point of ensuring that all those that shared the stage with her in Nashville were equally represented with each of them having their own time to shine in the spotlight. And you know what, that may have been the whole idea or even the theme behind the live stream altogether. Unity, friendship, love and music.If that was the mission statement Rose was seeking to represent with her recreation of Withers’s Live at Carnegie Hall, man oh man did she hit that one right out of the park and into the starlit skies Withers likely gleefully took in the performance from.Rose has been keeping quite busy throughout the country’s seemingly never-ending quarantine. On the heels of Monday’s performance Rose will be putting out another ‘Quarantine 45’ on September 20th in the form of the B-Side for “20/20”, entitled, “Only Human (I Want to Get Out)”. To celebrate the song’s release Rose will be hosting yet another live stream this upcoming Thursday September 17th.For all things Maggie Rose, including tickets to her upcoming live stream this week from Tweed Recording Studios in Athens, Georgia, simply head on over to her website.Watch the full performance below.Maggie Rose & Friends – Tribute To Bill Withers – Nashville, TN – 9/14/20[Video: Maggie Rose]Setlist: Maggie Rose and Friends | Undisclosed Venue | Nashville, TN | 9/14/20Set: Use Me, Friend of Mine, Ain’t No Sunshine, Grandma’s Hands, World Keeps Going Around, Let Me in Your Life, Better Off Dead, For My Friend, I Can’t Write Left Handed, Lean on Me, Lonely Town Lonely Street, Hope She’ll Be Happier, Let Us Love, Harlem/Cold Baloney
The last The Doors concert with Jim Morrison took place on December 12th, 1970, bringing a disappointing close to a dominant band in rock music. It’s hard to know when the music’s truly over, but the way lead singer and resident lunatic Jim Morrison finished this show at The Warehouse in New Orleans left little doubt in the rest of the bands’ minds that the end was here. Nothing in life lasts forever, and no one here gets out alive.When looking for bands to sum up not the spirit but the reality of the sixties, you need look no further than The Doors. They quite literally were the hottest band in the land—psychedelic rockers fronted by a dark poet who railed at the world from his pulpit. Jim Morrison didn’t sing to his audience, he preached sermons of indecipherable meanings with lyrical wordplay and a raw passion that kept listeners spellbound.The Doors – “The Crystal Ship”/”Light My Fire” – American Bandstand – 1967[Video: Diopriest2]Keyboardist Ray Manzarek and UCLA film school classmate Morrison shared a love of music and an ambitious creative spirit. In an all-too-perfect moment, the two famously formed the band on the beaches of Venice, CA, after Manzerek heard some lyrics Morrison had written. Recruiting John Densmore on drums and guitarist Robbie Krieger, The Doors were open for business in a matter of days. After writing music to Morrison’s words and coming up with a few fresh tunes together, the band took the Los Angeles music scene by storm and quickly earned a record deal with Columbia Records.The band went on to release eight studio albums in just five years, establishing their sound as a mixture of madness-tinged poetry, hushed lulls, and frenzied explosions of cacophony. Their name, The Doors, was taken from an Aldous Huxley book, The Doors Of Perception, written about a mescaline experience. Morrison was interested in writing and art since childhood and had headed to film school to try and find a way to express the roiling passions inside of him. He had long searched for a key to unlock the truth, and through his early use of psychotropic drugs, he found his release.Jim Morrison – “Shaman Dances” (Live)[Video: Faicchiocat]The rest of the band joined him at first, making their early shows wild affairs, almost pure hedonistic bacchanals. The staid and uptight atmosphere of the fifties and sixties had been covering up the fear of nuclear annihilation and constant war. The children of the baby boom were coming of age, rejecting the violence and inequality of the world as it was, and looking to change what they saw around them. The flower power generation exploded in the middle of the decade, wanting nothing more than to “Tune In, Turn On and Drop Out” of the roles society had waiting for them. And unto them came a voice telling them there was a way out.Songs like “Break On Through (To The Other Side)”, “People Are Strange”, and “Strange Days” showcased The Doors’ determination to get people to look at life through fresh eyes and see how it really was. The Free Love movement was also in full swing, and sexy songs like “Light My Fire”, “Love Me Two Times”, and “Twentieth Century Fox” helped create an air of hyper-charged sexuality that made Morrison an international sex symbol. Sadly, tunes like “The End”, “Five To One”, and “When The Music’s Over” also showcased Morrison’s near-obsession with death and finality.The Doors – “When The Music’s Over” – Hollywood Bowl 1968[Video: ROCK]The holy trinity of “Sex, Drugs, and Rock and Roll” was joined in the music of The Doors by the ever-present specter of the Grim Reaper. As the sixties progressed, Morrison’s copious drug use greatly affected the band’s live shows. In concert, you were as likely to see a transformative meditation on the deepest subjects of life as you were to see Morrison mutter incomprehensibly into a microphone and howl in pain and confusion for reasons not even the band could truly understand.This unreliability took its toll on the friendships among the bandmates. Manzarek, Krieger, and Densmore were eager to play to the fans but were hamstrung by the unpredictability of their frontman. Though The Doors featured a stellar collection of instrumentalists, it was Morrison who was the lightning rod of attention. As the sixties wound down, the three found themselves dreading each performance, having no idea which Jim was coming out to play that night.The band was in Los Angeles finishing what would be their final studio album, L.A. Woman, when they were approached with the idea of doing a small promo tour for the upcoming release. Over the previous two years, Morrison had been arrested onstage during a performance, arrested again after a show for exposing himself, and exited the stage dozens of other times after he was unable or unwilling to continue performing. They reluctantly agreed to book two shows, with thoughts of extending the tour if things went well.The Doors – L.A. Woman – Full AlbumThe first night in Texas went off well enough, but the seeds of destruction had long ago been planted in Morrison, and they sprouted fully that fateful night in New Orleans on this date in 1970. Before the show, Morrison spent the day drinking and casually indulging in a cornucopia of drugs, including a strong dose of psychedelics. What was originally intended as a mind-opening religious rite had deteriorated into a way to stay awake long enough to perform.Cracks appeared early in the set, as Morrison was unhappy with the song selection and continually urged the band to play “St. James Infirmary Blues”, singing that song’s lyrics no matter what song was actually being played. The bearded, overweight, and out of his mind Morrison was prone to collapsing onstage, and their last show proved to be no exception. The band left the stage in disgust, with Manzarek later saying he felt as if he could “See Jim’s spirit leave his body, even though he was still standing right there” in his autobiography.Whether or not his spirit had left him, the will to perform certainly had. Lying on the stage, he urged concert-goers to cheer and call the band back out when he roused from his stupor. The band, not wanting to deny their fans a show, begrudgingly came back out. Their return was short-lived, however, as just a few songs later, Morrison, like a man possessed, began to hammer the base of his microphone stand into the stage itself. He rained blows down until the boards gave way, and the mic and stand disappeared from his hands for what would be the last time.Immediately afterward, the other three members voted unanimously to end their live performances, feeling that it was wrong to promise their fans a product that they could not produce. Morrison finished the overdubs for L.A. Woman and retreated to Paris to write and escape the temptations that so easily ensnared him. In a very real way, Morrison had closed the book on his live performance career by breaking on through to the other side, though not in a way his younger self would have imagined outside the worst of bad trips. Morrison was dead less than a year later, and any hopes of a reunion were gone along with him.America in the sixties rode a wave of budding idealism, breaking down social and sexual taboos in an attempt to be free. Unfortunately for many, that freedom was over-used and abused, and many of the brightest from that generation fell victim to the many forms of self-destruction that arise when limitations are discarded. The Doors had ridden the crest of that wave as well as any band, and like all waves, crashed into the shore and dispersed back to the sea.[Originally published 12/12/16]
Though the audit did not specify which risk level the Pikes Peak area falls under, Colorado Springs emergency management Director Bret Waters said he thinks the city could receive more help with its communications system if risk becomes a factor. Despite being near four major military bases, the city seems not to have gotten its fair share of homeland security dollars, he said. COLORADO SPRINGS, Colo. — Colorado officials have not considered risk when doling out grants for public-safety communications, leading to more money going to low-risk areas than to higher probability attack locations, according to an audit released Tuesday. While we have been very good at giving out money, the Department of Local Affairs has not used very sophisticated analysis or strategic thinking in regard to some of the grant programs we provide, said Kirkpatrick, who took over the department earlier this year. About $135 million in state and federal money has been put toward improving communications systems, including the creation of a digital trunked radio system that links first responders covering 86 percent of Colorado. The recently hired state homeland security coordinator, Mason Whitney, is working to develop more tools to conduct risk-based analyses, Kirkpatrick said. The report by the State Auditor s Office recommended the state create a process to better assess which areas need the funds. Department of Local Affairs Director Susan Kirkpatrick agreed with the suggestion and said such a process has begun. I think it s just a logical approach to do that, Waters said of increased risk analysis. When you re looking at a huge investment of dollars into interoperable communications, we need a clear plan of why we re spending that money. But the department did not prioritize communications needs on the basis of risk when making grant distributions, the audit stated. As a result, those areas at medium risk level received $9.2 million in grant funds from 2004-06, while low-risk areas got $11.1 million. The audit also found the Department of Personnel and Administration, which oversees the state s 7,400-item inventory of digital trunked radios, had not kept constant track of whether the agencies that own those emergency-communications radios still had them in their possession. Interoperable communications — essentially, allowing local and state public-safety agencies to be able to talk to each other during an emergency — have been a focus of homeland security spending in recent years. But the DPA information technology division director, Todd Olson, said officials conduct a thorough inventory once a year and have the ability to cut off a radio if they find it s fallen into the hands of someone who should not have it.CONTACT THE WRITER: (303) 837-0613 or [email protected]
The child started to cry, and Tambunga locked himself inside his room. The child did not require medical attention. The sister-in-law said she and her husband went out to the front porch. When Tambunga was arrested and inside the back of the patrol car, he became verbally abusive toward the deputies, Mackinnon said. He then began hyperventilating, spitting, coughing and foaming at the mouth. Nicholas Tambunga, of Fort Myers, was arrested on two counts of battery on an officer, firefighter or EMT and one count of cruelty toward a child without great harm. While Nicholas was going to his room down the hallway, her son … was walking down the hallway at the same time, Mackinnon reported. (The woman) stated she heard Nicholas yelling at (the child) to get into the living room. (The child s mother) stated she came around the corner to get (the child) when she observed Nicholas shove (the child), forcing him into a wall. According to deputy Ryan Mackinnon, deputies were called to the Prospect Avenue residence by Tambunga, who was reportedly intoxicated and arguing with his brother and sister-in-law. His sister-in-law ordered Tambunga to his room because he was drunk, but Tambunga dialed 911. EMSwas called, and while en route to the hospital, Tambunga reportedly kicked a firefighter and blew snot and spit at an EMT. FORT MYERS, Fla. — A 21-year-old Fort Myers man was arrested by Lee County (Fla.) Sheriff s deputies Sunday after he reportedly assaulted a 5-year-old and a paramedic. He is being held on $21,500 bond at the Lee County Jail. After a time, Tambunga reportedly calmed down and apologized for his behavior.
EMT James Taylor has been on the job for so long, it’s hard for him to walk down a Cleveland street without bumping into someone he once rescued. CLEVELAND — He spent more than three decades saving lives. Now a member of Cleveland’s first Emergency Medical Technician class is fighting for his own life. 62-year-old James Taylor was diagnosed with pancreatic cancer in July. While even in treatment for pancreatic cancer last week at University Hospitals, he shared a room with a man he twice transported to the hospital for respiratory distress.Read More, Cleveland EMT fights for his life
KTTV Fox 5 Los Angeles – A bus with around two dozen teenagers aboard went over the side of Highway 189 in the Twin Peaks area of San Bernardino County today. Two people on the bus, which belongs to a Pasadena church group, were killed.
WNEP – A man from Luzerne County who was having a heart attack was saved by a vest that literally shocked him back to life.Brian Jennings almost died in March, but the 58-year-old man from Hanover Township was wearing a life vest. It’s able to detect when the person wearing it has a heart attack and sends a powerful shock, essentially zapping them back to life.“It felt like a stainless steel plate falling on me from about 50 feet in the air. It was really powerful,” Jennings recalled.Doctors said Jennings is one of three heart patients at Geisinger Wyoming Valley Hospital who have had their lives saved by the vest.“He had two cardiac arrests essentially where people actually don’t survive if they are not resuscitated immediately and the kind of cardiac arrest he had, the chance of survival goes down by 10 percent every minute,” explained cardiologist Dr. Gopi Dandamudi.The doctor said the vest is especially critical in life saving for folks like Jennings who live alone.With the traditional defibrillator somebody needs to work it. With the vest, everything is automatic.Doctors said the technology continues to improve and in the future the vest will shrink to the size of a patch. Jennings said he is in great health and he owes it all to a piece of technology.“Very grateful. It’s just wonderful they can do these things for people nowadays,” Jennings added.Copyright © 2011, WNEP-TV
HANOVER, Md. (AP) – Anne Arundel County officials say one construction worker was killed and another was injured when a 30-foot wall collapsed at the site of a casino being built at Arundel Mills Mall.Rescue workers were called to the site of the Maryland Live! Casino near the mall in Hanover on Friday morning. Police say one worker was pronounced dead at the scene. The other worker was taken to a hospital with life-threatening injuries.County officials say an inspector from the Department of Inspections and Permits is being sent to the site.It was the second accident at the site this month. A worker was injured July 5 when a chunk of concrete fell on him.
YNN-TV in Buffalo reports that May Elliott was doing yard work Wednesday afternoon when she fell through the wooden board covering the well. Neighbor Ray Colpoys had heard her calling for help and held on to her for several minutes before Elliott managed to hook her arm and leg around a pipe inside the well. Firefighters eventually pulled Elliot out of the well in the southern Erie County town of Collins. Elliot suffered leg injuries and has been treated at a hospital. Colpoys says Elliot was up to her neck in water and would have drowned if she hadn’t grabbed onto the pipe. COLLINS, N.Y. (AP) – A western New York man is being credited for saving his 76-year-old neighbor after she fell into a 20-foot-deep well on her rural property.
In Brief: To read more about EMS safety, visit jems.com/trainingFor more of the latest EMS news, visit jems.com/newsThis article originally appeared in January 2012 JEMS as “On Target: Are EMS providers trained for dangerous patients?.” Physio-Control Leaving MedtronicPhysio-Control Inc., manufacturer of LIFEPAK monitors/defibrillators, the LUCAS chest compression system and AEDs, is leaving parent company Medtronic. A global, private investment firm, Bain Capital, has acquired Physio-Control for approximately $487 million. The deal should be finalized during the first quarter of 2012.Current President and future Chief Executive Officer of Physio-Control, Brian Webster says Medtronic’s divestment of Physio-Control is understandable because Medtronic focuses on treatment in hospitals and through surgery, rather than first-response scenarios. Always an EMS-centered company, Webster says Physio-Control now “can really put the emphasis on EMS and bring out great technology.” He predicts an acceleration of new products and markets with Bain’s investments in the company.Webster says Bain saw a business plan, robust product plan and product strategy, which they were looking to invest in.Bain Capital Managing Director Chris Gordon says, “Physio-Control is an impressive market leader. We are extremely enthusiastic about the company’s growth prospects, and we look forward to working alongside Brian Webster and the whole Physio-Control team to support their strategic plans.”Physio-Control was founded in 1955 by cardiovascular surgeon Dr. K. William Edmark. His research led to the first commercial defibrillator. Physio-Control joined Medtronic in 1998. From 2004—2006, Physio-Control was known as Medtronic Emergency Response Systems. It regained its original name when Medtronic said it wanted to release Physio-Control as a separate company. Pro Bono is written by attorneys Doug Wolfberg and Steve Wirth of Page, Wolfberg & Wirth LLC, a national EMS-industry law firm. Visit the firm’s website at www.pwwemslaw.com for more EMS law information. EMS personnel need to make personal safety a priority, or they face becoming a grim statistic, say experts concerned about violence against medical workers.In recent months, there have been several states that have reported EMS workers being beaten or worse while doing their job of providing patient care. In many cases, the incidents expose a key area of unpreparedness in the field. “We have this belief in our EMS culture that there are calls that are dangerous, and there are calls that aren’t very dangerous,” says Mike Taigman, a security expert and general manager of American Medical Response. “The reality is, it is very difficult to predict safety.”For example, a man attacked a Chicago paramedic who was treating him after a crash in late November. Reports from the incident indicate the attack was sudden and unprovoked. And this past May, a Long Island (N.Y.) EMT was shot by a heavily armed man who the provider was helping following a wreck. Violence is potential on the job; that’s a given, but few are doing enough to prepare paramedics and EMTs to work in the field.“From the time somebody walks in the door of a basic EMT school, we treat safety like it’s someplace between a non-issue and a joke,” says Skip Kirkwood, MS, JD, EMT-P, EFO, CMO, chief of the Wake County (N.C.) EMS Division and president of the National EMS Management Association. “We now have a culture of denial. We pretend we’re not going to get hurt and we’re shocked when we do,” says Kirkwood. “We train for the best and hope nothing happens,” Kirkwood says.That kind of thinking leads to some taking safety for granted. For example, some EMS providers carry body armor but only put it on if the call is for a shooting victim, which leaves them unprotected if a routine call suddenly turns violent.Kirkwood says personnel in the field need training now to be more aware of how quickly a simple scene can go bad. “My personal effort is to raise awareness,” says Kirkwood. “If we all keep pushing it, somebody’s going to walk up and say we need more training for paramedics than running them through 1,000-hour puppy mills to get them past the National Registry.”Kirkwood and Taigman suggest some immediate changes to what’s now considered routine with EMS workers. They suggest putting away the multi-colored handled scissors and pocket knives many carry because those tools can and have become weapons in incidents against EMS providers. They also say EMTs and paramedics should become proficient in communication skills necessary for defusing situations, rather than escalating them. Further, they claim EMS officials should reach out to local law enforcement and set up some defense and awareness training.“EMTs and paramedics should spend some time on a regular basis rehearsing in their minds, “˜if this happens, what am I going to do?’” Taigman says. “What am I going to do if I’m caring for a patient and they reach for a knife? Or if I’m restraining a patient and they’re trying to bite me, what am I going to do? Or if I’ve got a partner who is using profanity, adding sarcasm and adding anger, and adding adrenaline to an adrenaline-filled situation, what am I going to do to stop my partner from doing stupid things?”Taigman says, “Nobody is going to take care of your safety for you. You’ve got to take care of your safety yourself.” –Richard Huff, NREMT-BPro BonoResponding in Personal VehiclesOne of the biggest contributors to EMS legal liability is vehicle operations. Crashes involving emergency vehicles are too common. However, the risks are even greater when EMS personnel respond to emergencies in their personally operated vehicles (POVs). This is common in volunteer agencies and in EMS systems that use on-call personnel. Sometimes these responses are to the station; other times, they’re directly to the incident scene. Either way, the risks of a crash–and the risks of costly legal liability–are multiplied as the number of responding vehicles increases. This liability may fall on the individual vehicle operator as well as the EMS agency with which they’re affiliated. The individual’s personal auto insurance will likely also be affected, as this may be the primary source of coverage in POV response accidents.Note that most states do not treat personal vehicles as “emergency vehicles” and do not grant them any special privileges under the law. This is usually true even if the personal vehicle is using emergency lights. Of states that even permit emergency lights on personal vehicles, many treat these merely as “courtesy lights” and don’t obligate other motorists to yield the right-of-way or permit the responder to illegally pass another vehicle. Be sure to check your own state law.EMS agencies that allow personnel to respond in their POVs should consider taking several steps to minimize or reduce the agency’s liability. First, agencies can, of course, elect to prohibit the practice of personnel responding directly to the scene. Not only does the act of responding pose risks, but the presence of multiple personal vehicles on an incident scene can also be hazardous. Alternatively, agencies can limit direct responses to the scene in personal vehicles unless the incident location happens to be in a direct path to the station and/or unless extenuating circumstances exist based on the nature of the call. If your agency permits direct scene responses in personal vehicles, consider adopting an operating policy regarding the parking, staging or placement of POVs on an incident scene. Of course, no personal vehicles should impede the response of emergency vehicles or be placed in a location that could delay patient access or transport. Another step that EMS agencies should take is to adopt a clear and strict company policy requiring any personnel responding in POVs, whether to a scene or to the station, to fully and completely obey all motor vehicle laws, posted speed limits, stop signs, traffic signals and other traffic control devices. This should expressly include requirements that the responder come to a complete stop at all stop signs and red lights, observe the proper direction of travel on one-way streets and other specific requirements.EMS agency policies can also require that individual responders complete emergency vehicle operator’s training to engage in POV responses. The policy can also require that responders carry personal automobile liability insurance, with appropriate liability limits (that the agency can–and probably should–set above state minimums) before being permitted to respond to any calls in a POV.EMS agencies might incur liability from the acts of their personnel when responding in their personal vehicles, so having appropriate policies, training and insurance in place can help to better manage these risks. Civil Unrest Take a look around the world, the country or maybe your city park: Civil unrest is no rarity these days. Law enforcement has traditionally been the agency dealing with crowds of people who are out of control.However, EMS and fire personnel also need to know to prepare for and respond to unruly, if not violent, crowds. The Firefighters Support Foundation provides a free course, “Fire/EMS Response to Civil Unrest” that includes a downloadable video and PowerPoint presentation. FireEngineering.com hosts the program on their website at www.fireengineering.com/training/ffsupport.html.Some of the topics covered are types of events, coordination with other agencies and law enforcement, approach strategies, the potential for violence, lessons learned from previous events and why no jurisdiction is too small.The course was developed and is delivered by August Vernon, operations officer with the Forsyth County (N.C.) Office of Emergency Management. Vernon says the potential for trouble exists “any time you get large numbers of people together.” He adds, “All communities, large and small, need to be prepared as we enter the hotly contested political season.”Vernon teaches courses in incident management, mass violence, emergency management and terrorism/weapons of mass destruction planning-response. He also spent a year conducting route clearance and long-range convoy security operations in Iraq.
SPRINGFIELD, Ill. — Youngsters could get a jumpstart on becoming an emergency medical technician under legislation approved Friday by Illinois lawmakers.The proposal would allow 16- and 17-year-olds to serve as apprentice first responders in order to help emergency medical technicians in understaffed rural areas of the state.“This is about helping to provide manpower,” said Rep. Chapin Rose, R-Mahomet, who sponsored the measure.Along with providing emergency medical assistance alongside trained personnel, the program is designed to stir interest in young people to serve their communities. Ambulance service is spotty in many rural areas where volunteer first responders are often working out of town during the daylight hours.“It will help us recruit future volunteers,” said Rep. Donald Moffitt, R-Gilson, who co-sponsored the legislation.Sixteen- and 17-year-olds won’t be able to drive ambulances. The cut-off age for drivers will remain 18, he said.
Grand Jury Indicts One Police Officer in Breonna Taylor DeathLouisville (KY) to Pay Millions in Death of Breonna TaylorPolice Officer Involved in Breonna Taylor Shooting Fired “We stand by our belief that such a release could compromise the ongoing federal investigation and could have unintended consequences such as poisoning the jury pool. Despite these concerns, we will comply with the Judge’s order to release the recording on Wednesday.” Kentucky Attorney General Daniel Cameron addresses the media following the return of a grand jury investigation into the death of Breonna Taylor, in Frankfort, Ky., Wednesday, Sept. 23, 2020. Of the three Louisville Metro police officers being investigated, one was indicted. (AP Photo/Timothy D. Easley) Cameron also acknowledged in a statement that the only charge considered by the grand jury was wanton endangerment. He had previously declined to provide details about any charges prosecutors asked the grand jury to consider. “The Grand Jury is meant to be a secretive body. It’s apparent that the public interest in this case isn’t going to allow that to happen,” Cameron’s statement said. Related LOUISVILLE, Ky. (AP) – Kentucky’s attorney general has agreed to release the recordings of the secret grand jury proceeding that considered charges against three officers involved in the fatal shooting of Breonna Taylor. Attorney General Daniel Cameron agreed to the release hours after a member of the grand jury sued to have the record released to the public. Grand juries are typically held in secret.
The program clearly differentiates the delivery of acute hospital care at home from more traditional home health services. While home health care provides important skilled nursing and other skilled care services, Acute Hospital Care at Home is for beneficiaries who require acute inpatient admission to a hospital and who require at least daily rounding by a physician and a medical team monitoring their care needs on an ongoing basis. The Centers for Medicare & Medicaid Services (CMS) outlined unprecedented comprehensive steps to increase the capacity of the American health care system to provide care to patients outside a traditional hospital setting amid a rising number of coronavirus disease 2019 (COVID-19) hospitalizations across the country. These flexibilities include allowances for safe hospital care for eligible patients in their homes and updated staffing flexibility designed to allow ambulatory surgical centers (ASCs) to provide greater inpatient care when needed. Building on CMS’s previous actions to expand the availability of telehealth across the nation, these actions are aimed at allowing health care services to be provided outside a hospital setting while maintaining capacity to continue critical non-COVID-19 care, allowing hospitals to focus on the increased need for care stemming from public health emergency (PHE). CMS anticipates patients may value the ability to spend time with family and caregivers at home without the visitation restrictions that exist in traditional hospital settings. Additionally, patients and their families not diagnosed with COVID-19 may prefer to receive care in their homes if local hospitals are seeing a larger number of patients with COVID-19. It is the patient’s choice to receive these services in the home or the traditional hospital setting and patients who do not wish to receive them in the home will not be required to. Acute Hospital Care at Home “We’re at a new level of crisis response with COVID-19 and CMS is leveraging the latest innovations and technology to help health care systems that are facing significant challenges to increase their capacity to make sure patients get the care they need,” said CMS Administrator Seema Verma. “With new areas across the country experiencing significant challenges to the capacity of their health care systems, our job is to make sure that CMS regulations are not standing in the way of patient care for COVID-19 and beyond.” Ambulatory Surgical Center Flexibility The development of this program was informed by extensive consultation with both academic and private sector industry leaders to ensure appropriate safeguards are in place to protect patients, and at no point will patient safety be compromised. CMS believes that treatment for more than 60 different acute conditions, such as asthma, congestive heart failure, pneumonia and chronic obstructive pulmonary disease (COPD) care, can be treated appropriately and safely in home settings with proper monitoring and treatment protocols. Today, CMS is announcing an update to that regulatory flexibility, clarifying that participating ASCs need only provide 24-hour nursing services when there is actually one or more patient receiving care onsite. The program change provides ASCs enrolled as hospitals the ability to flex up their staffing when needed and provide an important relief valve in communities experiencing hospital capacity constraints, while not mandating nurses be present when no patients are in the ASC. The flexibility is available to any of the 5732 ASCs throughout the country seeking to participate and will be immediately effective for the 85 ASCs currently participating in the Hospital Without Wallsinitiative. CMS expects this flexibility will allow these and additional ASCs enrolled as hospitals to serve as an added access point that will allow communities to maintain surgical capacity and other life-saving non-COVID-19, like cancer surgeries. Allowing these types of treatments to occur in designated ASCs enrolled as hospitals while hospitals are managing any surges of COVID-19 would allow vulnerable patients to receive this needed care in settings without known COVID-19 cases. Six health systems with extensive experience providing acute hospital care at home are being approved today for the new waivers and include Brigham and Women’s Hospital (Massachusetts); Huntsman Cancer Institute (Utah); Massachusetts General Hospital (Massachusetts); Mount Sinai Health System (New York City); Presbyterian Healthcare Services (New Mexico); and UnityPoint Health (Iowa). This immediately expands the at-home care options for Medicare beneficiaries in the regions served by these organizations. CMS has been in discussions with other health care systems and expects new applications to be submitted. To support these efforts, CMS has launched an online portal https://qualitynet.cms.gov/acute-hospital-care-at-home to streamline the waiver request process and allow hospitals and healthcare systems to submit the necessary information to ensure they meet the program’s criteria to participate. CMS will also closely monitor the program to safeguard beneficiaries by requiring hospitals to report quality and safety data to CMS on a frequency that is based on their prior experience with the Hospital At Home model. Participating hospitals will be required to have appropriate screening protocols before care at home begins to assess both medical and non-medical factors, including working utilities, assessment of physical barriers and screenings for domestic violence concerns. Beneficiaries will only be admitted from emergency departments and inpatient hospital beds, and an in-person physician evaluation is required prior to starting care at home. A registered nurse will evaluate each patient once daily either in person or remotely, and two in-person visits will occur daily by either registered nurses or mobile integrated health paramedics, based on the patient’s nursing plan and hospital policies. Today’s announcement builds upon the critical work by CMS to expand telehealth coverage to keep beneficiaries safe and prevent the spread of COVID-19. CMS has expanded the scope of Medicare telehealth to allow Medicare beneficiaries across the country to receive telehealth services from any location, including their homes. CMS also added over 135 services such as emergency department visits, initial inpatient and nursing facility visits, and discharge day management services, that could be paid when delivered by telehealth. The flexibilities announced today, and the aggressive action taken by CMS to remove barriers to telehealth, ensure patients and providers have options when receiving and providing care given the challenges and additional stress placed on hospitals and the health care system during the COVID-19 PHE. As part of Hospital Without Walls, CMS also previously announced regulatory flexibility that allowed ASCs — facilities that normally provide same-day surgical care — the ability to be temporarily certified as hospitals and provide inpatient care for longer periods than normally allowed, with the appropriate staffing in place. ASCs are normally subject to a requirement that patients only remain in their care for less than 24 hours or require admission to a regular hospital. In March 2020, CMS announced the Hospitals Without Walls program, which provides broad regulatory flexibility that allowed hospitals to provide services in locations beyond their existing walls. Today, CMS is expanding on this effort by executing an innovative Acute Hospital Care At Home program, providing eligible hospitals with unprecedented regulatory flexibilities to treat eligible patients in their homes. This program was developed to support models of at-home hospital care throughout the country that have seen prior success in several leading hospital institutions and networks, and reported in academic journals, including a major study funded by a Healthcare Innovation Award from the Center for Medicare and Medicaid Innovation (CMMI). File Photo/A.J. Heightman