Free and open to the public, the second annual Oak Street Block Party welcomes a huge roster of funk legends for a daytime extravaganza on Wednesday, April 29. If you though the party stops between Jazz Fest weekends one and two, you thought wrong (this is NOLA we’re talking about). With 7 hours of music across two outdoor stages and the Maple Leaf, food and alcohol vendors, local artists and more, this is sure to be a daytime rager of epic proportions.This stacked lineup features The Oak St. All-Stars (Oteil Burbride, Kofi Burbridge, Roosevelt Collier, Adam Deitch, Adam Smirnoff, Jesus Coomes, Ryan Zoidis, Maurice Brown, & Natalie Cressman), Leftover Salmon, The Nth Power, The Heard, Kung Fu, Eddie Roberts’ West Coast Sounds, Sonic Bloom & Hard Proof.The event is a benefit for the Oak Street community, and WWOZ will be on site collecting donations.
For artists of the Renaissance, the key to truth and beauty lay in the past. Renaissance artists assiduously studied the sculptures and monuments of Greece and Rome and emulated them in their own work. The inspiration they found in those ancient models has echoed down the centuries, influencing the appearance of Western art and architecture to this day.If those 15th and 16th century artists had looked more closely, however, they might have found something that would have changed their vision of ancient art and had a profound effect on their own practice. That element was color.We now know that the unblemished white surface of Michelangelo’s “David” or Bernini’s “St. Teresa in Ecstasy” would have been considered unfinished according to classical standards. The sculpture and architecture of the ancient world was, in fact, brightly and elaborately painted. The only reason it appears white to us is that centuries of weathering have worn off most of the paint.So entrenched has the association become between classical art and the look of white, unblemished marble, that the idea of an Athenian acropolis as colorfully painted as a circus wagon is difficult to imagine if not downright blasphemous. But now an exhibition at the Sackler Museum can help us envision what a color-drenched classical world might have looked like.“Gods in Color: Painted Sculpture of Classical Antiquity” features full-size color reconstructions that challenge the popular notion of classical white marble sculpture, illustrating that ancient sculpture was far more colorful, complex, and exuberant than is often thought.The reconstructions are the result of more than two decades of painstaking research by a pair of married German archaeologists, Vinzenz Brinkmann and Ulrike Koch-Brinkmann. The exhibition was organized by the Stiftung Archäologie and the Staatliche Antikensammlungen und Glyptothek of Munich, Germany, and has already been shown in a number of European cities. The Sackler is its first U.S. venue.The Brinkmanns used various methods to detect the almost invisible traces of paint on the surfaces of the sculptures they studied. Among these was the use of raking light to reveal incised details as well as subtle patterns caused by the uneven weathering of different paints on the stone surface; ultraviolet (UV) light to bring out slight surface differences; and techniques such as X-ray fluorescence and infrared spectroscopy to analyze the types of pigments employed.While not the first to notice the traces of color on ancient sculpture — scholars were arguing the case for painted classical sculpture as early as 1815 — the Brinkmanns are the first to bring the full armament of scientific equipment to the task.The results are spectacular and reveal much about the way ancient Greeks and Romans viewed their world. Take, for example, the life-size figure of a Trojan archer from the temple of Aphaia on the Greek island of Aegina (excavated in 1811 and acquired by King Ludwig of Bavaria). The figure wears a shirt and leggings covered all over with an intricate red, yellow, blue, and green diamond pattern. Over this he wears a bright yellow vest inscribed with lions and griffins. A tall yellow hat with a flower pattern completes the costume.Lest one think that all this color and pattern may have come at least partly from the Brinkmanns’ imagination, photos on the wall show how UV light revealed each of these details on the weathered and faded original.But why is the archer so elaborately clad? According to Susanne Ebbinghaus, the George M.A. Hanfmann Curator of Ancient Art and one of the curators for “Gods in Color,” the archer probably represents Paris, who started the Trojan War by running off with Helen, the wife of King Menelaus of Sparta, and who later killed the hero Achilles by firing an arrow through his heel.As Ebbinghaus explained, the Greeks of the classical period often represented the Trojans as Persians, whose armies they had successfully repelled in the early fifth century B.C. Persian warriors were generally shown as exotic and a bit overdressed compared with the manly and largely naked Greeks.The contrast between Greeks and Persians can be seen in another reconstruction, that of the so-called “Alexander Sarcophagus,” discovered in Lebanon in 1887. Here the Greek warriors fight entirely naked except for a bronze helmet (apparently taking precautions against head injuries did not reflect badly on one’s valor). The Persians, on the other hand, are garbed like Venetian revelers during Carnevale. Did the Greeks actually fight in their birthday suits? Ebbinghaus was asked. “Oh, no,” she replied. “They were armed to the teeth.”Sculptures on the pediments of large buildings have perplexed scholars who wonder how people could have made out the details of such groupings from their vantage point on the ground. The use of color helps answer that question. The Brinkmanns’ study of sculpture from the “Treasury of the Siphnians” (c. 525 B.C.) has shown that not only was color used to emphasize the details of the figures, but their names were also inscribed on the wall behind them, allowing viewers to identify both the characters and the drama in which they took part.The Romans too painted their statuary, including the marble portrait busts whose realistic features convey such a vivid sense of the appearance and even the personalities of upper-class Romans. With the addition of color, these busts take on an illusory realism comparable to the wax figures at Madame Tussaud’s.A particularly striking bust the Brinkmanns have pointed to is one of the Emperor Caligula (37–41 A.D.). Even taking into account the probability that the artist felt under duress to flatter his imperial subject, it is hard to equate this fresh-faced, earnest young man with the prodigy of cruelty and perversion we read about in the history books.There is much more to see in this eye-opening exhibition, including a room devoted to the earlier art of Egypt and Mesopotamia, which shows that, by coloring their buildings and sculptures, the Greeks were merely carrying on a tradition that had begun many centuries before the flowering of their own civilization. Throughout the exhibition, the Brinkmanns’ painted reproductions are juxtaposed with original Greek and Roman art from the museum’s own collection.The exhibition runs until Jan. 20, 2008. Gallery talks are planned in which Ebbinghaus and others will discuss the use of color in the ancient world and its rediscovery by modern scholars. Accompanying the exhibition is an activity book featuring outline drawings of the sculptures, allowing young visitors to decorate the artwork with their own choice of colors.
The saga of the Lowell House bells, scheduled to return to Russia this summer after 78 years at Harvard, was the subject of a festival and symposium Sunday and Monday (June 1-2) at Lowell House and the Barker Center.The history of the bells is a multifaceted love story of an unusual sort, and a story of homecoming, too.The bells were a gift to Harvard in 1930 by Charles Crane, a Chicago industrialist-cum-diplomat who made his fortune in the manufacture of sanitary plumbing fixtures. He rescued the bells — a set of 17 plus one that didn’t match — from the Danilov Monastery in Moscow at a time when the Russian Orthodox Church was under relentless attack.The Stalinist government of the Soviet Union had decided, as Lowell House Master Diana L. Eck explained it, that “the bells in Russia should be replaced with the sound of factory whistles.”But Crane had fallen in love with the mysterious and compelling sounds of Russian church bells when he first heard them on entering the Russian city of Rostov. When he found out that the Danilov bells were available for purchase, he bought them — 33.8 tons of bronze — for the price of their value as metal and bestowed them as a gift to Harvard.Abbott Lawrence Lowell, the president of Harvard at the time, was known to have an interest in bells. He was rumored to be interested in a carillon that would be able to play “Fair Harvard.”That was exactly what the Danilov bells were not suited to do. As Luis Campos (A.B. ’99 and Ph.D. ’06), a former Lowell House bell ringer, explained at the symposium, “There were no ‘selections’ to be played.”A Western-style carillon is in effect a musical instrument: a set of bells that function together as a single instrument, as a set of strings makes up a harp. A carillon can play tunes. In the very rich, but very different, Russian Orthodox tradition, the bells are chimes. They work their magic not with melody but with complicated rhythms. They are tuned differently from Western bells. And they fulfill specific roles in the spiritual life of the community.Heralding the results of football games, however, was not one of these.And so the bells’ debut on Sunday, April 5, 1931, drew headlines such as “Tons of Chimes at Harvard and Not a Note of Music,” as Campos recalled. But, as he also recounted, there was at the beginning another view of the kind of music the bells should produce, and it was neither “Fair Harvard” nor traditional Russian Orthodox chiming.In Russia, Thomas Whittemore, an archaeologist and historian (Harvard Graduate School ’98) who worked with Crane, engaged Konstantin Saradjev as a sort of curator of the Danilov bells. Saradjev was an unworldly figure who could have been invented by Dostoevsky. The lack of diplomatic relations between the United States and the Soviet Union that made getting Saradjev a visa problematic was only the beginning of the challenges of getting him to Cambridge. As Campos related, he arrived with four pairs of socks, two handkerchiefs, and no knowledge of English.But, as Hugh Olmsted explained in his presentation, Saradjev was a remarkable talent. He had such a keen sense of pitch that he could distinguish among 243 fractional pitches between two whole tones on the musical scale, where most people hear only a single semitone. His vision was to use the Danilov bells for his own musical compositions, or “harmonizations,” as he called them. And he was willing to file the bells down himself to retune them as needed.But, alas, by December 1930, it was clear — to Harvard officials at least — that Saradjev needed to be repatriated for reasons of his own mental and physical health. The installation of the bells awaited the arrival of another Russian expert, this one from New York.When the bells were finally installed, the students of Lowell House were not happy. As Campos related, the ringing of the bells interfered with the students’ sleep and study. Their protests included banging pots and pans, simultaneous flushing of all the toilets in the house (take that, Mr. Crane!) and the heaving of alarm clocks out of windows.The official correspondence about the bells peters out after the late 1930s, but over the decades, the bells worked their way into the hearts and minds — and ears — of Lowell House and the Harvard community.And so by the time the question of repatriating the bells arose in earnest in the 1980s, as the millennium of Russian Orthodox Christianity approached, Harvard wasn’t so sure it wanted to give the bells back.At one point the Danilov Monastery offered an exchange of bells — a new replacement set for the originals. Part of the story is the revival of the art and craft of bell casting in postcommunist Russia.A turning point, as Eck, who is professor of comparative religion and Indian studies, related, came when it was decided, “The University has every right to keep the bells, and every right to give them away.”A delegation came from Russia in December 2003 — this week’s symposium featured a glimpse of the group gathered at the statue of John Harvard. At that point, Lawrence Summers, then president of the University, signaled willingness “to explore what would be involved” in returning the bells.At this week’s symposium, Eck recalled hearing the Lowell bells played by the visiting Russians for the first time and feeling, “These are their bells.”It was a long negotiation, but eventually a deal was struck. The repatriation is being financed by the Russian philanthropist Viktor Vekselberg through his Link of Times Foundation. The bells will be removed from the Lowell House bell tower next month and are to be installed in the rebuilt Danilov Monastery in Moscow by September.
On Monday, Snowstalk revealed the lineup for their third annual event, set to go down on January 24th and 25th, 2020 at Frisco, CO’s 10 Mile Music Hall.In addition to two performances by host band Magic Beans, the two-night event will see sets from Kitchen Dwellers, Kyle Hollingsworth Band, Envy ALO, and High Country Hustle. Both nights will kick off with a special solo set by Magic Beans guitarist Scott Hachey.Single and two-day tickets are now available here, with a discounted Copper Mountain ski pass available as an add-on for those wanting to ski or snowboard during the day.Next up for Magic Beans is a performance at Dallas, TX’s Deep Ellum Art Company on Wednesday, October 30th. Head to Magic Beans’ website for a full list of the band’s upcoming tour dates, ticketing, and more information.
A panel of professors discussed the different current events, issues and policies in the LGBTQ community on Monday at Saint Mary’s. The panel was organized by Eileen Cullina, the President of Saint Mary’s College Straight and Gay Alliance (SAGA). Patrick Pierce, professor of political science, proposed ways for gay rights policies to change over time in favor of the LGBTQ community. The public is very involved in these policies and change will happen more and more with generation replacement and awareness to the problem of redistricting, he said. “Older, more culturally conservative people leave the population, [and] younger, more culturally liberal folks enter the political population,” he said. “Nobody will tell you in the media that a big problem has to do with redistricting. “Republicans who are going to hold more culturally conservative positions, more restrictive positions with gay rights policies – they have been controlling state legislatures. They can redraw the district lines for state legislative districts.” Following Pierce, justice education professor Adrienne Lyles Chockley said the LGBTQ community had great successes in the courts in 2013, and even more major issues are being discussed in the state-level courts right now. “Perhaps the biggest success is the movement in gay marriage,” she said. “Here are the main areas [in which] there is some major stuff happening: family law, association and civil participation, equal benefits, public education and crime and punishment.” Catherine Pittman, clinical psychologist and psychology professor, said there are ways to make change on the city level, raising awareness to rights that LGBTQ individuals. “The truth is, there are a lot of older people who think it’s already against the law to do things that hurt the LGBT community,” she said. “There is an organization called the South Bend Human Rights Commission … [that is] empowered to fight discrimination on the basis of race, religion, color and family status. “They are not empowered against discrimination against gay or transgender people.” Pittman said the possibility for change exists in the local community, and the South Bend LGBTQ community needed civil rights but struggled to prove that there was a local problem with discrimination. “The opposition would say that people are looking for special rights, and there is no evidence that there’s even a problem,” she said. “After about eight years, we finally got the South Bend City Council to pass a law that says if a person is discriminated against on the basis of sexual orientation or gender identity, they are allowed to go to the human rights commission and ask for help if it has to do with employment, public accommodations, education and housing.” Communication studies professor Marne Austin, said interpersonal communicatio and taking a holistic approach to working through all perspectives articulated is crucial to making shifts in culture. “The jargon and the rhetoric of “coming out” is decades old now, but this idea of coming out of the closet is so grounded in heteronormativity,” she said. “I and several scholars have tried to reclaim the term of “coming out”‘ to “inviting in”. “We can have interpersonal instances of social justice just by talking to people. we can actually make changes in their lives.” Contact Alaina Anderson at [email protected]
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Williams and Martinez contribute to Gophers despite limited playing time C.J. SpangFebruary 13, 2007Jump to CommentsShare on FacebookShare on TwitterShare via EmailPrintFriday night belonged to senior heavyweight Cole Konrad. After all, it was the defending national champion’s last home match of his career.But Konrad wasn’t the only one honored on senior night. Danny Williams and Juan Martinez also came out at intermission to receive recognition for their contributions to the Minnesota wrestling team.While Konrad’s contributions will require a small forest in order to document them, Williams’ and Martinez’s won’t be found in any record books.Williams hasn’t competed this season because of a shoulder injury, but compiled a 21-25 overall record in his first three seasons. Martinez is 32-21 in his career.The two 149-pounders’ match-day contributions pale in comparison to the man wrestling ahead of them in their weight class. Sophomore Dustin Schlatter went 42-1, winning a Big Ten Championship and National Championship as a freshman and is 28-0 this season.“It’s impossible to have a successful team without these guys in the background, constantly pushing us in the practice room, running with us, lifting with us, keeping us going, Schlatter said.“They don’t get enough credit for what they do.”They might not get credit in public, but coach J Robinson said Williams and Martinez are as vital to the team’s success as anyone else.“It’s like if you take the back off of a clock,” he said. “Take the smallest piece out of the back of the clock and it won’t work. That’s how important they are.”There were times in the past few years when the clock might have stopped, as both Williams and Martinez said the thought of transferring crossed their minds.But both said after wrestling at Minnesota, you don’t want to leave. And sticking it out is a very commendable thing, Robinson said. “Anybody can quit, anybody can leave,” Robinson said. “In our whole society, people are leaving all the time because they can’t be the star and it goes back to the (clock): You need all the pieces. They were the pieces that made it work. They were the pieces that helped us.”For Martinez, just becoming one of the pieces was a challenge from the beginning.He had one of the least-heralded high school careers but was still offered a spot at Minnesota. Martinez said he was visiting a Division III school when he made up his mind because of what that school’s coach said to him that day.“He said; ‘You’ll never make it there,’ and I was like, ‘What are you talking about?’ ” Martinez said. “So I came to school here and started wrestling.”While the number of matches and the recognition might have been limited during their time at Minnesota, both wrestlers said they don’t regret their decisions to become Gophers.Martinez said he didn’t succeed as a wrestler like he’d hoped, but everything else that came with wrestling at Minnesota made up for it.“It’s a disappointment in the aspect that I didn’t get where I wanted to get wrestling-wise,” he said. “But that disappointment led to a lot of other great things with friendships I’ve made.”Williams said he has had chances and things just didn’t work out.“I don’t regret staying here,” Williams said. “I think it’s a good choice; I’m glad I did it.”– C.J. Spang welcomes comments at [email protected]
Finding Surveyor 3 The feat was accomplished thanks to the work of University of Arizona planetary scientist Ewen Whitaker and a team led by Gerard Kuiper, the father of modern-day planetary science and founder of the Lunar and Planetary Laboratory. Five days later, two Apollo 12 astronauts – Pete Conrad and Alan Bean – climbed out of Intrepid. They were only 600 feet (about two football fields) from their target location – the landing site of lunar lander Surveyor 3. The Apollo 11 Lunar Module touched down in the Sea of Tranquility, in what could be considered one of the greatest human accomplishments. But with its fuel nearly drained, the Eagle landed nearly four miles from the intended landing site. To demonstrate a pinpoint landing with Apollo 12, NASA used Whitaker’s location of Surveyor 3 as the target. The location also gave the crew a chance to return parts of the robotic explorer Surveyor 3, which had been on the moon since 1967, for assessment after more than two years in space. “I’m sure Ewen Whitaker was holding his breath as the astronauts climbed out of the lunar module,” said Jim Scotti, an astronomer with SPACEWATCH, the UArizona group dedicated to detecting near-earth objects. “Surveyor 3 had been in darkness as the Lunar Module came in for a landing.” A view of Apollo 11 landing sites in the Sea of Tranquility or Mare Tranquillitatis. Photo by Pete Lawrence Meeting Alan Bean Finding Surveyor 3 was more difficult than Surveyor 1 because Surveyor 3 had landed in a crater, meaning there were limited landmarks to rely upon. Scotti, a space artist himself, was there to witness the first meeting of the two people responsible for the success of Apollo 12. Surveyor 1, the first of seven unmanned lunar landers in a program that ran from June 1966 through January 1968, reached the surface of the moon on June 2, 1966 and sent back panoramic photos from its travels. Surveyor 1’s success reassured the astronauts they would not be swallowed by dust. TUCSON, Ariz. — The Eagle swooped over the craggy, monochromatic terrain, keenly searching for a smooth landing place. Nothing but an unwelcoming host of craters and boulders streamed below. Pushing its limits, it flew on. When NASA published what they thought was Surveyor 1’s correct landing site in the journal Science, Whitaker disagreed. He demonstrated his peerless prowess of lunar geography when he correctly identified Surveyor 1’s landing site after poring over images taken by the Lunar Orbiter and matching lunar features in photos with moon maps. During the next mission, NASA sought to demonstrate a pinpoint landing with “Intrepid,” the Lunar Module of the Apollo 12 mission, which launched 50 years ago on Nov. 14, 1969. “Ewen Whitaker and I were in line together to meet Alan Bean,” Scotti said. “He had brought photographs that he used to find Surveyor and was going to ask Bean to sign them. When he eventually did, it was like watching two best friends chatting back and forth like they’d known each other for years.” Luckily, becoming an artist also brought Bean to Tucson – a hub for space art – where he met Whitaker about 30 years after leaving the moon. Whitaker’s location was so spot on that the astronauts were able to walk to Surveyor 3. When President John F. Kennedy announced in 1961 that Americans would walk on the surface of the moon by the decade’s end, Whitaker, Kuiper and their team were already imaging and mapping the lunar surface. Their efforts to produce the first photographic lunar atlases of the moon and their partnerships with the university’s geology department and the astrogeology branch of the United States Geological Survey gave them a deep understanding of the moon’s geology and geography. Whitaker published the alternate location in the September issue of Science. His skills earned him the task of locating four more Surveyor landing sites, including Surveyor 3, which landed on the moon in the western Oceanus Procellarum (Ocean of Storms) April 20, 1967. UA News: As a result, the team played a key role in the series of robotic spacecraft that visited the moon ahead of the Apollo missions. “The iconic image, for me, of Apollo 12 is the astronaut Pete Conrad standing by Surveyor 3 with the lunar lander in the background,” said Tim Swindle, director of the UArizona Lunar and Planetary Laboratory. Scotti has often joked that by becoming a space artist, astronaut Alan Bean, who snapped that iconic image, made up for damaging the sensors of the first color television camera on the moon’s surface when he accidentally pointed it toward the sun.
Effective September 12, the service, operated by Emirates’ newest Boeing 777 freighter, will fly Dubai – Singapore – Sydney – Hong Kong – Dubai weekly, departing from Dubai every Sunday at 20:35 and touching down at Sydney International Airport at 18:30 every Monday.The Boeing 777 freighter has the capability to carry up to 103 tonnes of cargo and will boost Emirates SkyCargo’s import capacity to 1370 tonnes per week. Of note to HLPFI readers will be its feature of a wide main deck cargo door for easier uplift of oversized shipments.”2011 is proving to be a year of growth milestones for Emirates SkyCargo in New South Wales with the introduction of a dedicated weekly freighter service to Sydney, and the re-commencement of the airline’s third-daily Sydney flight in October,” said Greg Johnson, Emirates’ cargo manager Australia.”With these new services onboard, our customers will have more choice than ever before and it also offers the opportunity for us to expand into more areas of air cargo transport,” added Mr Johnson.
The tugboats, which measured 36.55 m x 12.7 m x 23.6 m, each weighed 780 tons (707.6 tonnes) and were loaded onto the vessel utilising a flo-flo technique.CSL Asia Shipping’s office in Ningbo, China, is a member of the XLProjects network. www.cslships.comwww.xlprojects.net