Heading north on their stretch run, the Pretty Lights Music “Twilight Frequency Tour” rolled into University City area of Philadelphia on December 5th. The Blockley welcomed Break Science, Michal Menert, Paul Basic, and special guest Null on a brisk Wednesday night. Deathwaltz Media put the word on the streets and a healthy turnout of all ages packed the club midweek, ready to dance and excited to import this great collection of artists to town. Fans across our great nation were able to view a live webcast of the entire night’s festivities courtesy of upfulLIFE and ChannelBlockley. You can view a stream of the show here.Video streaming by UstreamPaul Basic began the Pretty Lights Music showcase just before 10pm, taking the stage after local band Null warmed up the audience steadily filing in. One half of the wildly popular, Colorado electronic duo Half Color, the young upstart moved the crowd with the touch of a cagey veteran on the decks. Basic provided a gritty and determined hour-long set; bonding through focused movements, each track uncovering furtive possibilities as he layered and lathered concoctions. His approach to beat-making and delicious drum sounds are drenched in golden-era hip-hop; classic samples cry out to boom-bap of yesteryear. Yet his melodies mount, swirl, and drive the intoxicating mixes. Basic’s is a welcome addition to the ever-broadening Pretty Lights Music sound palette. Tried-and-true head-nod rap-attack is not his own creation, but Basic separates his steez with an affinity for chunky, dirty bass runs and piercing, muscular synth comps. Indeed it is only the beginning, but Paul’s cache is anything but Basic.Basic’s Half-Color’s partner-in-crime, Michal Menert took the stage and promptly delivered a live production set for the ages. The Polish-born, hulking, ghost-mastermind of Pretty Lights’ tremendous debut record Taking Up Your Precious Time, Menert exhibited why he’s a worldly ambassador of electronic dance music in the psychedelic live setting. Menert has steadily ascended the (Front) range in Colorado’s bustling EDM scene, and he showed Philly who’s hot in the streets. Menert drew a crowd equitable to the New York-based headliners, and the youthful audience responded in kind.Animated and fiery from jump, Menert mainly forwarded selections culled from his two proper albums, flowing collections of sample-based sound collages. Unlike many “producer” type DJs, Menert convincingly transmitted his music in real time, with integrity to boot. Holding court from behind a traditional Mixmaster set-up rear-center stage, Menert manipulated an array of ammunition: two turntables, laptop(s), drum machine, synth and Ableton Live, re-creating his prodigious conceptions with furious handiwork. In an era littered with bedroom producers, and clones upon clones of would-be EDM artists, Menert was demonstrative in his delivery, music manufactured live and direct, passing by before our very eyes, travelling at a frequency wholly his own.Pulling Eastern European themes from blissful trip-hop passages, Menert blended hip-hop organics thru drum and string samples, underscored by emotional cinematic overtures. Tracks found on his ethereal debut album, 2010’s Dreaming of a Bigger Life, resonated with the kids in the audience who visibly connected with Menert’s earliest hopeful, blissed-out vibes. As the energy and tension raised the temperature on the dance-floor, Menert mixed in strong renditions found on his sophomore full-length, Even If It Isn’t Right (released in April 2012). The massive follow-up to Dreaming… is a logical progression, a bit harder-edged, more diverse and sophisticated. A definitive juxtaposition between the two collections that were created one thousand days apart, yet blended together with trimmings as one elongated sonic expedition, and furthermore a search for new land. Evening the keel were several teases of obscure (non)-releases that dot his career, like the undeniable dopeness found within snippets from Rust (A Collection of Forgotten Hip-Hop Instrumentals.) Menert’s tremendous solo set culminated in a raucous finale; Michal came out from behind the DJ table and grabbed the microphone. As Adam Deitch got on the wheels of steel, the Polish dreamer spit a stream-of-consciousness verse steep in passion and venomous verbal jousting. An explosive ending to a mind-blowing set of original music from Michal Menert; he would be back…The conclusion of Menert’s otherworldly performance saw a seamless changeover; Break Science stormed the stage at quarter til’ 1am and charged into the terrifying dancefloor dub “Beaming Up”. The steamy, packed venue erupted, Borahm Lee worked gleeful synths atop Deitch’s corpulent lower registers. From the get-go Break Science delivered updated takes on most-recent EP Monolith Code. Not merely content to just “ride like G’z on a drive by”, colossal versions of “Forest of Illumination” and “Victory” announced their arrival to Illadelph and that Royal Family was in the building!For longtime faithful, a few select bangers from debut Further Than Our Eyes Can See were permitted to run riot. “Zion Station”, remains one of the strongest forwards the duo created; its spooky, down-tuned swagger challenged the capacity of the Blockley’s ample subwoofer system. “Words of Antiquity” was its glitchy, trip-hop self, triggered samples deftly navigating tech-step drum patterns. Lee’s dissonant synths and beautiful acoustic piano runs revealing the innate lyricism within diametric melodies. The always-devastating “High” raised the spirits and energy of the swarming, boiling audience with the help of ragga-styled vocal triggers from Bajah & the Dry Eye Crew. The Just-Blaze blackout style was executed in fine fashion on this one.Once-predictable dub-drops effortlessly transformed into menacing TRAP rumbles, Break Science was genre-hopping with nary a care; mixing the unmistakable cadence of D.C. Go-Go with Tony Allen-inspired afrobeat – all the while employing hypnotic melodies from the Far East. Along with a Yardie attitude, yet still hip-hop to the core. A nod in the rearview for the path taken, Break Science accelerated onward to newfound planes of boundless possibility. Their focused approach, and collective progression evidenced in white-hot new joint “Whole World Locked”, which straddles the established Break Science sound and the search for new land.Borahm Lee played mad mixologist, a veritable Lee “Scratch” Perry for the new generation; blending elements for the sonic planetarium. Evanescence’s gothic hymns floated atop the stratosphere, awash in emotive synths and patches of harmonic convergence. Meanwhile, Adam Deitch mixed in classic Clyde Stubblefield drum & bass breaks for the Philly jump-up, summoning ‘Apache’-mode percussion swells with exactitude, “Doin it in tha’ Park, doin it after dark” circa Bronx 1981. Always one to ‘Follow the Leader”, triggered James Brown calls egged on Deitch’s domineering drummer twerk-out. Deitch promptly followed orders and “got up n’did his thang”; a brand that only the Boy Wonder can provide.The duo seamlessly wove through tracks old and new with aplomb the choice verse from Talib Kweli empowered “The Alliance”, representing the borough of Brooklyn with authority. Femme fatale vocals drenched in promethyzine were employed to maximum effect. Nikki Minaj’s “Moment for Life” was given its usual Break Science business; engaging the emotional tone of the crowd, as they imbibed, Break Science obliged… and uncoiled, and eventually detonated into full rage. Harnessing the vocals tracks of an array of singers and emcees, Break Science did not merely remix established tracks, but wholly reinvented them. I’m talking cut, chopped, screwed and glued back together so they often barely resembled the original blueprint. Case in point was the colossal take on Rhianna’s “Talk That Talk” featuring Jay-Z. Rhianna’s seductive, eerie vocal tones beckoned shoulder-brushin’ bombast from Hova, but it was Deitch powered the expressive undercurrent to serve the song with an excellence that would make Jay and RiRi proud. The song remains the same, yet the cocky toxicity that each duo brings to the table made for weighty amalgam of pure heat rocks.The duo’s considerable progression can be mapped-out within a song’s evolution; namely “Move Ya Body”. Quintessential to the Break Science canon, the song was written and conceptualized by gifted labelmate Alex B (Botwin) (who produces and performs on PLM as Paper Diamond). Penned and gifted to Break Science (with the help of Gramatik and vocalists BLAM and Julexa) long before Alex first polished his first track as Paper Diamond, “Move Ya Body” evokes everything that is glorious about Break Science, Botwin’s glitch breaks, and the Pretty Lights Music brand. On this night the track continued its rapid path skyward, expanding on its tech-step template; it morphed like Bob Digitech into a sensual, lurid come-on. The beat locked in stutter-step dynamics, at once frightening and danceable, with an accidental dash of B-More guttah music rumbling in its core. Confidently and with reckless abandon, Deitch and Borahm laced luscious layers atop a caked-up joyride; a theme park coaster- the Post-Apocalyptic Orgasmatron; a ride positively thrilling whilst providing a seductive crip walk betwixt panache and panic.Borahm Lee then brandished a melodica, and the snarling growl of classic “Shanti”, which set off low-end thunderclaps in the dub chamber, underscoring the cradled shake-charming hymns They paid homage to Arkology, Sly & Robbie, Augustus Pablo, and the countless bass-mechanics that carved out topography over the past two-plus decades. Each familiar song shed some of its dubstep identity yet retained its essence, having trimmed the fat and struck a match to its Molotov cocktail sensibilities, modulus rumble with surgical precision. As the new songs employed a less is more methodology, the newest element in the Science Lab was cook-pot hot trap muzik, the bastard breakfast of T.I. and Trick Daddy, 808s and trunk rattlin’ vibrate, hi-hat triplets as Deitch just killed it! Lee uncoiled jagged, obtuse melodic synth patterns and mind games. At a moment’s notice, classic hip-hop and soul themes rose from a low-rider bass line. When Break Science blessed Philly with its newest banger, a sizzlin’ joint with Redman, it was a full Trap Takeover! Reggie Noble brought his Brick City Committee to the new phenomenon that was on full display. This raw energy permeated throughout Break Science’s triumphant set and barreled into the Twilight Frequency collaboration with Michal Menert that was instantaneously the stuff of legend.Whether classic Break Science bangers or experimental trips to fresh and dangerous frontiers, evolution was in the air. The duo broke free of any preconceived conventions that they may have (unknowingly) imposed on themselves in hopping on the runaway freight-train that Nissan commercials now call ‘dubstep’. Unshackled and liberated, Lee and Deitch have again set off on a search for new land, a new day, twilight in frequency, had arrived over the horizon. For the final three songs they welcomed back Michal Menert for a run through some tracks on their tremendous new collaboration EP Twilight Frequency. Filled with driving, meditative grooves, and opulent emotional soundscapes, the songs were like riding shotgun in a convertible to dreamland. But just to keep the heads ringin’, as the Twilight Frequency was steady peaking, Menert dropped the gigantic, classic hood-rap banger “Whoa” by Black Rob, on full-blast to send the kids off into the Philly streets, homeward bound, heads still bobbin’ like… whoa.We are excited to announce that Borahm Lee’s Dopamine Project will be joining L4LM’s End of the Funking World Party with Eddie Roberts (of the New Mastersounds) on Dec. 21st at BB King’s in NYC. Come down and rage the end of the Mayan Calendar with us. Borahm has been working on this project for awhile now and will be debuting new music at BB’s for a very special performance; expect some special sit-ins with Eddie Roberts and members of the West Coast Sounds to close out this show with a full-on dance party. Purchase tickets here.
Natalie Cressman may best be known as the trombonist in the Trey Anastasio Band, but, well, Trey wouldn’t have chosen Ms. Cressman if she wasn’t an expert musician. Born into a musical family, the accomplished singer/songwriter/trombonist displays her virtuosity on Turn the Sea, her second solo release.While Cressman’s first album, Unfolding, was steeped in Cressman’s instrumental jazz roots, Turn the Sea showcases her many musical talents. Perhaps Cressman’s greatest triumph on the album is her compositional skills. Songs flow seamlessly through diverse musical influences and themes, each woven together by a particular, song-defining ambiance. Whether it’s the somber “Fortune’s Fool,” the optimistic “New Moon,” or the haunting “Winter Chill,” Turn the Sea is undoubtedly expressive jazz music.The most striking feature of this music is Cressman’s vocals. Those familiar with TAB mostly know Natalie Cressman as a trombonist, but, on Turn the Sea, Cressman’s refined voice leads on every track. Her vocals are particularly prominent on the Bon Iver cover, “Blindsided,” where overdubs and vocal loops allow Cressman to single-handedly (single-vocaledly?) to elevate the middle section of the song to a climactic, energetic peak.The album is interestingly bookended with different versions of the title track. Turn the Sea opens onto a funk-laden bass melody, accompanied by trumpets and, subsequently, Cressman’s smooth vocals. The dreamlike song floats into a rich trombone solo before adeptly shifting back into another dreamy verse.The whole song is turned on it head, however, at the end of the album. A remix of “Turn the Sea” by JNTHN STEIN, the producer alter-ego of the band’s bassist, adds drum machines and synthesizers, yet maintains the trumpet and bass elements. With a unique style, the recreation stands out from the rest of the album, serving to add yet another style to Cressman’s diverse list of influences.Turn The Sea is sophisticated yet smooth, with slick bass-lines, smooth guitar tones, and fluttering flute melodies accompanying each song. The songs glide with a distinguished sense of authority. It’s a real treat for your ears.The album was released on March 11th, and the NYC release party will be at Joe’s Pub on March 30th, so go see this amazing music performed live!-David Melamed (@DMelamz)
With their album, Run the Jewels 2, up for a Best Album award at the NME Awards with Austin, Texas next month, Run the Jewels‘ El-P and Killer Mike are enjoying the attention the album has been getting since its release, and have begun work on the follow-up remix of the album, Meow the Jewels, which will feature all cat sounds.When asked about the album, El-P responded, “I’m not sure how long the whole thing will take because it’s not all in my hands – we’ve got a bunch of people and producers on board to make cat noises and I need to wrangle it all together,” he commented. “Everybody announced so far is still involved – Prince Paul, Dan the Automater, Just Blaze, Skywlkr, Baauer, Zola Jesus, Gaslamp Killer and myself. There’s a lot of really amazing people involved – which is ridiculous, considering that if I actually had to make real music then it might have been the greatest album ever made!”The remix album was funded by a Kickstarter campaign, which has raised over $65,000 from close to 3,000 contributors.Run the Jewels will open for Jack White at Madison Square Garden later this month. “I wouldn’t be surprised if we completely baffle a large part of that audience! We’re just gonna get up there and do what we do and hopefully people won’t look at us like we’re too insane,” said El-P of the show. “Jack’s a fan of what we do. Before we put the record out we talked about possibly doing it with Third Man Records. I’m sure we’ll work with them at some point – there’ll be some speciality vinyl or something.”[via NME]Check out “Close Your Eyes (and Count to Fuck)” with Rage Against the Machine’s Zack de la Rocha:
Justin Bieber has made headlines yet again, this time on the celebrity-swamped grounds of the new festival fashion capital of the United States, Coachella. The 21-year-old was escorted out in a chokehold by a security guard after trying to enter Drake’s Sunday night performance through the artist entrance, which he was told was at full capacity.Watch Martha Stewart Own Justin Bieber RoastThankfully, the whole ordeal is on video, which we have provided for your enjoyment below. Bieber is apparently considering pressing charges against Coachella.-Stephanie D’Agostini[Via CoS]
Put it in the Dumpsta!When Dumpstaphunk hits the Brooklyn Bowl on September 4th, they won’t be going it alone. Oh no, they’ve got all sorts of tricks up their sleeves for what is sure to be a remarkable performance.Joining Dumpstaphunk throughout the evening will be Brandon “Taz” Neiderauer, Hayley Jane (of Hayley Jane and the Primates), and Tysson. The Steeltown Horns will also be sitting in, so get ready for some extra funk!If you need some evidence, check out this video with “Taz”, Natalie Cressman, and Dumpstaphunk crushing the Trey Anastasio Band classic “Money, Love and Change”. Tickets for this funkdown are available here.
The WinterWonderGrass Festival is back again this year with two more installments of their fine festival, returning to Avon, CO at Nottingham Park from February 19-21, before turning its sights to Tahoe and Squaw Valley from April 1-3, 2016. There are many returning artists as well as a number of fresh faces at both festivals this year, including Greensky Bluegrass, Railroad Earth, Leftover Salmon, Nahko And Medicine For The People, The Wood Brothers, The Travelin’ McCourys, Fruition and Larry Keel just to name a few. Either of these two destinations is sure to cure the winter doldrums of any bluegrass fan.Tickets are on sale now and can be found here for WWG Colorado and here for WWG Tahoe. And don’t forget to out check out WWG’s 2016 artist announcement video and full lineups below:
Now that story is something we can all be thankful for. When The Roots drummer Questlove was growing up, he wanted to work for Soul Train and Sesame Street. It seems his wish came true today, as Quest was hanging out with the Sesame Street crew at the Thanksgiving Day Parade!Check out Questlove’s Instagram posts:
In 1895, Russian journalist Alexei Maximovich Peshkov, a onetime shoemaker’s apprentice who had quit school at 10, adopted a new name: Maxim Gorky.After that, literary fame came fast and furious for this self-taught, fresh-voiced grandson of a Volga boatman. Gorky — the name means “bitter” — could tell a story, remember everything he read or heard, and had the energy of 10 men.“Gorky learned literature on the run,” wrote Russian critic Boris Eikhenbaum, “and entered it with a boldness instilled by nature itself.”Behind him too was an attractive crazy quilt of professions — ragman, baker, stevedore, housepainter, gardener, fisherman, cook’s assistant on a ship, revolutionary activist. It was all grist for the romance that Gorky, 27, was to write into his stories and plays — and into a vision of his own proletarian origins.“He invented a name, and the name began to live a life of its own,” said Donald Fanger, Harvard’s Harry Levin Professor of Literature Emeritus. He’s the author of a new book on Gorky that he hopes will refocus attention on a literary figure largely forgotten outside Russia — whose fame 100 years ago was enough to land his image on cigarette packs and postcards and make him a candidate for the Nobel Prize in literature.Fanger is a longtime scholar of prominent 19th and 20th century novelists, personalities who still have literary resonance today.Interest in Gorky came to him late in his scholarly life, said Fanger, who finds that Gorky’s true genius does not reside in the stories, novels, and plays that drew praise in his lifetime.“By and large, he’s not the artist that Tolstoy was, or Chekhov was, or Gogol was, or Dostoevsky was, or Turgenev was,” said Fanger.Gorky’s genius, he said, was as a memoirist, a writer of vivid sketches about the many literary and nonliterary figures he had known in his peripatetic life.Chief among these glittering polished fragments are his “Reminiscences of Lev Nikolayevich Tolstoy,” an artful montage of scenes and conversations on the great man’s favorite subjects — “God, the peasant, and woman.” It captures the author of “War and Peace” and “Anna Karenina” as no other literary portrait had done, said Fanger.It was published in 1919, almost a decade after Tolstoy’s death, and translated into English two years later. Critic Alfred Kazin called it “surely among the most beautiful things ever written by one human being on the character of another.”Fanger’s “Gorky’s Tolstoy and Other Reminiscences” (Yale University Press, 2008) offers a new translation of the Tolstoy memoir, which has been out of print for three decades, and adds a rich historical and literary framework for the reader.Tolstoy’s death in 1910 was “a blow to the heart” for Gorky, who pictured him “lying in his coffin like a smooth stone at the bottom of a brook. …”“I remember his eyes — they saw through everything — and the movements of his fingers, which always seemed to be sculpting something from the air,” wrote the grieving Gorky, a master of physical detail and a lifelong student of faces, accents, and mannerisms.The book eventually grew to be more than just a revival of the Tolstoy memoir, said Fanger, who agreed to an interview in his sunny, book-lined study at Widener Library. He translated and added four related memoirs by Gorky, including one about Chekhov.“Chekhov lived his whole life expending the capital of his soul,” wrote Gorky of his bashful and modest friend, who died in 1904. “He was always himself, inwardly free.”As Fanger’s conception of the book continued to evolve, he added and translated samples from Gorky’s “Fragments From My Diary” (1924) — “polished fragments,” Fanger wrote, that “constitute a new and hybrid literary genre — fragmentary, momentary, immediate in their effect.”The definitive modern exploration of Gorky remains to be undertaken, said Fanger, now that long-suppressed documents are being published in Russia and formerly taboo aspects of his personal and public life are at last open to investigation.“I have the ghostly outline of a much larger view of Gorky, which sees him as a figure absolutely unique in his time, and yet supremely representative of it,” said Fanger. “He hasn’t been written about much in English. Even as a scholarly subject, he is way behind most Russian writers.”To round out his book, Fanger selected and translated sketches of Gorky himself, written by four of his literary contemporaries. The one by critic and literary historian Vladislav Khodasevich, Fanger noted, “is as brilliant and as personally revealing as Gorky’s own memoir of Tolstoy is — wonderful reading.”Another is Eikhenbaum’s shrewd analysis of Gorky’s uniqueness as a Russian writer, written on the eve of Gorky’s return to the Soviet Union in 1928.Gorky was more than a writer. He was, in his time, a political and social activist, and he became something approaching a national institution.Visitors and petitioners formed a crush in any house Gorky occupied, particularly in the few years following the Revolution when jobs and food were scarce. Gorky, a longtime friend of Lenin’s, “saved an enormous number of artists and intellectuals from starvation in those years — over two thousand in Petrograd alone,” said Fanger. In a city without electricity, streetcars, or food, he saw to the distribution of food, clothing, medicines, and fuel.Lenin and Gorky used each other for their own purposes; the same was true of Stalin and Gorky, but with less success for the writer. When he moved permanently back to Russia at the beginning of the 1930s, he was given a mansion in Moscow, two dachas, and — it is rumored — a bottomless expense account.He was also celebrated relentlessly. His native city of Nizhnii Novgorod was renamed “Gorky” in his honor, along with “scores of schools and factories,” writes Fanger in the book’s introduction. Gorky’s name was also added to the Moscow Art Theatre, the Academy of Sciences Institute of World Literature, and Moscow’s main thoroughfare.But fame came at a price. In his last years, Gorky complained of virtual “house arrest” by Stalin, who had by 1935 gotten everything he wanted from the great writer.It is still not clear how much Gorky understood his own situation, or the situation of his country, at that point. “He had an enormous gift for believing what he wanted to believe,” said Fanger, “and for not seeing what he didn’t want to see.”He tended to spoil his fiction by framing it in a didactic way, but the memoirs are different, said Fanger. They avoid Gorky’s lifelong devotion to “the ‘truth’ that he believed could and should exist, the inspiriting ‘truth’ that makes you want to go and change the world.”Gorky’s memoirs also tell us a great deal about the memoirist himself, said Fanger. “This amazing invented thing that goes by the name of Maxim Gorky may turn out to be his greatest, and most lasting, creation.”
The Edmond J. Safra Foundation Center for Ethics welcomed its new fellows and senior scholars for the 2008-09 academic year. The faculty fellows were chosen from a pool of applicants from colleges, universities, and professional institutions throughout the United States and several other countries.“This is an extraordinarily talented group of scholars, and I look forward to working with them,” said Professor of Ethics and Public Policy Arthur Applbaum, acting director of the center. The fellows will be in residence conducting research on issues in ethics in the professions and public life, and participating in the center’s weekly seminar, faculty workshops, conferences, and other activities. Elaine Scarry, Cabot Professor of Aesthetics and the General Theory of Value, will join the fellows as senior scholar in ethics.In addition, eight Harvard graduate students have been named Edmond J. Safra Graduate Fellows in Ethics. These fellowships are awarded to outstanding students who are writing dissertations on philosophical topics relevant to political and professional practice. They devote their time to an approved course of study in practical ethics and participate in a weekly ethics seminar. Frances Kamm, Lucius Littauer Professor of Philosophy and Public Policy at the Harvard Kennedy School, and professor of philosophy, Department of Philosophy, will join the graduate fellows as senior scholar in ethics.The Faculty Fellows in Ethics are as follows:Anne Barnhill received her Ph.D. in philosophy from New York University in 2008. Her dissertation, “Beyond Consent,” explores the place of consent in sexual morality. Her areas of specialization include normative ethics, applied ethics, feminist philosophy, and social philosophy. Barnhill will examine the ethics of manipulation within personal relationships. She has been named the Edmond J. Safra Faculty Fellow in Ethics.Ulrike Heuer is a lecturer and director of the Center for Ethics and Metaethics, Department of Philosophy, Leeds University. Her philosophical research has focused primarily on foundational issues in the theory of practical reason and the theory of value. Heuer will explore the possibility of explaining deontological reasons within a value-based account of practical reasons.Mark R. Reiff is a lecturer in legal and political philosophy at the University of Manchester School of Law. He is the author of “Punishment, Compensation, and Law: A Theory of Enforceability,” as well as papers on topics within legal, political, and moral philosophy. Reiff will work on a book provisionally titled “Politectonics: The Struggle Between Liberalism and Perfectionism.”Tanina Rostain is professor of law and co-director of the Center for Professional Values and Practice at New York Law School. Her work focuses on the empirical investigation of professional norms in corporate and tax practice. During the fellowship year, she will examine the role of tax professionals in the rise of the tax shelter market, 1993-2003.Alex Voorhoeve is a senior lecturer in philosophy at the London School of Economics. His projects are on the topics liberal egalitarianism and rational choice theory and moral decision making. He will also explore the application of ideas about responsibility and preference change to health care policies.The Edmond J. Safra Graduate Fellows in Ethics are as follows:Patricio A. Fernandez, Ph.D. candidate in philosophy and economics, focuses on the notion of practical knowledge in action theory and normative ethics. He has done work in the economic analysis of legal systems and is interested in the intersection of economics, theories of practical reason, and questions of normativity. He holds a B.A. in economics from the Catholic University of Chile.Havva G. Guney-Ruebenacker, SJ.D. candidate at Harvard Law School, focuses on traditional Islamic law and modern Islamic legal reforms in the area of slavery and family law, comparing developments in Islamic law with the modernization of family law in Western legal systems. Guney-Ruebenacker studied both major schools of Islamic law in Saudi Arabia and in Iran. She holds an LL.M. from Harvard and an LL.M. in European Union law and legal history from Cambridge University.Brodi Kemp, Ph.D. candidate in government, focuses on contemporary political philosophy and its intersection with moral philosophy and law. She is working on the problem of global justice, examining how private (nonstate) actors, including international nongovernmental organizations (INGOs) and private military contractors might help us realize justice on a global scale. She holds a J.D. from Yale Law School and was a teaching fellow in political philosophy and legal theory at Yale and Harvard.Arnon Levy, Ph.D. candidate in philosophy, focuses on the role of idealization in scientific explanation in biology, and the applicability of ideas and idealizations from evolutionary biology to the study of moral change within society. At Harvard, he has served as a teaching fellow for courses on early modern philosophy, on the philosophy of science, and in the moral reasoning cluster of the core curriculum.Joseph Mazor, Ph.D. candidate in political economy and government, is developing a liberal theory of property rights in natural resources, arguing for implementing a more egalitarian distribution of global natural resource wealth. At Harvard, he has served as a teaching fellow for introductory courses in both economics and political philosophy and as a graduate research fellow for the Project on Justice, Welfare, and Economics.Michael Nitsch, Ph.D. candidate in government, uses the history of political thought to explore what role judgments about the moral character of politicians should play in democratic politics. Nitsch has served as a teaching fellow for courses in political philosophy, the history of political thought, and American government.Susannah Rose is a Ph.D. candidate in the ethics concentration of Harvard’s Health Policy Program, and a predoctoral fellow at the Center for Outcomes and Policy Research at the Dana-Farber Cancer Institute. A Columbia University-trained social worker, she has practiced at Memorial Sloan-Kettering Cancer Center. In her work at the Safra Foundation Center for Ethics, she will investigate the normative and policy implications of conflicts of interest between pharmaceutical companies and patient advocacy groups.Jiewuh Song, Ph.D. candidate in philosophy, is interested in moral and political philosophy, philosophy of law, and international human rights law. Her dissertation focuses on the norms that must govern our interactions with non-co-citizens, particularly the role of trans-state institutions. She is a graduate of Harvard Law School and has been a clinical supervisor at the Law School Human Rights Program’s International Human Rights Clinic.The Safra Foundation Center for Ethics, established in 1986, is one of the University’s interfaculty initiatives under the auspices of the Provost’s Office. It encourages teaching and research about ethical issues in the professions and public life, and helps meet the growing need for teachers and scholars who address questions of moral choice in practical ethics and in areas such as architecture, business, education, government, journalism, law, medicine, public health, and public policy.
Here’s what was said on social media. Phoenix Raceway, along with parent company International Speedway Corporation, announced on Monday a massive, $178 million modernization project designed to make the fan and race experience even better. The project is set to debut in the fall of 2018, but drivers, teams and other tracks were already talking about it.