Written by Tags: Football/Spring Game/Utah State Aggies FacebookTwitterLinkedInEmailLOGAN, Utah – Utah State football’s annual Blue vs. White Spring Game will be held on Saturday, April 7, on Merlin Olsen Field at Maverik Stadium at 2 p.m.The day will begin with the seventh-annual HURD Bowl at 8 a.m.Gates at Maverik Stadium will open at 1 p.m., and fans are encouraged to take advantage of free interactive inflatables, face painting and balloon artists prior to the event. Fans can also test their climbing skills on the Maverik rock wall. Fans should arrive early to collect a limited release football poster for the 2018 season.The South Ticket Office at Maverik Stadium as well as concessions on the south concourse will also open at 1 p.m. Ticket office representatives will be available to answer any ticket related questions and assist with football season ticket renewals.During the spring game, fans have been selected to attempt to kick a field goal and field a punt. Additionally, new USU head men’s basketball coach Craig Smith will compete in each promotion. And finally, one lucky fan has been selected to be a guest coach and call a play during the game.Furthermore, a Junior Aggie Sideline Reporter will be interviewing players and coaches as they take the field prior to the game. And, through our Intermountain Healthcare and Logan Regional Hospital Special Spectator Program, we will recognize Hank Williams. Hank is 6-years old and received a heart transplant two years ago. Here’s a link to his story: https://youtu.be/vIIAECaKsP8. And finally, the USU Polynesian Student Union will perform at halftime.During the annual Spring Game, the offense will get six points for a touchdown, three points for a field goal, two points for a rush of 15 or more yards, two points for a pass of 20 or more yards, one point for a first down and one or two points for respective conversions. The defense will earn 12 points for a touchdown, six points for a turnover, three points for a three-and-out, three points for a blocked field goal or missed field goal, two points for a stopped drive, sack or tackle for loss, as well as one or two points for failed respective conversions. There will be no kickoffs and all possessions will start at the 25.Following the scrimmage, all former Aggie lettermen in attendance will be invited onto the field and asked to line up in the north end zone, where they will be recognized as a group. This group will also meet and shake hands with every current USU football players.Season ticket renewals are currently being accepted. To renew, fans should visit www.utahstateaggies.com or do so in person or by phone through the USU Ticket Office during regular business hours (435-797-0305). New season ticket orders can also be made at this time.For Aggie football ticket information, fans can contact the USU Athletics Ticket Office over the phone by calling 1-888-USTATE-1 or 435-797-0305 during regular hours of operation. Fans can also buy their tickets in person at the USU Ticket Office inside the Dee Glen Smith Spectrum or online by clicking on the “Buy Tickets” tab at www.UtahStateAggies.com.Fans can follow the Aggie football program at twitter.com/USUFootball or on Facebook at Utah State Football, as well as on Instagram atinstagram.com/USUFootball. Aggie fans can also follow the Utah State athletic program at twitter.com/USUAthletics or on Facebook at Utah State University Athletics.SCORING SYSTEMOFFENSETouchdown = 6 pts.Conversion = 1 or 2 pts.Field goal = 3 pts.Run of 15+ yards = 2 pts.Pass of 20+ yards = 2 pts.First Down = 1 pt.DEFENSETouchdown = 12 pts.Safety = 2 pts.Conversion = 1 or 2 pts.Turnover = 6 pts.3-and-out = 3 pts.Blocked FG/Missed FG = 3 pts.Stopped drive, Sack, TFL = 2 pts. April 6, 2018 /Sports News – Local Utah State Football to Hold Annual Spring Game Saturday, April 7, at 2 p.m. Robert Lovell
OXFORD University has accepted a scholarship endowment from a Japanese corporation that used prisoner-of-war slave labour during the Second World War.Student groups have attacked the decision, claiming this to be a further example of the University’s willingness to ignore ethical considerations when receiving endowments and donations.The Aso Group, a Japanese industrial corporation, has never admitted or apologised for the firm’s use of British and Allied prisoners as slave labour.In 1945, Aso forced 197 Australian, 101 British and 2 Dutch PoWs to work at its mines at a site known as Fukuoka PoW Branch Camp 26, along with 12,000 Korean slaves. The camp was closed later that year, following the surrender of Japanese forces. In surrender documents given to General MacArthur at the end of the Second World War by Japan, Fukuoka was listed in a list of prison camps which contained Allied PoWs used by private companies.Japanese authorities ordered records of the company’s mining activities destroyed in 1945, but amateur historians later discovered that prisoners were forced to work underground for 15 hours a day, 7 days a week.The Aso-funded scholarship will cover University and college fees, fund return air travel to the UK and provide accommodation at New College outside of term-time.David Amos of Oxford’s People and Planet Group, which campaigns for fair and ethical investment, condemned the University’s decision to accept money from the group.“Given the University’s investment history, this hardly comes as a surprise,” he said. “It is time that Oxford University took its ethical responsibilities over investments and scholarships seriously.”The scholarship will be open to Japanese nationals, or individuals who speak Japanese as a first language. It will also be necessary for them to have a link to the Fukuoka Prefacture, a province in Kyushu Island, where the Aso Mining Corporation’s PoW camp was based. Harold Newman, National Chairman of the Association of Jewish ex-Servicemen and Women, said, “If the Aso group acknowledge that they employed prisoners of war as slave labour, and when they offer compensation to the victims and their families, we would not object to the scholarship.” He added, “We have members of our organisation who were treated harshly.”The President of Aso Group is Yutaka Aso, a former student of New College who was taught by its current Warden, Professor Alan Ryan. From 1969 to 1971, he studied for a Diploma in Social and Political Studies at New College. In 2005 Yutaka was also awarded the French Légion d’Honneur by the French Ambassador in Tokyo.Earlier last year Yutaka Aso’s brother Taro Aso, who at the time was Japan’s foreign minister, refused to confirm that PoWs were forced to work for his family’s company. Taro Aso was previously President of what was then called Aso Cement. Among the war veterans who have demanded compensation is an 87-year-old Australian man who was forced to work at the camp. He sent a personal letter to Taro Aso, requesting an apology and compensation for his unpaid work at Aso Mining Co but received no reply. A spokesperson for the University said that funding for the scholarship would not come from the part of Aso Group that used PoW labour. “The Aso Group is an umbrella for a number of companies,” she said. “One is Aso Cement, which was formed from Aso Mining. Aso Cement is separate from the part of the Aso Group that the scholarship funding has come from.” She added that the ex-Foreign Minister, who is the brother of the benefactor and a previous head of the company, was not involved in the scholarship agreement. In an official statement, University Vice-Chancellor John Hood said, ‘The University is very grateful for Mr Aso’s generosity, and we hope the scholarship will help to strengthen our ties with Japan, and Japanese students, in particular.”
Regards,Suellen McCaulley Dear Editor,I moved to Hoboken in 1996 as a young single woman. I moved away for awhile but missed Hoboken too much and moved back in 2001. I am back raising my children here. Hoboken has so much to offer but is getting overwhelmed by block after block of ill planned residential housing. Jen Giattino is the one candidate who’s been consistent on preserving what’s special about Hoboken.She’s spoken out for expanding our mix of commercial development: offices, shops and all the rest which more than pays for itself. And she’s concerned about the displacement of long time residents speaking out against city policies that aren’t working like the 10% inclusionary affordable housing ordinance and the flood ordinance which both need to be revised. Jen genuinely cares about people and is a doer who’d rather get the job done than get the credit. She’ll make a great mayor along with her council slate of Jim Aibel, Jason Ellis and Sal Starace.
A funeral mass was offered Nov. 29 at Our Lady of Fatima Church, North Bergen, for Frank A. Pinto, 82, retired North Bergen police detective. He passed away peacefully Nov. 22 with family at his side. Born and raised in Hoboken, by his parents Frank and Anna, Frank settled in the neighboring town of North Bergen, where he raised his children Frank Jr., Darlene, Debbie, Diane, Denise, Dennis and Dana. Frank would also become the grandfather of Kellyann, Jennifer, Neil, Craig, Christopher, Corey, Casey, Taylor and Tori, as well as great grandfather of Maverick, Charlotte, Hailey, Kylee, Austin and Caysen, all of whom he loved dearly.Services arranged by the Vainieri Funeral Home, North Bergen.
Google+ Pinterest Facebook Twitter IndianaLocalNewsWeather WhatsApp National Weather Service making enhancements to Severe Thunderstorm Warnings WhatsApp Twitter Previous articleIndiana lawmakers to vote on whether to allow delivery robotsNext articleMichigan City Mayor apologizes for racial remark in voicemail message Jon ZimneyJon Zimney is the News and Programming Director for News/Talk 95.3 Michiana’s News Channel and host of the Fries With That podcast. Follow him on Twitter @jzimney. (Krystal Vivian/95.3 MNC) When a Severe Thunderstorm Warning is issued for your area, the National Weather Service will now break it down into three levels.Sam Lashley with the National Weather Service in Indianapolis says those three levels will be based on how strong the winds are within that storm. “Just your general severe thunderstorm, sort of low-end type, to mid-range with significant winds, to a very high-end event where the winds are going to exceed 80 or 90 miles per hour,” Lashley said.They plan to start making that change sometime this spring. By Jon Zimney – March 10, 2021 0 146 Google+ Facebook Pinterest
It’s an enormous privilege to be here todayI must begin by thanking the Atlantic Council for hosting this event I’m always told Washington in August is always not at its best, so you must be the more hardened inhabitants of this cityThe reputation of the Atlantic Council precedes it And the list of your famous alumni is a who’s who of the Washington great and good: Dean Acheson, Brent Scowcroft, Colin Powell. A list that goes all the way back to the formation in 1961.In fact, you couldn’t have formed at a more timely moment, 1 year before the Cuban missile crisis. History doesn’t record what role the Atlantic Council played at that time, but I’ve no doubt the wise counsel of some of your founder members was sought, and judging by the outcome it was clearly good advice.Today, the insights of your experts are just as important as we seek to navigate the rapidly changing world. As we seek to adapt and harness change and work together to seize the opportunities which change brings, we need that type of dynamic, creative thinking. Because I know many people in this city are nervous about the rapidly changing politics, the rise of new powers and the moving tectonic plates of global politics.People still worry about Brexit and what role Britain will play in the world. No one should worry. While Britain is leaving the European Union we are clear about our role and our place in the world.We will remain a nation that champions those fundamental values of freedom, democracy and tolerance. We will remain a global trading nation and we will remain a global force for good, always committed to strengthening our international security and prosperityAnd Brexit is Britain’s moment. Britain’s moment to look up, be more ambitious redefine our place in the world. In some ways the European Union limited our vision, discouraged us from looking to the horizon. Now we’re being freed up to reach further and aim higher, the UK is determined to seize these new opportunitiesMy job, as Defence Secretary, is to make sure that we can develop, and if necessary deploy hard power which underpins the soft power of our global influence. We start from the strongest of foundations. Britain is a major global actor. We have always been a tier 1 military power and we always will be a tier 1 military power, possessing an independent nuclear deterrent, world class special forces and cyber capabilities, exceptional conventional forces able to deploy independently around the globe and take command of coalition forces to deliver joint outcomes.But we also agree with the United States’ National Defense Strategy that: “By working together with allies and partners we amass the greatest possible strength for the long term advancement of our interests”After all, we need international solutions to international problems. In the past few years we’ve seen global terror hit our streets on both sides of the Atlantic. At the same time we’ve witnessed increased competition between states: a terror sponsoring Iran, a nuclear armed North Korea, not forgetting to mention a rising China, and an increasingly aggressive Russia using every weapon at its disposal to advance its interests. A Russia whose use of covert operations and cyber warfare, political subversion and increased military posturing is part of a wider pattern of malign behaviourWho would have thought a year ago we would have seen in the United Kingdom, in a sleepy town in the middle of the English countryside, the first use of chemical weapons in Europe since World War 2? With states adopting the tactics of terrorists and terrorists increasingly armed with sophisticated weapons, including cyber capabilities, all blurring the line between peace and conflictIt’s clear we’re in a new age of intertwined dangers and it is getting ever more complex, so, it’s even more important we stand together with our allies.I’m not here to give you a history lesson, but some of you may be aware in the 1770s we were having some local difficulty in this area. In 1778, the last British governor of New York wrote to George Washington. It was the moment that we were about to vacate the city, and he wrote: “The recent hostilities have been regrettable, but as we withdraw, we do so in the hope that our 2 nations will build on a common heritage and act together to the betterment of the world.”All those years ago, those words are so very, very true. We have no stronger ally than the United States. And there’s a reason so many have called our relationship ‘Special’. For more than a hundred years our Armed Forces have fought in defence of our common values and interests. From the turmoil of the Great War, through the dark days of World War 2, from the heat of Korea, to the chill of the Cold War, from the mountains of Afghanistan, to the deserts of Iraq today.We have developed the deepest, broadest and most advanced defence relationship of any 2 nations The United States has never had nor will have a more reliable ally than Great Britain. Others may pretend, but you will find no greater ally than us.And to those who prefer to dismiss what the UK can do, I have 1 message: We stand with you; ready, willing, and able to meet the challenges of the 21st Century. Our appetite, our desire, our will to be a force for change, a force for good, a force of light that stands as a beacon to the world that burns more brightly today than it has in the last 70 years. That is what Great Britain is.Let me explain what I mean in more detail. First we are ready to respond to any situation at a moment’s notice. We have forward deployed forces across the globe, we can draw on our overseas territories in Gibraltar, the Sovereign Base Areas in Cyprus, Ascension Island, the Falkland Islands and the British Indian Ocean Territory. These often provide key facilities not just for us, but also for the United States and we are extending our presence with our new naval base in Bahrain.We also can bring in allies other than the US as and when required, such as our 9 nation Joint Expeditionary Force of like minded Northern European nations, which can muster up to 10,000 personnel to respond to any type of operation from humanitarian assistance, through to high end war fighting.Above all, our readiness comes from having world class personnel. The embodiment of our Global Britain, our Great Britain. More than 14,000 personnel deployed on operations around the globe, with 19,000 preparing to deploy or at readiness to respond. Currently, they are in the North Atlantic commanding and directing anti-submarine operations and keeping an eye on the undersea cables that underpin our online systemsThey are on the eastern fringes of Europe too, supporting NATO’s deterrence against a resurgent Russia, policing Black Sea, now Baltic and soon Icelandic skies and leading NATO’s presence in EstoniaIn March, I visited our troops close to the Estonian border with Russia. I was struck but not surprised by how many locals still saw Britain as the liberator and protector willing to stand up for their freedom as we have done in the past.Our people are not just in Estonia. They are in Poland too, proudly operating side by side with a US battlegroup. It underlines the ever increasing integration of our forces who serve and train together regularly so they can fight together seamlessly. You see this integration between our armies from battle group, through brigade, division to corps. You see it between our air forces and our navies and you see it between your US Marines, who I’ll have the privilege of seeing in action at their famous sunset parade later today, and of course, as was mentioned earlier, our Royal Marine Commandos.In recent months both the US Marines and our Royal Marines exercising alongside each other in the Baltic, in Guam developing new ways of operating in the information age and they will be working together as part of the Marine Expeditionary Force Headquarters on Ex Trident Juncture in Norway later on this year.Being ready is only 1 thing, but the United Kingdom has that essential willingness to act, the willingness to use military force when other measures fail, the willingness to operate where others cannot or will not go. Look at the way UK pilots joined their US counterparts to strike Assad’s chemical facilities after the appalling chemical attacks in Douma. Or look at our operations targeting ISIL in Iraq and Syria, conducting more than 1,700 strikes against terrorist targets, training more than 77,000 Iraqi Security Forces in Infantry skills, counter IED, engineering, and medical expertise and providing the second most significant contribution to the military campaign, after the United States.But the UK is not just in the Middle East. We’re in Afghanistan training a new generation of officers to secure their fledgling democracy and by committing a second battalion to go to Kabul we’ve demonstrated a commitment to Afghanistan and the Afghan people. We’re also in the Indo-Pacific where we led the way by deploying Royal Naval ships to be the first nation to enforce United Nations sanctions against North Korea and where we are maintaining an almost unbroken presence of Royal Navy surface combatants this year and next, increasing our presence around the world.And when it comes to China we have our eyes wide open. We have a positive relationship with Beijing and wish to build on that. But we will not shrink from telling them when we feel that they do not respect the commonly accepted rules and norms of international behaviour, the laws and systems by which we all, China included, benefit and have a duty to protect.In this respect, their militarisation of artificial features in the South China Sea is a backward step and puts them on the wrong side of the line of what people expect from great international nations. If you wish to be respected as a global power you have to respect the international norms and behaviours that bind the international community together.And from the continent of Asia to Africa I’ve just returned from Mogadishu in Somalia, and also visited Ethiopia and Kenya where I’ve seen first hand the excellent work of UK forces training stopping the terrorists and helping bring stability. In Mali we are providing our French allies with strategic lift and Chinooks and, let’s be clear, we are the only power in Europe with the capacity and the capability to do that. And in South Sudan our people have built a United Nations hospital bringing vital aid in the midst of an awful humanitarian crisis.Whether the danger is near or far, whether we’re acting unilaterally, bilaterally or multi laterally, the UK continues stepping up. I’ve already touched on our NATO efforts but since I’m at the Atlantic Council I hope you’ll permit to me to say a few more words in support of the Alliance. For it’s worth remembering that European nations are not its sole beneficiaries. The only time that Article 5 has ever been invoked was after 9/11 when Great Britain and other NATO nations stood side by side with you after the atrocities that we saw.Just as the United Kingdom helps the United States shoulder the burden of international security, so does NATO. It is providing a majority of forces for the Alliance’s new Iraq mission, European Allies lead NATO’s 40,000 strong Response force, they are responsible for 85% of the Kosovo Mission in the Balkans and, at the most recent summit, Allies agreed a Readiness Initiative, within the next 18 months, to have 30 mechanised battalions, 30 combat vessels and 30 air squadrons ready to use in 30 days.Alongside the US, the UK has also been pressing for the Alliance to do more to pay its way. We are now seeing the results. Last year saw NATO’s biggest spending increase in 25 years. Since making the defence investment pledge at the 2014 Wales Summit, Allies have spent $87 billion more on defence. In just 2 years’ time that number will increase to at least $150 billion. 4 years ago only 3 allies spent 2% of their GDP on defence, but by the end of this year 8 will meet that target. And increasingly we’re seeing more partners pull their weight realising they’ve got to spend more because of the increasing threats the world face.They’re investing in the capabilities essential and relevant to modern warfare, making sure they have the best equipment and the best technology.So the UK is ready, we are willing, but what makes us reliable partners for the long term is the fact we are able able to act now and in the far future thanks to our world class defence technology and industrial base. Some mistakenly believe that only America can develop cutting edge technologies or capabilities.That has never been, and will never be the case. The UK has always brought something special to the table, from the perilous days of the World War 2 when an unassuming British scientist named Henry Tizard flew to the US taking with him a black box containing the secrets of airborne radar and the turbo jet.And from then right up until today the UK is the biggest offshore supplier to the US military. With the skills to meet a host of your requirements, from avionics and vehicle communication, to military bridging and CBRN. That’s why 60 years on from the signing of our Mutual Defence Agreement we continue to cooperate on nuclear technology. There can surely be no greater sign of trust than our willingness to work together on a common missile compartment for our Dreadnought submarines and your US Columbia class submarines.And that’s why the UK is a Tier 1 partner on F-35, one of the biggest equipment programmes of them all, with the UK producing 15 per cent of every aircraft built, bringing unique British made capabilities into the development of that stealth fighter.Next month, with the arrival of our new 65,000 tonne aircraft carrier HMS Queen Elizabeth to the East Coast we take another step towards that momentous day in 2021 when US Marine Corps embark a squadron of F35B alongside our own and for the first time we watch a fifth generation aircraft fly from the world’s first fifth generation Carrier.In other words, a vibrant UK defence industry, spurring healthy competition, this is very much is in our shared interests. Why reinvent the wheel when you can buy from a trusted partner? It’s a two-way street; you invest in us and we invest in you.Today we’re procuring more than 50 types of defence equipment from the US, including: P8 maritime patrol aircraft to Apache attack helicopters to the Reaper drones, all the while UK industry is creating US jobs.UK Defence companies employ more than 56,000 staff in the United States, with UK businesses employing more than 1,000,000 US employees. We are helping fund programmes collectively supporting the livelihoods of 160,000 Americans. Unsurprisingly, the UK is one of only a handful of trusted partners to be included within the National Technology and Industrial base initiative, which is looking at sharing ideas, achieving better value for money, and making global supply chains more resilient so we can sustain our military advantage in the future.We must take maximum advantage of this to create the jobs and prosperity that both the UK and US needs.But the UK also combines world class capability with strategic long term ambition. This year our world famous RAF celebrates its 100th birthday. Far from dwelling on the glory years of the Spitfire fighter and Lancaster bomber, we’ve unveiled a new Combat Air Strategy to build the next generation of Tempest fighters. No wonder today our great nations together continue pushing the boundaries of innovation; working on insect like UAVs, on robots that can brave the last mile of the battlefield, on offensive cyber tools to deter, disrupt and constrain malicious activity.In May it was my privilege to host a meeting between US and UK innovation experts designed to strengthen our co-operation still further. We are now running a UK/US funded competition seeking innovative technologies…to destroy chemical and biological munitions, IEDs and bulk agents in challenging environments. And we are investigating new ways to transform the famously convoluted acquisition process, leaping the “valley of death” between research and procurement, rapidly developing novel technologies and state of the art software and developing a cutting edge Chemical Weapons Defence Centre.So the United Kingdom is ready, willing and able to act when necessary and our Modernising Defence Programme will make sure you can continue to rely on us far into the future. It sets out our vision for dealing with the complex challenges of the 21st century, it will give us a lethal fighting force matching the pace at which our adversaries can now move in every domain from nuclear and conventional to hybrid threats, while strengthening our resilience in an information age to achieve what we’re calling ‘information advantage’It will make sure international cooperation is built into our DNA, deepening our relationships across the globe and seeing how we can further rebalance our global posture to be ready and willing to fight in Mainland Europe, in the Middle or in the Far East.And our programme will transform our defence business, speeding up our processes and bridging the gap between the emergence and adoption of new technologies. The next phase is all about the delivery, but we will continue seeking out the views of our close Pentagon colleagues and the brilliant brains in this room to shape and refine our plans.So we may be entering a more unpredictable and uncertain age, but I am profoundly optimistic about our future. The UK remains a great power, a country with one the world’s biggest economies, a creative powerhouse, a force for good and we continue having one of the most credible Armed Forces anywhere on the planet. A force that will continue using its power – hard and soft – in concert with our greatest ally, the United States. We will always be the most natural of partners together.30 years ago Ronald Reagan gave a great speech to the annual meeting of the Atlantic Council. He spoke of his hopes of a rapprochement between East and West. He spoke of being for freedom and democracy “without hesitation or apology”.And he quotes the words of that great Anglo-American Winston Churchill: “Where we are able to stand together and work together for righteous causes, we shall always be thankful, and the world will always be free.”So, let us seize this moment to strengthen our transatlantic ties. In the face of an ever greater unpredictability, let us show our certainty in being ready, willing, and able to act as that great bastion of international peace and prosperity. And let us do everything in our power to make sure those great Anglo-American values prevail, for our values of liberty, justice and democracy that underpin the Magna Carta and your constitution. They represent more than just the soul of our nations, they are the cornerstone of the Western worldBut please never underestimate my nation, as we have changed the world time and time and time again and we will change the world in the future. For we are a nation when we realise it is in our interest or when it is right we as a nation always act.
Earlier this month, we sat down with Theo Katzman, the drummer, guitarist, and vocalist of Vulfpeck. The conversation lasted two hours and varied from all things music, food, and inspiration. We ran the first portion of the interview, Then & Now: Theo Katzman Discusses What It Means To Be Vulfpeck, and saved the rest for now.On Friday, Theo launched a Kickstarter campaign to support his upcoming solo record Heartbreak Hits, coming out in January of 2017. Listen to the first single “Hard Work” right here.Before Vulfpeck, Theo already had his life well on the track of a performing artist. A graduate of the University of Michigan’s Jazz & Contemplative Studies programs, Katzman released his debut solo album Romance Without Finance in 2011 between playing in dance-punk band My Dear Disco and touring as Darren Criss’s opening act, drummer, and musical director on his Listen Up! Tour. With Vulfpeck’s fame taking a gigantic leap forward over the last year, Theo is ready to introduce his new solo album Heartbreak Hits in January 2017. The second part of Theo’s interview with Live For Live Music focuses on the inspirations behind this album and what we can expect from it musically. Ahead of his tour with frequent Vulf-collaborator Joey Dosik, it’s the perfect time to get to know Theo’s music if you haven’t already. Catch them if you can!Picking back up from where we left off….Live For Live Music: Will we recognize any of the contributors, instrumentally, on Heartbreak Hits?Theo Katzman: Yes, you definitely will. Joe Dart on the Fender bass. Joe plays on every track. It’s mixed quite differently than a Vulfpeck album. In Vulfpeck, Joe is sort of like the lead singer, in a way. The bass is mixed to be very forward, and it’s a stylistic thing. It’s funk music, so that’s a big part of the sound. Heartbreak Hits is a collection of songs with lyrics, and I guess you could say it’s a singer-songwriter thing, although I don’t love turning the term singer-songwriter into a genre, because really singer-songwriter just means that the artist is singing his or her own original songs, like Stevie Wonder, Paul McCartney, Joni Mitchell, but we would categorize them all pretty differently in terms of musical genre. Woody Goss plays all the acoustic piano on the album, so any time you hear a piano, it’s Woody. It’s cool, because this is Woody playing very differently than he does with Vulf. Woody is one of the most emotive, beautiful pianists around, and you get to hear some of that on this album. He also plays one song on Wurlitzer.My friend Lee Pardini, who plays keyboards in the band Dawes, plays all the other Wurlitzer on the record. He’s on 5 of the tracks. Woody and Lee are my two favorite keys players (tied with Joey Dosik). Those are probably the only people you’d recognize, I think, if you’re a Vulf fan, but then there’s Mike G and Laura Mace, who are among my favorite singers in L.A. They sing most of the background vocals on the album. My friend Brett Farkas plays on one track. He’s an amazing guitar player. Drew Howard, who is a legend in my mind, and in Michigan’s mind, plays pedal steel on three of the tracks.It’s a different thing, my solo project. In a way, I never expected Vulf to take off, with all the effort I was putting elsewhere, but I’m really glad it did. I was sort of focused on being this other guy, a singer-songwriter and a writer-producer, and I just did the Vulf thing for fun. It’s not surprising that because it was just for fun, it ended up actually being fun, and really catching on and becoming something great.I’ve definitely learned that you have to make sure that whatever you’re doing, you’re having fun with it. The funny part is, there’s not necessarily any stylistic similarities from Vulf to my solo music. It’s not a sure bet that Vulf fans will like my songs, truly. I don’t mean that in a bad way. It’s honest, highly cared-for music, so I think there will be a good amount of crossover because I think Vulf fans are fans of music, but my record is definitely not a funk record. There are definitely funky moments, but it’s more about the songs and the lyrics as the main focus, to me anyway. There’s also some pretty rock stuff that almost has a Weezer energy. Then there’s some stuff that comes from more of a Paul McCartney or Nick Lowe place. I got heavy into Nick Lowe while writing this album. There’s also one that’s basically a country song.L4LM: It must be satisfying for you, as someone who has been surrounded by so much music in your life, to have these multiple outlets of creative expression.TK: Yeah, it really is. In a way it was unexpected, but in another way it makes total sense, because I’ve always been involved with multiple projects at once. I was really compelled to make music with Jack, Joe, and Woody in this certain way that just felt fresh and wild and different for me, so it was like, “Let’s keep doing this!” I was definitely a big advocate of that. Once we were post geographic, and we were living in different parts of the country, I was definitely a voice of, “Let’s get together, let’s just do it! What is it, a plane ticket? Let’s do it!” None of us had money, but we were trying to make it happen. It’s been great to have that outlet. The only part that is unexpected about Vulf in my life is that none of us had planned in on it getting as big as it’s gotten. I guess I would have thought it was too weird, you know?Once we started to see that it was catching on, the thinking was, “Well, I guess we’ll just keep being weird,” and the weirder we get, the more people seem to like us, so it’s awesome!L4LM: I think that’s why the jam scene likes you.TK: It’s been a lesson to just do your thing. Do your thing because it’s rewarding to do your thing, and because you get better at it, and whoever likes it is going to love it. Whoever doesn’t like it wasn’t going to like it anyway, so who cares? Whoever likes it is really IN, because they can see how much of a risk you took by just doing it the way you wanted to do it. I think that’s bold, and that’s what you want at the end of the day. It’s like, “Dammit, do your thing. The end.” Whoever is in is IN, man. Whoever isn’t, isn’t. That’s all. It’s liberating to realize that.I’m sure there are casual Vulf fans, but I just mean the core fan base of Vulfpeck is really committed. They’re really into it, and it’s really inspiring. I was just like, “Wow.” To me, it was so exciting that it was so weird and different, but I’m weird and different, so it works. Also, we’re all song writers, so even though there are elements of it that are left of center, the intention is definitely great composition and hooks, and all the elements of great pop record making are definitely what we go for.L4LM: Totally. Speaking of doing your thing, would you say that you prefer writing your own music over your other various projects?TK: The thing about my project is that it’ll always be me. It’s not that it’s always going to be the same. It will change, but that’s just my personal outlet as an artist, so I guess those are tied, if that makes sense. Vulfpeck has definitely been the best [non-solo project]. When I was trying to break into the music industry as a songwriter, I released my first record, Romance Without Finance and a few people reached out to me in the music industry saying, “Hey man, this is really good, would you ever want to write for other people?”And I thought, “that sounds cool, I’m gonna go for that.” I was fully ready to write for other artists, thinking, “Yeah man, this is me. This is my thing!” Knowing what I know now about the music industry, I totally understand why the opportunities that came to me were, “Hey, you’re talented, you produce records, you can play four instruments, and you can write and sing. Maybe you’re a record producer. Maybe you should get into the room with people in Hollywood and try to write some hits.” I thought, “Oh, okay, yeah, yeah, I’ll do that.”I went in for a couple years doing that and I’m glad I did, because I learned a lot, and I also learned a lot about what I don’t want to do, and it’s that! I don’t want to do that. I was largely unsuccessful in terms of a lot of what I wrote or co-wrote. Most of it never saw the light of day, but it kept getting better, and it still wasn’t seeing the light of day. I just thought, “Man, this is such a tough game to crack into.” I got disillusioned with it. I started to feel like, “it doesn’t even matter how good the song is, I can’t get it across the finish line within the label system.” I couldn’t figure it out.Ultimately, it was draining me, so I quit doing it. But I got better as a songwriter, and I started to really understand what I wanted actually to do with my time out here on the planet. During that whole process, the Vulf thing started catching on, so kind of right when I decided “I can’t do the Hollywood writing thing anymore, I’m done with it,” that was exactly when Jack called and said, “Man, Vulf is happening,” and I was like, “Wow! All right. Great!”That’s the irony of it. It’s the thing that was the most carefree and fun, and it’s also been the most successful. When people ask me about how to do it in the music business now, I’m just say, “I think you should just do what’s really kicking ass for you on a personal level that feels rewarding, and just take a bet on that,” you know? Go IN on that and if it doesn’t work, it doesn’t work, but I feel like the chances of it working are better, actually, than trying to crack into the corporate system. That advice is not for everyone, perhaps, but that’s been my experience.L4LM: That makes a lot of sense on a universal level… To surrender to your own flow, as you will, and to always put your best foot forward, be the best version of yourself, with the certainty that everything happens as it’s supposed to so long as you stay true to your own being.TK: Yeah, exactly. I was living in New York at the time and I was flying out to L.A. monthly, sometimes twice a month. I put a ton of effort into trying to be a writer-producer for hire, like a guy who was going to write pop records, like a Dr. Luke type, or something. I ran myself ragged. I was absolutely not my best self by the end of it. I had to go through that, and I’m really proud of that time now because I learned a lot and I also have 10 new songs! Some of the songs on the record are about me losing my mind in Hollywood, which was a great thing to write about.L4LM: I know that Brooklyn influenced your first album, Romance Without Finance. Does this mean that Hollywood and your move to L.A. inspired Heartbreak Hits?TK: Well, it was inspired by a couple things. I haven’t really figured out how to talk about all this in an elegant way, so I’ll just talk about it in an honest way.In 2013, I did this tour with Darren Criss. He was one of the actors that starred on Glee, and also a college friend of mine. I had been working on this record with him for a long time, and eventually we were going to do this big tour and I was the opening act, so I did 17 shows with him. They were all sold out. It was all in 1,500 to 3,000 capacity rooms. Screaming fans, amazing fun. I was playing drums in his band and I was opening as Theo Katzman, and my band was Jack Stratton on drums, Joe Dart on bass, Tomek Miernowski on guitar, and Tyler Duncan on keyboards. Tyler records the Vulf stuff, by the way. He does engineering for us, and he also produced my record. Woody was not in the band for Darren, but it was basically Vulfpeck, plus our friend Tomek.We did this huge tour at the end of 2013. My career is going up, and up, and up. They’re talking about the record I had written with Darren, and it’s got all these songs on it that are going to come out. I’d co-written a bunch of songs, I’m going to have this huge hit record, we sold out 17 shows, super on top of the world, then my dad died.He was an older guy. He was 85 years old at the time, but he had always been in great health, so it was a shock in a way. Even if it’s inevitable, I don’t think you’re ever prepared to lose somebody you love. It was intense. I got back from the tour and I got this phone call, and my mom’s like, “Dad’s in the hospital,” and I got on a plane the next day and went out there. Luckily, I got to be with him for the last three weeks of his life, but it was really intense.So I lost my dad, and at the same time I had a romantic relationship of four years come to an end, and then I found out that the Darren record wasn’t coming out, and then I had to move out of New York. It was just this insane shit storm of circumstance that happened within two months time. Everything just turned completely around from where it had been, and it threw me off my horse.I moved back to Michigan, I crashed on my buddy’s floor for eight months, rent-free (thank you). During that time we made a Vulf album in Michigan. It’s the one with “Christmas in L.A.” instrumental on it, and it’s before Thrill of the Arts, and I can’t remember what it’s called! What is it called?L4LM: Fugue State.TK: Yes. I basically stopped writing, I quit everything, kind of. I just needed to get my head together because I was having such a hard time emotionally, and I became pretty afraid to do my thing, actually, and it was bizarre. I had never experienced anything like that, but it was kind of just this grief overload, going through the breakup, the death, and the moving, and the loss of my identity as the hit writer and producer that I had put so much pressure on myself to be.I eventually moved to L.A., and I was like, “I’m just going to go for it. I’m moving to L.A., but it’s not for the same reasons I once thought I had to live in L.A. I don’t want to be a writer-producer anymore, I just want to be an artist. I’ve got some great homies in L.A., the weather’s nice, Jack’s out there, we always have a great time, Vulf is doing some stuff.” At that point Vulf wasn’t totally popping off yet, but there was momentum there, so I was like, “I’m going out to L.A.”I had really put my own project on the back burner because I had thought that I wanted to be a writer-producer, and then I got out to L.A. and I got a sublet, and 2 dogs living with me, and I started cooking again, and running everyday, and I just got into writing again, and I wrote an album. Then Vulf just catapulted. All these good things were happening now.Heartbreak Hits is basically a concept album about heartbreak. It was my first time really feeling that in my life, and it was these multiple things. There was the heartbreak of the relationship, but there was also losing my dad, and my dreams of being this particular success of a writer-producer guy, and all these circumstances, so I really feel like I got somewhere with the record. I don’t want that to sound like a sob story, but who knows? Maybe it will, but the point is, I did have a bunch of personal struggle that went into these songs. I also kind of found a way to make them fun. I can’t totally explain it. I’ll have to just send you the record. There’s some stuff on it that is the deepest I’ve ever gotten towards expressing some of my dark feelings, and then there’s also some stuff where I’m just straight up laughing at some of my dark feelings, and there’s some stuff where I’m being really sarcastic about them. There’s some stuff where I’m totally serious and sincere, and I just feel really loving about it. It’s pretty manic in a great way, I think, and it’s all rock & roll to me.I’m excited for people to hear it. It’s a combination of real life meets songwriting, which is to say it’s not like it’s an auto-biographical record. It’s more like my experience channeled into song craft, where I thought… “What could that be? It’s a murder mystery. Oh! There we go!” Then I wrote that. That’s one of the songs on the record, “My Heart is Dead.” I think it’s rad, it’s rock, it’s just like, “ahhhhhh!!”, in a cool way. But it’s also fun and creative!That’s Heartbreak Hits. It’s just all those experiences channeled into this blob of rock & roll and me exploring that. I’m just really excited to put it out there. I think the songs are great and I’m hoping a lot of people will like it, because I want to be able to express that part of myself, and that’s kind of what I feel like I really am at my core.Of course, what I also am is this guy in Vulfpeck, so it’s the ideal situation. I’ve got 2 really cool outlets, and the beautiful thing about Vulf is, like you said, from the nature of the way we’ve structured it, it’s always been about us collaborating and Jack being the puppet master, so that does leave me with time to focus on my own writing and stuff, which is going to be great. I’m going to try and put out an album a year for a couple years and just grow my project into something which will certainly be different from Vulf, but I’m hoping it can be a complement. It certainly is for me, personally. To be able to go out and play funk drums and then pick up a guitar and play some kind of folk rock, pop song thing, that’s the real me, man! Meaning, I’m both of those things. And I want to do all of it!L4LM: Yeah, absolutely. That makes a world of sense. Listening to the diversity in all of your projects, I know how excited fans are to experience this upcoming solo version of you. You have a lot of suits, and they are all so distinctly you – but we’re all still getting to know you as an individual. This is especially important for fans who only know Vulf’s Theo, or My Dear Disco’s Theo, because those seem to be pretty different from Theo’s Theo. TK: Yeah. My whole life I’ve sort of struggled with that, like “I’m never going to be as good at this if I’m doing both things,” and my Dad was very good about noticing what I had going on. He was like, “Come on man, do it all! If you want to do it all, do it all, man,” so that was really good advice from my dad, and I definitely have taken that to heart. It’s certainly a challenge at times, but it’s really rewarding.I kind of like that people have no idea what my deal is! It’s kind of fun. This happened once, my friend texted me one day and he asks, “Dude, are you in Vulfpeck?!” and I say, “Yes,” and he’s says, “What do you play in the band Vulfpeck,” and I say “Drums and guitar,” and he says, “What are you playing in the ‘Christmas in L.A.’ video,” and I say, “Drums,” and he says, “That’s you playing drums in the video?” He was literally looking at me on screen and didn’t know it was me, because he just didn’t know I played drums. I had only met him on a gig as a guitar player.L4LM: What you see and hear can be two totally different things.TK: It’s kind of funny, yeah. I kind of like that element. Do you know the band Stay Human on the Colbert Show? There’s this guy, Louis Cato – I just don’t even know what to say about Louis. Without question, he has got to be one of the greatest musicians living right now, and he’s also just a phenomenal human. I love Louis. Seeing Louis really inspires me, because he’s another multi instrumentalist, and he plays drums for Marcus Miller, Bobby McFerrin, I think he played upright bass for Q-Tip, and he plays guitar on the Colbert Show, and he had a college scholarship offer to study classical tuba, so it’s like, come on man, if this guy can do all of those things, then I can probably figure out how to play funky drums and also have a songwriter project, you know what I mean?Also, seeing Eric Krasno doing his thing has been inspiring. He’s putting out a record as a singer and a songwriter, and he’s a great singer. It’s like, “Hell yeah, dude!” Then you see him playing bass with Derek Trucks. It’s just like… That’s it. Trying to have the most fun, really doing it on a new level, really connecting with people, and getting those opportunities was always my dream. So yeah, it’s totally happening and it’s amazing.L4LM: That it is… Theo, I’ve got a few questions from your fans that I’m going to go through now to tie some things together. Starting with which late musician you would like to bring back to life to have one final jam session with.TK: John Bonham. He is definitely the reason that I play drums. I heard Zeppelin when I was 12 and I totally freaked out. I heard “The Ocean”, and I lost it.L4LM: How did “The Ocean” land in your hands?TK: I was at a friend’s house and his Dad had the record, and he just played it for me one day, and I remember totally freaking out. Just totally feeling electrified to the core of my being. Lightening bolt. It was the most exciting thing I had ever heard in my life. The music that I really come from, that I connected to as a kid, was that rock thing, and The Beatles. The Beatles and Zeppelin, that was it. More of the later Beatles, just really spoke to me as a kid. I had a lot of energy. I was a happy kid, but I had a lot of energy, so I would beat the shit out of the drums. I would play for hours along with Zeppelin records, then I would just go off and play my own stuff, and I remember I would end the practice sessions by hitting the cymbals as hard as I could, and then letting go of the sticks, and they would just fly around the room.I’m a very quiet drummer now with most of the Vulf stuff. I kind of pride myself on being able to play soft. If could play with anybody, it would probably be playing a rock gig with John Bonham on drums. It would be a real thrill.L4LM: Somebody else wanted to know who your favorite Beatle is?TK: Oh, gosh. Another completely impossible question to answer. Do I get to answer it with who I relate to the most instead? Because the truth is I actually love Ringo as a drummer. I think this whole stink about, “Well, he wasn’t that great of a drummer,” is total garbage. I can’t even get into that conversation. Ringo is totally the bomb, and The Beatles would absolutely not be The Beatles without Ringo, so I love Ringo. I love George. I think in some ways I probably have some of his leanings, from what you can tell from his as a person. I can relate to him. I also love his guitar playing, his song writing, and his singing. I love John Lennon. The older I get, the more I feel like understand, John Lennon. His spirit was so intense, and I can really relate to that. Paul McCartney was the person that I feel like I am most similar to in The Beatles because Paul’s a multi instrumentalist, and very comprehensive, all-around musician. His melodic sense is something that I really relate to. I’m probably the most like Paul, I feel like, if I had to say, of all of them. I felt like, in high school, it was cooler to like John. People would be like, “Oh, Paul’s so singsong-y,” and I remember being like, “Shit. I’m kind of that guy.” But now I’m like, “Hell yeah, I’m that guy! That dude writes great songs that people love! I want to be like that!”L4LM: Here’s another weird question. Historically speaking, if you could choose to play any instrument from any time, as in the nicest Stradivarius violin, or Moses’ shofar, or Little Walter’s harmonica, etc, what would it be?TK: I would definitely love to play Hendrix’s Strat, because it would be great to know what it felt like, and then to do the math from there of like, wow, that’s how that guy did this shit on this axe. In general, I feel that with guitar players. I always wonder how hard is it to play their instrument? What’s their set up like? What gauge strings are they using? I could probably find that information out about Hendrix, but still, I would love to feel it … I’ve been really surprised at times. I’ve played certain peoples’ guitars that sound like butter, and then I pick it up and the action’s super high, and I’m struggling to play it and I’m like, “Wow, that’s crazy that this person is pulling this off with that feel!” I would definitely want to play Hendrix’s guitar.Specifically, one of his Strats, which he was famous for. I know he had other guitars, but I want to play his Strat, because the St rat is tighter, at least for me. I haven’t totally figured out the perfect feel that I want for my Strat. I have an amazing guitar tech in Michigan who I always bring my stuff to, and I go back there pretty regularly. I love where he has it set up, but I still wonder, “Man, is there something that I don’t understand?” Maybe Hendrix’s guitar contains the answer!L4LM: When did you start playing guitar, after playing drums for so long?TK: Well, it’s funny. I started playing drums when I was 12. I was in the 6th grade. I was either 11 or 12. I started playing guitar when I was 13 or 14, so it wasn’t that long after it. I just really went in on drums. I really practiced and learned how to read, and would work on my technique, and did hours every day on it for a while. I got really into it, and then I started wanting to sing, so I just felt like, “I’m going to play guitar.” I messed around with it. My dad got me a $20.00 guitar that was acoustic. It took me a while to even figure out how to apply enough pressure to fret the note. I remember just totally sucking at it. Wow, it was really hard, and it’s still hard. Guitar is a hard instrument, and apparently there’s a quote of Prince say something like, “Guitar is hard,” so okay, then it’s not just me. Guitar actually is hard.I was mostly just teaching myself for probably two years, then I started to play in a band, and sing, and I was playing drums and I was singing in the band. That was my first gig. Not real gig, but you know, with my little friends at the time. I was the singer in the band and I was playing drums, but I started feeling like I should play guitar because I’m singing and there’s more that I can do with that. I started taking lessons. It was harder for me to understand, for some reason, than drums. Drums were so natural for me, and guitar was, and still is, much more of something that I have to wrangle with, but I’m more compelled to wrangle with it than I am drums now, for some reason. I want to, and need to play the damn guitar, and I want to get better at it all the time.L4LM: Just out of curiosity, what was the name of your high school band?TK: Oh my gosh. This might explode the internet. No, I’m joking. The first one had several names and I can’t even remember what we stuck with (haha). There was a guy named John Byrnes, who is a great guitar player, and we called it The John Byrnes Band for a while, because he was just slamming on guitar. Then we changed the name, and another band in high school named themselves just John Byrnes, which was really weird. It was quite a high school prank, you know. The real first band that I was in, my high school band, was called Lovango.It was named after an island in the Caribbean that I’d heard about. We wanted to call it Perpetual Groove, and we printed up posters, and then we found out there was a band called Perpetual Groove.L4LM: Hysterical!TK: I remember being at the lunch table with all these posters for a show at the dance. We played at a couple dances, man. That was the bomb! Oh, my God. Playing at a high school dance with your band. We were it. It was crazy. It was so cool, man. Mad respect! That was when I really got their respect!L4LM: Being in a band must’ve earned you some points in high school. When did you introduce singing to your stage presence? Did you ever sing in a choir or anything like that?TK: Yeah, I did, actually. This is the funny thing. My whole life, I was always doing multiple things, so I guess it’s a combination of whatever natural musical aptitude I have meets being really distracted, or something. I was in the wind ensemble on percussion. I was in the jazz band on drum set. I was in the male vocal ensemble. We had a male vocal ensemble at my high school called The Kinsmen, and I was in that as a tenor, singing. I was also a tenor in the choir, and then I was just a rock singer in my band, playing guitar.Music wasn’t particularly cool in my town. Sports and lacrosse were cool in my town. Still, I had an amazing public school music education. Truly world class, now that I think about it. Mr. Von Schenkhof and Mr. Knudsen, and Mrs. Baskin were really serious, and very much influenced me. I was definitely singing in high school and singing in my band.In college, I went for drums to the University of Michigan, because that was what I could audition on, and was the most technically proficient on. There wasn’t a program at Michigan for just writing your own guitar songs, or anything. You couldn’t go to school for Jason Mraz. You couldn’t do that. That would’ve been like a Berkeley thing, which I didn’t know, really.Anyway, I went to school for that in college, for drums, and I started singing and playing the guitar in a band almost immediately, because that was kind of what I did. I would do that. Out of that came this group My Dear Disco, and I was just singing backgrounds and stuff because we had this phenomenal vocalist, Michelle Chamuel, who went on to get 2nd place on The Voice Season 4.I was singing my stuff and I really wanted to do my own project, and I wasn’t really happy in My Dear Disco at that point, so eventually I quit the band. Before I quit the band I was having vocal problems. I was losing my falsetto. I have this high falsetto, and it was going away. I was hoarse and I couldn’t hit those notes because we were gigging a lot as My Dear Disco. I’m singing a lot and I’m losing my voice, so I end up going to a speech therapist, and they tell me it’s going to be $250.00 for a half-hour session, or something, so I was like, “Well forget it, I can’t do that,” so they say, “Go try to find a voice teacher, okay?” I email a buddy of mine in the vocal program at U of M, and ask if he has a voice teacher he would recommend. And he says, “Yes. George Shirley. He’s amazing.”I emailed George Shirley, and he just said, “Come on in.” I take a lesson with him, and he’s told me, “You don’t speak correctly. You’re a tenor and you’re speaking down here, but you really need to be speaking up here. That’s why you’re losing your voice.” That guy really did change my life, and his lessons were $50.00 an hour, just to give you an idea of how much cooler it was to go study with George Shirley.George Shirley was the first African American tenor to perform a leading role at the Metropolitan Opera. President Obama awarded him the National Medal of Arts in 2015 for his contribution to American music. He is a legendary, influential figure in opera, which I didn’t realize at the time, but I learned that while working with him. With a National Medal of Arts under his belt, you’d think he’d probably be able to charge more than $50.00 an hour, but he just loved teaching.L4LM: That’s incredible! What a miraculous thing for you to experience. TK: Yeah, I just want to shout him out, because I studied with George for about a year and took it seriously and practiced, and that’s when I really started to understand where my voice even was. The voice is this elusive thing. You can’t really tell where it even is in your body, and there’s all this physical tension we have around it, and we use it to communicate all day, but then we also use it as an instrument when we sing. There’s a lot to be learned from a voice teacher. I recommend to anybody who wants to sing, take a voice lesson. It’s really sweet.He was a huge influence on me, and I’m still getting my voice together. It’s something that takes a lifetime, but that was a turning point for me. When I listen to recordings of myself in my early 20s, it sounds like I have a chunk of steak wrapped around my throat, like somebody is strangling me with a steak. It’s so tense and funny sounding to me.L4LM: That’s wild. I didn’t know any of that. You basically had to relearn how to sing in your early 20s?TK: Yeah, kind of. It was kind of easier than it sounds, because it was so much easier to sing once I was doing the stuff he was saying. It was like, “Oh my gosh! This is how it’s supposed to happen.” It’s just effortless, you know? It starts to come out and you start to have control, and in a way it was easy. I had to put time into it, and I definitely put a lot of time and work into it. But once you get over certain humps you feel like, “Wow, this is easy.” Whatever I was doing before was forced and straining, and now I’m not doing that, so, it was cool.L4LM: Awesome. I’ve got another question before we cut the time on this conversation. Have you been digging any new music recently that you want to pass on to fans of yours? Any new bands or artists that you’re into?TK: Absolutely. I’ve been listening to the new Dawes album. My friend Lee, who plays Wurlitzer on Heartbreak Hits, is the new keyboard player in Dawes and his stamp on their new record is so palpable. They were already one of my favorite bands, and now this guy who’s playing I love, and who I love as a person, is in the band, and it’s so great. The song “Roll With the Punches” is an amazing song. I wish I wrote it, on a lyrical level. The concept and everything is great, but then Lee’s tone on the keys is incredible. Any tone heads, check out “Roll With The Punches.” You’d think it’s a guitar, but it’s actually a distorted Clavinet with some kind of thing on it. I’ve never heard a sound quite like it, so that’s a really cool one.I’ve been listening a lot to Aaron Lee Tasjan. He is one of my favorite songwriters. He lives in East Nashville, and he’s got a new album out called “Silver Tears” that I love. He’s one of my favorite artists. Lyrically I feel a kindred spirit with him, but he’s always pushing the envelope and it’s so exciting to hear. I’ve also been listening a ton to Jason Isbell’s album “Something More than Free,” and also “Southeastern.” And then there’s “The Convincer” by Nick Lowe, which has been a big influence on me in the last year. Also check out “Glass Houses” by Billy Joel. That’s a very underrated album in my opinion. “Sleeping with the Television On” is an incredible song. I could go on forever.Last but not least, check out “Lakes of Pontchartrain.” It’s a song off of a Paul Brady album. The album is called Welcome Here Kind Stranger. I have yet to listen to the song without crying. It’s so amazing. If you need to get in touch with some shit emotionally, please listen to that song. It’s Irish. It’s a traditional song, and Paul Brady’s version is amazing.These are very song writer-y things I just said. But funk fans will be able to appreciate the depth of the music, you know?We definitely know… It’s interesting to see the career of Theo Katzman unfold into a multi-instrumentalist who writes original songs for the love of writing songs. Now, with hundreds of thousands of *new* eyeballs on the Vulfpeck drummer/guitarist, Theo’s music has the opportunity to spread to fans otherwise unaware of his solo stuff. We’re grateful that we got this chance to talk personally with Theo about his music, his inspiration, and his dreams moving forward. As he expressed, it’s about doing your thing and staying weird. We can definitely get behind that message!
Exhibit showcases the long reach of the influential art movement as it celebrates centennial Course goes beyond cult status to focus on life, times, talent of Mexican painter GAZETTE: So now the challenge seems to be: How do you get her work out there?DELORIA: My naïve sense when I was first talking to the Smithsonian was: “We will have an exhibit. We’ll have a catalog and recruit the smartest art historians.” And they said, “A single-person show — your nutty great-aunt’s box from the basement — is a hard pitch. You have to force us to engage with this. You have to write a book that forces us to say, ‘This art is important and worthy.’”“The Hearts of Our People” exhibition in Minneapolis is a great start. It’s a fantastic and beautiful show, brilliantly curated by Jill Ahlberg Yohe and Teri Greeves, and it features amazing works by Native women across time, place, media. I could not be more honored to have Mary Sully’s work included there. Indeed, when I attended the opening and saw the pieces on the wall at a major institution in a pathbreaking show, it was quite emotional. My wife and I were a bit teary-eyed, especially as we stood to the side and watched viewers engage the art. I couldn’t help but think of my great-aunt’s last years. She had mostly given up making art. The personality prints had been displayed maybe three times, at Indian schools, and that was it. The pieces were stuffed in a gray box, and I have to think that she probably wondered what would become of them, and that her assessment was probably not optimistic. And now, here it is, reanimated, able to speak to viewers in ways that she could only dream about back in the 1930s. I am humbled to think that I could play a small role in bringing that about.And now there’s more work to be done. The pieces need conservation work. Perhaps there’s a print show in the future, and maybe more interest from other museums and curators. I hope so. I’d like to think that there’s a kind of synchronicity in the universe that, at that very moment that this book was in production and the work for “Hearts of Our People” was wrapping up, the Guggenheim Museum’s Hilma af Klint show was wowing New York City and the art world. The two artists aren’t the same, but they share a lot of common elements: women artists with claims on aesthetic developments of modernism; archives that had been hidden for decades only to reemerge; beautiful and stunning uses of geometry and color. So I’m hoping that there’s also a future for Mary Sully’s work. As I said, it is the best project I’m likely to have in my career, and I think it’s far from over. After offbeat career track, Philip Deloria arrives as Harvard’s first tenured professor in the field Frida the artist before Frida the icon Harvard: America’s Bauhaus home The Daily Gazette Sign up for daily emails to get the latest Harvard news. Musician to filmmaker to Native American historian Related Philip Deloria’s family had never taken his eccentric great-aunt Mary Sully’s art seriously. He remembered thinking, back when he was a kid, that her pencil drawings were “elaborate doodles,” judging them “cool, but weird.” Deloria first unpacked them with his mom in the 1970s, and though he carried three favorites with him as he moved along in his life, the full set of drawings were not given another look until two decades later.That’s when the professor of history discovered Sully (given name Susan Deloria) was an artist of two worlds. On one side of her family she was descended from American portrait painter Thomas Sully (“The Passage of the Delaware” and Andrew Jackson’s portrait on the $20 bill) and on the other, members of the Dakota Sioux tribe.In his new book, “Becoming Mary Sully: Toward an American Indian Abstract,” Deloria couples her personal story — a life battling anxiety and possibly synesthesia, as well as her complicated relationship with her sister, the anthropologist Ella Deloria — with an examination of her art, which defied categorization in the early 20th century. Core to her collection are 134 “personality prints,” three-panel pieces inspired, in many cases, by artists and celebrities including Babe Ruth, Gertrude Stein, and Amelia Earhart. Three of Sully’s works appear in “Hearts of Our People: Native Women Artists,” which recently opened at Minneapolis Institute of Art. Deloria talked to the Gazette about Sully’s modernist mind, his family’s past, and how he hopes to elevate his great-aunt’s work.,Q&APhilip DeloriaGAZETTE: How did you come to know your great-aunt’s work? DELORIA: The first time we looked at the personality prints was in the ’70s. I remember my mom and I opening this box and being mystified by them and thinking, “Well, they are kind of cool … but a little weird.” And this is where the sense that these are just elaborate doodles kind of came from. We didn’t really take her seriously as an artist because no one really had taken her seriously as an artist, in the family or elsewhere. That was a beginning point. There were three I really liked that I carried around with me for a while.GAZETTE: Which ones?DELORIA: All three Indian ones: “Indian Church,” “Indian History,” and “Bishop Hare.” So I was reading and extracting her Indian-ness out of the collection from the beginning. And then in 2005‒06 after my dad passed, we pulled them out again and that’s when all of a sudden they took on a new set of meanings to me. In the ’70s they were mystifying, and we couldn’t make sense of how they worked; when we pulled them out in the 2000s and you could Google people, they took on deeper meaning much more rapidly. The images were referencing events in the lives of these individuals or widely understood elements of their character, albeit in quite abstract ways. “This is truly modern art, modern design, with its cross-racial themes, its fascination with celebrity and popular culture. There were moments when I thought, ‘Andy Warhol. She was here first.’”,GAZETTE: Were you surprised at her interest in celebrity? You were drawn to the ones that were about Native American life, then you realize she was also into Babe Ruth.DELORIA: Yes, there were a bunch of light-bulb moments. One was: Wait a minute. She doesn’t seem to care about Indian subjects as she “should.” She cares about film stars and baseball stars and people on the radio. There was a big light bulb around that — how does she come up with this archive of people she wants to represent? A second was that the more you know about the people, the deeper the image becomes. This is consistent. It was easy to think superficially about the image, but then when you started looking into who these people and personalities were, you started to understand new things about the triptychs. My prototypical example is Malcolm Campbell, a race car driver. There is a curious blue bird and some oddly shaped circles in the image, but you could never understand why until you understood Campbell, knew that he set speed records in a car named “The Bluebird,” and wore these circular goggles. Or Lawrence Tibbett, an opera singer. It took me a long time to figure his image out because it centers on an optical illusion that makes it look like a kind of bizarre humanoid trilobite. But as I dug into his background and discovered that he had a cottage in Temescal Canyon and would stand on the amphitheater stage and sing, suddenly I realized: “This is an abstract picture of a canyon!” The image took on new life and richness. The more I had those experiences, the more I became convinced that these works were important.Shortly after we opened up the box, I did a paper at a Smithsonian conference on American and Native American art. I wasn’t quite sure what to do, so I shot some photos of the images and I did a 20-minute piece and said, “Aren’t these interesting?” and I thought, “Well, that’s that.” But people who were doing art history came up and said, “You should pursue this some more.” It turns out that I wasn’t the only one who thought they were interesting.,GAZETTE: So you had art experts telling you that, but you’re not an art historian. So how did you navigate not being an expert in this area in pursuing this book? Did you collaborate or did you do a lot of research?DELORIA: I tried to do a lot of research to understand what art historians were thinking about modernism, what Native American art historians were thinking about in the period of the 1920s and ’30s. I would never claim to be an art historian, but, as an American studies person, the most influential person in my training was Jules Prown, a really key figure in material culture studies. He wrote two important essays in the ’70s that were explicitly and usefully methodological and transformative for me. His method was drawn from art history — super-close readings, subjectively engaged experiences — which he translated into material culture studies. So I reverse-engineered that set of methodological approaches back into art history and let it see where it would take me.I also did a lot of consulting. It’s a very collaborative piece of scholarship. I was doing academic administration at the time I was developing the project so I had very little writing or research time. I would do it as a talk. I’d listen and speak to audiences and gather information and think some more, and then reiterate. It took me a little while to realize the extent to which it was a community project — that giving a lot of talks was a kind of method in and of itself. There were some people I just didn’t get their names. There’s a synesthesia argument in the book, for example, and there was a young man at the University of Nebraska, Lincoln, who came up after a talk and said, “I’m synesthetic, and this is exactly how I see the world. You should think about whether she had synesthesia.”People would press me about how I was doing the readings. I did this talk in Taiwan, for example, and my colleagues asked, “Why do you think reading the three parts of the triptych from top to bottom is important? Maybe you should read from bottom to top.” So I had six to eight years of really rich, robust conversations with people. And I had five or six great friends read the final drafts — some are art people; some are experts in modernism; some in Native arts — so it’s a very collective book.,GAZETTE: So let’s move to the personal because this is your family’s story, and Mary is so heartbreaking in her eccentricities. She wrote that she felt she had psychological issues. How did you come away thinking about her?DELORIA: She could be a hard person. It’s pretty clear from just the family aura around her. My dad had not much sympathy for her sometimes. My mom thought her quite odd. She had an interesting encounter with mental health and mental hygiene professionals in the 1920s, right before she began the project. I wanted to maintain that sense people in my family had of her, but the art is so stunning that there has also to be a redemptive moment. You think of the discipline needed to sit and draw for over a decade: 134 images times three. It’s a lot of drawing. There’s a tight focus, maybe an obsessiveness. There is indeed something about her own mental health that sits in relation to her as an artist. You can find that in lots of artists’ biographies, of course. Artists are not like the rest of us! So I wanted to think about it in somewhat familial terms but also offer conceptual road maps about how the art works and how we might make sense of it. It’s interpretive and analytical when it comes to the images.I must have been in the same space as her when I was a baby, but I didn’t have real memories of her the way I did of her sister, Ella. I didn’t have a close personal investment. So I was able to keep a certain distance, but it’s a box of art that is also a box of stories. In some ways pulling back out the Alfred Sully story might have been among the most wrenching things. This is a family that has a huge, deep history of making significant family contributions for Native American people, but it’s also a history that has a colonizing side. And in that genealogy, here’s Alfred Sully, who was not only a painter and the son of a painter, but also an Indian-killing military officer. There is no other way to talk about him.,There was an incredible moment of excitement when we pulled together the three paintings he had sent home to his father, Thomas Sully, and were able to reunite them on a single page. It was an amazing reconstruction, but you also have to recognize who he was and what he did. In light of the rest of the family story, that genealogy sits in such tension. Surfacing it and making Sully central to the occasion and thinking about the way she pragmatically embraced his name — that was a bit of a tough moment.GAZETTE: Your ideas about her art evolve, from first thinking she’s a doodler, to appreciating her real contributions to early 20th-century modern Native American art. Can you talk about this evolution?DELORIA: I had a whole series of interpretive explosions in my head the whole way through, both in terms of the individual images and how the whole collection fit together and fit into the moment. I had always been aware of a standard historical trajectory of Native arts, which is often narrated as beginning in the 1920s and ’30s. I really enjoyed engaging that tradition and appreciating the quality of these Native arts, but also understanding the constraints placed upon it. The book has to account for the ways that her work was so radically outside that Native arts tradition.,Another important context centered on what was happening in the American art world when she was producing the personality prints, and how radically different her work was from that art as well. She was not of the moment, although she could have been — but her vision really seems to have emerged out of the aesthetics of the teens and the ’20s. She’s enacting a vision of modernist art that is in some ways looking back over a collective Americanist shoulder, and she’s elaborating certain themes that were a bit of the past moment, but she’s also integrating these things in ways that are forward-looking: This is truly modern art, modern design, with its cross-racial themes, its fascination with celebrity and popular culture. There were moments when I thought, “Andy Warhol. She was here first.”As I worked on the book, I learned to read more and more deeply, and started to see the aesthetic cross from image to image. I found myself arguing that the bottom panels really reflected a complicated sense of indigeneity. Here’s a beadwork pattern. Oh, and look, these Venetian blind patterns are drawn from older Great Plains women’s arts traditions — mostly. It’s not a traditional traditionalism, and it’s not an unfettered cosmopolitanism.It’s an interesting space, and I went from thinking, “She’s my oddball great-aunt” to thinking, “She’s really a genius.” As complicated a person as she was, I found myself respecting and appreciating her more and more. It had always seemed to everybody that Ella was taking care of her and by the end, I came to realize that this was not really the case. These two sisters were a bit codependent, but they were also co-intellectuals operating in these overlapping realms. These realizations were so fun and so satisfying. I suspect that I’ll never have a project this good again. “I went from thinking, ‘She’s my oddball great-aunt’ to thinking, ‘She’s really a genius.’”
New research from Harvard’s Growth Lab finds a direct link between a country’s incoming business travel and the growth of new and existing industries.The findings, published in the journal Nature Human Behaviour, support a Growth Lab hypothesis that moving knowhow is critical to economic growth, and business travel plays a key part in that process. The research also raises new concerns about the economic implications of the international travel restrictions imposed to combat COVID-19.Researchers Michele Coscia and Frank Neffke, working with Growth Lab Director Ricardo Hausmann, used anonymous transaction insights provided by Mastercard to map the flow of global business travel. Through this network, they created a Knowhow Index which ranks countries on incoming and outgoing knowhow. Germany, Canada, the U.S., U.K., and Korea are the top sources of knowhow flows, while Austria, Ireland, Switzerland, Denmark, and Belgium received the most knowhow.“We’ve been puzzled by the fact that business travel has been growing faster than world GDP, despite the widespread adoption of alternatives like Skype, FaceTime, email, etc.,” said Hausmann, Rafik Hariri Professor of the Practice of International Political Economy at Harvard Kennedy School. “We posited that maybe there is a difference between moving information and moving brains. We obviously never imagined a complete shutdown of business travel, but the paper allows us to delve into the consequences.”The team created an interactive visualization that shows the effects of the disappearance of business travelers originating from a specific country. For example, if German businesspeople stopped traveling, the research estimates that Austria, South Africa, Switzerland, Nigeria, Czechia, and Turkey would be most affected, and global GDP would decrease by 4.8 percent.“According to our study, the world is benefiting enormously by mobilizing the knowhow in brains through business travel. A permanent shutdown of this channel would probably imply a double-digit loss in global GDP,” said Hausmann.The research also suggests that business travel represents another development divide. “Obstacles to business travel, such as cumbersome visa regimes and long connections, constrain access to knowhow and limit growth opportunities, especially in developing countries,” said Frank Neffke, research director at the Growth Lab.This research is part of a collaboration between the Mastercard Center for Inclusive Growth and the Growth Lab at the Center for International Development to understand the flow and accumulation of business ‘knowhow,’ a key driver for inclusive economic growth.
15SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr Affluent members represent an attractive demographic for credit unions—not to mention the large national players, says Doug Leighton, head of community accounts at CUES Supplier member Visa Inc., Foster City, Calif. He stresses that national players are mailing or emailing credit card offers to your affluent members all the time.If your credit union wants to market its credit card products to affluent members, Visa suggests:Partnering with your credit bureau; many have services to assist in building out a profile segmentation to market and can underwrite affluent card-likely members.Developing cross-sell campaigns for employees to encourage affluent card sales.Making an effort for employees to obtain and use the card products. continue reading »