New Orleans’ The Russ Liquid Test is getting ready to release their latest EP, World Gone Crazy, via GRiZ‘s All Good Records on November 3rd. The trio of Russell Scott, Andrew Block, and Deven Trusclair teamed up with Chicago-based hip-hop MC ProbCause for the first single off the album. “World Gone Crazy” is an electro heater with politically-charged lyrics. In GRiZ’s own words, “Russ’s growth as a musician has been incredible. He’s sounding better than ever! Don’t believe me. Press play :)”Everything You Need To Know About Brooklyn Comes Alive 2017Both The Russ Liquid Test and ProbCause will be in New York this coming weekend for the third annual Brooklyn Comes Alive festival (Sept. 23rd and 24th), which will be held at multiple venues over two days. Check out “World Gone Crazy” below:____________________________________________________________Inspired by the vibrant musical communities of Brooklyn and New Orleans, Brooklyn Comes Alive is set to take place across three venues in Williamsburg, Brooklyn (Brooklyn Bowl, Schimanski, Music Hall of Williamsburg) on September 23rd and 24th. The unique homegrown event puts the focus on the musicians, curating dream team collaborations, tributes, and artist passion projects for two full days of incredible music both new and old.The 2017 lineup is set to include hand-selected band lineups featuring all-star musicians like John Scofield, George Porter Jr. (The Meters), Vinnie Amico and Al Schnier (moe.), Bernard Purdie, Joel Cummins, Ryan Stasik, and Kris Myers (Umphrey’s McGee), Aron Magner and Marc Brownstein (The Disco Biscuits), Mike Greenfield and Jesse Miller (Lotus), Jason Hann (String Cheese Incident), Alan Evans (Soulive), Cyril Neville (Neville Brothers), Henry Butler, Reed Mathis (Electric Beethoven), Michael League, Nate Werth, Chris Bullock, Robert “Sput” Searight, and Bob Lanzetti (Snarky Puppy), Jennifer Hartswick and Natalie Cressman (Trey Anastasio Band), and scores of others! ***Tickets Are On Sale Now!***To find out more about ticketing, VIP options, and lodging, head to the festival website.
After lobbying ABC’s Denver7 News to let him fulfill his dream of hosting an on-air weather forecast in the most creative way possible, Ryan Adams’ fantasy became a reality when he got to do just that on Wednesday evening. Don’t you just love a happy ending?Earlier this week, Adams, who is set to headline Colorado’s Red Rocks Amphitheater on Thursday night, released a song in which he more or less begged the station to let him do the weather. Fortunately for the acclaimed country-rocker, the folks at Denver7 were more than willing to accommodate him.According to Consequence of Sound, Adams wrote the song as part of a deal with Denver7 anchor Shannon Ogden, who told him she’d help him score the weather gig if he wrote her a song. The folks at Denver7 even put together a goofy animated music video for the number, which was titled, “Denver7 (Piece of Heaven)”.As promised in his song, Adams arrived at the studio wearing a Batman t-shirt and flannel. After a few minutes of behind-the-desk banter with the Denver7 anchors, Adams got a crash course in proper green screen techniques from chief meteorologist Mike Nelson. What followed was a highly-entertaining, though technically subpar, weather report from the famously aloof singer-songwriter.Check it out for yourself:Ryan Adams does the weather[Video: Denver7 News]
This coming weekend, moe. will return to the celebrated San Rafael, California venue, Terrapin Crossroads. Initially scheduled for three nights across June 29th to July 1st, back in mid-May, the band added an additional show on Thursday, July 28th, due to popular demand. For the first three nights of the run on Thursday, Friday, and Saturday, moe. will team with a special guest, the famed Grateful Dead bassist Phil Lesh, before Sunday’s performance on July 1st, during which moe. will split the bill with the full Terrapin Family Band.Given the immense buzz around these upcoming performances at Terrapin Crossroads, today, nugs.tv has announced that it will webcast the first three shows of the run. All three concerts, which feature Phil Lesh as a guest and are set to take place at Terrapin Crossroads’ Grate Room, will begin around 8 p.m. (PT). For more information or to order the upcoming webcasts for Thursday, Friday, or Saturday, head to nugs.tv here.
White Denim gave fans quite the surprise on Wednesday morning when the rock band from Austin, Texas announced a new studio album along with the arrival of its first two singles. The forthcoming release will be titled Side Effects, and is scheduled to arrive on March 29th via City Slang Records. The nine-track album will act as a “companion piece” to their 2018 Performance LP, which arrived just last summer in late August.According to a lengthy statement shared by the label to go with Wednesday’s morning’s album announcement, the recordings featured on Side Effects will be “more in line with the experimental, freewheeling spirit of their fan-favorite record ‘Last Day Of Summer’ than anything else they’ve done since.” The statement went to so reveal that the new recordings “capture the essence of the band’s full-throttle live shows. Featuring a rotating cast of band members led by James Petralli and Steve Terebecki, these tracks draw on the sounds of different personnel to create a cohesive whole.”Petralli and Terebecki were joined in recording the album by keyboardist Michael Hunter and drummer Greg Clifford. The four musicians look to continue giving fans more heavy doses of their in-your-face soulful rock sound, as evident from the two first singles off of Side Effects which were also shared on Wednesday with “Shanalala” and “NY Money”.Related: moe. Announces Two-Night Colorado Run, Red Rocks With Mike Gordon & White Denim“Shanlala” keeps fans on edge throughout its 2:45-minute run time. It never quite reaches peak excitement, but rather stays on a lower, fuzzed-out frequency with singer/guitarist James Petralli keeping his vocal register somewhat reserved as the song grooves along throughout.White Denim – “Shanalala” – Official Audio[Video: White Denim]“NY Minute” is a completely different experience altogether. From the opening moments of the song, the listener is treated to a plethora of sounds from every member of the band as the track attempts to find its footing before smoothing itself out around 0:30-seconds in. The song glistens with a loose feel with Petralli again easing the lyrics along its nearly seven-minute run time to go with its uptempo vibe. The lyrical portion of the song ends around the 4:00 mark with the recording continuing on with a hypnotizing instrumental section to take the listener into the melodic abyss.White Denim – “NY Money” – Official Audio[Video: White Denim]The band spent much of their summer and fall last year on tour in promotion of Performance, and look to continue their concert campaign into 2019 with upcoming shows in the U.K. and Ireland in February. The band will return to the States with a run of west coast dates scheduled throughout the month of April. Fans can head over to their website for ticket info.Side Effects Tracklisting1.”Small Talk (Feeling Control)”2.”Hallelujah Strike Gold”3. “Shanalala”4.”NY Money”5.”Out of Doors”6.”Reversed Mirror”7.”So Emotional”8. “Head Spinning”9. “Introduce Me”
A former United Nations Assistant Secretary General and a former economic adviser to President Toledo of Peru are among the incoming visitors being welcomed this fall at the Mossavar-Rahmani Center for Business and Government (M-RCBG) at the John F. Kennedy School of Government at Harvard University.“Fellows and scholars are a vital resource at the center as they provide both valuable experience and a fresh lens through which to view the business-government relationship,” said Roger Porter, the center’s director and the IBM professor of business and government. “We welcome these visitors and look forward to their interaction with our faculty, continuing fellows, researchers, students and others.”The Visiting Scholars Program and Fellows Program are designed to provide fresh perspectives as the center examines and develops policies at the intersection of business and government.
Scientists predict that global climate change will generate more heat waves in the decades ahead, but few studies have quantified the negative health effects of heat waves. In a new study that looked at how heat waves may impact people living in a major U.S. city, researchers at Harvard School of Public Health (HSPH) and Johns Hopkins Bloomberg School of Public Health estimate that the city of Chicago, Ill., could have 166 to 2,217 additional deaths annually due to heat waves in the years 2081–2100.The study, based on three different climate change scenarios, was published in the May 2011 issue of Environmental Health Perspectives. “Our results show that for a major U.S. city, the impact of future heat waves on human health will likely be profound,” said senior author Francesca Dominici, professor of biostatistics and associate dean for information technology at HSPH, who conducted the research at both Johns Hopkins and HSPH. The study results are an incentive for the public to take steps now to reduce future carbon dioxide emissions to help reduce the risk of climate change and severe weather, she and her colleagues wrote.According to the American Red Cross, heat waves – or prolonged periods of heat about 10 degrees above a region’s usual high temperature during the summer and often accompanied with high humidity – have caused more deaths than all other weather events, including floods. In 1995, for instance, Chicago experienced a severe summer heat wave that caused nearly 700 excess deaths in the city in one week.In the new study, Dominici and her colleagues used 1987-2005 data on mortality and air pollution in Chicago collected in the National Morbidity, Mortality, and Air Pollution Study, along with various climate models, to predict the future excess mortality from heat waves for the years 2081 to 2100. The researchers tracked nonaccidental deaths from May to October each year of the study and paired this data with levels of particulate matter and ozone, temperature, and dew point temperature for the city.The researchers found Chicago had 14 heat waves from 1987 to 2005 that lasted an average of nine days, resulting in about 53 excess deaths annually. The projected excess deaths cannot be explained by population increases, the researchers report.
Joseph B. Martin has kept a journal since 1978. Some of the resultant leather-bound books hold minutiae — from records of lunch meetings to calls, musings, and spontaneous ideas. But other logbooks, deeply private, were never shared, so when he decided to write a memoir, he turned to the volumes in which he’d documented his life.His book “Alfalfa to Ivy: Memoir of a Harvard Medical School Dean” “began as a family memoir,” said Martin, former dean of Harvard Medical School (HMS) and the Edward R. and Anne G. Lefler Professor of Neurobiology.“My family … emigrated from Switzerland to Pennsylvania to Canada, but my parents never took Canadian citizenship,” he said. “So I was born a dual citizen, which was very convenient to move back and forth across the border. I call myself an American with Canadian roots.”“But as I kept writing, I started to develop thoughts about academic leadership — leading by listening — and I realized there were some lessons I’d learned along the way that might be valuable.”Growing up in Duchess, Alberta, a remote Mennonite prairie town, gave Martin a humble, relatable quality that’s unmistakable in his professional life and writing. There are passages in his book about his boyhood dog, and a near-death experience involving a fall from a horse. And Martin peppers the book with family photographs of the idyllic countryside he roamed until going away to the University of Alberta at age 16.“My teachers could see I was bored, and skipped me,” he said. Martin knew he wanted to be a doctor from the get-go. “My earliest memory,” he recalled, “is walking across a field when I was 4 or 5 years old and thinking, ‘I want to be a doctor, I want to help people.’ And I wasn’t trying to escape my community, but I really had a passion, led, in part, by hearing the stories of the missionaries who came through our community from Africa, India, where they’d been working.”By his own admission, Martin was an awful university student. “That first year, I went home for Canadian Thanksgiving, and I didn’t want to go back. I was petrified. I flunked my first English paper, I flunked my first physics exam,” he said. “I thought it was all over. But by the end of the year, I was able to pick up and pass. I started medical school two years later, and by that time I was first in the class.”Martin’s career has taken him from McGill University to Massachusetts General Hospital (MGH) to the University of California, San Francisco (UCSF), where he served as chancellor. Harvard President Neil Rudenstine wooed Martin from UCSF to become dean of Harvard Medical School (HMS) in 1997, a job Martin made clear he never expected, nor necessarily wanted.“At MGH, I’d observed the dean’s role … I thought it was a terrible job. I said to my wife, ‘That’s a job I’ll never take.’ But as chancellor of UCSF, I missed the close relationships with students and faculty, and I was missing the fun of teaching,” he said.Martin’s deanship has been heralded for unifying a fragmented HMS, improving communication, encouraging collaboration, and diversifying departments, all while leading the School under three very different Harvard presidencies.“I’ve read many academic memoirs, and I didn’t want to write another one that pontificated about my accomplishments, but about the process of how you get things done,” said Martin. “Academic leadership is hard and erratic and complicated by the big egos that you work with, and some things go well and some things flunk. And I wanted this book to be a personal illustration of how those things arose, and were dealt with, and walked away from if they weren’t working.”Martin stepped down in 2007, after a decade-long tenure highlighted by Martin and his team successfully locating the gene for Huntington’s disease, an extraordinary moment for him.“One of my principles of leadership is that you do your best work within the first decade,” he said. “I’ve always felt that the leadership of the most effective sort is not ostentatious, it’s not using the bully pulpit to advertise who you are, but to use your position to try to make the community in which you work a better place.”
Making history A snapshot by an unknown photographer, c. 1935-36, shows a view of Rubenstein’s fresco in progress on the north wall of Busch Hall. Stephanie Mitchell/Harvard Staff Photographer Otherworldly This view of Busch Hall shows its magisterial, almost otherworldly beauty, featuring plaster casts of the Naumburg Cathedral west choir screen and the Collegiate Church of Wechselburg triumphal cross. Plaster cast A view of the plaster cast of the Freiberg Golden Portal and the sandstone sculpture “Spring” (c. 1760-1765), by the workshop of Johann Joachim Günther. Restoring Busch Gods and giants A detail of one panel of the restored murals by Lewis W. Rubenstein, “Scene from the Ragnarök Legend, Battle Between the Gods and Giants,” c. 1935-36. 9.DDC111924_500 Photographed before treatment is Rubenstein’s “Scene from the Nibelung Legend, Alberich’s Hand,” c. 1935-36. Photo courtesy of Digital Imaging and Visual Resources, Harvard Art Museums. On a recent morning, Daniel Ziblatt paused to gaze at the two bold frescoes that adorn the walls of Adolphus Busch Hall. The Harvard professor of government smiled, grateful he comes to work in a place filled with such stunning, albeit — in the case of the murals — “somewhat disturbing” creations.“I am in awe every time I come through,” said Ziblatt.He is one of the lucky few with an office in what was once the location of the Busch-Reisinger Museum and Harvard’s extensive collection of art from the German-speaking countries of Europe. The building’s main hall still contains a number of artistic treasures, including the two murals, created in the 1930s amid a political firestorm, and newly restored as part of a multiphase revitalization of the ornate space by the Harvard Art Museums.Named for the philanthropist and brewing mogul Adolphus Busch, who helped to fund its construction, the building housed the Busch-Reisinger Museum from 1921 to 1991. Originally home to a collection of plaster casts of Germanic sculptural and architectural monuments, the museum’s emphasis expanded in 1930 when Charles L. Kuhn, fresh from his Ph.D. studies at Harvard, took over as curator. A strong proponent of the modern German art that was considered degenerate by the Nazis, he commissioned Harvard graduate Lewis Rubenstein, known for his social realism style, to create the murals for the building’s vaulted Rotunda Hall.The evocative frescoes generated controversy long before they were completed in 1936. Rubenstein based the murals on ancient Germanic and Norse myths, but his inclusion of modern imagery left little doubt of their charged meaning. Fusing themes of social inequality, economic injustice, fascism, and war, he created two hauntingly provocative works.Gods, equipped with modern flamethrowers and gas masks, repel an attack from giants in one panel. In another, a man with a thin but unmistakable mustache brandishes a whip while frightened workers cower beneath him.For years, Rubenstein publicly denied the murals were political in nature, insisting they were merely artistic renderings of famous legends. But decades later, he bluntly said, “It was actually an attack on Hitler and the Nazis.”The recent restoration confronted the recurring problem of efflorescence, the formation of white salt crystals on the frescoes’ surface. The building’s lack of climate controls and resulting fluctuations in relative humidity cause the chemical reaction, and have challenged conservators for generations with the reappearance of a hazy, white coating on the works.Last fall, Louise Orsini, a former fellow at the Straus Center for Conservation and Technical Studies, and her colleague, current fellow Gabriel Dunn, again tackled the delicate restoration process. Often perched high on intricate scaffolding, sometimes for hours at a time, they gently brushed away the powdery layer that had long obscured certain sections of the murals almost entirely from view.To cover “glaring white” sections where the painted plaster had come loose, they applied a special conservation-grade adhesive and reattached large intact flakes. In other areas, they filled in missing or faded color with fresh matching paint.Richer hues and revived images are the vivid rewards of their diligent work. In one of the lower panels, a background scene, previously invisible, now appears perfectly clear. “A lot of depth and perspective was completely flattened before,” said Orsini, of the lower panel’s missing body of water and horizon line. “That was completely illegible.”During the next phase of the restoration project, workers will replace the Plexiglas panels that cover the murals’ lower sections, adding newer, nonglare models. One covering also will be fitted with an environmental conditioning system to help control humidity and to mitigate the efflorescence. Conservators will monitor the section closely over the next several years to determine if the new system helps alleviate the white film.Workers have repainted walls, repaired leaks, and replaced railings and an 800-pound faulty radiator. In recent weeks, a master stonemason has been carefully removing traces of signage once affixed to its limestone walls and Art Museums staff have updated signage and restored several of the plaster casts.Soon, visitors to the building may also get a peek at other objects that have been hidden from view.Tucked behind the choir screen, a plaster cast replica of the 13th-century original from Germany’s Naumburg Cathedral, are many more plaster casts from the Harvard Art Museums’ vast collections. Officials hope to replace current wooden doors in the screen with Plexiglas to create a visible storage area, a common practice for museums with more art to display than available gallery space.“It’s a wonderful way to make visible that moment in the Busch-Reisinger Museum’s collecting history and the historical role of plaster casts, especially for a teaching museum,” said Lynette Roth, Daimler-Benz Associate Curator of the Busch-Reisinger Museum, who helped initiate the project.Restoring the building to its original state and treating the hall itself as a work of art are major goals of the revitalization effort, said museum officials, who hope to promote the continued use of the space as a teaching tool for researchers, scholars, and students, as well as a concert hall for its famous Flentrop organ.“Our aim is to showcase the objects still housed here and to highlight the architecture of the building,” said Roth, “to treat it with the same kind of care that we would treat works in our collection.” Entryways A close view of the plaster cast of the Hildesheim Cathedral bronze doors. Controversy The works of muralist Lewis W. Rubenstein sit in Adolphus Busch Hall. The murals were created in the 1930s amid a political firestorm, and newly restored as part of a multiphase revitalization of the ornate space by the Harvard Art Museums. Busch league Michael Eigen, assistant facilities manager at the Harvard Art Museums, takes in Busch Hall. Named for the philanthropist and brewing mogul Adolphus Busch, who helped to fund its construction, the building housed the Busch-Reisinger Museum from 1921 to 1991.
Toni Morrison named Radcliffe Medalist Renowned author to receive award, give keynote at annual Radcliffe Day luncheon Nobel Prize-winning novelist to give six talks at Sanders Theatre Related Morrison’s first Norton Lecture set for March 2 Toni Morrison silenced the audience in Sanders Theatre on Thursday afternoon, not with one of her own stories, but with a tragic tale from real life.The author, the recipient of the Nobel Prize in literature in 1993, recounted the “mindless horror” of the 2006 murder of five Amish girls in a one-room Pennsylvania schoolhouse by a gunman who then committed suicide, and the shocking reaction to the tragedy. Instead of demanding vengeance, the community comforted the killer’s widow and children.Their behavior “seemed to me at the time characteristic of genuine goodness, and so I became fascinated, even then, with the term and its definition,” Morrison said. Above all it was the community’s silence, its refusal “to be lionized, televised,” she added, “that caused me to begin to think a little bit differently about goodness as it applies to the work I do.”Morrison expanded on the theme of goodness for the Harvard Divinity School’s (HDS) 2012 Ingersoll Lecture on Immortality. In a talk titled “Goodness: Altruism and the Literary Imagination,” she explored how authors illuminate concepts of good and evil. She also examined the treatment of goodness in her own novels.“Expressions of goodness are never trivial in my work, they are never incidental in my writing. In fact, I want them to have life-changing properties and to illuminate decisively the moral questions embedded in the narrative,” she said.“It was important to me that none of these expressions of goodness be handled as comedy or irony, and they are seldom mute. Allowing goodness its own speech does not annihilate evil, but it does allow me to signify my own understanding of goodness: the acquisition of self-knowledge. A satisfactory or good ending for me is when the protagonist learns something vital and morally insightful and mature that she or he did not know at the beginning.”A true exploration of goodness demands a thorough examination of its opposite, Morrison argued. The author, who won the Pulitzer Prize for fiction in 1988, said that she has never “been impressed by evil,” and that she is “confounded by how attractive it is to others and stunned by the attention given to its every whisper, its every shout.”“Evil has a blockbuster audience,” she said, “goodness lurks backstage.”With a few notable exceptions, the 19th-century novel made sure goodness triumphed in the end. Writers such as Dickens, Austen, and Hardy mostly held to a formula that left their readers turning the final page “with the sense of the restoration of order and the triumph of virtue.”But there was a “rapid, stark” shift away from such endings in the wake of World War I, as writers confronted a catastrophe “too wide, too deep to ignore or to distort with a simplistic gesture of goodness.” In Faulkner’s “A Fable,” which tells of trench warfare between German and American forces, “evil grabs the intellectual platform and all of its energy,” said Morrison.Goodness hasn’t fared well since. Through portrayals of grief, melancholy, missed chances, and personal happiness, authors depict their versions of evil. “It hogs the stage,” said Morrison. “Goodness sits in the audience and watches, assuming it even has a ticket to the show.“Many of late and early 20th-century heavyweights – Norman Mailer, Saul Bellow, Philip Roth – are masters of exposing the frailties, the pointlessness, and the comedy of goodness,” she added.But in Morrison’s work virtue is a force, and it takes various forms, including the instinctual form of a mother desperate to save her child. In “A Mercy” (2008), which revolves around slavery in the United States in the late 1600s, one of the main characters gives her child away to a stranger in order to save her.The mother’s compelling motive, “seems to me quite close to altruism, and most importantly is given language,” said Morrison, “which I hoped would be a profound and literal definition of freedom.”For the past three months, members of the Harvard community have met weekly at HDS to explore the religious dimensions of Morrison’s writings. The working group was convened by Harvard’s Davíd Carrasco (pictured) and Stephanie Paulsell.In the mother’s words, Morrison read: “To be given dominion over another is a hard thing. To wrest, or take dominion over another is a wrong thing. To give dominion of yourself to another is an evil thing.”Many in the crowd arrived well prepared. For the past three months, members of the Harvard community have met weekly at HDS to explore the religious dimensions of Morrison’s writings. The working group, convened by David Carrasco, Harvard’s Neil L. Rudenstine Professor of the Study of Latin America, and Stephanie Paulsell, Houghton Professor of the Practice of Ministry Studies, brought together scholars from across the University.Earlier Thursday the group met for the final time, with Morrison in attendance. “We are grateful to Toni Morrison for creating this extraordinary body of work,” said Paulsell. “We could swim and swim in it for several more semesters and never reach its depth.”The guest of honor was ready to engage with an eager group that included avid readers and fans. In response to one question, Morrison expanded on the intersection of the divine and the human. “This is really what art is for … whether it’s music, or writing, or dance … that’s what it does in the best of times.” Morrison talks race and gender
If Harvard were an Aaron Copland song, says Hansung Ryu of Seoul, it would be “Hoe-Down” — “difficult to play but very colorful and exciting.”Ryu, a summer research intern at Harvard-affiliated Joslin Diabetes Center and a cellist, had never encountered the famed American composer before joining the Harvard Summer School Orchestra, which played selections from Copland’s “Rodeo” during a concert Aug. 3 at Sanders Theatre.Now, Ryu said, “whenever I play Copland, it makes me feel the way I do about America.”His summer at Harvard was his first extended trip from South Korea, said the 31-year-old graduate student in Korean medicine. Ryu returned home this past week after two months as an intern in the lab of Steven Shoelson, the Helen and Morton Adler Chair in Structural Biology and associate research director at Joslin Diabetes Center, and a professor of medicine at Harvard Medical School (HMS).Ryu —”Andrew” among his American friends — said he hopes to apply the experience he gained at Joslin to the practice of Korean medicine, which combines traditional Chinese techniques like acupuncture with Western medicine.When he looks back at his Harvard summer, he said, he’ll think of the friendly welcome he received, the opportunity to pursue research and make music, the pleasure of strolling through Harvard Yard, and the cheeseburgers and sweet-potato fries at Mr. Bartley’s Burger Cottage in the Square. And beyond: jogging along Memorial Drive at sunset, the buzz of Central Square on a Saturday night, visits to the Museum of Fine Arts and the Isabella Stewart Gardner Museum, the Red Sox beating the Yankees at Fenway Park on an 11th-inning homer.“I want to let students in Korea know, there are so many opportunities to have a great experience here,” he said. “I hope they will have this sort of experience.”Ryu was one of three research interns in the Shoelson lab this summer and one of the 40 at the Joslin Diabetes Center. “We try to draw them in, and get the research bug to bite,” Shoelson said.The internships are a win for both students and labs, said Gail Musen, an assistant professor of psychiatry at Harvard Medical School and a co-director of the summer student program at Joslin. Interns given a portion of a study to work on during the summer receive guidance from the principal investigators and postdoctoral fellows, and at the same time “contribute meaningfully” to research that affects diabetes care, Musen said.Ryu’s work at Joslin involved tracking inflammation levels in the pancreatic muscle tissue of mice, part of a research project shedding light on the correlation between obesity and diabetes.Away from the lab, he rehearsed with the Summer School Orchestra Monday nights at Sanders, and further practiced at the cello in time there alone. A pianist in his younger days, Ryu took up the cello only three years ago, but managed to win a place in the orchestra, a cross-section of Harvard summer students.“The sound of the cello is very similar to the human voice,” he said. “There are so many beautiful songs to play on it.”Several of his Joslin colleagues attended last week’s concert. In South Korea, he said, “students usually only study, study, study.” A summer at Harvard need not be so narrowly focused, one reason he hopes more of those students will seek out opportunities to visit. “It was a great experience,” he said.