On Friday, June 8th, Major League Baseball‘s Minnesota Twins will pay tribute to local hero Prince in a special theme night at Target Field in Minneapolis. In honor of the second annual Twins “Prince Night,” the first 10,000 fans to enter the stadium will receive their own inflatable purple “symbol” guitar modeled after the one used in Prince’s iconic Super Bowl halftime show in 2007. Immediately following the seventh inning stretch, fans in possession of the inflatable Prince guitar will remain standing and illuminate their guitars for a special moment in remembrance of Prince.In addition, as the Star Tribune reports, yesterday the team announced a partnership deal between Bravado, the company employed by Prince’s estate to handling licensing and branding and the Twins’ merchandise supplier, and Delaware North Sportservice to sell Prince-related merchandise year-round, including hats, shirts, and balls. This new co-branding deal is believed to be the first of its kind in the MLB. The new Prince/Twins gear will be available for sale exclusively at games at Target Field. As team CEO Dave St. Peter told the Star Tribune, “Along with our fans, we look forward to celebrating the legacy of a man who brought an international spotlight to our great city.”As part of the “Prince Night” festivities, the team is selling packages that include an exclusive purple Twins/Prince hat. According to Twins’ official “Theme Night” page on the MLB website, “This exclusive package includes your ticket to the game plus you will receive a co-themed Prince/Twins purple hat with ghost paisley print on front two panels. Fans must purchase the special Prince Theme Night package to receive the hat.” You can grab a Minnesota Twins Prince Night package here. Additional details on Prince Night will be released at a later date.Fans of Prince will no doubt have mixed feelings about this new brand partnership. The bond between the late musician and his home state was always strong, but anytime Prince’s memory has been commercialized since his passing, questions have been raised as to whether the Purple One would have approved if he was still around.Most recently, countless fans took issue with Justin Timberlake‘s grand, off-center gesture at the Super Bowl halftime show, which included a massive projection of the late artist on a white sail. Those detractors cited an old interview in which Prince condemned the very idea of playing with deceased artists as “demonic.” However Prince may have felt about this new merchandising partnership, it’s clear that the Twins and the city of Minneapolis have lots of love for Prince.[H/T JamBase]
David Crosby, founding member of Crosby, Stills & Nash and the Byrds, has officially announced his newest studio album, Here If You Listen, due out on October 26th via BMG. The album is in collaboration with Snarky Puppy’s Michael League, Becca Stevens, and Michelle Willis, who will also all join him on tour this fall as the Lighthouse Band. The Lighthouse Band also recorded and toured with Crosby for his 2016 album, Lighthouse.“If leaving a group like Crosby, Stills & Nash was like jumping off a cliff, then finding the Lighthouse Band was like growing wings halfway down,” Crosby said in a statement. “These three people are so startlingly talented, I literally couldn’t resist making this album with them.”According to the press release, Here If You Listen is a “purposeful departure from [2016’s] Lighthouse…It emerges as a highly collaborative effort, with all four artists trading off lead vocals and bringing their distinct songwriting to the mix.”Produced by Michael League and co-produced by Crosby, Willis, and Stevens, Here If You Listen is the follow up to Crosby’s 2017 Sky Trails. Marking the fourth solo album by Crosby in five years, this new record is celebrated with the release of its first single, “Glory”. Listen to it here:For more information and to purchase tickets to the group’s upcoming tour, head to Croz’s official website.David Crosby Upcoming Tour Dates:Nov 2 @ Neptune Theatre – Seattle, WANov 4 @ Aladdin Theatre – Portland, ORNov 6 @ Castro Theatre – San Francisco, CANov 8 @ Lobero Theatre, Santa Barbara, CANov 9 @ Golden State Theatre – Monterey, CANov 10 @ Fred Kavli Theatre – Thousand Oaks, CANov 12 @ Balboa Theatre – San Diego, CANov 13 @ City National Grove – Anaheim, CANov 15 @ National Hispanic Cultural Centre – Albuquerque, NMNov 17 @ Liberty Hall – Lawrence, KSNov 19 @ North Shore Centre for the Performing Arts – Skokie, ILNov 20 @ Capitol Theatre – Madison, WINov 24 @ The Paramount Theatre – Cedar Rapids, IANov 25 @ Kalamazoo State Theatre – Kalamazoo, MINov 28 @ The Kent Stage – Kent, OHNov 29 @ Weinberg Center for the Arts – Frederick, MDDec 1 @ The Egg Performing Arts Centre – Albany, NYDec 2 @ Whitaker Centre for Science and the Arts, Sunoco Performance Theatre – Harrisburg, PADec 4 @ Tupelo Music Hall – Derry, NHDec 5 @ Bergen Performing Arts Centre – Englewood, NJDec 7 @ Zeiterion Performing Arts Centre – New Bedford, MADec 8 @ Capitol Theatre – Port Chester, NYView All Tour Dates
In celebration of their 50th anniversary, pioneering English prog-rockers King Crimson will embark on a worldwide Celebration Tour in 2019.Following the announcement of a three-night run of shows at London’s Royal Albert Hall, set to take place on June 18th, 19th, and 20th, 2019, on Friday, King Crimson added additional dates, including Los Angeles, CA’s Greek Theatre (9/3), Chicago, IL’s Roosevelt University (9/10), and New York City’s Radio City Music Hall (9/21). Outside of the U.S., King Crimson has confirmed dates in Leipzig, Frankfurt, Stuttgart, Berlin, and Basel.With this fairly under-the-radar announcement, ticketing details for the U.S. shows are still scarce. So far only tickets for the “Royal Packages”–which includes various levels of exclusive access, seating in the first five rows, “personal insights and answers from one of the eight band members”, and more–are available (with the exception of NYC, which sold out). To reserve your Royal Package for LA, click here, and Chicago, click here. According to Brooklyn Vegan, the public on-sale for NYC starts Friday, December 14th at 10 am while general ticketing information is TBA for the other two U.S. shows.Today, King Crimson posted an update for fans wondering the status of the rest of their 2019 world tour, explaining the difficulties of working and coordinating with various promoters in different territories, as well as festivals. Instead of announcing one full list, they’ll be rolling the new dates out when possible, giving fans a week of exclusive access to packages before they go live on ticketing websites. Read the full note below:An update for all those wanting the full King Crimson touring schedule for next year…The exact timing of announcements for shows has to be agreed with the different promoters in different territories. We are also playing festivals, which have their own schedule. Some show-dates and contracts are still being finalized. This means that we cannot announce a full list. We do however insist that the first announcement comes from the DGMLive website, and that we have at least a week in advance to sell Celebration packages where they exist (it is not normally possible at festivals).However…some useful facts, which may help those seeking to read between the lines to draw better conclusions:we are requesting promoters to announce multiple shows at any given venue at the same time (as with the Royal Albert Hall). There are therefore no more public shows booked at any of the venues that have been announced in the UK, Germany, Switzerland and USA. Now that the show in Berlin has been added (which forms part of a festival and so was delayed) the public gig list for UK, Germany and Switzerland is complete.In addition, (as revealed by Robert Fripp on his Facebook page), we expect to be playing France, Spain, Italy, Mexico, Canada, Brazil, Argentina and Chile, as well as (hopefully) Holland and Poland.As far as I know (with the possible exception of a festival), there are no further announcements this year…BUT – it could all change. That’s why it’s not announced yet!!!The 2018-2019 iteration of King Crimson features guitarist Robert Fripp as the only original member in the band, along with saxophonist Mel Collins, bassist Tony Levin, drummer Pat Mastelotto, drummer Gavin Harrison, singer Jakko Jakszyk, drummer Bill Rieflin, and drummer Jeremy Stacey. For more information on upcoming tour dates, head to the band’s official website here.King Crimson — 2019 Tour Dates10 JUN 2019 HAUS AUENSEE Leipzig12 JUN 2019 JAHRHUNDERTHALLE Frankfurt13 JUN 2019 JAHRHUNDERTHALLE Frankfurt15 JUN 2019 LIEDERHALLE Stuttgart16 JUN 2019 LIEDERHALLE Stuttgart18 JUN 2019 ROYAL ALBERT HALL London19 JUN 2019 ROYAL ALBERT HALL London20 JUN 2019 ROYAL ALBERT HALL London29 JUN 2019 ZITADELLE Berlin04 JUL 2019 ROMISCHES THEATER AUGUSTA RAURICA Basel03 SEP 2019 GREEK THEATRE Los Angeles10 SEP 2019 AUDITORIUM THEATRE OF ROOSEVELT UNIVERSITY Chicago21 SEP 2019 RADIO CITY MUSIC HALL New York CityView All Tour Dates
New Orleans Jazz & Heritage Festival will return this spring with both weekends of the annual event set to take place from Friday, April 26th through Sunday, May 5th. Pioneering reggae singer Jimmy Cliff had initially been in the festival’s lineup when it was announced last month, but Jazz Fest organizers announced on Thursday that he’ll no longer be performing at this year’s event.A statement shared by Jazz Fest to their social media outlets on Thursday afternoon reads, “Jimmy Cliff will not be performing at the 2019 Jazz Fest as previously announced.”Cliff is the second artist who was featured on the 2019 lineup announcement who has since been forced to pull out of performing. Diana Ross was recently added to this year’s lineup as a replacement for Bob Seger & the Silver Bullet Band, who pulled out of this year’s event due to scheduling conflicts.Although no reason was given for Cliff’s sudden disappearance from the 2019 lineup poster, it’s worth noting that the 70-year-old performer was forced to cancel a handful of concerts back in the fall due to a broken hip. Cliff had also recently been in the running for this year’s Songwriter’s Hall of Fame class, but came up short in making the final cut. This year’s Jazz Fest will still feature performances from artists including Dave Matthews Band, Katy Perry, Jimmy Buffet & The Coral Reefer Band, Chris Stapleton, Santana, Pitbull, Van Morrison, and many more. All ticketing and general information for the 2019 Jazz Fest can be found via the festival’s website.
Of the millions of animals on Earth, including the relativehandful that are considered the most intelligent — including apes, whales,crows, and owls — only humans experience the severe age-related decline inmental abilities marked by Alzheimer’sdisease.To BruceYankner, professor of pathology and neurology at Harvard Medical School (HMS),it’s pretty clear that evolution is to blame.“Something has occurred in evolution that makes our brainsusceptible to age-related change,” Yankner said in a talk last nightsponsored by the HarvardMuseum of Natural History as part of its “EvolutionMatters” lecture series.Yankner, whose HMS lab studies brain aging and how gettingold gives rise to the pathology of Alzheimer’s and Parkinson’s diseases, said Alzheimer’s isone of the most rapidly emerging diseases of this century. As medical sciencelengthens human lifespan, the proportion of the population that is elderly isgrowing. Considering that as many as half of those over age 85 developAlzheimer’s, there is a growing urgency to understand the disease more fullyand to develop more effective interventions.“It is clear that cognitive impairment and decline is one ofthe emerging health threats of the 21st century,” Yankner said.Yankner said that scientific evidence shows that somecognitive decline — beginning in middle age and accelerating after age 70 — isnormal as we grow older. This decline is also seen in other animals, includingmice and monkeys. It is marked by wide variation among individuals, with someindividuals maintaining cognitive abilities similar to those much younger.The puzzling question, Yankner said, is why humans developthe severe disabilities of Alzheimer’s disease. Studies of other creatures showno sign of similar conditions even in our closest animal relatives. That meanssusceptibility to Alzheimer’s evolved recently, likely during a period markedby a rapid increase in our brain size. Size alone probably isn’t thedetermining factor, though, Yankner said, since other animals are known to haveeven larger brains, including whales, elephants, and even our extinct relativethe Neanderthal.Instead, he said, it is likely that brain complexity and thenew large number of cells in the human brain have something to do with it.Recent research, in Yankner’s lab and elsewhere, has usedgenetic tools to probe the differences between young and old brains in humans,monkeys, and mice. The work shows that gene function in the aging brain slows —dramatically in ones with Alzheimer’s — and that the genes that shut off themost are those that protect the brain against genetic damage from environmentaland other factors.Yankner said he believes that cognitive decline is due to aslow accumulation of genetic damage in the aging brain, with Alzheimer’sshowing the most severe form of this damage, called double strand breaks.Though the source of the damage is not yet clear, one culprit, he said, may bethe accumulation of metals in the brain over time, particularly iron.Neurons use more energy than most other cells, Yankner said.With the brain’s increase in complexity over time, its energy demands alsorose. Iron plays a key role in a cell’s energy-producing mitochondria, and soiron accumulation leading to genetic damage could be a byproduct of ourneuron-rich, energy-gobbling brains.“Aging is a balance between wear and tear and repair. Whereyou wind up in that balance determines how you do,” Yankner said.
“In analyzing any poem,” says Helen Vendler, “you are like a conductor studying a score, seeing the whole and at the same time noticing the compelling detail, as the long arc of linked sounds displays individual ravishing moments.”A renowned critic and A. Kingsley Porter University Professor, Vendler has written about many major poets, including John Keats, Wallace Stevens, and W.B. Yeats. Now she has turned to Amherst, Massachusetts’ own: the hermetic and prolific Emily Dickinson. In “Dickinson: Selected Poems and Commentaries,” Vendler looks closely at 150 of Dickinson’s more than 1,700 poems, further illuminating the writer who has enthralled generations of devotees and scholars, including Vendler.“The charm of Dickinson for me is that there are more poems than anyone not herself could hold in mind at once — and the permutations and combinations that arise in comparing one poem with another are infinite,” she says. “The possibilities for commentary offered by her work are very tempting.”In “Dickinson,” Vendler’s kinship with the poet is evident, and her commentaries profound.“I have been lingering on some of these poems since I was 13, when I memorized many of the famous ones,” Vendler recalls. “Dickinson’s greatest intellectual originality lies in her startling redefining of ‘known’ concepts.“Hope, as one of the three theological virtues, has an ample conceptual history. But on her page, hope ‘is the thing with feathers —’. Renunciation is a longstanding religious concept. But on her page, it is ‘the putting out of Eyes / Just Sunrise —’.”Vendler notes that the chief discoveries of Dickinson’s character have already been made: “Critics have pointed out Dickinson’s intelligence, her learning, her skepticism, her mockery, her self-irony, her humor, her genius for comparison. … Her originality lies in how she revises her inherited themes. Her greatest departures from earlier English lyrics appear in her cheerful and satiric blasphemies: ‘Abraham to kill him / Was distinctly told — / Isaac was an Urchin — Abraham was old —’.”And Dickinson’s greatest descriptive originality lies in her angle of vision, says Vendler. “Instead of describing hills and valleys, she may describe the light: ‘A Light exists in Spring / Not present on the Year / At any other period —’, or ‘There’s a certain Slant of light.’ She dwells on the ethereal, as when — in a poem that puzzled me at first — she defines an indefinable ‘it’ by a series of comparisons: ‘’Tis whiter than an Indian Pipe / ’Tis dimmer than a Lace —’, and so on. It took a while for me to realize that she was describing the soul. She never gives it a name at all, but concludes, ‘This limitless Hyperbole / Each one of us shall be — / ’Tis Drama — if Hypothesis / It be not Tragedy —’.“I hope that readers will discover in my selection poems they hadn’t known before, less anthologized ones: the macabre, the defiant, the lethal. ‘It is playing — kill us, / And we are playing — shriek —’,” Vendler says.“Existence in 10 words.”
Stuck in an abusive marriage, Joyce Banda, a young mother of three, did something unheard of in her country, Malawi in southeast Africa. She left her husband.Armed with an education and fierce determination, she started a successful company, founded the National Association of Business Women (which today assists more than 20,000 women), and created the Joyce Banda Foundation (a school for economically disadvantaged children and a nonprofit that promotes health, education, business, and food security).Banda entered politics in 2004 as a member of Malawi’s parliament. In 2009, she became the nation’s first female vice president. Women’s health, education, economic empowerment, and getting women into leadership roles are the cornerstones of her agenda and what she considers the keys to Malawi’s success.She visited Harvard last week to participate in a two-day conference on gender in the developing world. The conference was held at the Radcliffe Institute for Advanced Study, where she also delivered the Rama S. Mehta Lecture, discussing the economic empowerment of women. Banda also visited the Harvard School of Public Health (HSPH), where she examined the role of community leadership in improving women’s health.Banda spoke with the Gazette about her work:Gazette: What started you on your road to championing women’s rights?Banda: I think it all started out when I went to live in Kenya, because that is the time they declared the decade for women, 1975. … I didn’t realize at that time that I was locked up in an abusive marriage. As an African woman, I had been brought up to believe that that was normal, that if you are in a marriage there is nothing too much for you to bear, you can tolerate anything, you can live with anything, until I went to Kenya. My husband then was in diplomatic service in Kenya. So I went there as a wife, and I was 26. … There were so many activities that were not happening in Malawi, and I just thank God because I was at the right place at the right time … for the first time in my life I began to hear words like violence against women, abuse, women in development, gender-based violence, gender equality. I didn’t even know as an African woman you could begin to think about being equal to anybody.Gazette: Once you returned to Malawi, you left your marriage and were able to start a successful business manufacturing industrial garments. How did you make the transition from business to the world of organizing and to creating Malawi’s National Association of Business Women?Banda: I began then to look around and say, “Here I am,” but if I hadn’t made that one move, I wouldn’t be here. How many of my friends are still locked up in abusive marriages just because they are not brave enough to do something about their situation, to walk out? … While asking myself these questions, I was fortunate to be sponsored by the U.S. government to come to the U.S. on a study tour … [I] interacted with the National Association of Women Business Owners and saw the strength in unity, and saw the strength in women mobilizing for women. By the time I went back home, I had made up my mind that the way I was going to reach out was to get maybe 100 women together, form a network, act as a pressure group to push the government for equal opportunity in business. I didn’t have the slightest idea that what I was starting was going to be a revolution. … That is how the organization started. I went district by district, countrywide, telling everybody our time had come.Gazette: You often speak of a friend from Malawi who was a bright student but who couldn’t afford to continue with her studies. How has that experience guided your fight to educate women in your country?Banda: What has made me very angry throughout my adult life is to see [her] still locked up in poverty in the village, married at 16 with a child. And two weeks ago, I got a phone call from her. She was in hospital. That child is dying of AIDS. So [she] has lost out, through and through. And the question I have asked myself is “Why, why, why am I here as vice president and [she] is not?” … I decided that I was going to spend my adult life sending as many girls as possible to school.Gazette: Why did you decide to go into politics?Banda: It was when we were heading toward the elections of 2004, women began to say, “Why don’t you go and sit where the laws are made, because we know that your voice can be heard, and you can begin to impact on those laws, change those laws that negatively impact on us.” And I told my husband, “I think I need to go to parliament.”Gazette: How do you think African nations can best benefit from foreign aid?Banda: [Other] Joyce Bandas are out there in Africa. They are just waiting for partners. They can do it, but they just need support. So, for many years, I have been saying this. It just breaks my heart, international NGOs come; they think they can do it all. They do it wrong because they don’t know what to do. And indigenous NGOs are there, struggling [with] what to do, what should be done, because they don’t have resources. Instead of there being a partnership in order to achieve more, they work in different ways.Gazette: In addition to speaking at Radcliffe during your trip, you also visited Harvard’s School of Public Health. What topics did you address at HSPH?Banda: They wanted me to share my views about the delivery of services to mothers to avoid maternal death. The approach that I took in Malawi was to recognize the important role that community leadership can play in maternal health, in avoiding maternal mortality. … The [village] chiefs being the custodians of culture and tradition, whatever a chief says in the village is what everybody will do. And if you can only hook them in and get them to understand that the women are dying in their villages, and they can stop it [by sending them to health clinics], then you have won half the battle.Gazette: What is the message you would like to leave with people here?Banda: Africa must encourage as many women as possible to get into leadership positions. Because what we have found is when a woman gets into a leadership position, the first thing that she does is to look at issues of women and children. And with most of [these women], you find the self is the last thing that she thinks about. She comes in to serve. I have noticed this across Africa. … Also, the time has come when the U.S. and the whole world must take African leadership, grassroots leadership, activists, seriously, and realize that we are not just sitting back and waiting for handouts. We are doing something about our situation, and therefore what we are looking for are partners to come and work with us. … We want the World Bank to come and help us implement our program, rather than us implementing their program.Gazette: You have worked with Joia Mukherjee, associate professor in medicine at Harvard Medical School and medical director of Partners In Health, which has a clinic in Malawi. What have you gained from your experience with Harvard?Banda: What I find most encouraging and inspiring about Harvard is that willingness on the part of Harvard to listen to us and to be interested in working with us. … They look for us, and they seek us, and we sit together, and we look at the problems of Malawian women and children together.
As blossoms unfurl at the Arnold Arboretum, Harvard’s plant scientists are welcoming the opening of more than just flowers this spring, as the Arboretum’s new Weld Hill Research Building fills with staff, scientists, and sophisticated equipment.The 44,000-square-foot building received final approvals from Boston in December, and since then has been awash in moving boxes and crates. One of the first occupants was the arboretum’s new director, William “Ned” Friedman, the Arnold Professor of Organismic and Evolutionary Biology.Friedman, an esteemed botanist who came to Harvard from the University of Colorado, took over the arboretum’s leadership in January, his start dovetailing nicely with that of the building that will be his new home.During a walk through the building shortly after his arrival, Friedman enthusiastically showed the new labs and equipment, and spoke of the community he hopes will grow among scientists who work in the open, shared laboratory spaces.“By getting the walls out of here, there’s a social component. The goal is to have people mixing,” Friedman said. “If you’re in your own office and the door is closed, you can’t have a conversation with someone else.”The building allows the arboretum’s researchers, who moved from offices at the Cambridge campus, to share space with those in charge of managing the collections, who had been based at the arboretum. Researchers and graduate students began moving to their new offices in January, even as the new laboratory equipment was arriving.“The most joyful thing in the world is having a new microscope,” Friedman said. “My postdoc is a microscopist; he’s just about passing out with all the new equipment.”The new building has enough extra room, Friedman said, that there is space for visiting scholars from other institutions and for undergraduates pursuing plant science research.In order to bridge the physical distance between the arboretum, which is in Boston’s Jamaica Plain and Roslindale neighborhoods, and the Cambridge campus, a shuttle van will be used to ferry students or entire classes for lessons that draw on the arboretum’s resources.“Without students here, this wouldn’t be a University,” Friedman said. “There are chances to do undergraduate honors theses based on these resources. My goal is that every undergraduate honors project should be publishable and should lead to a next step.”An advantage of the new building is its proximity to the arboretum’s living collection, Friedman said. While the arboretum doubles as a city park and an important part of Boston’s string of parks called the Emerald Necklace, it also is one of the world’s pre-eminent collections of woody plants. As a living collection, the arboretum also includes other forms of life, such as fungi and insects, that can be studied by researchers at Weld Hill.“Out there are not just lots of plants, but incredible numbers of insect, fungal, and microbial species. We have 275 acres of biodiversity,” Friedman said.The building also has a dozen greenhouses where some specimens can be grown and others collected from the field can be raised, including for Friedman’s own research into the origin of flowering plants, collected in New Caledonia.Doctoral student Becky Povilus and postdoctoral fellow Julien Bachelier moved to Harvard from the University of Colorado to continue their work with Friedman and were among the first to settle into the new building. Bachelier said it was “everything we heard, but better,” while Povilus said having the arboretum nearby was a plus, as it is a place to both collect samples and to walk around and get ideas for new avenues of research.For the next few months, Friedman said, the staff will focus on getting researchers situated and their work under way. A major emphasis, Friedman said, is to further develop relationships with the community through activities such as open houses and the new director’s lecture series.
The Film Study Center at Harvard University (FSC) announces the list of FSC-Harvard fellows chosen for the 2011-12 academic year.FSC-Harvard fellowships provide funding and technical resources for people doing compelling work in video, film, sound, or photography. These fellowships support advanced work, from the ethnographic to the experimental, that explores and expands the expressive potential of audiovisual media. The fellowships are open to Harvard faculty, graduate students, teaching assistants, teaching fellows, and postdoctoral and research fellows.A wide range of works have been produced with the FSC’s assistance over the years. Historically important ethnographic films have included John Marshall’s The Hunters (1958) and Robert Gardner’s Forest of Bliss (1985). While nonfiction film and video continue to be a main focus of this fellowship, widely divergent strategies have also been supported, including animation, multimedia installation, and sound.Fellows become part of a community of makers who participate in monthly gatherings where works in progress are shared and discussed. Fellows have access to recording and editing equipment, technical assistance. Fellowships can also include funds to help defray production or postproduction expenses.The 2011-12 fellows are Aryo Danusiri, Toby Lee, Ruth Lingford, Cuilan Liu, Ross McElwee, Adam Muri-Rosenthal, Verena Paravel, Cozette Russell, J.P. Sniadecki, Stephanie Spray, and Julia Yezbick. Read more about them.
The Radcliffe Institute for Advanced Study at Harvard University has named Harvard Professors Joanna Aizenberg, Leah Price, and Robert Sampson as faculty program directors of Academic Ventures. Together, these distinguished faculty members will lead new, multidisciplinary collaborations with faculty throughout the University and develop innovative programming across the arts, humanities, sciences, and social sciences that engage scholars and the public in the work and ideas of leading theorists and practitioners.These Radcliffe Institute faculty leaders are experts in a broad array of fields and are committed to fostering efforts that cross disciplinary boundaries. As program directors, they will design and implement Radcliffe Institute’s Academic Ventures programs, which convene scholars from across Harvard University for multidisciplinary seminars and workshops and bring luminaries in the academic disciplines and the professions together for public symposia, conferences, and talks.“Harvard faculty members of this caliber add to the energy and intellectual ferment of the Radcliffe Institute. They help ensure the vitality and relevance of Academic Ventures within the University and beyond,” said Dean Barbara J. Grosz, who is also Higgins Professor of Natural Sciences in the Harvard School of Engineering and Applied Sciences. “Their unparalleled leadership in science, humanities, and social science will ensure that timely and provocative programs enrich the Institute, the University, and all who recognize the unique value of multidisciplinary work.” Read Full Story