Based out of San Francisco, Claude Von Stroke has been putting out banging house music through his own Dirtybird Records for the past several years. What started as a group of friends throwing giant barbecues in Golden Gate Park, has become one of the premiere labels for deep and progressive house music, not just from Von Stroke, but an army of up and coming producers like Justin Martin and Eats Everything. The boys produce a unique blend of deep bass and catchy hooks with a classic vibe, and it shows when you see one of Dirtybird’s players spin.While Wednesdays sees Marquee taken over by mainstream EDM acts like David Guetta and Chuckie, Friday nights are the time to get down and dirty. After an opening set by Sleepy and Boo which set the vibe for the rest of the night, Mr. Dirtybird himself took the decks to a great reaction, instantly bringing that signature style and sound to the big room. I think what sets the Dirtybird style apart from the other modern pure house music, is those deep bass lines. They vibrate and shake the room, they are lower and heavier than what’s found in your average house music. It sometimes feels like something out of a minimalist dubstep track. In fact, Von Stroke released an album entitled ‘Dirtybird Bass’ back in 2011, highlighting this newer style, and it really has worked fantastically in modernizing the Dirtybird Style while still maintaing that classic house vibe.As always, Marquee is leading the pack in the New York City dance music scene. It’s got that LIV Miami vibe, where the ravers and dance fans can have the downstairs to party, but the decor and production value is still bottle-service club quality. It really makes for a great place to dance until the early hours of the morning. And that’s exactly what it seemed like was going on Friday night – people stayed and danced until the lights turned on. Just how it should be.
An awesome throwback live Phish show will be released on November 12, 2013 featuring the band at Niagara Falls on December 7th, 1995. The year 1995 was a “universally recognized highpoint” for Phish and their show on the USA/Canada border showcased their bluegrass and barbershop talents fused with heavy improvisation to match the awesome might of the world renowned Niagara Falls.The release will include the full concert on a 3-disc set as well as a digital release for everyone that would rather have it on mp3. The CD set is available now for pre-order on Phish Dry Goods. Everyone who pre-orders will also receive Limited Edition David Welker Niagara Falls screen printed mini-print created for the release (while supplies last).If you can’t wait for the pre-order, you can download the awesome Possum from that night and stream the Slave to the Traffic Light below!Niagara Falls Setlist: CD 1/31. The Old Home Place2. The Curtain >3. AC/DC Bag >4. Demand >5. Rift6. Slave To The Traffic Light7. Guyute8. Bouncing Around The Room >9. Possum10. Hello My BabyCD 2/31. Audience Chess Move2. Split Open And Melt3. Strange Design >4. Taste >5. Reba6. JuliusCD 3/3 1. Sleeping Monkey >2. Sparkle >3. Mike’s Song >4. Weekapaug Groove5. Amazing GraceEncore:6. Uncle Pen Filler – from Soundcheck:7. Poor Heart A Blurb About The Show:Fall tour and especially the month of December 1995 was a universally recognized high point for Phish. The band’s songbook had grown to include five studio albums plus A Live One, which had just been released in June. Page and Trey had both expanded their instrumentation that year with Trey adding a Leslie rotating speaker for his guitar as well as a small auxilary percussion kit used mostly during extended jams to deepen the rhythms and open up musical space. The lighting rig was expanded to fill growing venues as Phish became an arena band. The ongoing band vs. audience chess match was underway, bringing a certain intimacy to the shows. It was a time of growth and of boundless onstage experimentation. It was with this background that the band found themselves at Niagara Falls – straddling the border between the United States and Canada beside the fastest flowing, highest, most powerful waterfall in North America.Niagara Falls has a long history of inspiring natives, travelers, adventurers, artists and romantics. By the beginning of the 20th Century, a series of daredevils sought to test the falls with varying degrees of success by riding over them in barrels or passing over the crest of the falls on tightropes. Toward the end of the 20th Century, on December 7, 1995, Phish played their one and only Niagara Falls show to-date at the Niagara Falls Convention Center. Niagara Falls was the ninth-to-last show on a 54-show tour that had already seen many high points – a handful of which have already been released as live albums including the Lincoln, Rosemont, Orlando, Heshey and Binghamton shows. The Niagara Falls venue was a multi-purpose gymnasium-style arena with a capacity of about 9,000. Tickets were general admission and cost $20.00. It was freezing cold outside and the mist of the falls turned to ice when it hit the ground, but inside the venue the band turned up the heat.The December 7, 1995 show balanced Phish’s bluegrass and barbershop quartet talents with a healthy dose of expansive jamming for which this era of Phish is renowned. The band opened and closed the show with bluegrass songs and it was the only show to-date where both sets ended with an A capella song. The show featured standout playing with high-wire improv spread throughout both sets that mirrored the breadth and power of the nearby falls. Set I highlights included a hot combination of The Curtain > AC/DC Bag > Demand > Rift, a blazing first set Slave To The Traffic Light and a huge Possum. Among Set II highpoints were a legendary over-the-falls freakout of a Split Open And Melt opener with a nod to Inna Gadda Da Vida, a fast and furious Reba with a soaring jam and an unusual ending that led to a deep swinging Julius with a slight lyrical twist. The set ended with a bone-crushing Mike’s Song > Weekapaug Groove – one of just three times this combination was played. The extended ending of Mike’s Song found Trey on his percussion setup as the music cascaded into Weekapaug Groove. A dynamic jam graced the end of Weekapaug Groove, which ended with a digital delay loop section that almost launched Maze before showcasing drums and keys in a final improvisation as the band made their way upstage for a barbershop finale. Amazing Grace payed tribute to the majesty of the place and time and helped set up the Uncle Pen encore. Niagara Falls was a daredevil excursion through the heights of December 1995 – a jam packed show that never let up, with a flow to match its fury as it churned past the escarpment.Niagara Falls was recorded by Paul Languedoc to 2-track DAT and mastered by Fred Kevorkian. Poor Heart (the slow version) from the soundcheck was included as filler at the end of CD 3. Niagara Falls will be available as a 3-CD set at stores and for download at livephish.com on November 12, 2013.
For the first time in nearly ten years, the Red Hot Chili Peppers are playing a show in New York. RHCP drummer Chad Smith joined WFAN morning hosts Boomer Esaison and Craig Carton to announce that the band will be headlining WFAN’s Big Hello To Brooklyn, the final installation in the three night event called “Kickoff In Brooklyn,” as hosted by the Barclays Center. The event, which includes a championship boxing match on January 30, a Nets-Thunder basketball game on the 31st, and the Big Hello To Brooklyn concert on February 1st, is scheduled as an exciting lead-in to this year’s Superbowl XLVII, which will be held at the MetLife Stadium in Rutherford, NJ.In addition to the headlining Red Hot Chili Peppers, New Politics, MS MR, J Roddy Walston & the Business, and Basic Vacation will be performing at the Big Hello to Brooklyn as well. Tickets for the event go on sale this Friday, December 20th at 10 AM (ET), so don’t miss out!The Red Hot Chili Peppers have recently taken to the festival circuit, with headlining appearances at Coachella and Outside Lands in 2013. The band is also slated to perform at a number of festivals in 2014, including Lollapalooza Argentina and Lollapalooza Chile.RHCP always puts on a great show, and Barclays Center is an excellent venue for live music. So what are you waiting for?!-David Melamed (@DMelamz)
The Phish drummer will also play the Skinny Pancake in Burlington on June 11, along with Masefied, Bolles and Perkins, the same lineup he had for Nectar’s 40th Anniversary party. Get tickets here.[Via JamBands.com] Jon Fishman‘s comedic sideproject, Touchpants, has hit the studio. According to a post on their Facebook page, they’re currently tracking with producer Glen Robinson and Phish engineer Ben Collette at The Barn. In case you weren’t aware… Touchpants just spent four days tracking in The Barn with the badass Glen Robison and Ben…Posted by Touchpants on Tuesday, May 5, 2015
You can check out the setlist with Bob Weir, below:Setlist: Billy & The Kids w/ Bob Weir at Peach Music Festival, Montage Mountain, PA – 8/15/15Set: Feel Like A Stranger, New Minglewood Blues, Cassidy, Estimated Prophet, The Other One, Stella Blue, Help On The Way > Slipknot! > Sugar MagnoliaEncore: Brokedown Palace[Via Philzone] While “Fare Thee Well” was the official celebration of the Grateful Dead’s 50th anniversary, the music never stops, as they say. With the recent Dead & Company announcement featuring three of the “Core Four” (minus Phil Lesh), it seems the guys are eager to continue performing Grateful Dead music as long as people are eager to listen.The Funniest Things Overheard At The Grateful Dead’s Final Shows in ChicagoTonight, at the Peach Music Festival, two founding Grateful Dead members shared the stage as Bob Weir sat in for an entire set with Bill Kreutzmann’s current solo outfit, Billy & The Kids. The group features keyboardist Aron Magner (Disco Biscuits), bassist Reed Mathis (Tea Leaf Green), and guitarist Tom Hamilton (American Babies/Joe Russo’s Almost Dead). They most recently performed at Gathering of the Vibes, playing a full set of songs not performed at “Fare Thee Well”.Billy & The Kids Only Played Grateful Dead Songs That Weren’t At Fare Thee WellBilly & The Kids gave two sets to the Peach Fest crowd, including a second set with Bob Weir.
Back in 2013, the funk titans Lettuce hit Stage 48 in New York, NY for one of their biggest shows to date produced by Live For Live Music. The band took their funky sound to the next level, performing an entire set of James Brown classics like “SuperBad”, “I Feel Good”, “Papa’s Got A Brand New Bag” and so many more.As we gear up for Lettuce’s exciting two-night run at the PlayStation Theater in NYC, we thought we’d take a look back at this exceptionally exciting performance. Check it out below:Lettuce will perform in NYC on November 13th, with Break Science, and November 14th, with Marco Benevento. Tickets and more information about that show can be found here.Setlist: Lettuce at Stage 48, New York, NY – 9/18/13Set: Hot Pants Road, In The Middle, What Do I Have To Do, Do Your Thing, SuperBad, Mother Popcorn, Papas Got A Brand New Bag, I Feel Good, I Got The Feelin, Give It Up Or Turn It Loose, The Big Payback, Get Up Get Into It Get Involved, Get On The Good Foot, Soul Power, There Was A Time, I Got The Feeling[Video courtesy of LazyLightning55a, Audio from Scott Bernstein]
In nearly every country in the world, there is a shortage of kidneys for transplantation. In the United States, around 73,000 people are on waiting lists to receive a kidney. Yet 4,000 die every year before the lifesaving organ is available.Worldwide, about 66,000 kidney transplants are performed annually. By far, that’s too slow a rate to help an estimated 1 million people who have end-stage renal disease.Is a global market for organ sales the answer? Can a for-profit system exist, save lives, and still not exploit the poor? A series of experts — medical doctors, international health experts, and ethicists — looked at the issue on Feb. 8, in the second of four Harvard conferences this academic year on current controversies in global health.“It’s an extremely sensitive and troubling topic,” said symposium Chairman Daniel E. Wikler, the Mary B. Saltonstall Professor of Population Ethics, who is on the steering committee of Harvard’s Program in Ethics and Health, a conference co-sponsor. (The other was the Harvard School of Public Health.) “We have here the elements of tragedy.”On one side, he said, are patients for whom “life hangs in the balance.” On the other, there are the desperately poor whose organs now have monetary value, and who are vulnerable to exploitation in a growing industry known as “transplant tourism.”Kidney transplantation was the focus of the three-hour conference. In the case of kidneys, said Wikler, even the poorest person in the Philippines or India has “a couple of gemstones — diamonds — on each hip.”Even in the face of desperate illness, there are moral standards to protect, said the one-time chief ethicist for the World Health Organization (WHO). But “with life hanging in the balance,” said Wikler of organ markets, “we need very convincing moral reasons to get in the way.”Medical systems across the world are far from meeting the needs of kidney-transplant candidates, said Luc Noël, who tracks transplantation issues for WHO in Geneva. But there is also an urgent need for global resolve, he said. In the past decade, WHO and other groups have called for international standards that will protect the poor, monitor transplantation quality, keep the process transparent, and ban commercialization (now driven largely by the Internet).In the present global hodgepodge of transplant tourism, thousands of patients — from the United States, Israel, Saudi Arabia, and other prosperous nations — get the kidneys they need, he said. But their donors (some of them exploited by organized crime) frequently get the short and sharp end of the stick.Noël cited one survey of kidney donors in Pakistan’s for-profit market, where two-thirds of the operations are performed on foreigners. The survey showed that almost 70 percent of donors were slaves or bonded laborers; 90 percent were illiterate; 88 percent had no improvement in economic status from the donation; and 98 percent reported a subsequent decline in health, including chronic pain from large incisions.WHO and its decision-making body, the World Health Assembly, have taken stands against commercialized kidney transplantation. Their goal is to establish within a decade a binding international document that protects the poor.Prevention is one way of reducing the need for kidney transplants, acknowledged Noël. But in the meantime, waiting lists could shorten through more cadaver donations and more by living donors (a step he called “a civic gesture”).In the United States alone, said Noël, one additional donated kidney a month to each of 58 donation service areas would create equilibrium — an equal number of waiting patients and available organs — by 2013.Meanwhile, there have been country-by-country improvements, he said. Egypt is debating tighter laws; so is Pakistan. China recently cracked down on medical tourism, reducing the number of operations by one-third between 2006 and 2007. (Practices in China also add another layer of moral complexity: All 8,000 kidneys transplanted there in 2006 came from executed prisoners.)In the Philippines, kidney transplants are officially restricted, with only 10 percent of operations supposed to go to foreigners. But the reality is different. One slum of Manila is known as “Kidneyville” for the high number (3,000) of organ donors living there.Worse, Philippine health officials last December wrote a health policy that would make organ sales open and legal. That would mean sick patients would “descend on Manila [like] predators,” said Harvard Medical School (HMS) professor of surgery Francis L. Delmonico. A transplant surgeon, he’s medical director of the New England Organ Bank in Newton, Mass., and travels worldwide as a member of the ethics committee of The Transplantation Society, a scientific group.Even in a regulated, government-run version of transplant tourism, “unethical realities” lead to exploitation of the poor and the vulnerable, said Delmonico. Waiting lists of sick patients are a concern, he acknowledged — but studies suggest that a profit-based international transplantation market “will destroy altruism” and reduce the number of kidney donations from both live donors and from cadavers.To put waiting lists in perspective, he added, half of all patients on the lists are “medically ineligible” for transplants anyway — too sick for the required surgery.A market-based system for kidneys is “workable and defensible,” argued conference presenter Julio J. Elias, an economist at the State University of New York, Buffalo.Elias is co-author of a widely circulated paper that shows — with a flurry of economics formulas and cost-benefit analyses — that market incentives would increase the supply of organs available for transplanting, and would shorten waiting lists.Still, he added, “The market may work, but some people may feel it’s repugnant.” And the effect of this repugnance on markets was the focus of his talk.This culturally shared form of extreme dislike can sometimes mean certain transactions become illegal, said Elias. Horsemeat is widely illegal to sell, for instance, though it shares the same nutritional properties as the flesh of cows. Liquor used to be illegal, and so was life insurance. “Repugnance,” he said, “is associated with social costs.”But the good news, in economic terms, is that perceptions of repugnance can shift along with other cultural norms, said Elias. If the price of beef goes up, he speculated, maybe the shared disgust at eating horsemeat will disappear — as the disgust at drinking did very soon after Prohibition.Attitudes will change regarding legal transplantation markets for kidneys, he predicted, “when it is shown how efficiently prices will solve this problem.”Two philosophers presenting at the conference disagreed. Nir Eyal, an instructor in social medicine in HMS’s Division of Ethics, argued that “dignitary harm” (an insult and/or injury to the dignity of a person) results from exploiting the economically vulnerable — a harm that unfairly spreads out and compromises every member of the same group.Philosopher Samuel Kerstein, post-doctoral fellow in Harvard’s Program in Ethics and Health, was wary of markets for organs because of Immanuel Kant’s “Formula of Humanity” — in summary, “Act always in a way that expresses respect for the value of humanity.”“To have value as a person is to have incomparable worth,” said Kerstein – so a market for organs that treats the poor as “tools available for the right price” is wrong. Organ transplantation was something Kant had a direct opinion of, though he died in 1804. In 18th-century Europe, the poor were being exploited for their teeth, which were transplanted into the jaws of the willing rich.Today, said Kerstein, “selling organs is wrong in the current context it is likely to occur.” That is — with little respect for human dignity, particularly for the dignity of the poor.But perhaps there are permissible alternatives to buying and selling organs, he said. Opt-out programs for organ donation, for instance, which have increased the number of cadaver donations in Spain, might be a possibility.Or even an “organ draft,” suggested Kerstein, provocatively — a lotterylike system that would require a random set of the healthy to donate organs. “If we’re not willing to do that sort of thing,” he said, “we have to ask ourselves, ‘Why not?’”
Venkatesh Narayanamurti, dean of the Harvard School of Engineering and Applied Sciences (SEAS), who for 10 years has directed the renewal and expansion of the former division and its transition to a School, has announced today (Feb. 15) his intention to step down from his position in September 2008.“Venky’s leadership has had a genuinely transformative impact on engineering and applied sciences at Harvard,” said Harvard President Drew Faust. “He has in many ways been both the architect and the chief engineer of Harvard’s newest School, and his vision, energy, and instinct for collaboration have strengthened our capacity and elevated our sights in a vital academic domain. It’s been a pleasure to work with him, and I join his many admirers in saluting his service to the University.”Narayanamurti, the John A. and Elizabeth S. Armstrong Professor of Engineering and Applied Sciences, originally announced his decision to return to teaching and research in 2005, but agreed to stay on as dean to oversee the SEAS transition and launch of the new School last fall.“It’s been a tremendous privilege to serve at Harvard and in engineering and applied sciences,” said Narayanamurti. “I am particularly grateful for the wonderful support I have received at all levels and I believe SEAS is exceptionally well-positioned for the future. I will watch from the sidelines with great interest as it continues to develop and take its place among the great Schools of Harvard.”“I am, of course, saddened that the day has arrived when Venky has decided to step down as dean of the SEAS. He is a visionary leader who gets the job done. It was his leadership that moved engineering and applied sciences from a division to a School,” Faculty of Arts and Sciences (FAS) Dean Michael D. Smith said. “I will always cherish the memories of my work with Venky during my time as a member of the engineering faculty, and as the dean of FAS. He has been a mentor and valued colleague to so many of us at Harvard. While he is stepping down as dean, I am pleased that we will have the opportunity to continue to work with him as he resumes his full-time teaching and research activities. I will continue to seek his counsel and his wisdom as long as he is willing to give it.”As dean, Narayanamurti guided remarkable gains in the recruitment of junior and senior faculty. The SEAS faculty is now 50 percent larger than when he was named dean in 1998, with faculty productivity and satisfaction fostered through new research funding; mentoring for junior colleagues; and staff support to facilitate grants and contracts, communications, information technology, and development. Sponsored research has grown 60 percent over the 10 years of Narayanamurti’s leadership.Narayanamurti was an early champion of interdisciplinary initiatives and collaboration. In 10 years at Harvard, he has reached out to colleagues in the FAS, Harvard Medical School, Harvard Business School, and the Harvard School of Public Health to establish new partnerships and build new relationships that span traditional academic boundaries. In 2003, he was appointed the first dean of physical sciences at the FAS, a position he held three years while simultaneously serving as dean of the then-Division of Engineering and Applied Sciences.“I am very grateful to Dean Venky for his extraordinary leadership in strengthening engineering and applied sciences at Harvard over the last decade,” said Harvard’s Provost Steven Hyman. “Through his efforts recruiting vital new faculty, expanding interdisciplinary collaboration, and bringing SEAS to its well deserved place as a school at Harvard University, Dean Venky leaves a legacy of inspired leadership which will not be forgotten.”Seeing students at the heart of the SEAS transformation, Narayanamurti has made it a priority to enhance student recruitment and to enrich the curriculum over the past decade. Under his leadership, SEAS faculty have developed creative and innovative programs to attract students, including timely new courses of study in computer science, electrical engineering, and bioengineering at the graduate and undergraduate levels. During his tenure, SEAS also has seen a dramatic increase in the number of applications from graduate students, making SEAS one of the most selective programs in the country.An accomplished scientist and administrative leader who has bridged private industry and academia, Narayanamurti has maintained an active research group in nanoscience and technology throughout his deanship. Prior to coming to Harvard, he served as dean of the College of Engineering at the University of California, Santa Barbara, from 1992 to 1998. For five years before that, he was vice president of research and exploratory technology at Sandia National Laboratories. From 1968 to 1987, he was with AT&T Bell Laboratories, where he served as director of the Solid State Electronics Research Laboratory from 1981 to 1987.Narayanamurti holds bachelor’s and master’s degrees in physics from the University of Delhi, and a Ph.D. in physics from Cornell University. He has served on numerous national and international advisory committees and is a member of the National Academy of Engineering and the Royal Swedish Academy of Engineering Sciences. He is a fellow of the American Academy of Arts and Sciences, the American Physical Society, the American Association for the Advancement of Science, the Institute of Electrical and Electronics Engineers, and the Indian Academy of Sciences.“In just a decade, Dean Venky has brought this center for the applied sciences to a new level of educational relevance and scholarly distinction, and his successor will inherit a vibrant and collaborative group of colleagues who are interacting productively with many other Faculties at Harvard and beyond,” said Jeremy Knowles, Amory Houghton Professor of Chemistry and Biochemistry, Harvard University Distinguished Service Professor, and former dean of the FAS. “Indeed, when in the mid 1990s we solicited Venky’s advice about the leadership of what was then the Division of Engineering and Applied Sciences, it was quickly clear that we wanted more than just his advice: we wanted him. Thus it came to pass that the FAS has benefited enormously from Venky’s insight, his high standards, and his spirit, and we are mightily grateful for all of that.”After stepping down, Narayanamurti will continue to devote himself to teaching, research, and other forms of University service. A faculty advisory committee chaired by Hyman and Smith will be convened soon to begin the search process for a new dean.
The Academic Board of Universidad Alta Direccion (Panama) voted to award a doctoral degree honoris causa to Michael Shinagel, dean of Continuing Education and University Extension, in recognition of his “outstanding job in educating executives all over Central and South America.” Hailed as “a remarkable educator,” Shinagel received his diploma from the Universidad Alta Direccion President Ricardo Greco, at a special awarding ceremony held Aug. 20 in Cambridge, Mass.In 2000, Shinagel was awarded a degree of doctor honoris causa from the International University of Ecuador for his contributions to professional continuing education, and in 2003, he received the degree of doctor honoris causa from the Universidad Argentina de la Empresa in Buenos Aires, awarded in recognition of Shinagel’s long and distinguished career in continuing higher education.
The images on the walls of the intimate gallery at 104 Mt. Auburn St. are hauntingly evocative. In “Black Friar,” a hooded figure stares out of the darkness, his gaze intense and unsettled. An opposing image, “Every Moment Counts,” offers a modern approach to Jesus, as a beloved disciple leans against the body of the Christ-like figure whose eyes are fixed on the heavens.The works comprise a new exhibit titled “Rotimi Fani-Kayode (1955-1989): Photographs,” a selection of photographs by the Nigerian-born artist Fani-Kayode, in partial collaboration with his late partner Alex Hirst.The show was born out of what its curator calls “an ongoing dialogue between Professor Henry Louis Gates Jr. and Autograph ABP,” a London-based organization co-founded by Fani-Kayode in 1988 that promotes photography addressing issues of race, cultural identity, and human rights. The exhibit will be on display at the Neil L. and Angelica Zander Rudenstine Gallery, located in the W.E.B. Du Bois Institute for African and African American Research, through May 15.“When Professor Gates called at the end of last year to discuss the possibility of curating a show for the Rudenstine Gallery’s spring 2009 slot, we were of course delighted by the prospect of this partnership,” said the show’s curator Renée Mussai, archive project manager at Autograph ABP.Often sexually charged, the pictures are also infused with religious, racial, and ethnic themes and reflect the artist’s efforts to understand his own life, his cultural heritage, and his homosexuality, all while living in exile.Fani-Kayode was born in Nigeria in 1955 to a family with strong ties to both politics and the Yoruba religion. Following a military coup in 1966, the artist fled with his family to England. In 1976, he moved to the United States to further his studies. After receiving his undergraduate degree in 1980, he earned a master’s of fine arts from the Pratt Institute in 1983. His career was cut short by a brief, unexpected illness in 1989 when he was just 34.A self-described outsider, much of Fani-Kayode’s work is informed by what Mussai calls “the complexity of experience of his life, and the multiple positions he occupied — as an African in exile, a political black gay man in 1980s London, a struggling young artist on the margins of society, a son estranged from his familial and cultural traditions yearning to get in touch with his roots and ancestral heritage.”The Du Bois Institute’s show, which coincides with the 20th anniversary of the artist’s death, is the first major solo exhibit of Fani-Kayode’s work in the United States. It was developed as a retrospective, said Mussai, incorporating a variety of photos ranging from his early career to those shot during the last years of his life. Mussai hopes the exhibit will not only expose a new audience to Fani-Kayode’s work, but also encourage a broad discourse.“Fani-Kayode’s photographs draw upon a plethora of image references and a multiplicity of sources that defy a linear reading or easy categorization.“I am hoping to be able to take viewers to a place that opens up and encourages a dialogue, a debate: to provide the audience with an intimate glimpse into the complexities Fani-Kayode was dealing with in his work.”The heart of the exhibit revolves around six large-scale color photographs produced at the end of the artist’s career, between 1988 and 1989, as part of two major bodies of work, “Ecstatic Antibodies” and “Bodies of Experience.” The show also includes a series of 10 black-and-white photographs ranging in size, as well as a 10-minute video that features a series of additional images as well as excerpts of the artist’s writings.A gallery talk featuring comments from Gates, Alphonse Fletcher University Professor and director of the W.E.B. Du Bois Institute for African and African American Research; Mark Sealy, director of Autograph ABP; and Mussai will take place in early March.