Justin CharlesUpdate: The venue of the New York City, New Years Eve show can be found here.As cliché as it sounds, sometimes big things really do come in small packages. That is exactly what happened last night, when the recently voted #1 DJ in the world celebrated his title at New York City’s tiny Lavo Night Club. The line outside the club was unusually busy tonight, filled with a sea of white Armin van Buuren shirts, a mob of people here to support their favorite DJ.If you’ve been to Lavo, you know it’s quite different from say, Armin’s A State of Trance tent at Ultra Music Festival. The club is extremely exclusive due to a small capacity, as VIP tables line the walls and beautiful girls line the dance floor. There are two LED walls behind the DJ, and two more on the ceiling, providing the same synchronized visuals as a festival set.As the club slowly filled up to near riot levels, Armin took the stage minutes after one to a huge ovation. There is something about Armin’s sound and the way he mixes that just makes his music sound ‘big’. Have you ever heard someone describe a band like Muse as ‘stadium rock’? Armin van Buuren’s music is like ‘stadium dance music’. It’s meant for massive stages and thousands of people. The beauty of Armin’s music, however, is that once the beat drops, even the smallest rooms begin to feel like a massive festival stage. There were times, like during Armin’s massive collaboration with Ferry Corsten, ‘Brute’, that if you were in the middle of Lavo, you would have sworn there were 100,000 people standing behind you.While two hours is clearly not enough Armin – he admitted so, apologizing for the short set before the last song – he still managed to pack in as much energy as humanly possible into the brief set, ranging from newer tracks like ‘I’ll Listen’and a remix of Andrew Rayel’s ‘How Do I Know’ from Armin’s latest compilation, ‘Universal Religion’, to classics like ‘In and Out of Love’ and ‘Fine Without You Know’. But the highlight for many was probably the chance to get up, close, and personal with and dance so close to a music icon, someone who we usually see from the back of a festival tent.Before the last song, Armin managed to confirm one HUGE piece of news that you might want to hear: New York City will be having an Armin van Buuren New Years Eve! With that, Armin busted out an excellent mash up of Coldplay’s ‘Every Teardrop’s A Waterfall’, and Porter Robinson’s ‘Language’, which ended up a perfect way to end a set. One more song of lyrics for everyone to sing, one more drop for everyone to jump, and then he was off – letting the fact that he will be back in two months sink in.photos by Lexi Lambros
On a beautiful, crisp fall day in Central Park, many music fans, and even your casual strollers looking to get a breath of fresh air, were treated to 30 bands in 30 locations spread across the park for the second annual Jazz & Colors. The beauty of Jazz & Colors, besides the fact that it takes place in Central Park, is that 30 different ensembles play the same setlist of jazz standards.Jazz & Colors is a free public designed by film producer and local concert promoter, Peter Shapiro (Brooklyn Bowl/Capitol Theatre. Shapiro is also in partnership with the City of New York and the Central Park Conservancy. Shapiro hopes to infuse Central Park with culture and jazz without that “music festival” feel.While revelers were treated to incredible sets from many different artists, there was one set that may have topped them all. Grateful Dead/Furthur bassist Phil Lesh joined Furthur drummer Joe Russo and Soulive/Lettuce guitarist Eric Krasno for an unannounced 30-minute set near Sheep’s Meadow. The group set up with roughly 30 people standing around, and began the set with Lesh calling out a key and the group going into some jazz improv.The trio also performed a cover of The Beatles’ “Get Back,” and finished the set with another improv-based jazz excursion. Considering Lesh’s background as a student of avant-garde classical music and free jazz, along with Krasno and Russo’s accomplished backgrounds, this is most certainly a dream trio that would be interesting to see in a full-show format. There is always hope, right?Take a look at a brief video of the trio in action:[via Jambase][photo and video credit to Scott Bernstein]
On a random Wednesday night in the cold of January, fans traveled from all corners of New York City, from all along East Coast – I heard some peope from as far as the Carolinas – and smuggled in pineapples, pizza, and giant Fatheads into Output, creating the wildest party of this young year.The reason? Destructo, a name that many not be familiar to your average dance music fan, stopped in New York on his Ship2Ship tour, bringing friends Anna Lunoe, Motez, and T. Williams.You may still be confused. Destructo, real name Gary Richards, is the founder of HARD Events – producer of HARD Summer, Day Of The Dead, and the cult-like Holy Ship!, which took place a little over a week ago (and will take place again next month). This event in NYC acted as sort of a meet up for those suffering from addiction to all things Holy Ship! – a breed of dedicated dance music fans who call themselves ShipFam, who wait all year for Holy Ship, the ultimate party. Having Destructo, affectionately referred to as The HARDFather, performing nearby, is enough to get the gang all together, the pineapples out, the flags waving, and temporary tattoos back on. It’s like meeting up with all your camp friends after summer camp is over.Thanks to Holy Ship!, Destructo’s DJ career has reached new heights. Last year he was signed to Insomniac/Interscope, and recently released his ‘West Coast EP,’ which mixed bouncy house beats with west coast hip hop heavyweights like Too $hort, YG, and Kurupt. He also performed a much attended ‘Sunday Sermon’ on Holy Ship! from 5:30-8:30, after some ShipFam found out that Destructo performed 6:00am dance parties in the early 90s and requested it. The Sermon was one of the most talked about sets on a boat filled with dance music royalty like A-Trak, Boys Noize, and Knife Party, It’s this interaction, the close relationship between artist and fans, that makes Holy Ship! so special. That feeling translated into Output’s small confines on Wednesday. Many people claimed that it felt like they were back on the boat – surrounded by great music and like minded people. For those in attendance who had never been on Holy Ship!, it must have been a unique experience to see all of these people in outfits, waving flags, showing affection – but you fall right in line. ShipFam are a very inviting group of people.
Brooklyn-based psychedelic indie rock band Rubblebucket returned to New Orleans, LA last Wednesday night to rock the stage at One Eyed Jacks in the French Quarter. The eclectic group of musicians put together a set list featuring older favorites like “Sill Fathers” and “Came Out Of A Lady” from 2011’s Omega La La, newer hits “Carousel Ride” and “Origami” from 2014’s Survival Sounds, and even some brand new tunes, including “Donna”, just released on SoundCloud in September.Many can talk about the quality, talent, and craft that go into Rubblebucket’s songs until you run out of breath. A truly unique aspect of their live shows is that fans tend to leave the venue feeling like they’ve spent the last two hours among close friends, even if they came in knowing no one. Frontwoman and saxophonist Annakalmia Traver and bandleader and trumpeter Alex Toth–along with Adam Dotson on trombone, Daniel McDowell on bass, Ian Hersey on guitar, Jacob Bergson on keys, and drummer Max Almario of fellow New York experimental rock group Celestial Shore–create a world of positive creation and self-expression that breeds happiness and love which stays with the audience long after the performance.The band took plenty of time to interact with the audience, tell jokes, and dance their faces off, but as anyone who has been to a Rubblebucket show before knows, the best is always saved for last. This performance did not disappoint. Members of the crew and opening band ELEL dumped a purple balloon octopus–yes you read that correctly–off the venue’s balcony into the audience and the gang ended the show with a second line into the audience, telling everyone to meet them at the Hi-Ho Lounge for a late night DJ set.Rubblebucket and co. captured the essence of true New Orleans fashion, and we can’t wait until their next trip down here.[Photos by Katie Sikora Photography]
Harvard Medical School researchers have succeeded in developing a topical treatment that, in mice, wipes out herpes virus, one of the most intractable sexually transmitted human diseases. Judy Lieberman, professor of pediatrics and a senior investigator at the Immune Disease Institute, has overseen the development of the treatment that uses RNA interference, or RNAi, to disable key genes necessary for herpes virus transmission. That cripples the virus in a molecular two-punch knockout, simultaneously disabling its ability to replicate, as well as the host cell’s ability to take up the virus.What’s more, the treatment is just as effective when applied anywhere from one week prior to a few hours after exposure to the virus. In that sense, the basic biology of this prophylactic enables a real-world utility.“People have been trying to make a topical agent that can prevent transmission — a microbicide — for many years,” says Lieberman. “But one of the main obstacles for this is compliance. One of the attractive features of the compound we developed is that it creates in the tissue a state that’s resistant to infection, even if applied up to a week before sexual exposure. This aspect has a real practicality to it. If we can reproduce these results in people, this could have a powerful impact on preventing transmission.”These findings will be published in tomorrow’s edition of Cell Host & Microbe.The World Health Organization estimates that approximately 536 million people worldwide are infected with herpes simplex virus type 2 (HSV-2), the most common strain of this sexually transmitted disease. Women are disproportionately affected. This is especially serious, since the virus can easily be passed from mother to child during birth, and untreated infants face risks of brain damage and death. While HSV-2 alone isn’t life-threatening in adults, infection does increase a person’s vulnerability to other viruses such as HIV.In order for the herpes virus to infect the host, two conditions must be met. First, the virus must be able to enter and take over host cells. Second, the virus must then reproduce itself. Lieberman’s topical treatment uses RNAi to foil both these events.RNAi, a biological process that was identified barely a decade ago, has transformed the field of biological research. A breakthrough that earned the Nobel Prize in 2006, RNAi is a natural cellular process that occurs in all cells of all multicellular organisms to regulate the translation of genetic information into proteins. This natural process can be manipulated by researchers to switch off specific genes, and there is much current research and development work to harness RNAi for therapeutics.Many in the field think RNAi-based drugs may be the next important new class of drugs. By introducing tiny RNA molecules into cells, researchers can target a gene of interest and, in effect, throw a wrench into that gene’s ability to build protein molecules. For all intents and purposes, that gene is now disabled.While RNAi has profoundly accelerated the ability of scientists to probe and interrogate cells in the petri dish, therapeutic breakthroughs have proved far more problematic. Researchers have had a difficult time delivering these tiny RNA molecules and ensuring that they actually penetrate the desired cells and tissues in a living organism.Modifying a delivery technique that Lieberman developed in 2005, she and postdoctoral fellow Yichao Wu and junior researcher Deborah Palliser (who now heads her own laboratory at Albert Einstein College of Medicine) treated mice with strands of RNA that were fused to cholesterol molecules, which made it possible for the molecules to pass through the cell membranes. When applied in the form of a topical solution, these RNA molecules could then be fully absorbed into the vaginal tissue, protecting the mice against a lethal dose of administered virus.One RNA molecule in the topical solution targeted a herpes gene called UL29, which the virus needs to replicate. Knocking out UL29 inactivates the virus.Another RNA molecule targeted Nectin-1, a surface protein found on cells in the vaginal tissue. Nectin-1 acts as a kind of host gatekeeper to which the virus binds to pass into the cell. Without Nectin-1, the virus simply can’t infect cells.Either RNA molecule delivered by itself would be sufficient to block the virus, but together in this RNAi cocktail, the host tissue becomes like a fortress that pulls up the drawbridge to block the enemy’s entrance, and also has a full-fledged battle plan to slaughter the enemy if they make it through.“As far as we could tell, the treatment caused no adverse effects, such as inflammation or any kind of autoimmune response,” says Lieberman. “And while knocking out a host gene can certainly be risky, we didn’t see any indication that temporarily disabling Nectin-1 interfered with normal cellular function.”Lieberman was recently awarded a grant from the Massachusetts Life Science Center to collaborate with a corporate partner to build on these results to develop a topical microbicide that might be suitable for human use.In addition, she’s investigating how this same approach might be used to treat HIV in a multi-institutional program funded by the National Institutes of Health.
The Office for the Arts at Harvard (OfA) and Office of Career Services (OCS) are pleased to announce the 2009 recipients of the Artist Development Fellowship (ADF). This program supports the artistic development of students demonstrating unusual accomplishment and/or evidence of significant artistic promise. The ADF program represents Harvard’s deep commitment to arts practice on campus and provides financial support for the creative and professional growth of student artists.Now in its third year, ADF has awarded 40 fellowships and provided over $120,000 in funding support. The Council on the Arts, a standing committee of the Faculty of Arts and Sciences, oversees fellowship award decisions.Council on the Arts members at the time of selection were: Jack Megan (chair), director, OfA; Elizabeth Bergmann, director, OfA dance program; S. Allen Counter, director, Harvard Foundation; Deborah Foster, senior lecturer in Folklore and Mythology; Jorie Graham, Boylston Professor of Rhetoric and Oratory; Cathleen McCormick, director of programs, OfA; Nancy Mitchnick, Rudolf Arnheim Lecturer on Studio Arts, visual and environmental studies (VES); Robert J. Orchard, executive director of the American Repertory Theatre and the Institute for Advanced Theatre Training (A.R.T./MXAT), and director of the Loeb Drama Center at Harvard; Alex Rehding, professor of music theory, graduate adviser in theory; and Marcus Stern, associate director, American Repertory Theatre and the A.R.T./MXAT Institute for Advanced Theatre Training.The program, jointly administered by the OfA and OCS, is open to all undergraduates currently enrolled in Harvard College. For further application information, visit the OfA or OCS Web sites: http://www.fas.harvard.edu/ofa and http://www.ocs.fas.harvard.edu/.2009 Artist Development Fellowship recipientsVictoria S.D. Aschheim ’10, of Dunster House, has been awarded a fellowship to attend the New England Conservatory (NEC) Summer Institute for Contemporary Performance Practice. She will follow this with instruction and mentorship by Professor Anthony Cirone (chairman of the percussion department at Indiana University, and former member of the San Francisco Symphony) in percussion performance and ensemble conducting. A music and history of art and architecture joint concentrator, Aschheim has also studied with percussionists from, among others, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, and the Lyric Opera of Chicago. She plans to receive a masters in music for percussion performance from NEC in 2011. Her future goals include becoming a member of a major orchestra, teaching at the university level, and continuing to be involved in musical outreach in community settings.A resident of Eliot House, Lauren Chin ’08-’09 has been awarded a fellowship for her participation in two summer dance class intensives: Springboard Danse Montréal, which immerses participants in technical training as well as challenging professional company repertory, and DanzFest in Cattolica, Italy, where she will study diverse techniques including Japanese butoh, Martha Graham modern, and classical ballet from the Paris National Opéra. Chin is a biomedical engineering concentrator, and will graduate with a secondary concentration in dramatic arts. She is an active member of the Harvard dance scene and is the teaching assistant for Dramatic Arts 127 “Rite of Spring at the Nexus of Art and Ritual,” taught by Christine Dakin. Chin plans to work as a professional dancer and ultimately pursue a Ph.D. in biomedical engineering.Lillian L. Erlinger ’10, a Winthrop House resident and visual and environmental studies-film production concentrator, has been awarded a fellowship to create a 30-minute film. The script deals with morality and responsibility in relationships. She has more than 10 film credits, many of which she wrote, directed, produced, and edited. Erlinger has been a finalist in such film festivals as the Fort Lauderdale Film Festival (2006) and International Festival of Cinema and Technology (2007). She intends to pursue filmmaking after graduation.English concentrator and resident of Mather House Liza Flum ’10 has been awarded a fellowship to take part in a writing workshop and create a poetry manuscript in Vilinius, Lithuania, inspired by that city’s Jewish legacy. Flum is involved in the literary scene at Harvard as editor of The Gamut, Harvard’s all-poetry magazine, executive editor of The Harvard Book Review, as well as a workshop leader for the Harvard Spoken Word Society. She intends to pursue an M.F.A. in poetry, and would like to teach creative writing in colleges and high schools and eventually work in literary nonprofits for arts education.James Fuller ’10 has been awarded a fellowship to study dance at the American Dance Festival’s six-week school in summer 2009. Fuller, of Mather House, is a philosophy concentrator pursuing a secondary field in dramatic arts. He has performed with the Harvard Ballet Company, OfA dance program, Harvard-Radcliffe Modern Dance Company, Harvard Contemporary Dance Ensemble, and serves as co-director of the Harvard Ballet Company. Fuller has studied at the School of American Ballet and Boston Ballet and was an operations intern at Jacobs Pillow Dance Festival. His goals are to join a professional modern dance or contemporary ballet company after graduation.A joint concentrator in music and mathematics and a Lowell House resident, Kirby Haugland ’11 has been awarded a fellowship to attend the Aspen Music Festival and School in trumpet performance, where he will hear orchestral and chamber music performances and study privately. Haugland participates in a number of musical ensembles at Harvard, including Harvard-Radcliffe Orchestra (first trumpeter), Bach Society Orchestra, and Lowell House Opera Orchestra. He plans to pursue a graduate degree in trumpet performance, with the ultimate hope of a position in a symphony orchestra or opera company.Samuel L. Linden ’10, a music concentrator and Eliot House resident, has been awarded a fellowship to take summer courses at New York University’s Tisch Graduate Musical Theater Writing Program, where he will study music writing, lyric writing, and/or creative collaboration. At Harvard, he has served as director or music director for eight theater productions, co-president of the Hyperion Shakespeare Company, composer for projects including Hasty Pudding Theatricals 160: “Fable Attraction,” and an original score for the student film “The Seraph.” Linden plans to pursue a career as a professional musical theater composer and lyricist.Julia Lindpainter ’09, of Cabot House, has been awarded a fellowship to participate in a six-month intensive study of modern dance techniques in New York City. Lindpainter, a history and science concentrator, is a member of the Harvard Ballet Company as well as the artistic director and producer for the Harvard-Radcliffe Modern Dance Company. She has also performed in the OfA dance program concerts and has produced the Arts First Dance Festival at Harvard since 2007. Lindpainter intends to pursue modern dance professionally, and hopes that this project will be a beginning to her career in dance.A resident of Pforzheimer House, Lara C. Markstein ’10 has been awarded a fellowship to research, develop, and write a novel exploring the lives of three Harvard students as well as the rich immigrant community of Boston. An English and American languages and literature concentrator, Markstein was the 2008 recipient of both the Boylston Elocution Prize and the Edward Eager Memorial Prize. At Harvard, she has served as secretary for the Harvard College in Asia Project, been named “Best Delegate” in McGill Model United Nations (MUN) for the Harvard Intercollegiate MUN team, and performed with the On Thin Ice improvisation company. Markstein plans to pursue a M.F.A. in creative writing, and hopes to teach at a university and become an author.A Pforzheimer House resident, Clint W. Miller ’11 has been awarded a fellowship for a recording that combines poetry, drama, and music in a story about a modern displaced Appalachian coal miner who is forced to train-hop and hitchhike through America. A philosophy concentrator, Miller is a published poet, philosopher, and playwright, as well as a touring and recording artist. He plans to continue these pursuits after graduation.Ilinca Radulian ’10, an English concentrator and resident of Adams House, and Calla Videt ’09, of Dudley House, have been awarded fellowships for their work on the production of a theater project that will be performed on campus, in Boston, and ultimately travel to several European summer theater festivals including the Edinburgh Fringe Festival. Radulian has participated in nearly 20 theatrical productions at Harvard since 2006 and is an actress, director, puppeteer, playwright, and dancer, all of which she hopes to continue after graduation. Videt has been involved in more than 15 productions at Harvard since 2005 and hopes to continue in a career as director, dancer, and choreographer as part of a theatrical company after graduation.A VES concentrator and Mather House resident, Julia A. Rooney ’11 has been awarded a fellowship to travel to Italy to work on a series of urban and rural landscape paintings while working as a teaching assistant at Studio Art Centers International. Rooney has studied drawing and painting at Parsons the New School for Design, and is a member of the Tuesday Magazine Art Board. Her future plans include working as a professional artist and teaching art.Kristina R. Yee ’10, of Quincy House, has been awarded a fellowship to intern at the studio of Michael Dudok de Wit, an Academy Award-winning animator. A concentrator in folklore and mythology, Yee has produced three animated films, including Alice (2008), which will be part of the upcoming Massachusetts Hall exhibit, and was also part of the Harvard Square Lumen Eclipse public art show last July. Yee also serves as vice president of the Radcliffe Choral Society. While her personal interest is in hand-drawn animation, Yee anticipates working in three-dimensional animation studios on her way to directing animated films.The Office for the Arts at Harvard (OfA) supports student engagement in the arts and serves the University in its commitment to the arts. Through its programs and services, the OfA fosters student art-making, connects students to accomplished artists, integrates the arts into University life, and partners with local, national, and international constituencies. By supporting the development of students as artists and cultural stewards, the OfA works to enrich society and shape communities in which the arts are a vital part of life. For more information about the OfA, call (617) 495-8676 or visit http://www.fas.harvard.edu/ofa.
The effects of climate change are so uncertain and potentially long-lasting that policymakers should begin examining options that include geoengineering, an area that has so far been off-limits, according to a former Harvard researcher who is now a professor at the University of Calgary, Canada.David Keith, Canada Research Chair in Energy and the Environment and director of Calgary’s Energy and Environmental Systems Group, said Tuesday evening (Sept. 22) that fear of sapping momentum from efforts to reduce global carbon output has so far kept talk to a minimum about using large-scale geoengineering to mitigate the effects of climate change. Though some nations are beginning to investigate geoengineering options, more should follow suit, he said.One common geoengineering strategy mentioned in reference to climate change includes several techniques that would make the Earth more reflective, bouncing more of the sun’s rays back into space and cooling the planet. Injecting sulfur high in the atmosphere — most likely by dumping it from an airplane — would mimic the cooling effect experienced after major volcanic eruptions.Volcanoes have long been known to have far-reaching ramifications, caused by the spread of dust and sulfur dioxide from their plumes high in the atmosphere around the globe. Keith mentioned the 1991 eruption of Mount Pinatubo, in the Philippines, which is believed to have cooled global temperatures by roughly half a degree Celsius. Among other efforts, Keith recommended that preparations be made to thoroughly study the next major volcanic eruption to see what lessons could be learned that could be applied to future geoengineering attempts.Keith was the first speaker in the Harvard University Center for the Environment’s (HUCE) Future of Energy speaker series this year. He was introduced by HUCE Director Daniel Schrag, Hooper Professor of Geology and professor of Earth and planetary sciences. Schrag described Keith as a “thought leader” on the question of how to deal with climate change.Keith, who got his doctorate from the Massachusetts Institute of Technology in 1991 and worked as a research scientist in Harvard’s Department of Earth and Planetary Sciences from 1993 to 1999, spoke before a packed Science Center lecture hall audience.In framing his talk, Keith said he doesn’t believe the world is in danger of running out of energy, mainly because industry has gotten so good at extracting fossil fuels. He estimated that there’s enough fossil fuel available to run the world’s economy at higher rates than today for more than 200 years. That having been said, there are major issues beyond the carbon content of fuel to consider. Energy security and energy’s role in geopolitics are also important, as are issues of energy equality and the lack of access for a billion of the world’s poorest residents.When considering changing the world’s energy mix, Keith said, trade-offs are unavoidable. In assessing those trade-offs, however, Keith said policymakers today are not giving enough consideration to the uncertainty inherent in data about different options they’re being given. In some cases, such as the potential costs of increasing the use of nuclear power or the potential cost decline as solar power generation is scaled up, the uncertainties are significant and could impact decisions.“There’s just no way to look at that data and say you know the cost of nuclear,” Keith said about one graph he displayed.Still, Keith struck an optimistic note when discussing the future of the energy system. He believes the power system could be reformed to reduce its carbon output by increasing wind, nuclear, and solar power and by employing coal-fired plants with carbon capture and sequestration technology. The cost, he estimated, would be a few percent of GDP, much less than what the United States spends on health care and about what we spend on the military.To get there, though, policy decisions have to be made despite the uncertainties that remain. Though it is right that the major focus should be on reducing the amount of carbon in the energy we use, Keith said because carbon dioxide in the atmosphere can last thousands of years, the effects of reductions we make now won’t be felt for some time.In addition, he said, uncertainty remains about how the climate system will respond as carbon dioxide levels rise. Because of that uncertainty, it would be wise to plan for a worst-case scenario.In that worst case, Keith said, nations might be prompted to quickly deploy geoengineered solutions without fully understanding their potential consequences. It would be wiser, he said, to begin research now — on a fairly small scale initially — to understand and test various solutions.Geoengineered solutions to climate change fall into roughly two categories, Keith said. The first, carbon cycle engineering, includes slower and more expensive solutions that offer long-term fixes by removing carbon from the environment. It includes things like adding iron to the ocean, which would trigger large-scale plankton blooms that remove carbon from the environment, adding alkalinity to land and sea, and locking up carbon in biochar.The second category, solar radiation management, includes shorter-term fixes that block sunlight from reaching the Earth and then getting trapped by greenhouse gases. These solutions include changing the planet’s reflectivity in one way or another, including the injection of sulfates or engineered particles into the atmosphere. Their advantage, Keith said, is that they’re relatively cheap and easy to do.These solutions, however, have potential side effects, such as changing rainfall patterns and reducing atmospheric ozone. That’s why, Keith said, research should begin to understand their potential effects — both good and bad — so that wise choices can be made.“We need to understand how this might not work, as well as how it might work,” Keith said. “We have to bring this out in the open and talk about it.”
Busch walked with purpose toward Logano after exiting his car on pit road, then lunged at his rival after reaching him. The two were pulled apart, but Busch wound up at the bottom of a pile in a scuffle with officials and crews. A NASCAR official escorted Busch, bloodied by a nick on his forehead, from the scene. “It’s certainly under review,” O’Donnell said. “We have to take everything, make sure we look at all the video, but just from our in assessment last night, as far as on-track I don’t think we saw anything that was intentional by any means. We have to have discussions with both drivers. I think our intention would be not to react unless we see something we haven’t seen yet.” RELATED: What Busch, Logano said | How other drivers reacted RELATED: Another angle of the Busch-Logano conflictMORE: Photos of the incident Steve O’Donnell, NASCAR Executive Vice President and Chief Racing Development Officer, said Monday that competition officials were continuing to review Sunday’s post-race conflict between Kyle Busch and Joey Logano at Las Vegas Motor Speedway, but the sanctioning body is inclined “not to react” pending further video review. “It’s an emotional sport,” O’Donnell added, “and I think it shows exactly how much every position on the track means.” O’Donnell said NASCAR’s competition department was reviewing video footage of the incident, which stemmed from on-track contact between the two drivers’ cars on the last lap of Sunday’s Kobalt 400. Logano’s No. 22 Ford slid into Busch’s No. 18 Toyota in between Turns 3 and 4. The bump sent Busch spinning to a 22nd-place finish, while Logano drove away to place fourth.RELATED: See what led to the pit road incident O’Donnell’s remarks came Monday morning in a guest appearance on SiriusXM NASCAR Radio’s “Morning Drive” program. “What our position has been is that we want to leave it in the drivers’ hands,” O’Donnell said. “What we don’t want to see — and the drivers have asked for this, which is very fair — is a crew member initially approaching a driver or initiating some type of altercation with a driver. The early review of this is, this was two drivers with crew members kind of stepping back. Once something happens, a crew is taught, which I think is right, that if someone comes up in your pit box and attacks your guy, you have the right to try and break that up or bring it to a stop. I think that was the initial review that we saw.”&amp;amp;lt;/p&amp;amp;gt; Asked about the possibility on punishment for crew members on Logano’s No. 22 team, who jumped into the fray after Busch threw a swing, O’Donnell reinforced that NASCAR prefers to leave things in the hands of its drivers. NASCAR officials had no immediate comment about the incident Sunday. O’Donnell also said that officials from the sanctioning body would bring Busch and Logano together for further discussions before getting back on track at Phoenix Raceway.
See where your favorite driver will pit for the second race at Pocono Raceway in 2018, the Gander Outdoors 400 (2:30 p.m. ET on NBCSN, MSN and SiriusXM NASCAR Radio).
CHARLOTTE, N.C. – Martinsville Speedway, the smallest track on the Monster Energy NASCAR Cup Series circuit, is a special place for the Wood brothers, whose hometown is a close 30 miles away in Stuart, Virginia.The Wood Brothers Racing team has been competing at the legendary short track for seven decades and the current driver of the No. 21 Ford Mustang, Paul Menard, will be behind the wheel this weekend for the STP 500 (2 p.m. ET, FS1, MRN, SiriusXM NASCAR Radio).Late Wood Brothers Racing team founder Glen Wood made his first start in the Cup Series in 1953 at Martinsville. This weekend, a win at the short track would mean even more to Menard and the entire team.RELATED: NASCAR Hall of Famer Glen Wood dies at 93“It would be huge,” Menard told NASCAR.com on Thursday. “It would be a big deal, especially this weekend as we honor Mr. Glen Wood, so I can’t think of a better way to honor him than to win at Martinsville.”Wood, who had been the oldest living member of the NASCAR Hall of Fame, passed away on Jan. 18 at 93.A win this weekend would not only honor the his legacy, it would also mark the team’s 100th Cup Series win.Menard has 23 starts under his belt at Martinsville with just two top-10 finishes, but the 38-year-old from Eau Claire, Wisconsin, is on the hunt for his second career victory.With the debut of a new rules package this season, drivers have been faced with a lot of unknowns. As the series heads into the sixth race weekend of 2019, however, things are becoming clearer for Menard and Co.“We’re just trying to understand this package and what it wants. It seems like, for us, we can get on either side of the balance so easily, so trying to figure out how to make small adjustments to the car without overdoing it so we’re not teeter-tottering back and forth between loose and tight throughout the race,” Menard said. “That’s just work in progress. We’re building our notebook, our database and that’s just going to improve.”The veteran considers Martinsville a track that nods to the old days, putting a spotlight on the kind of aggressive, nowhere-to-hide racing that a lot of drivers — himself included — grew up on.“Martinsville is definitely a throwback to how our series started with the short-track racing and how a lot of us drivers started with running around little short tracks throughout the Midwest or California or the Southwest, or wherever you’re from,” he said.“… It’s a lot of fun to drive at Martinsville; you have all this horsepower and not much grip and the cars accelerate really hard, but they don’t stop very good. So, that always makes corner entry really exciting but once you get racing, it’s kind of like 100-mile-per-hour bumper cars. You’re literally around cars all day long, trying to pass cars, trying to stay off other cars’ fenders to keep your fenders from cutting down tires. It’s a battle for 500 laps.”Wood Brothers Racing also has an alliance with Team Penske, which has seen plenty of 2019 success thus far with two wins (Atlanta and Las Vegas) through five races. The partnership has given Menard and the No. 21 team confidence that their breakthrough is on the way.“For us, we know that with the alliance we have with Team Penske, we have the equipment to get it done. It’s just up to us to make the right adjustments throughout the race and keep track position. Maintain track position and make good adjustments and we’ll have success,” Menard said. “We have everything we need, just a matter of putting all the pieces together to make it happen.”MORE: Wood Brothers through the yearsFor those interested in honoring Glen Wood, Menard and the team will be at the Wood Brothers Racing Museum in Stuart, Virginia, on Friday for a tribute to the late team founder. Fans, family members, friends and former drivers will be there from 4-7 p.m. ET.His son Eddie Wood said the tribute will be open to anyone who wishes to participate.