A Conversation With Con Brio On What It Takes To Create Their Soulful Sound
Con Brio has forged a sound for all seasons. Coming out of the San Francisco Bay area like a refreshing breeze of sweet soul and funkalicious jams, they’re the perfect band for hot fun in the summer time days and cool jams for the cold winter nights. With their debut full length album, Paradise, lifting fans around the world up and out onto the dance floors and shows on two continents ahead of them, Con Brio is poised for world wide acclaim…and deservedly so. Their set at the Bonnaroo Music Festival last weekend did what all their live shows do; won them a slew of new, dedicated fans who were delighted to find there are still some bands who just want to make people move and groove.Our own Kendall Deflin and Rex Thomson caught up with Con Brio’s lead singer Ziek McCarter, guitarist Benjamin Andrews and sax man Marcus Stephens for a quick chat about their Bonnaroo set, their new video for the tune “Free & Brave,” and their upcoming tour dates across America and Europe! Check it out!Live For Live Music: You guys just walked off the stage after blowing up That Tent for the opening set of Bonnaroo! How did that feel, seeing all those people go crazy for what you do?Ziek McCarter: It was great!Benjamin Andrews: Yeah man, that was a lot of fun.Marcus Stephens: For real. It’s always such a dice roll. It was great to see such a warm welcome, to see so many smiling and enthusiastic people just waiting for us.ZMcC: There was a crowd before we even got started. They were there just coming in and dancing while we tuned up. I was like “Alright…this is gonna be a good one.”L4LM: I saw that. I think you won fans over with just your sound check!MS: It definitely felt that way.ZMcC: That’s all it took.L4LM: You probably could have just stopped there. “Thank you! Good night!Con Brio: (Laughter)L4LM: Have any of you ever been to Bonnaroo before, like as an attendee?MS: I don’t think any of us have.BA: I’ve never been to a music festival as an attendee…just working.L4LM: Your sound is straight out of the soul/funk hey dey of years past. How did a bunch of young guys like you end up sounding like that? MS: The Internet. (Laughter)ZMcC: We all grew up in musical families, so it got passed down to us generationally I guess. We’re cogent…it bleeds in on us from everywhere. And it’s in our roots. A lot of great pioneers came out of the Bay area, like Sly & The Family Stone, Santana…MS: …Tower Of Power…ZMcC: Tower Of Power. All these artists circulated on our radio a lot. It took on a mythology for us.MS: I think a lot of us have roots playing older music too. Personally, some of my earliest connections with music is playing older stuff. The first time I met Zeke I was playing with a boogaloo band and he sang some Marvin Gaye with us.L4LM: How long have you guys known each other?ZMcC: I don’t know…what was that? 2011?BA: The three of us? I guess three or four years at this point, right?ZMcC: Yeah, we been together…us three…like three and a half years. BA: I just came for the free hot dogs.L4LM: Ummm…I don’t think we have hot dogs.BA: Well…see ya! (Rises and pretends to leave)L4LM: Your first full length album, Paradise, is coming out July 15th. That’s a lofty aspiration for a starting point…do you think you can live up to that sentiment?MS: I think so. I hope so.ZMcC: I don’t think we have to live up to it…I think we just have to live it.L4LM: How did you come to choose that title?ZMcC: It’s a reflection of everything we wanted to do and to create. Last year we really hit it…we toured strong. We’re doing this full time now…all of our hopes and dreams and things we wanted to manifest through music are actually happening. For myself anyway…hopefully for all of us. So that’s what we’re creating…Paradise.L4LM: That’s the best that you could hope for. Congratulations on graduating to the big leagues! Speaking of living the life, you’re getting ready to go on tour with Grace Potter…that seems like a good fit for your band and hers, stylistically at least.MS: Yeah…that’s gonna be fun.ZMcC: Next week actually.L4LM: Grace is known to sit in with bands on tour. Are you guys planning on working together during the tour at all?ZMcC: We’re open to it. BA: We’ll work our way up to that. (Chuckles)ZMcC: We have a lot of dates together…goin’ out all the way to the fall.L4LM: So…in the midst of those runs with Grace Potter, you guys are going to get out of America and show the world what you can do, right?ZMcC: Yeah…Europe and Japan and…BA: We start off in Canada…MS: Then we head out across the pond.L4LM: Your sound is very timeless. I bet you go over well there.ZMcC: We actually went over really well there. We did a tour of Europe last year and the fans there really liked us.L4LM: Well…with a world tour already coming, where could you go possibly go next?ZMcC: We want to be the first band that plays on the moon.BA: Out the window and straight to the moon!MS: I’m with it…yeah! I think since we’ve started it’s just progressively been getting better for us. I think if we can just keep that momentum going, I think that’s all for the greater good of the band.BA: It’s like…every time we do something I feel like we’re doing a better version of it. We work hard to keep getting better…the stages keep getting bigger…the audiences get crazier…the interviews get cooler…L4LM: SOME of the interviews get cooler…BA: This is the coolest interview yet! ZMcC: This is definitely the coolest one.MS: I wouldn’t wanna put a cap on what we’re capable of accomplishing. We keep doing exponentially better y’know.L4LM: Would you guys say there is a band philosophy? Did you ever sit down and discuss what you wanted your music to be or say?ZMcC: We just wanted to make Con Brio music.L4LM: What does “Con Brio” mean?ZMcC: Con Brio means “With Spirit.” We’re trying to make music that reflects us. We’re all enthusiastic about life, generally…I’m proud to be a part of that…proud to be a part of this band.L4LM: Energy and enthusiasm are definitely hallmarks of your live performances. There were people worried about you the way you were throwing down and dancing up there…You did the splits a couple of times…that would be a bad landing not to stick during a show…MS: We’re insured. It’s cool!L4LM: Still…that’s not the kinda thing you ever want to use. Especially for an injury to an area like that.MS: Very true. (Laughs)L4LM: I hear you guys shot a pretty cool video for the song “Free & Brave.” How was that experience?BA: You haven’t seen it yet?L4LM: Sadly no…BA: Well let’s watch it right now…you can ask us questions about it as we watch!L4LM: Where was this filmed?ZMcC: Oakland.BA: This is our first single, “Free & Brave.”L4LM: Where was this performance footage shot?MS: That’s in the 16th Street Station in Oakland. It’s an abandoned train station.L4LM: How long did this filming take?BA: About 12 hours.L4LM: Did you guys have permission to film in the station…or is this one of those “sneak in” kinda things?ZMcC: You have to rent it. People USED to squat there…L4LM: This is really gorgeous. Very well shot.ZmcC: Thanks! The whole thing was a fun collaboration. MS: We really liked the director, Frank Door, and just his vision and how efficient he was.ZMcC: He had worked with our management and we liked his work.L4LM: That was very cool. It does a good job of capturing your spirit, though obviously your live show is the total package. Well, thanks for taking a few minutes to talk with us about the Con Brio way of life. Can’t wait to see you down the road.ZMcC: Look forward to it.BA: Thanks man!BA: See you soon!
With the sad news of Allman Brothers Band founding drummer Butch Trucks‘ unfortunate passing, SiriusXM’s Jam On has announced that it will replay Trucks’ final appearance on the station, in which he took listeners track by track through the ABB’s archival release Live At A&R Studios this past March.Butch Trucks, Founding Member of the Allman Brothers, Has Passed AwayThe man they called “Freight Train,” helped start the Allman Brothers Band in 1969, an incredible 48 years ago, alongside Duane Allman, Gregg Allman, Dickey Betts, Berry Oakley, and his double-drumming partner Jaimoe. The news of his passing came as a shock to the music world, with bands all all over paying tribute to the icon, and many other musicians penning touching words about how much Trucks meant to them and their careers.The station will rebroadcast the program several times over the next few days, and you can see the schedule below.Broadcast Schedule· Friday 1/27 @ 12pm EDT· Saturday 1/28 @ 2pm EDT· Sunday 1/29 @ 11am EDT· Monday 1/30 @ 3pm EDT
The Live For Live Music readership might best know his son, Adam, for his incredibly skillful drumming in bands like Lettuce and Break Science, but Bobby Deitch has been on the scene going on five decades. The elder Deitch, also a former student at the esteemed Berklee College of Music in Boston (along with wife Denise, a great drummer in her own right), has been behind the kit for various funk and R&B outfits over the years, most recently acting as drummer and musical director for a Ray Charles tribute, alongside musicians that have played with artists such as Prince, Alicia Keys, Stevie Wonder and more over the years.Deitch, a multi-instrumentalist who focused on songwriting and producing for many years, is getting set to release his own Bobby Deitch Band album, Grateful, and will be playing an album release party on Tuesday, April 11th at Blue Note Jazz Club in New York City. Joining him will be BDB members Eddy Bishai (keys, vocals), Joe “Mamma” Carpentieri (drums, vocals), Scott Reeves (guitar, vocals), and Dave Reiss (bass, vocals), a talented group of musicians in their own right. The band will be joined by special guests such as Adam Deitch, and fellow Lettuce member Nigel Hall.He had this to say about the album, “This Grateful LP is a culmination of my life’s work to this point as a husband, father and musician/songwriter. I feel truly blessed to have so many incredible musicians such as Adam Deitch, Nigel Hall, Eric Krasno, Adam Smirnoff, Nikki Glaspie, George Porter jr., and Jon Cleary lending their time and talent to this project.” There is currently an ongoing Kickstarter campaign for the album, all pledges can be made here.Tickets for the Blue Note show are currently on sale and can be purchased at the venue website. For additional information on the Bobby Deitch Band, check out the group’s Facebook page. Take a listen to their recent show at Olive‘s in Nyack, NY below:
Yesterday, the music world was shaken by the loss of Gregg Allman, the second founding Allman Brothers Band member to leave pass away in 2017 following the January death of drummer Butch Trucks. Unsurprisingly, in the hours since the news broke, countless artists (including Dead & Company, Phil Lesh, Tedeschi Trucks Band, Umphrey’s McGee, and more) have already paid their respects to the singer/multi-instrumentalist through music. But perhaps the most jarring and emotionally charged tribute yet has come from guitarist and vocalist Warren Haynes, who played with Gregg and the Allman Brothers for nearly 30 years before their final performances in 2014.Yesterday, as Warren and his current band, Gov’t Mule, were in Chillicothe, IL preparing for their main stage set at Summer Camp Music Festival, the news of Allman’s death began to spread rapidly through the Internet and the festival grounds. Just two hours before Mule was set to take the stage, Haynes released a touching letter of remembrance on his Facebook page, attempting to explain the indescribably significant impact that Allman had on him as a musician and a man:RIP Gregg Allman – I am at a loss for words. I was moved by Gregg’s voice when I first heard the Allman Brothers Band in 1969. I was nine years old. I had not even picked up a guitar yet but thanks to my to older brothers I had been exposed to a lot of great soul music with the best singers in the world. But this was something different. This music was making a deep emotional connection with me even though it was too complex for me to really understand. Somehow, though, it had this “common man” quality that allowed that music to connect with people on so many different levels without analyzing the ingredients that went into it-soul, blues, rock, country, jazz-all mixed together in a way no one had ever done before. And on top of it all was this beautiful voice that could be soothing, terrifying, mellow, angry, and amazingly natural and soulful all at the same time-and instantly captivating. It drew me in. It drew us all in. Over the next few years I would begin to play guitar as everyone of my music loving friends became Allman Brothers’ freaks. That music spoke to anyone who heard it but in the South it resonated with us. It spoke volumes. It brought a voice to people like myself in the midst of some confusing, ever-changing times. Here was this group of Southern hippies with an integrated band coming out of the Deepest South with equally deep music on the heels of some extremely deep changes. We didn’t realize how heavy that was at the time but we sure realized how heavy the music was. Every guitar player in every Southern town was listening to the Live at Fillmore East record and worshipping at the altar of Duane Allman and Dickey Betts. But the icing on the cake was always Gregg’s voice. That’s what separated the ABB from being a band that only connected with music freaks. Women whom previously had only listened to the radio would tolerate the long jams to get to the parts where Gregg melted their souls with that angelic voice. It turned casual music fans into fanatical fans who were discovering a new multi-dimensional music that a few years prior wasn’t even in existence. And it was all due to Gregg’s voice-and the songs.He wrote these amazing songs that were as natural as his voice was. The words and melodies felt so perfectly unpretentious and, when delivered by him, made an emotional connection that only happens when music is genuine and honest. I learned an enormous amount about singing and songwriting from him-most of it before we ever met. I am truly honored to have been fortunate enough to have written many songs with him and equally honored to have traveled the world with him while making the best music the world has ever known. I will never, ever take that for granted. And on top of all that-he was my dear friend.My fondest memories will always be of Gregg, myself, and Allen Woody sharing a tour bus together-listening to great music and laughing our asses off mile after mile. Traveling- like life- is so much better when you’ve got friends to share the experience with. I’ve lost too many lately and this one is gonna be hard to get past. There is some comfort in knowing that millions of people all over the world feel the same way.I love you Gregory – WHMule’s set carried the weight of Warren’s fallen friend, mentor, and collaborator from the moment he, drummer Mat Abts, keyboardist Danny Louis, and bassist Jorgen Carlsson took the stage, as the crowd and musicians alike still ached from the fresh wound of Allman’s loss. The show began with “Traveling Tune,” a road-weary tune off their upcoming record that bears the spirit of the “Ramblin’” Allman. Next, the band welcomed Vinnie Amico, Chuck Garvey, and Jim Loughlin of moe. for a special rendition of the Allman Brothers Band’s”Dreams” from their 1969 self-titled debut.Next up was “Thorazine Shuffle” from Mule’s ’98 LP Dose, followed by the gritty title track from their forthcoming album Revolution Come… Revolution Go. A moving rendition The Beatles‘ Revolver track “And Your Bird Can Sing” came next, before the band delivered a pair of live Mule favorites: “Scenes From A Troubled Mind” and “Time To Confess.”Umphrey’s McGee percussionist Andy Farag then joined the band onstage for a ripping “Mule,” before the other half of the Umphrey’s percussion section (Kris Myers) and moe.‘s Al Schnier entered the fray for a cathartically unhinged rendition of Allmans magnum opus “Whipping Post” featuring notes of “Les Brers In A Minor” to close the impassioned performance. You can watch footage of the majority of Gov’t Mule’s emotionally raw Summer Camp set below, via the festival’s Facebook page.SETLIST: Gov’t Mule | Summer Camp Music Festival | Chillicothe, IL | 5/27/17SET: Traveling Tune*, Dreams**, Thorazine Shuffle, Revolution Come… Revolution Go, And Your Bird Can Sing^, Scenes From A Troubled Mind, Time To Confess, Mule^^, Whipping Post*^*w/ Jim Loughlin **Allman Brothers cover, w/ Vinnie Amico, Chuck Garvey & Jim Loughlin ^ Beatles cover ^^ w/ Andy Farag *^ Allman Brothers cover, w/ Kris Myers, Al Schnier & Andy Farag; Les Brers In A Minor teaseGov’t Mule continues their current tour at DelFest tonight, before heading to Europe for a run of shows beginning in Bilbao, Spain on June 3rd. For more information or tickets to any upcoming shows, head to the band’s website.Rest in peace, Gregg.[Cover photo via Andrew O’Brien]
If you’re unfamiliar with Martin Shkreli, he’s the universally hated former pharmaceutical CEO who first came into the public eye for price-gouging his company’s AIDS and cancer treatment drug (with no generic option), Daraprim, from $13.50 to $750 per pill over night back in 2015. Around that time, he also happened to purchase the lone copy of Wu-Tang Clan’s mysterious Once Upon A Time In Shaolin album, a never-before-heard thirty-one track double album that he bought for $2 million dollars in auction. The poorly rendered cartoon villain come to life has since become one of the most hated figures in America, drawing criticism from both Hillary Clinton and Donald Trump, as well as getting into beef with Ghostface Killah for being “a shithead.”Martin Shkreli Rejects Pigeons Playing Ping Pong, So Check Out Their New SingleEarlier in August, he was convicted of two counts of securities fraud and one count of conspiracy to commit securities fraud and now faces up to twenty years in prison. If you haven’t already and want to cheer yourself up if you’re having a hard morning, go ahead and check out the roasts by dismissed jurors from his court trial, which include that he’s “a greedy little man,” “he kind of looks like a dick,” and, “he disrespected the Wu-Tang Clan.” Now, Shkreli’s saga continues, as the convicted felon and greedy living ventriloquist doll has just put his one-of-a-kind Wu-Tang album up on Ebay for auction.Originally listed at $1, the price of Once Upon A Time In Shaolin now hovers at around the $1 million dollar mark, with the auction still ongoing over the next week. In his statement on the album listing, Shkreli notes that he “decided to purchase this album as a gift to the Wu-Tang Clan for their tremendous musical output,” later whining, “I received scorn from at least one of their (least-intelligent) members, and the world at large failed to see my purpose of putting a serious value behind music.” He also notes that he has not “carefully listened to the album” and that “at any time I may cancel this sale and I may even break this album in frustration,” because, of course, he would.Martin Shkreli Shares Unreleased Wu-Tang Clan Tracks After Trump VictoryIn his listing, he also notes that half of the sale proceeds will go toward medical research and that he hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” He also states that he will not be making his donation to a medical non-profit until after he receives confirmation an organization will even accept his donation. This is most probably due to the fact that after he tried to donate money to Bernie Sanders, Sanders refused to accept his donation, and Shkreli throwing a completely characteristic temper tantrum took to Twitter to call the 75-year-old senator a “bitch ass.”These Geniuses Wrote A Musical About The Bill Murray And Wu-Tang Heist On Martin ShkreliAnyway, here’s to hoping that whoever buys the Wu-Tang album is down to share it with the world. And I suppose thank you to Martin Shkreli for reminding all Americans during this politically divisive time that there is still the chance for all of us to come together, even if our common enemy is the spirit of corporate greed trapped inside a Keebler’s elf’s body.
Boston-born, New England-based Strange Machines just released their first full-length studio album Voice of Color, and it’s an absolute must-listen for music fans. While Strange Machines’ previous album Turn The Tide leaned more toward the reggae-centric, the group’s latest studio effort takes listeners far deeper into the reaches of progressive experimental rock and funk, offering a diversity of sounds and styles, all of which are delicately woven together. In the time since Turn The Tide, the band has evolved into an entirely different animal, but has managed to do so without neglecting their musical roots. It’s this subtle yet profound expansion in sound that makes Strange Machines’ future so exciting to anticipate.Strange Machines’ latest album, Voice of Color, envelopes you from start to finish and spits you out the other end. The band uses different effects to add texture to Voice of Color, making for a robust and cohesive sound. Though this can be said for many albums, it’s only when a collection of musicians’ individual contributions ring out as a single entity that music becomes enrapturing, and the new album succeeds on this front.Strange Machines is known for powerful, high-energy live performances that explore the depths of their music and cater to a breadth of listeners. None of the band’s beloved characteristics are lost on the album—rather, Voice of Color offers precisely executed arrangements of Strange Machines originals while still embodying the looseness and exploration you’d find at a live performance.One standout song on this new release is “Golden Rule,” as the track beautifully encapsulates the band’s versatility. “Golden Rule” starts out with an eerie trip-hop vibe that’s accented by chucking rhythm guitar and looming synth lines ahead of the song’s catchy theme riff which serves as the song’s intro. The track boasts perhaps some of the strongest vocal work on the album as well, and that paired with the songs thought-provoking lyrics make it a truly compelling piece of music. Around the midway point, bassist Craig Holland creeps in with a descending bass line, while guitarist Mike MacDonald and keyboardist Christian Perron tickle over top of the track in playful unison. This section eventually dissolves, leaving that bassline alone to bring the tone of the song downward, building and releasing the tension before Mike MacDonald brings it home with a blistering guitar solo.“Golden Rule” is undoubtedly a marquis track off the album, but the rest of Voice of Color delivers with just as much authority. Title track “Voice Of Color” is dominated by Christian Perron’s funky keyboard groove, while “The In-Between” boasts a fun call-and-response instrumental section that will get the even the most rigid listener in the groove. For a taste of something heavier, check out “Enter The Interceptor”, which features synth-centric power-riffs.You can check out Strange Machines’ new album, Voice of Color below. Happy listening to all you folks at home, and as always; stay strange. For more information on the band, you can check out their website here.
Today, Joe Russo’s Almost Dead has released the soundboard recording of their performance at The Fillmore in Philadelphia, Pennsylvania, on Saturday, November 25th, 2017, continuing the group’s regular “Taper Tuesday” tradition. Two days after Thanksgiving, the show marked the group’s second of two performances in Philly over the holiday weekend.The first set began with an opening jam that segued into an extensive “Good Lovin’” which proved to be the longest song of the set, clocking in at 14-and-a-half minutes (19 minutes including the opening jam). Other first set highlights included the band’s bluesy rendition of “I Need A Miracle”, which saw them offer up a number of teases and play with the dynamics as they entered the song’s outro; and the set’s closing “Truckin’”, which descended into the sonic madness of “Space” before landing in a “Truckin’ Reprise” and, finally, picking back up into a “Born Cross Eyed” jam. Another highlight was the group’s rendition of The Band’s “The Night They Drove Old Dixie Down”, which previewed Joe Russo’s Almost Dead’s encore tribute to The Band.Highlights of the second set included Dave Dreiwitz’s opening bass solo which segued into “Music Never Stopped” and the set’s final segment, which saw “New Speedway Boogie” finally make an appearance (after being teased during the first set) before segueing into a triumphant, set-closing “Terrapin Suite” that clocked in at around 35 minutes. The encore of this show was particularly meaty, with two more beloved covers by The Band, “The Weight” and “Ophelia”.You can listen to the soundboard of the show, courtesy of Peter Costello and Eric McRoberts, as well as the show’s detailed setlist compiled by Costello.Setlist: Joe Russo’s Almost Dead | The Fillmore | Philadelphia, PA | 11/25/2017Set One: Jam -> Good Lovin’ > Ruben & Cerise -> Bertha > I Need A Miracle @ > The Night They Drove Old Dixie Down > Truckin # -> Space -> Truckin Reprise -> Born Cross Eyed JamSet Two: DD Solo -> Music Never Stopped, They Love Each Other $, Jam -> Let It Grow % > New Speedway Boogie ^ -> Terrapin Suite *Encore: The Weight &, Ophelia@ – With New Speedway Boogie Teases (SM & then MB), a “Fearless” (Pink Floyd) Tease (MB), possibly a “Good Lovin’” (The Rascals) Tease (MB), a short Duo Jam and an “In with the In Crowd” (Ramsey Lewis) Tease (MB)# – With a New Speedway Boogie Tease (M), a Black Throated Wind Tease (SM) and an Easy Wind Tease (SM)$ – With a Ruben & Cerise Tease (TH)% – With “Do It Again” (Steely Dan) And “Taxman” (The Beatles) Jams^ – With Let It Grow & Slipknot! Teases (Band)* – With a “Walk This Way” (Aerosmith) Tease (JR)& – Verses in order: TH, SM, MB, JR & AllOne More Saturday Night was on the set list, but not played[Photo: Rob Chapman]
Weezer has announced their long-rumored upcoming album, The Black Album, with little detail beyond the album’s title released as of press time. The band has shared the first single off the album though, “Can’t Knock The Hustle”, accompanied by a music video starring “River Wentz”, better known as Fall Out Boy’s Pete Wentz.Pete Wentz stars in the “Can’t Knock The Hustle” video as a driver for a rideshare service. As he’s working, a couple begins fighting in his car, which eventually ends up with a trip to the hospital. Along with the video, Weezer released a brand-new website dubbed HastaLuegoAdios.com, which contains a phone number for the fake company. Curious Weezer fans can text the number and receive a contact verification form and a message. This is the band’s clever way of slowly revealing more information on the upcoming The Black Album, as they keep fans anxiously on their toes.Enjoy Weezer’s new tune and music video, “Can’t Knock The Hustle”, below:Weezer w/ Pete Wentz – “Can’t Knock The Hustle”[Video: weezer]After touring with alternative rock outfit the Pixies this summer, Weezer revealed the two bands are joining forces again this spring after having so much fun together during this past tour. The new spring tour starts out with two southern shows, March 8th and 10th, before moving through Montreal; Albany, NY; Mashantucket, CT; and Baltimore, MD; March 13th–17th. Heading west, the bands will make stops in Columbus, OH; Grand Rapids, MI; Memphis, TN; St. Louis, MO; Kansas City, MO; Tulsa, OK; Des Moines, IA; St. Paul, MN; and Madison, WI, from March 19th–31st. The tour ends with a run through the Pacific Coast, with stops in Nampa, ID; Portland, OR; Vancouver, BC; Sacramento, CA; Oakland, CA; and Las Vegas, NV, from April 5th–12th.A pre-sale begins Monday, October 15th, at 10 a.m. local time. Fans can sign up for Weezer’s mailing list by Sunday, October 14th, at 7 p.m. (EST) and will receive a special pre-sale code (code will be sent out on Sunday night). For more information, head to the band’s website. Upcoming Weezer/Pixies Tour Dates:March 8th – Louisville, KY @ KFC Yum! CenterMarch 10th – Columbia, SC @ Colonial Life ArenaMarch 13th – Montreal, QC @ Bell CentreMarch 14th – Albany, NY @ Times Union CenterMarch 16th – Mashantucket, CT @ Foxwoods Resort Casino – Grand TheaterMarch 17th – Baltimore, MD @ Royal Farms ArenaMarch 19th – Columbus, OH @ Schottenstein CenterMarch 20th – Grand Rapids, MI @ Van Andel ArenaMarch 22nd – Memphis, TN @ FedEx ForumMarch 24th – St. Louis, MO @ Enterprise CenterMarch 26th – Kansas City, MO @ Sprint CenterMarch 27th – Tulsa, OK @ BOK CenterMarch 28th – Des Moines, IA @ Wells Fargo ArenaMarch 30th – Saint Paul, MN @ Xcel Energy CenterMarch 31st – Madison, WI @ Alliant Energy Center – Veterans Memorial ColiseumApril 5th – Nampa, ID @ Ford Idaho Center ArenaApril 6th – Portland, OR @ Moda CenterApril 7th – Vancouver, BC @ Rogers ArenaApril 9th – Sacramento, CA @ Golden 1 CenterApril 10th – Oakland, CA @ Oracle ArenaApril 12th – Las Vegas, NV @ Mandalay Bay Events CenterView All Tour Dates[H/T Pitchfork]
Evelynn Hammonds, dean of Harvard College and Barbara Gutmann Rosenkrantz Professor of the History of Science and of African and African American Studies, was appointed by President Barack Obama to the Board of Advisors on Historically Black Colleges and Universities (HBCUs). The panel was re-established by presidential executive order on Feb. 26, 2010.“As President Obama noted, historically black colleges and universities have made important and ongoing contributions to the nation,” Hammonds said. “I look forward to working with other board members to support the administration’s efforts to strengthen the educational capacity of these important institutions.”“As a graduate and current trustee of Spelman College, Dr. Hammonds has a deep knowledge of HBCUs,” said John Silvanus Wilson Jr., executive director of the White House Initiative on Historically Black Colleges and Universities. “She understands their challenges and potential in a way that will enrich her contributions to the Presidential Advisory Board. The board and the president will also benefit from her understanding of what is required to strengthen HBCU offerings in the science, technology, engineering, and mathematics fields.”
Harvard Law School’s International Human Rights Clinic and the independent human rights organization Human Rights Watch have authored a report titled “Losing Humanity: The Case Against Killer Robots.” The report, released Nov. 19, argues that governments should pre-emptively ban fully autonomous weapons because of the danger they pose to civilians in armed conflict. These future weapons, sometimes called “killer robots,” would be able to choose and fire on targets without human intervention.The 50-page report also outlines concerns about these fully autonomous weapons, which would inherently lack human qualities that provide legal and non-legal checks on the killing of civilians. In addition, the obstacles to holding anyone accountable for harm caused by the weapons would weaken the law’s power to deter future violations.“Losing Humanity” is the first major publication about fully autonomous weapons by a nongovernmental organization and is based on extensive research into the law, technology, and ethics of these proposed weapons. It is jointly published by Human Rights Watch and the Harvard Law School International Human Rights Clinic.Human Rights Watch and the International Human Rights Clinic called for an international treaty that would absolutely prohibit the development, production, and use of fully autonomous weapons. They also called on individual nations to pass laws and adopt policies as important measures to prevent development, production, and use of such weapons at the domestic level.