Podcasts about Brokedown Palace

 They open with a bouncy "Man Smart (Woman Smarter)" before Jerry brings out one of his more poignant ballads, "To Lay Me Down." The introspective mood continues as Bobby rolls into "Lost Sailor," but things pick up speed as he moves into "Saint of Circumstance." Drums and Space follows, slowly building momentum until Phil drops a huge bass bomb leading into "The Other One" — the jamming, psychedelic rendition here is the highlight of the set. They then drift into the haunting "Stella Blue" before "Goin' Down the Road Feelin' Bad" carries us toward the close, punctuated by a high-energy "Satisfaction" led by Bobby and Brent Mydland. The "Brokedown Palace" encore is always a favorite sendoff.   Grateful Dead Community War Memorial Auditorium Rochester, NY 4/9/1982 - Friday Two     Man Smart (Woman Smarter) [6:54] ; To Lay Me Down [9:00] ; Lost Sailor [6:21] > Saint Of Circumstance [7:19] > Drums [2:34#] > Space [7:28] > The Other One [7:08] > Stella Blue [7:32] > Goin' Down The Road Feeling Bad [6:11] > (I Can't Get No) Satisfaction [6:37] Encore     Brokedown Palace [5:14] You can listen to this week's Deadpod here:   https://deadshow.blogspot.com/2026/04/dead-showpodcast-for-41026.html thanks for the love and support!  

ReferencesGuerra, DJ. Unpublished LecturesMozart, WA. 1786. Le Nozze di Figaro. K.492. Overturehttps://music.youtube.com/watch?v=pb1tlh9xn38&si=TJ34fcY86DMcVddeLennon/McCartney. 1966. Got to get You into My Life: Revolver lp.https://music.youtube.com/watch?v=r95-7zfgtLw&si=5SnrpxA1j2YFXIzjHunter/Garcia.1970. Brokedown Palace. American Beauty lphttps://music.youtube.com/watch?v=-9HepG1Z4fI&si=7ui43FuZWIm5cNRx

(00:00-14:03) Guess I best host the program, then. Mt. Rushmore of LL Cool J songs. Nature's adderall. Puck Cancer. Audio of Josh Schertz talking about job possibilities and speculation.(14:11-33:38) Big Grateful Dead Wednesday, Doug. Look, it's JR. Jeremy Rutherford hanging out in studio. JR brought gifts. Blues beat the Capitals last night. Can't see Jordan Binnington sticking around to be a backup next year. Two part questions. That's John Kijowski's music. He's mad he didn't get a SLUH shirt (join the club). Robert Thomas's demeanor. The tragic passing of Jessi Pierce.(33:48-44:42) Where'd Jackson go? Oh, there he is. Brokedown Palace. Lou Diamond Phillips didn't like being asked about his net worth. The Recovering Alcoholic is on the line and wants to talk Hippy Crack. $100 wager on the Blues to win The Cup will net him $100,100. Happy Sober-versary! Drug Church. What transformation does to a bull. Pull em down and go to town.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on the Deadpod, we've got the second set from the Grateful Dead's Mardi Gras show on March 3rd, 1987. After the parade winds through, the Dirty Dozen Brass Band joins the boys for a loose and funky "Iko Iko." It takes a minute for everyone to sync up, but it's all part of the fun — you can feel how much they're enjoying themselves. The set really kicks into gear with "Saint of Circumstance," followed by a gorgeous "Terrapin Station." Out of "Drums" and "Space," the band fires up "Gimme Some Lovin'," then slides into a sweet "Wharf Rat," "Throwin' Stones," and a big "Touch of Grey" to close things out. Jerry trips up on a line during the "Brokedown Palace" encore, but the crowd — and the band — help him along. It's one of those perfectly human Dead moments that make this show fun to hear. Grateful Dead Henry J. Kaiser Convention Center Oakland, CA 3/3/1987 - Tuesday Two     Iko Iko [9:20] ; Saint Of Circumstance [6:53] ; Terrapin Station [12:32] > Drums [7:33] > Space [6:40] > Gimme Some Lovin' [5:05] > Wharf Rat [9:08] > Throwing Stones [8:42] > Touch Of Grey [5:34] Encore     Brokedown Palace [5:26]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod031326.mp3   thanks so much for your kind support!          

This week on the Deadpod, we roll into the second set from the band's show at Pauley Pavilion, UCLA, on February 21, 1982. The set kicks off with a lively China → Rider that flows effortlessly into a spacious Estimated Prophet. The jam here has a jazzy, relaxed vibe, with Bobby laying down some especially tasteful rhythmic textures. Eyes of the World follows — played at that brisk early-'80s tempo that might not be everyone's favorite, but Garcia's soaring fills more than make up for it. After Drums and Space, the band launches into a fascinating Not Fade Away, led off by a wonderful Phil Lesh intro that gradually gathers steam as each player adds their voice to the mix. It builds into a full-on whirlwind, topped by some of Bobby's trademark calls to the crowd. A heartfelt Brokedown Palace encore closes things out beautifully after a spirited Sugar Magnolia.   Grateful Dead Pauley Pavilion - University of California Los Angeles, CA 2/21/1982 - Sunday Two     China Cat Sunflower > I Know You Rider > Estimated Prophet > Eyes Of The World > Drums > Space > Not Fade Away > Stella Blue > Sugar Magnolia Encore     Brokedown Palace You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod022726.mp3 Thank you so much for your kind support  

After five straight (mostly) thrilling days of football, Charles and Mike are here to break it all down!  Was that Aaron Rodgers' final game?  Is Mike Tomlin headed to television?  Which network had the strongest broadcast?  Plus, the Bears vs. Packers rivalry is officially back, the CFP ratings take a hit, Fanatics is getting into the content business, LeBron is pat-ching himself on the front of his jersey, and much more!  Jason's Wormbyte pays tribute to the great Bob Weir and covers the greatness of the FA Cup, while the Dr. Mike Smith Sports Moment of the Week has Mike reliving bad memories. 

ReferencesArch Gen Psychiat, 48 (1991), pp. 563-568Magnetic Resonance Spectroscopy in Psychiatric Brain Disorders, American Psychiatric Press, Washington DC (1994), pp. 49-83Biological Psychiatry 2002. 52, Issue 8, 15 October:823-830J Neuroinflammation. 2025 May 28;22:144. Guerra, DJ. 2025. Unpublished Lectures.Hunter/Garcia. 1970. Brokedown Palace.https://music.youtube.com/watch?v=gzRboWH1E6Y&si=RHYn8ej-BZsSKbo4Schubert, F. 1819. Quintet in A Major. D.667. OP.114https://music.youtube.com/watch?v=g3k81__bwrM&si=Xdl70V7tGPyReCt0

Louis Diamond Phillips (né Upchurch; born February 17, 1962) is an American actor, director, and writer. His breakthrough came when he starred as Ritchie Valens in the biographical drama film La Bamba (1987). For his performance as Angel David Guzman in Stand and Deliver (1988), he was nominated for a Golden Globe Award for Best Supporting Actor – Motion Picture and won an Independent Spirit Award for Best Supporting Male.Phillips made his Broadway debut with the 1996 revival of The King and I, earning a Tony Award nomination for his portrayal of King Mongkut of Siam. Phillips' other notable films include Young Guns (1988), Young Guns II (1990), Courage Under Fire (1996), The Big Hit (1998), Brokedown Palace (1999), Che (2008), and The 33 (2015).In the A&E/Netflix television series Longmire, he played a main character named Henry Standing Bear. He played New York City Police Lieutenant Gil Arroyo on Prodigal Sonon FOX from 2019 to 2021MCU heroes that could show up in spiderman Brand new dayMCU heroes that could show up in spiderman Brand new dayCaptain America and Spider-Man Have Great ChemistryThe Black Cat May Finally Make Her Live-Action DebutShang-Chi Has an Intriguing Connection to Brand New DayMCU Fans Need an Update on Doctor Strange Sorceress cleaBrand New Day Could Introduce the MCU's Jean Grey (Sadie Sink's casting in Spider-Man: Brand New Day ) Theories run the gamut, from relatively believable postulations that she could play Peter Parker's new love interest, perhaps Gwen Stacy or Felicia Hardy, to outside-the-box ideas that she could be the time-travelling Mayday Parker, Peter and MJ's daughter from an alternate future. One theory that falls squarely in the center of this broad range is that Sink has been cast as the MCU's Jean Grey.Moon Knight Deserves to Return to the MCUAs a street-level vigilante with a penchant for fighting organized crime, Moon Knight would fit remarkably well in Spider-Man: Brand New Day.Luke Cage Could Continue the MCU's Latest Street-Level TrendAndrew Garfield's Spider-Man Is Rumored to Return in Brand New DayDaredevil Is the Only Hero Fans Need to See in Spider-Man: Brand New DayWith Jon Bernthal's Punisher already confirmed to play a major role in the film, it seems more than likely that Daredevil will also show up, uniting three of Marvel's most iconic street-level heroes for the first time on the big screen.Peace makerFortnite has pulled the Peacemaker "Peaceful Hips" emote following the latest episode of the hit DCU series, entitled "Ignorance Is Chris," which confirmed Season 2's biggest fan theory. Specifically, the alternate dimension showcased throughout Season 2 of Peacemaker is in fact the Nazi-ruled timeline of Earth-X. Subsequently, the "Peaceful Hips" emoji, which is based on a dance sequence from Season 2's opening dance number, has come under intense scrutiny, leading some to speculate that it is in fact a reference to an anti-Nazi Donald Duck short and/or the Nazi swastika.In a statement released via Twitter on Sept. 28, the official Fortnite Status account noted, "We're disabling the Peaceful Hips Emote in Fortnite as we inquire into our partner's creative intentions in this collab emote. Assuming it's not coming back, we'll issue refunds in the next few days. Sorry folks."

KEVIN ALLISON IS MOVING TO THAILAND! The world's greatest open book, RISK!'s Kevin Allison, joins Keith to discuss his big move stemming from the midlife crisis that he's leaning into in a big way. podcast pantheon members Keith and Kevin share their thoughts on big moves (exciting and scary), the state of America (it's not good), sell-out celebrities (fuck Bill Maher), and citizens lying to themselves (RELEASE THE EPSTEIN FILES!).

Welcome back to another episode, where this week, Sarah and Dan explore Brokedown Palace (1999). Join us as we break down the film's shortcomings and unexpected moments. We delve into the representation of Thailand and the justice system depicted in the movie along with the undertones of American exceptionalism We discuss the cast, including Claire Danes (My So-Called Life and Romeo and Juliet), Kate Beckinsale (Shooting Fish and Underworld), Bill Pullman (a current favourite of Sarah's), Lou Diamond Philips (Chavez) and a blink and you'll miss him pre tuna sandwich Paul Walker. What to expect from the episode: Sarah reveals her past obsession with Brokedown Palace Discussion of the film's portrayal of drugs smuggling Honest opinion about the soundtrack Exploration of the friendship theme central to the movie Explanation of why Danes was banned from Thailand Season 11 runs until August 11th with 8 episodes Would you like to see the full lineup for season 11? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup. If you do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-10 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023 and 2024.  Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy. If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.   Or come find us on social media: Instagram | TikTok | Threads | YouTube

The Proper Way on Van Sessions! Sponsor the program: https://t.ly/KsrVL   Van Sessions is Recorded at The Monarch in Ogden, Utah.   ARTIST | The Proper Way   FULL SET LIST Song 1 - Good Love, Mike Clark & the Sugar Sounds COVER Song 2 - Ophelia, The Band COVER Song 3 - When I Paint My Masterpiece, Bob Dylan COVER Song 4 - Brokedown Palace, Grateful Dead COVER Song 5 - A Song for You, Leon Russell COVER   ARTIST LINKS   INSTAGRAM: https://www.instagram.com/theproperwayband/ FACEBOOK: https://www.facebook.com/theproperwayband/ WEBSITE: https://theproperwayband.com/ TIP: https://account.venmo.com/u/theproperwayband?catchAll=u&catchAll=theproperwayband CONTACT/BOOK: https://theproperwayband.com/contact SHOWS: https://www.bandsintown.com/a/13337733-the-proper-way?came_from=242&utm_medium=web&utm_source=artist_event_page&utm_campaign=artist LISTEN: https://songwhip.com/theproperway WATCH: https://www.youtube.com/c/theproperway BUY: https://theproperwayband.com/merchandise STUDIO: https://theproperwayband.com/studio   SUPPORTERS   The Monarch Building: https://themonarchogden.com/ Ogden City Arts: https://ogdencity.com/707/Arts     CREDITS   Producer / Host: R. Brandon Long, The Banyan Collective Bookings: Todd Oberndorfer, todd@thebanyancollective.com Audio Mix: Scott Rogers, The Proper Way https://theproperwayband.com/studio DOP: Dixon Stoddard, https://www.instagram.com/studios_d21/ Photography: Avery Atkinson: https://www.instagram.com/avery_atkinson_/   FOLLOW // SUBSCRIBE   Van Sessions Instagram: https://www.instagram.com/vansessions/ Van Sessions Facebook: https://www.facebook.com/thevansessions Van Sessions YouTube: https://www.youtube.com/@vansessionspod   Tip Jar:  https://www.buymeacoffee.com/banyanmedia   The drive behind Van Sessions is to create a music discovery community for Northern Utah musicians to share their work, refine their craft, and network with other artists.   Van Sessions helps support local musicians, photographers, and videographers through our project. Show your support for local artists by subscribing to Van Sessions on YouTube @vansessionspod or search "Van Sessions Podcast" on your favorite podcast platform.   Join us live at the Monarch in Ogden every First Friday to be a part of the free concert and video podcast recording.   Bookings: todd@thebanyancollective.com

The Proper Way on Van Sessions! Sponsor the program: https://t.ly/KsrVL   Van Sessions is Recorded at The Monarch in Ogden, Utah.   ARTIST | The Proper Way   FULL SET LIST Song 1 - Good Love, Mike Clark & the Sugar Sounds COVER Song 2 - Ophelia, The Band COVER Song 3 - When I Paint My Masterpiece, Bob Dylan COVER Song 4 - Brokedown Palace, Grateful Dead COVER Song 5 - A Song for You, Leon Russell COVER   ARTIST LINKS   INSTAGRAM: https://www.instagram.com/theproperwayband/ FACEBOOK: https://www.facebook.com/theproperwayband/ WEBSITE: https://theproperwayband.com/ TIP: https://account.venmo.com/u/theproperwayband?catchAll=u&catchAll=theproperwayband CONTACT/BOOK: https://theproperwayband.com/contact SHOWS: https://www.bandsintown.com/a/13337733-the-proper-way?came_from=242&utm_medium=web&utm_source=artist_event_page&utm_campaign=artist LISTEN: https://songwhip.com/theproperway WATCH: https://www.youtube.com/c/theproperway BUY: https://theproperwayband.com/merchandise STUDIO: https://theproperwayband.com/studio   SUPPORTERS   The Monarch Building: https://themonarchogden.com/ Ogden City Arts: https://ogdencity.com/707/Arts     CREDITS   Producer / Host: R. Brandon Long, The Banyan Collective Bookings: Todd Oberndorfer, todd@thebanyancollective.com Audio Mix: Scott Rogers, The Proper Way https://theproperwayband.com/studio DOP: Dixon Stoddard, https://www.instagram.com/studios_d21/ Photography: Avery Atkinson: https://www.instagram.com/avery_atkinson_/   FOLLOW // SUBSCRIBE   Van Sessions Instagram: https://www.instagram.com/vansessions/ Van Sessions Facebook: https://www.facebook.com/thevansessions Van Sessions YouTube: https://www.youtube.com/@vansessionspod   Tip Jar:  https://www.buymeacoffee.com/banyanmedia   The drive behind Van Sessions is to create a music discovery community for Northern Utah musicians to share their work, refine their craft, and network with other artists.   Van Sessions helps support local musicians, photographers, and videographers through our project. Show your support for local artists by subscribing to Van Sessions on YouTube @vansessionspod or search "Van Sessions Podcast" on your favorite podcast platform.   Join us live at the Monarch in Ogden every First Friday to be a part of the free concert and video podcast recording.   Bookings: todd@thebanyancollective.com

We're going to Oakland, eh? This week, our host Game is heading to Oakland, California. It's September 12th, 1985 and the Grateful Dead are playing at the Henry J. Kaiser Convention Center. Along the way discussions abound about DogFish Head's new Grateful Dead pale ale. Greatest Story Ever Told > Bertha It's All Over Now Row Jimmy My Brother Esau > Big Railroad Blues > Looks Like Rain > Might As Well Help On The Way > Slipknot! > Franklin's Tower > Playin' In The Band > Drums > The Other One > Black Peter > Throwing Stones > Not Fade Away Not Fade Away > Brokedown Palace

Happy Thanksgiving As is the custom here on the Deadpod, this Thanksgiving we feature an acoustic set and I think we are especially fortunate this year as this set is one of the very best such sets from 1970. From September 20, 1970 this set from the Fillmore East features both David Grisman and David Nelson on mandolin for much of the set, including a very unusual 'Big Railroad Blues' and an acoustic 'Truckin'. Jerry is in particular fine voice throughout, especially on 'To Lay Me Down'.  If you are a fan of acoustic Dead this is a set to savor  .. I hope you enjoy..      Grateful Dead Fillmore East New York, NY 9/20/1970 - Sunday One   Uncle John's Band [6:47] Deep Elem Blues [5:51] Friend Of The Devil [3:32] Big Railroad Blues [3:14] Dark Hollow [2:56] Ripple [4:20] To Lay Me Down [5:12] Truckin' [5:35][0:12] Rosalie McFall [2:24] Cumberland Blues [5:04] New Speedway Boogie [9:31] Brokedown Palace [5:13]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod112824.mp3    I have far more to be thankful for than I can express here.. first of all to all of you who reached out with your well wishes and concern during my recent surgery and recovery.. to my doctors and nurses who did such a wonderful job helping to get me back home.. and of course to my beautiful wife without which I never would have been able to see this through...   

Music News: Pink Floyd and Joni MitchellIn this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music. Chapters00:00 Post-Election Reflections: Music and Cannabis08:29 The Grateful Dead's Musical Legacy14:48 Exploring the Lyrics: To Lay Me Down21:59 Music News: Pink Floyd and Joni Mitchell37:06 Weather Report Suite: A Musical Journey43:10 Second Set Highlights: Mississippi Half-Step and Beyond49:36 Marijuana Research: Substitution Effects51:24 Cannabis Use Among Young Adults56:13 Florida's Marijuana Legalization Initiative01:05:01 Cannabis as a Tool for Opioid Harm Reduction01:11:10 Strains of the Week and Cannabis Culture Larry's Notes:Grateful DeadNovember 11, 1973 (51 years ago)Winterland ArenaSan Francisco, CAGrateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive Happy Veteran's Day  A very famous show from a very famous year.  Many feel 1973 was the peak of the band's post psychedelic era.  Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run.  In 2008 the Dead released the box set:  “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.  This was the Dead's second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band).  The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set. Today's show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band.  They were on fire for these three days.  A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights. Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness.  It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”  INTRO:                                 Promised Land                (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)                                                Track #1                                                0 – 2:10 "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965. Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth. Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time". Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band's last show ever in 1995.  Among those deeply touched by Chuck's genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us. The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation. A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it. This version really rocks out.  I especially love Keith's piano which is featured prominently in this clip. Played:  430 timesFirst:  May 28, 1971 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 1:                    To Lay Me Down  (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee                                                Track #6                                                2:21 – 4:20 David Dodd:  “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.” Well, first—wouldn't we all like to have a day like that! And, second—what unites these three lyrics, aside from the fact that they were all written on the same day? Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,' ‘To Lay Me Down,' and ‘Ripple,' all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.” “‘To Lay me Down' was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace' and ‘Ripple'—the second day of my first visit to England. I found myself left alone in Alan Trists's flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down' were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw's Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.” Garcia's setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia's voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia's alone. I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What's interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead's performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979. So, in terms of story, what can be discerned? The short version, for me: even if it's just for a day, even if it's just once more, even if it's just one last time—it's worth it. It's golden. It's home. This version is really great to listen to.  Jerry's voice is still so young and strong.  And the group singing works really well.  Jerry's also kills it with his lead guitar jamming. Released on “Garcia” in 1972 Played:  64 timesFirst:  July 30, 1970 at The Matrix, San Francisco, CA, USALast: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA MUSIC NEWS:                                                           Music Intro:                       Brain Damage                                                                                    Pink Floyd                                                                                    Pink Floyd - Brain Damage (2023 Remaster)                                                                                    0:00 – 1:47             "Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4]             The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.             The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.             The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999. David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon' and ‘Wizard of Oz'On Thursday, November 7, 2024, Pink Floyd's David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York's Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend's stop by the late-night talk show, he spoke with the program's host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.“You said that you think it's your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour's comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.” Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour's 2024 release–harnessing the conversation to the artist's preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician's 60-year tenure in the spotlight.“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour's humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There's no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there's these strange synchronicities that happen.” Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I'll call them coincidences.”  Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival.  More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023 3.    Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz's 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene's five decade ride.  The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green).  “Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries. As an added distinction, and play into the birthday angle of event's surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist's post on Instagram, where he noted additional inclusions as TBA.   SHOW No. 2:                    Weather Report Suite Prelude  (out of China >Rider/Me & My Uncle/Loose Lucy                                                Track #14                                                3:10 – end                                                   INTO                                                 Weather Report Suite Part I  (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break  - 16 songs                                                Track #15                                                0:00 – 1:03 David Dodd:  This week, by request, we're looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards. The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it's one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2. Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I'm guessing that's where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974. The song addresses the seasons, and their changing mirrors the the singer's state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There's something very hopeful buried in the song's melancholy. Is that melancholy just a projection of mine? I think there's something about Weir's singing that gets at that emotion. Loss, and the hope that there might be new love. Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times. Released on Wake of The Flood in 1973. WRS Prelude and Part I:Played:         46 timesFirst:  September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USALast:  October 18, 1974 at Winterland Arena, San Francisco, CA, USA SHOW No. 3:                     Mississippi Half Step Uptown Toodeloo  (Second Set Opener/into Big River/Dark Star)                                    Track #17                                    3:17 – 4:55 Released on Wake of the Flood in 1973. Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show. Huner/Garcia special.  Great story.  Great lyrics:  “what's the point of calling shots, this cue ain't straight in line.  Cue ball is made of Styrofoam and no one's got the time” Always one of my favorite songs to hear in concert.  ½ Step>Franklin's were especially fun as a one two show opener punch. Played:  236 timesFirst:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO MJ NEWS:                 INTRO MUSIC:       Willin'                                                Little Feat                                                Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.                                                0:10 – 1:32                                                1977 "Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists.          George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus. The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem.  And of course, he asks for “weed, whites (speed) and wine” to get him through his drive. 1.      Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals 2.     Why Florida's Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support 3.     Marijuana Has ‘Great Deal Of Potential' To Treat Opioid Use Disorder, Study Finds, Predicting It'll Become More Common In Treatment 4.     Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales Strains of the week: Sub Zero - Sub Zero is a potent Indica-dominanthybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience. The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain's therapeutic properties. Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste. Extract:             Dulce Limon – hyrbrid sativa dominant            Pineapple Fizz – slightly indica dominant hybrid strain SHOW No. 4:                    Dark Star  (Mind Left Body Jam)                                                Track #18                                                34:45 – end This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.Fun to feature one of the band's thematic jams every now and then.  The truly improvisational side of the Dead and their live performances.  Played:  9 timesFirst:  October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USALast:  March 24, 1990 at Knickerbocker Arena, Albany, NY, USA                                                 INTO                                                 Eyes of the World  (into China Doll/Sugar Mag as second set closer)                                                Track #19                                                0:00 – 2:25 David Dodd:  “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973. (I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!) Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself. In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it's possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song.  The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses.... One of my all time favorite songs, Dead or otherwise.  A perfect jam tune.  Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses.  First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros.  We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention.  I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes.  Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes.  Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand. This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set.  Any '73 Eyes will leave you in awe and this one is one of the best. Played:  382 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast:  July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO  OUTRO:                               And We Bid You Goodnight  (encore out of Uncle John's Band/Johnny B. Goode) 3 song encore!!                                                Track #25                                                :40 – 3:03 The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight. The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England. I got to see it the first night at Alpine Valley in 1989 (the Dead's last year at Alpine) and it really caught the crowd off guard.  Great reaction from the Deadheads.  Kind of a chills down your spine thing.  I was with One armed Lary and Alex, both had been with us at Deer Creek right before.  Lary stayed for all three nights but Alex had to take off after the first show.  Great times.  Played:  69 timesFirst:  January 26, 1968 at Eagles Auditorium, Seattle, WA, USALast:  September 26, 1991 at Boston Garden, Boston, MA, USA  Thank you for listening.  Join us again next week for more music news, marijuana news and another featured Grateful Dead show. Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.   .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

As we come to the end of the Days Between, and reflect on what Jerry gave us I thought it appropriate to present a classic show from when the band was young and ferocious. This comes to us from August 6, 1971 at the Hollywood Palladium. Long considered a classic, I'm sure you'll agree if you haven't yet been fortunate enough to hear this performance. This first set contains no clunkers.. I think each of these songs is a top-notch rendition, but for sure I have to point out 'Mr. Charlie' and 'Cumberland Blues'.. but the highlight here is clearly the great version of 'Hard to Handle'.. Pigpen is at his finest ...      Grateful Dead Hollywood Palladium Hollywood, CA 8/6/1971 - Friday One      Bertha [5:52] Playing In The Band [4:34] Loser [6:29] Mr. Charlie [3:27] El Paso [7:07] Cumberland Blues [5:03] Brokedown Palace [4:57] Me And Bobby McGee [5:47] Hard To Handle [7:16] Casey Jones [4:55]      You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod080924.mp3 Our love is real, not fade away....

"Cannabis, COVID, and Concerts: A Grateful Dead Fan's Journey"Larry Mishkin is back from a break spent in South Carolina with his granddaughter he shares his experience of contracting a mild case of COVID, attributing his quick recovery to his cannabis use. He references studies suggesting that certain strains of sativa marijuana may mitigate COVID symptoms.The episode features a detailed discussion of a special Grateful Dead concert from July 15, 1989, at Deer Creek Music Theater in Noblesville, Indiana. Larry reminisces about the venue, the band's setlist, and the memorable experience shared with friends. He highlights key performances from the show, including "Bertha," "Greatest Story Ever Told," "Candyman," "Walkin' Blues," and others.Larry also covers recent music news, mentioning Melissa Etheridge's performance in Colorado and her upcoming summer tour. He shares updates on the String Cheese Incident's New Orleans-themed show at Red Rocks and Phish's recent appearance on The Tonight Show with Jimmy Fallon, where they performed "Evolve" from their new album. Grateful DeadDeer Creek Music Theater CenterNoblesville, INGrateful Dead Live at Deer Creek Music Center on 1989-07-15 : Free Borrow & Streaming : Internet Archive With:  Judy, Andy K., Lary V., AWell and others First Dead show ever at Deer Creek which had just opened that year.  Became a regular stop on the Dead's summer tour thereafter and one of the favorite places for the Deadheads given its relatively small size as compared to the stadium venues that soon became the norm for summer tours.  Ironically, two days after this one-off Dead played their final 3 shows at Alpine Valley, switched to Tinley Park in 1990 and then starting in 1991 Chicago summer  tour shows were confined to Soldier Field with 60,000 attendees. INTRO:                                 Bertha                                                Track #2                                                1:20 – 3:00 Garcia/Hunter – first appeared on Grateful Dead (live) aka Skull and Roses or Skullfuck (1971)Played: 401First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 27, 1995 at the Palace of Auburn Hills, Detroit, MI  SHOW No. 1:                    Walkin Blues                                                Track #5                                                1:38 – 3:20 "Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions. "Walkin' Blues" was not a commercial success when it was issued as a "race record" marketed to black listeners.  However, the song was received with great enthusiasm by a small group of white jazz record collectors and critics. Producer John Hammond chose "Walkin' Blues" and "Preachin' Blues" as the records to be played at his 1938 From Spirituals to Swing concert, when Johnson himself could not appear (Johnson had died a few months earlier).[15] The 1961 Johnson compilation album King of the Delta Blues Singers was marketed to white enthusiasts. According to most sources, John Hammond was involved in the production and the selection of tracks. The album included the two House-style songs and a song with House-style guitar figures ("Cross Road Blues" and excluded songs in the commercial style of the late 1930s. Notable exclusions were Johnson's one commercial hit, "Terraplane Blues", and two songs which he passed on to the mainstream of blues recording, "Sweet Home Chicago" and "Dust My Broom". Dead first played it in 1966, once in 1982 and 4 times in 1985.  Then, beginning in 1987 it became a standard part of Dead song lists, peaking in 1988 when it was played 23 times.  Became one of Bobby's early first set blues numbers with Minglewood Blues, CC Rider and Little Red Rooster. Played: 141First:  October 7, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA   SHOW No. 2:                    Crazy Fingers                                                Track #12                                                4:30 – 6:12 Pretty standard second set song, usually pre-drums.  Fist played in 1975, a few times in 1976 and then dropped until 1982 at Ventura County Fairgrounds (day after my first show).  Played 7 times that year, dropped until 1985 (10 times), then dropped until 1987 and then played regularly until the end.  Great tune, Jerry often forgot the lyrics and this version is great because Bobby saves him on the lyrics when Jerry starts to go astray.  Good fun considering how many times Bobby would forget the words to his songs. But one of those things you remember if you see it happen Garcia/Hunter, released on Blues For Allah (Sept. 1, 1975)Played: 145 timesFirst:  June 17, 1975 at Winterland Arena, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis)  SHOW No. 3:                    Truckin                                                Track #13                                                7:00 – end Hunter/Garcia/Weir/Lesh/Kreutzman (Pigpen went inside to take a nap) by the side of a pool.Released on American Beauty (November, 1970) final tune on the albumPlayed: 532 timesFirst:  August 17, 1970 at Fillmore West, San Francisco, CA, USALast:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO                                                  INTO                                                Smokestack Lightning                                                Track #14                                                0:00 – 0:36  "Smokestack Lightning" (also "Smoke Stack Lightning" or "Smokestack Lightnin'") is a blues song recorded by Howlin' Wolf (Chester Burnett) in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it.  Recorded at Chess Records in Chicago and released in March, 1956 with You Can't Be Beat on the B side. Wolf had performed "Smokestack Lightning" in one form or another at least by the early 1930s,[1] when he was performing with Charley Patton in small Delta communities.[1] The song, described as "a hypnotic one-chord drone piece",[2] draws on earlier blues, such as Tommy Johnson's "Big Road Blues",[3] the Mississippi Sheiks' "Stop and Listen Blues",[4] and Charley Patton's "Moon Going Down".[5][6] Wolf said the song was inspired by watching trains in the night: "We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning." In a song review for AllMusic, Bill Janovitz described "Smokestack Lightning" as "almost like a distillation of the essence of the blues... a pleasingly primitive and raw representation of the blues, pure and chant-like. Wolf truly sounds like a man in otherwise inexpressible agony, flailing for words."[8] In 1999, the song received a Grammy Hall of Fame Award, honoring its lasting historical significance.[13]Rolling Stone magazine ranked it at number 291 in its list of the "500 Greatest Songs of All Time"[7] and the Rock and Roll Hall of Fame included it in its list of the "500 Songs that Shaped Rock and Roll".[14] In 1985, the song was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recordings" category[15] and, in 2009, it was selected for permanent preservation in the National Recording Registry of the U.S. Library of Congress. Janovitz also identifies "Smokestack Lightning" as a blues standard "open to varied interpretation, covered by artists ranging from the Yardbirds to Soundgarden, all stamping their personal imprint on the song".[8] Clapton identifies the Yardbirds' performances of the song as the group's most popular live number.[17] They played it almost every show, and sometimes it could last up to 30 minutes. Dead often played it out of Truckin, would also play the blues tune Spoonful out of Truckin. Played:  63 timesFirst:  November 19, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  October 18, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 4:                    Space                                                Track #17                                                7:45 – 9:20  On November 28, 1973, Grateful Dead guitarist Jerry Garcia and drummer Mickey Hart staged a performance at San Francisco's Palace Of Fine Arts. At the time, Hart – whose 80th birthday is today – was on a sabbatical from the Dead, having last performed in public with Garcia and the band in February 1971. Hart would rejoin the Dead for good in October 1974.A poster promoting the concert shows a clean-shaven Garcia dressed in black beside an equally freshly shaven Hart wearing all white. At the bottom of the advertisement was printed “An Experiment in Quadrophonic Sound.”Hart recalled his experience at the duo concert with Garcia in 1973 that was not only a Seastones precursor but also planted the seeds for the band's mind-bending “Space” jams.“There were so many exciting that we've done together. Adventurous musical things. He was also into adventure and creating new spaces, so we had that in common. We got together many times out of the ring – where he first discovered synthesizers, being able to synthesize his guitar, which led to MIDI.“The first concert we did was in 1973. It was just a duo. He got an Arp [Odyssey], an electric instrument, a keyboard, and he plugged his guitar into it and that was the first time I had heard his guitar I had heard his guitar running through sophisticated synthesizers.“I just thought of that concert, which kind of was the beginning of ‘Space' – ‘Drums' and ‘Space' actually – it might have been the very beginning of it. And I think of that on his birthday, the seminal things we did together.” After the November 28, 1973 concert, the Grateful Dead began to occasionally incorporate elements of a “Space” jam into their shows. In January 1978, Dead shows almost always included a nightly “Drums” jam paired with a freeform “Space” jam, consistently showing up mid-second set throughout the rest of their career. Played:  1086First:  March 19, 1966 at Carthay Studios, Los Angeles, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL   OUTRO:                               Brokedown Palace                                                Track #22                                                5:04 – 6:43  The lyric to “Brokedown Palace” was written by Robert Hunter as part of a suite of songs that arrived via his pen during a stay in London in 1970. He entitled it “Broke-Down Palace,” and now that it exists as a piece of writing, it seems to have always existed. It was composed on the same afternoon as “Ripple” and “To Lay Me Down,” with the aid of a half bottle of retsina.Its first performance was on August 18, 1970, at the Fillmore West in San Francisco, and became a staple of the live repertoire. After the 1975 hiatus, “Brokedown Palace” appeared almost exclusively as the closing song of the show, as an encore. It had the effect of sending us out of the show on a gentle pillow of sound, the band bidding us “Fare you well, fare you well…”Garcia/HunterReleased on American Beauty (Nov. 1970) Played: 219 timesFirst:  August 18, 1970 at Fillmore West, San Francisco, CA, USALast:  June 25, 1995 at RFK Stadium in Washington, D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"Grateful Dead's Night Amidst Ann Arbor's Championship Riot: A 1989 Michigan Celebration"Larry Mishkin reflects on his experience in 2024, discussing the success of the Michigan Wolverines in football and their celebration. He reminisces about the Michigan men's basketball team's 1989 championship and the Grateful Dead's subsequent concerts in Ann Arbor. The podcast features excerpts from the Grateful Dead's performances and shares anecdotes, including a story about Jerry Garcia and Bobby Weir getting stuck in an Ann Arbor celebration after a national championship win, highlighting the connection between the Grateful Dead and Michigan celebrations. The episode also pays tribute to a late friend and celebrates the recent success of the University of Michigan..Produced by PodConx    Larry's Notes:Ann Arbor timeline for the first week of April, 1989:April 1, 1989 – Hash BashApril 3, 1989 – Michigan beats Seton Hall in Seattle to win NCAA Men's Division I Basketball TournamentApril 5, 1989 – Grateful Dead play in Crisler Arena, home of the champion basketball team (first show in Ann Arbor since 1979)April 6, 1989 – Grateful Dead play in Crisler Arena  When Michigan won the football national championship last week by beating Washington in Houston, made me think there is a history here – M wins a Natty and we play/go see live the Grateful Dead.  Can't break the chain now. Links:April 5, 1989:  Grateful Dead Live at Crisler Arena on 1989-04-05 : Free Borrow & Streaming : Internet Archive                           For Intro, Show No. 1 and Show No. 2 April 6, 1989:  Grateful Dead Live at Crisler Arena on 1989-04-06 : Free Borrow & Streaming : Internet Archive                           For Show No. 3, Show No. 4 and Outro  INTRO:               Feel Like A Stranger                           4/5/89                           Track #1                           2:02 – 3:32               Album:  Go To Heaven                           Total: 208                           First:  March 31, 1980 at Capitol Theatre, Passaic, NJ, USA                           Last:   July 5, 1995, Riverport Amphitheatre, Maryland Heights (St. Louis), MO               Love this version, late ‘80's, when Bobby sings, “Yes and it feels, most like runnin' a red light”, love that “most like”              Also sings, “bout like running a red light”;  “just like running a red light”;   SHOW No. 1:     Franklin's Tower                           4/5/89                           Track #2                           3:24 – 4:38               Album:  Blues For Allah                           Total:    222                           First:     June 17, 1975 at Winterland Arena, San Francisco, CA, USA, (next on Aug. 13th, Great American Music Hall, S.F. – One From The Vault)                           Last:      June 22, 1995, Knickerbocker Arena, Albany, NY During the Help/Slip/Frank hiatus (until Oct at Hampton), Stranger>Franklin's a very common opener) SHOW No. 2:     Not Fade Away                           4/5/89                            Track # 19                           5:29 – 6:59               "Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets.             Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa. Jerry Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin played the double bass on this recording. It is likely that the backing vocalists were Holly, Allison, and Niki Sullivan, but this is not known for certain.[1]"Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time"Covered by:     Rolling Stones (1964, their first big hit)                        The Rolling Stones' version of "Not Fade Away" was one of their first hits. Recorded in January 1964 and released by Decca Records on February 21, 1964, with "Little by Little" as the B-side, it was their first Top 10 hit in the United Kingdom, reaching number three.[5]London Records released the song in the US on March 6, 1964, as the band's first single there, with "I Wanna Be Your Man" as the B-side.[6] The single reached number 48 on the U.S. BillboardHot 100 singles chart.                        Rush                        Tanya Tucker                        John Scofield                        Florence and the Machine                        Dead              No album (on 1971 Grateful Dead (band's second live album)              Total: 560              First:  February 19, 1969 at Fillmore West, San Francisco, CA,              Last:  July 5, 1995  Riverport Amphitheatre, Maryland Heights (St. Louis), MO SHOW No. 3:     Althea                           4/6/89                           Track No. 6                           3:47 – 5:20               Album:  Go To Heaven                           Total:    272                           First:  August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USA                           Last:   July 8, 1995 at Soldier Field, Chicago SHOW No. 4:     Scarlet Begonias                           4/6/89                           Track No. 10                           4:00 – 5:30               Album:  From The Mars Hotel (June 27, 1974)                           Total:  317                            First:  March 23, 1974 at Cow Palace, Daly City, CA, USA                           Last:  July 2, 1995, Deer Creek Music Theater, Noblesville (Indianapolis) IN                            Most often paired with Fire On The Mountain OUTRO:              Brokedown Palace                           4/6/89                           Track No. 21                           3:00 – 4:43               Album:  American Beauty                           Total: 218                           First:  August 18, 1970 at Fillmore West, San Francisco, CA, USA                           Last:   June 25, 1995 at RFK Stadium, Washington, D.C.                           .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"Marijuana Dispensaries and Predictive Football: A Quirky Comparison"Larry is excited about Michigan's win over Alabama and in tribute to their upcoming January 8th  college football championship game against Washington he features a Grateful Dead concert from January 8th, 1978. He detail the song "Jack Straw" and its history, especially focusing on the singer distribution due to Jerry Garcia's laryngitis during the San Diego show.The conversation veers into the significance of the songs "Lazy Lightning" and "Supplication" within the Grateful Dead's repertoire, reminiscing about experiencing these songs live. It briefly touches on personal events, birthdays, and music preferences.The host humorously correlates the predicted football game winner to the number of Grateful Dead performances and marijuana dispensaries in Michigan and Washington. They discuss cannabis-related legislation and the market dynamics in these states, concluding with light-hearted references to personal travels and cannabis availability across regions.Produced by PodConx Grateful DeadJanuary 8, 1978Golden Hall Community ConcourseSan Diego, CAGrateful Dead Live at Golden Hall, Community Concourse on 1978-01-08 : Free Borrow & Streaming : Internet Archive Jerry has laryngitis so he did not singDonna filled in for him  INTRO:                  Jack Straw                                Track #2                                0:07 – 1:38                 Not on any studio album.  Featured on Europe ‘72                First time played:  October 19, 1971, Minneapolis  (Keith Godchaux's first show)                Last played:  July 8, 1995, Soldier Field, Chicago                Total times played =  476 (No. 11 on list of all time songs played)  SHOW No. 1:      Lazy Lightning>Supplication                                Track #8:  3:00 – end and then straight intoTrack #9:  0:00 – 1:15                 DAVID DODD:    The pair of songs was recorded on the Kingfish album, with Bob Weir as a member of the band. Barlow notes that he wrote the song in Mill Valley in October 1975. The two tracks opened the album, which was released in March 1976.             The Grateful Dead first played the pair in concert on June 3, 1976, at the Paramount Theater in Portland, Oregon. That show also included the first performances of “Might As Well,” “Samson and Delilah,” and “The Wheel.” “Lazy Lightning” was always followed in concert by “Supplication,” and the final performance of the two songs took place on Halloween, 1984, at the Berkeley Community Theater.                                “Supplication” was played by itself, according to DeadBase X, on one occasion subsequently, although it was also played as an instrumental jam more frequently over the years. The final “Supplication” was played 597 shows after the last “Lazy Lightning>Supplication,” on May 22, 1993 at the Shoreline Amphitheatre in Mountain View, California. Interestingly, “Supplication” was played one other time separately from “Lazy Lightning,” on September 24, 1976, when it was sandwiched in the middle of a “Playing in the Band.”             a very strong case could be made that “Supplication” is no more a separate song from “Lazy Lightning” than “Sunshine Daydream” is from “Sugar Magnolia.” It's a coda, carrying forward the same themes—only the form of the verse has changed. Lazy Lightning – 111 total times playedSupplication – 123 total times played                  SHOW No. 2:      Estimated Prophet                                Track #14                                2:35 – 4:15                 Weir/BarlowReleased on Terrapin Station released on July 27, 1977 (first studio album released by the band after it returned to live touring after its 1975 hiatus.                               DAVID DODD:  “Estimated Prophet” was first performed by the Grateful Dead on February 26, 1977, at the Swing Auditorium in San Bernardino, California. The Dead also premiered “Terrapin Station” at that show. They played it 390 times in the years that followed, with the longest time between performances being 15 shows—mostly it stayed at the every third or fourth show rank. Its final performance was on June 28, 1995, at The Palace in Auburn Hills, Michigan. It appeared on Terrapin Station, released July 27, 1977.                Blair Jackson quotes Weir, discussing the song, in his biography of the band: “According to Weir, he and Barlow wrote the song from the perspective of a crazy, messianic zealot, a type which one invariably encounters in Deadhead crowds now and again. As Weir explains: ‘The basis of it is this guy I see at nearly every backstage door. There's always some guy who's taken a lot of dope and he's really bug-eyed, and he's having some kind of vision. He's got a rave he's got to deliver.' “                 This is one of those songs, and there are quite a number of them in the Dead's repertoire, in which a not-entirely-sympathetic character is brought to life, and, in the course of being brought to life, is made more sympathetic. I've always thought this was a big strong suit of theire songs, whether in “Wharf Rat” or in “Jack Straw”; whether in “Candyman” or “Friend of the Devil.” Not only is it a recurring trope in the lyrics, but I think it is key to understanding the whole body of the songs, and perhaps literature generally.    SHOW No. 3:      The Other One                                Track # 16                                13:30 – 15:07                 The imagery conjured up by Bob Weir, in his portion of the suite, “That's It for the Other One,” on Anthem of the Sun, is clearly and intentionally a psychedelic ode to the Pranksters and all that entailed. Whether the singer was “escapin' through the lily fields,” or “tripping through the lily fields,” or “skipping through the lily fields” (all versions of the line sung by Weir at various points, according to several extremely careful listeners), the fact is that it was akin to Alice's rabbit hole, because of where it led.     “The bus came by and I got on...that's when it all began.”That line captures so much, in so many different ways, in so few words, that it is a model of what poetry can do—over time, and in a wide variety of circumstances, the line takes on a wide spectrum of association and meaning.                The Dead, of course, were quite literally on THE bus, along with Cowboy Neal (see earlier blog entry on “Cassidy”) and Ken Kesey and Ken Babbs and Mountain Girl and many others whose names are legend among our tribe. What must that have been like? Surely, worthy of a song or two. And Weir came up with a couple of winners, between “The Other One” and “Cassidy.”                 There is something wonderfully cartoonish about the scenes described in the lyrics. A “Spanish lady” hands the singer a rose, which then starts swirling around and explodes—kind of like Yosemite Sam left holding a lit firecracker, leaving a smoking crater of his mind. The police arrest him for having a smile on his face despite the bad weather—clearly, this kid is doing something illegal. Weir's interview with David Gans (along with Phil Lesh) cited in The Complete Annotated Grateful Dead Lyrics refers to a particular incident:Gans: Now, I remember a version from a little bit earlier, maybe late in '67, you had a different set of lyrics; the first verse is “the heat come ‘round and busted me”...and then there was a second verse that was about “the heat in the jail weren't very smart,” or somethin' like that...Weir: Yeah, that was after my little...Lesh: Water balloon episode?Weir: I got him good. I was on the third floor of our place in the Haight-Ashbury. And there was this cop who was illegally searching a car belonging to a friend of ours, down on the street—the cops used to harass us every chance they got. They didn't care for the hippies back then. And so I had a water balloon, and what was I gonna do with this water balloon? Come on.Lesh: Just happened to have a water balloon, in his hand... Ladies and gentlemen...Weir: And so I got him right square on the head, and...Lesh: A prettier shot you never saw.Weir: ...and he couldn't tell where it was comin' from, but then I had to go and go downstairs and walk across the street and just grin at him...and sorta rub it in a little bit.Gans: Smilin' on a cloudy day. I understand now.Weir: And at that point, he decided to hell with due process of law, this kid's goin' to jail.                So, as to the debut. If we take Weir and Lesh at their word, that the first performance of the song as it now stands coincided with the night Neal Cassady died, in the early morning hours of February 4, 1968. And sure enough, there is a performance of “The Other One” on February 3, 1968, whose verses correspond to the verses as we all know them, for the first time, at the Crystal Ballroom in Portland, Oregon. The song was a fixture in the repertoire from then on, performed at least 586 times that we know of. The only year in which it was not listed as being performed was 1975, the hiatus year.             Part of the suite of songs, That's It For The Other One from Anthem of the Sun.  Made up of four sections:  "Cryptical Envelopment", "Quadlibet for Tenderfeet", "The Faster We Go, the Rounder We Get" (the part everyone knows as “the other one”), and "We Leave the Castle". Like other tracks on the album, is a combination of studio and live performances mixed together to create the final product.            appears that way on Anthem of the Sun, bracketed by Garcia's “Cryptical Envelopment.” But it stands alone most of the time in performance—“Cryptical” was dropped completely from 1973 through 1984, reappeared for five performances in 1985 (the 20th anniversary period—it was broken out following a lapse of 791 shows at the June 16, 1985 Greek Theater show (I WAS THERE!!) in Berkeley), then disappeared again for the remainder of the band's careerI. "Cryptical Envelopment" (Garcia)[edit]"Cryptical Envelopment" is one of the few Grateful Dead songs with lyrics written by Garcia. It was performed from 1967 to 1971 (when it was then dropped), and brought back for a few performances in 1985. Post-Grateful Dead bands such as Dead & Company have returned to performing the song, sometimes as a standalone track separate from the rest of the suite.II. "Quadlibet for Tenderfeet" (Garcia, Kreutzmann, Lesh, McKernan, Weir)[edit]"Quadlibet for Tenderfeet" is a short jam section linking "Cryptical Envelopment" and "The Faster We Go, the Rounder We Get". Transitions between studio and live performances are very audible during this section.III. "The Faster We Go, the Rounder We Get" (Kreutzmann, Weir)[edit]One of the few Grateful Dead songs to have lyrics written by Weir, "The Faster We Go, the Rounder We Get" became one of the Dead's most-played songs (being performed a known 586 times[2]) and most popular vehicles for improvisation, with some performances reaching 30+ minutes in length. The song's lyrics reference the influence of the Merry Pranksters and in particular Neal Cassady.[2] Additionally, the line "the heat came 'round and busted me for smilin' on a cloudy day" refers to a time Weir was arrested for throwing a water balloon at a cop.[2] This section ends with a reprise of "Cryptical Envelopment".IV. "We Leave the Castle" (Constanten)[edit]The only Grateful Dead composition written by Tom Constanten, "We Leave the Castle" is an avant-garde piece featuring prepared piano and other studio trickery.[While the "We Leave the Castle" portion of the song was never performed live by the band, the first three sections were all featured in concert to differing extents. "Cryptical Envelopment", written and sung by Jerry Garcia, was performed from 1967 to 1971, when it was then dropped aside from a select few performances in 1985. "The Faster We Go, the Rounder We Get", written by Bill Kreutzmann and Bob Weir and sung by Weir, became one of the band's most frequently performed songs in concert (usually denoted as simply "The Other One").            The Other one– performed 549 times            First played:  Oct. 31, 1967 at Winterland, S.F.            Last played:  July 8, 1995, Soldier Field, Chicago             That's It For The Other One – performed 79 times            First played:  October 22, 1967 at Winterland, S.F.            Last played:             Cryptical Envelopment – performed 73 times            First played:     Oct. 21, 1967 at Winterland, S.F.            Last played:     Sept. 3, 1985 – Starlight Theater, K.C.              SHOW No. 4:      Truckin'                                Track # 17                                4:22 – 6:03                 The lyrics were written under pressure, in the studio, during the recording of American Beauty (Nov. 1970) (released as a single backed by Ripple in Jan. 1971), with Hunter running back and forth with hastily-written verses that somehow, despite the fact that were purpose-written on the spot, seem to have some pretty good staying power. There are rumors that he originally wrote “Garlands of neon and flashing marquees out on Main Street” as an intentionally hard-to-sing line, just to enjoy watching Weir try to wrap his mouth around them, eventually relenting and substituting “arrows of neon,” just to make it possible to sing.The music credit is shared by Jerry Garcia, Bob Weir, and Phil Lesh. Hunter gets the credit for the lyrics. And Hunter took the bare bones outline of some of the band's adventures and misadventures and fleshed them out with memorable features, highlighting their trips around the country with specific references to places and occurrences. In the process, he came up with a chorus consisting of a couple of phrases that are now, eternally, in the cultural psyche: “Sometimes the light's all shining on me / Other times I can barely see. Lately it occurs to me / What a long strange trip it's been.”At some point, Hunter was accused of using a cliché in that final phrase of the chorus. When something you make up becomes such a commonly-used turn of phrase that your own invention of it is accused of being cliché, that's some measure of wordsmithing success, I would say.                Truckin'” was first performed on August 18, 1970, at the Fillmore West. The show opened with an acoustic set, and “Truckin'” was the first song. Other firsts that night included “Ripple,” “Brokedown Palace,” and “Operator.” The song was performed 532 times, placing it at number 8 in the list of most-played songs, with the final performance on July 6, 1995, at Riverport Amphitheatre in Maryland Heights, Missouri.  OUTRO:                Johnny B. Goode                                Track #19                                1:10 – 2:51                 Johnny B. Goode" is a song by American musician Chuck Berry, written and sung by Berry in 1958. Released as a single in 1958, it peaked at number two on the Hot R&B Sides chart and number eight on its pre-Hot 100 chart.[1] The song remains a staple of early and later rock music."Johnny B. Goode" is considered one of the most recognizable songs in the history of popular music. Credited as "the first rock & roll hit about rock & roll stardom",[2] it has been covered by various other artists and has received several honors and accolades. These include being ranked 33rd on Rolling Stones's 2021 version[3] and 7th on the 2004 version of the "500 Greatest Songs of All Time"[2][4] and included as one of the 27 songs on the Voyager Golden Record, a collection of music, images, and sounds designed to serve as a record of humanity.Written by Berry in 1955, the song is about a semi-literate "country boy" from the New Orleans area, who plays a guitar "just like ringing a bell", and who might one day have his "name in lights".[5] Berry acknowledged that the song is partly autobiographical and that the original lyrics referred to Johnny as a "colored boy", but he changed it to "country boy" to ensure radio play.[6] As well as suggesting that the guitar player is good, the title hints at autobiographic elements, because Berry was born at 2520 Goode Avenue, in St. Louis.[5]The song was initially inspired by Johnnie Johnson, the regular piano player in Berry's band,[7] but developed into a song mainly about Berry himself. Johnson played on many recordings by Berry, but for the Chess recording session Lafayette Leake played the piano, along with Willie Dixon on bass and Fred Below on drums.[5][8] The session was produced by Leonard and Phil Chess.[8] The guitarist Keith Richards later suggested that the song's chords are more typical of compositions written for piano than for guitar.[9]The opening guitar riff of "Johnny B. Goode" borrows from the opening single-note solo on Louis Jordan's "Ain't That Just Like a Woman" (1946), played by guitarist Carl HoganA cover version is featured in the film Back to the Future (1985), when the lead character Marty McFly, played by actor Michael J. Fox, performs it at a high school dance.Played 283 times, almost always as an encore or show closer (back in the days where there were no encores)First played on Sept. 7, 1969 at Family Dog on the Great Highway, S.F.Last played on April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum in Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"Tunes of the Season: Phish, Grateful Dead, and Merry Jams"Larry Mishkin   discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire.Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows.Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman..Produced by PodConx   Theme – Rock n Roll ChristmasIf you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers:INTRO:               ChristmasThe WhoFebruary 14, 1970University of Leeds, Leeds, England  aka  “Live At Leeds”The Who - Christmas - Live At Leeds (with Footage) (youtube.com)2:00 – 3:17 "Christmas" is a song written by Pete Townshend and is the seventh song on The Who's rock opera Tommy. On the original LP, it opens the second side of the album.  Tommy is the fourth studio album by the English rock band the Who, first released on 19 May 1969.[2] Primarily written by guitarist Pete Townshend, Tommy is a double album and an early rock opera that tells the story of Tommy Walker and his experiences through life. The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me." "Christmas" was praised by critics. Richie Unterberger of AllMusic called it an "excellent song."[5]Rolling Stone's Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] A review in Life by Albert Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] James Perone said it was "perhaps one of the best sleeper tracks of the collection." Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and revitalised the band's career. Live at Leeds is the first live album by English rock band the Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The album was released on 11 May 1970 by Decca and MCA in the United States,[2] and by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been ranked by several music critics as the best live rock recording of all time SHOW No. 1:                   Run Rudolph RunGrateful DeadFelt Forum at MSG, NYCDecember 7, 1971Track No. 10Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive0:11 – 1:54 Run Rudolph Run"[2][3][4] is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer.[5][note 1] It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph".[16] The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958.[22] Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.This Ciip:Out of Brokedown Palace and into You Win AgainPlayed a total of 7 times.This was the first timeLast:  December 15, 1971 Hill Auditorium, Ann Arbor, MI  SHOW No. 2:     Little Drummer BoyPhishJuly 3, 1999Coca Cola Lakewood Amphitheatre, Atlanta, GAPhish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com)Start to 1:30 Out of Contact to close the second set.  Played it again as the first encore (into, Won't You Come Home Bill Bailery starring Page's dad, Jack, on vocals and kazoo. "The Little Drummer Boy" (originally known as "Carol of the Drum") is a Czechoslovakian popular Christmas song written by American composer Katherine Kennicott Davis in 1941.[1] First recorded in 1951 by the Austrian Trapp Family, the song was further popularized by a 1958 recording by the Harry Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi to the Nativity of Jesus. Without a gift for the Infant, the little drummer boy played his drum with approval from Jesus' mother, Mary, recalling, "I played my best for him" and "He smiled at me". Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike's Song” and into “Whipping Post,” a tease during the 12/28/94 “Weekapaug Groove,” and jammed out of the “YEM” vocal jam (12/2/99) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend” (3/18/93) and “Stash” (7/15/93), and teased during “Weekapaug Groove” and “Big Ball Jam” (4/9/94), “Wilson” (8/13/97), “Silent in the Morning” (7/4/99), and "Wilson" (4/16/04). This version is generally considered to be Fishman's most memorable version.  SHOW No. 3:     God Rest Ye Merry GentlemenJerry Garcia and David GrismanNovember 9, 1991Warfield Theater, S.F.God Rest Ye Merry Gentlemen - Jerry Garcia - Bing videoStart – 1:37Out of The Two Sisters to close second set "God Rest You Merry, Gentlemen" is an English traditional Christmas carol. It is in the Roxburghe Collection (iii. 452), and is listed as no. 394 in the Roud Folk Song Index. It is also known as "Tidings of Comfort and Joy", and by other variant incipits. An early version of this carol is found in an anonymous manuscript, dating from the 1650s it appeared in a parody published in 1820 by William Hone.               Story here is the way Jerry and David play so tight, trading off leads and filling in gaps.  A great sound for a traditional tune.  There are many sides of Jerry and we don't get to see all of them.  Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life. SHOW No. 4:                   Stagger LeeGrateful DeadDecember 30, 1985Track No. 6Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet ArchiveStart – 1:32 As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”.  On some occasions, Jerry was  known to substitute in “Christmas” Eve. "Stagger Lee", also known as "Stagolee" and other variants, is a popular American folk song about the murder of Billy Lyons by "Stag" Lee Shelton, in St. Louis, Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price reached number one on the Billboard Hot 100 in 1959. The historical Stagger Lee was Lee Shelton, an African-American pimp living in St. Louis, Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John and Alan Lomax, he took the name from a riverboat owned by the Lee family of Memphis called the Stack Lee, which was known for its on-board prostitution.[2] Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] In addition to those activities, he was the captain of a black Four Hundred Club, a social club with a dubious reputation. On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson hat.[5]Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912. The Grateful Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death. Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog. Dead released it on Shakedown Street, Nov. 8, 1978 Played 146 times by the Dead1st:  August 30, 1978Last:  June 18, 1995 Giants Stadium  OUTRO:              Santa Clause Is Coming To TownBruce Springsteen and the E Street BandCW Post University, Greenvale, NYDecember, 19756Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video2:15 - 4:00               Santa Claus Is Comin' to Town" is a Christmas song featuring Santa Claus, written by J. Fred Coots and Haven Gillespie and first recorded by Harry Reser and His Band.[1] When it was covered by Eddie Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2][3] The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler) was very popular in 1934 and reached the various charts of the day.[4] The song has been recorded by over 200 artists including Bing Crosby and the Andrews Sisters, the Crystals, Neil Diamond, Fred Astaire, Bruce Springsteen, Frank Sinatra, Bill Evans, Chris Isaak, the Temptations, The Pointer Sisters, the Carpenters, Michael Bublé, Luis Miguel, and the Jackson 5 A rock version by Bruce Springsteen & the E Street Band was recorded on December 12, 1975, at C. W. Post College in Brookville, New York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14][15] This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] It was first released as a track on the 1981 Sesame Street compilation album, In Harmony 2, as well as on a 1981 promotional, radio-only, 7-inch single (Columbia AE7 1332).[17][18] Four years later, it was released as the B-side to "My Hometown," a single off the Born in the U.S.A. album.[19] Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on Billboard magazine's Hot Singles Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays. Dead & Co at the Sphere?Phish – sold out fast Merry ChristmasHappy Holidays .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Casey and Jack are back to talk about Jack seeing Saltburn, Casey's Corner including Taylor Swift with Time Magazine, their IMC (Brokedown Palace + Man in The Moon), and 10 actors and actresses who had a hot start in the public eye. Brokedown Palace- 16:03 Man in the Moon- 25:03 Burst on the Scene- 31:16 Follow/Subscribe Instagram-  @dionfamilynetwork, @jack.dion, @caseysdion, @megdionart Ask a question/comment: popinions.mailbag@gmail.com https://jack-dion99.blogspot.com https://www.youtube.com/channel/UCmcJq3QquE0dd5agmz9e74g

We should all have courage like David Zaslav (；￣Д￣）. Lord Gaben has been required to return to the US for court, more layoffs hit the game development world, and CD Projekt Red is really gearing up for the Witcher 4. Meanwhile The Hunger Games prequel is just wrapping up the box office, Taika wants to make sure his Star Wars will be good, and Chris Evans is totally unware of the return of Cap. Also I give my top 10 90s Drama films.

MIGHTY BABY - "I'M FROM THE COUNTRY" ("MIGHTY BABY", 1969) / FAIRPORT CONVENTION - "TALE IN HARD TIME" ("WHAT WE DID IN OUR HOLIDAYS", 1969) / LOVE - "WILLOW WILLOW" ("OUT HERE", 1969) / GRATEFUL DEAD - "BROKEDOWN PALACE" ("AMERICAN BEAUTY", 1970) / BRINSLEY SCHWARZ - "HYMN TO ME" ("BRINSLEY SCHWARZ", 1970) / BADFINGER - "I DON'T MIND" ("NO DICE", 1970) / GARY FARR - "TAKE SOMETHING WITH YOU" ("TAKE SOMETHING WITH YOU", 1969) / TREES - "THE GREAT SILKIE" ("THE GARDEN OF JANE DELAWNEY", 1970) / FAIRPORT CONVENTION - "AUTOPSY" ("UNHALFBRICKING", 1969) / FAMILY - "LIVES AND LADIES" ("ANYWAY", 1970) / TRAFFIC - "WITHERING TREE" ("LAST EXIT", 1969) / JEFFERSON AIRPLANE - "TURN MY LIFE DOWN" ("VOLUNTEERS", 1969) /JEFFERSON AIRPLANE Escuchar audio

"Jamming at Borderland: Goose, Trey Anastasio, and More Shine Bright"Larry Mishkin welcomes the Deadhead Cannabis Show's sound editor, Jamie Humiston to discuss his experience at the Borderland Music and Arts Festival. Jamie highlights various bands that performed, including Goose, Trey Anastasio's Classic Tab, and The Infamous Stringdusters. Jamie shares their impressions of the festival's atmosphere, mentions a cannabis-infused hot sauce that he discovered, and provides insights into the different musical acts. The conversation touches on the evolving jam band scene and the unique charm of festivals..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast Going with a hot one, September 25, 1980Grateful Dead Live at Warfield Theater on 1980-09-25 : Free Borrow & Streaming : Internet Archive Opening night of the Grateful Dead's Warfield/Radio City acoustic/electric runs, recorded every night and best wound up on Reckoning (acoustic) and Dead Set (electric) Warfield Run – September 25, 1980 – October 14, 1980Radio City Run – October 22, 1980 – October 31, 1980 Prior to these shows, had not played a full acoustic set in concert since 1970 or maybe early 1971.  As a result, a good number of songs that the Dead liked to play acoustic had not been heard in a number of years before this show. first "Ain't No Lie" - last "All Around This World": 02-14-70 [706] - last "Bird Song": 09-15-73 [382] - last "Dark Hollow": 04-29-71 [550] - last "Monkey & Engineer": 12-31-70 [589] - last "Ripple": 04-29-71 [550] - last "Rosalie McFall": 11-08-70 [609] - last "Roses": 01-12-79 [118] INTRO:                Birdsong                           Track No. 1                           1:00 – 2:13               From Jerry's first solo album, “Garcia” released Jan 20, 1972.              Robert Hunter lyrics:  Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead.            First played Feb. 19, 1971 Capitol Theater Port Chester           Last played June 30, 1995 Three Rivers Stadium, Pittsburgh           Played by the Dead 300 times in concert This was the first time played since 9.15.73 (382 shows) This version is amazing both because it is acoustic and Jerry's voice is so strong.  Makes you fall in love with the song all over again, or, as One Armed Lary would say, “taste it again for the first time” although I don't think he was talking about this song, or any song, when he said it (Deer Creek 1989). SHOW  #1:         I've Been All Around This World                           Track No. 2                           1:23 – 2:16               The origins of I've Been All Around This World are not easy to trace. It possibly derives from a number of different songs. The 'Hang Me, Oh Hang Me' verse is thought to derive from the traditional song My Father Was A Gambler, a US ballad, which is thought to be about a murderer who was hanged in 1870. The song has also been collected under such titles as "Diggin' on the New Railroad", “The Gambler, ” “My Father Was a Gambler,” “The New Railroad,” “The Hobo's Lament,” “The Hobo's Blues” and "Hang Me, Oh Hang Me". In 1930, George Milburn published a book entitled the Hobo's Hornbook that included a version of “I've Been All Round this World”. It was also found in Henry Marvin Belden's "Ballads and Songs Collected by the Missouri Folk-Lore Society". The book was printed in 1940 but the song was "secured by Miss Frances Barbour in 1917 from the singing of Minnie Doyle of Arlington, Phelps County [MO]". Dead's version is “Traditional, arranged by the Grateful Dead and they all get credit (Pig Pen days)Released on History of the Grateful Dead, Vol. ! Bear's Choice (a live album by the Grateful Dead. It is their fourth live album and their ninth album overall. Released in July 1973 on Warner Bros. Records, it offers concert highlights recorded February 13 and 14, 1970 at the Fillmore East in New York City. Often known simply as Bear's Choice, the title references band soundman Owsley "Bear" Stanley. It was originally intended to be the first volume of a series.)                                                      First played by the Dead on December 19, 1969 at the Fillmore West              Last played by the Dead on December 31, 1980 Oakland Civic Auditorium              Played a total of 19 times in concert This was the first time played by the Dead since Feb. 14, 1970 (706 shows) I really love the acoustic guitar in this version.  Jerry can pick with the best of them. BORDERLAND  SEPT. 15, 16 AND 17EAST AURORA, NY (JUST OUTSIDE OF BUFFALO)5th year The Borderland Music + Arts Festival celebrates the rich history and renaissance of the region with a three-day music and cultural festival set in one of the most scenic and storied grounds in all of New York State, Knox Farm State Park. Great lineup with headliners:              Goose              TAB              Moe.Also featuring:   Infamous String Dusters                           Dawes                           Sammy Rae and Friends                           Neal Francis                           Not Fade Awa Band (Dead and Zeppelin covers)                           Eric Krasno                           Brandford Marsalis                           Anders Osborne                           Etc. Jamie Humiston was there.Jamie – discuss festival, highs, favorite acts, etc. SHOW #2:          SONG FROM BORDERLAND                           GOOSE SHOW #3:          SONG FROM BORDERLAND                           TREY AND DAWES Back to the Dead from 9.25.1980 SHOW #4:          Oh Babe It Ain't No Lie                           Track No. 8                           :10 – 1:35               By Elizabeth “Libba” Cotton January 5, 1893 – June 29, 1987)[1][2][3] was an American folk and bluesmusician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down.[4] This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking".[5]NPR stated "her influence has reverberated through the generations, permeating every genre of music."[6]Her album Folksongs and Instrumentals with Guitar (1958), was placed into the National Recording Registry by the Library of Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train", a song she wrote in her early teens.[7] In 1984, her live album Elizabeth Cotten Live!, won her a Grammy Award for Best Ethnic or Traditional Folk Recording, at the age of 90.[8] That same year, Cotten was recognized as a National Heritage Fellow by the National Endowment for the Arts.[9] In 2022, she was posthumously inducted into the Rock and Roll Hall of Fame, as an early influence.[10]               David Dodd:  The song debuted in the Dead's repertoire during their Warfield run on September 25, 1980, and was then played ten times over the course of the acoustic shows at the Warfield and Radio City Music Hall runs. After that, it made three more appearances, in one-off situations such as an acoustic set at the Mill Valley Recreation Center, or in the Netherlands for an acoustic set, and finally at Marin Vets, on March 28, 1984, in a performance that kicked off the second set, without Weir and Mydland onstage.However, I know the song had been “around” for much longer than that. It appears on the studio outtakes from Garcia's Reflections album, as released in the All Good Things box set. And personal interviews with Garcia's circle of acquaintances in Palo Alto in the early 1960s make it explicitly clear that he was familiar with the work of Libba Cotten. So I expect Garcia had performed the song many times during his folkie period, and it may have been in the Jug Band repertoire. Dodd:  An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective's love of following a clue as far as it will take him. Author of:The Annotated Grateful Dead Lyrics OUTRO:            Ripple                           Track No. 9                           3:04 – 4:30               From American Beauty  (Released Nov. 1970)               Robert Hunter wrote this song in 1970 in London on the same afternoon he wrote "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process [3]). The song debuted August 18, 1970 at Fillmore West in San Francisco. Jerry Garcia wrote the music to this song.[3]                       Between 1970 and 1971 the Grateful Dead played the gorgeous Garcia/Hunter tune “Ripple” a number of times both electric and acoustic before putting the song in mothballs until 1980. Though the Dead performed “Ripple” a whopping 27 times acoustically in 1980 and then once again unplugged in 1981, it disappeared from the repertoire for the final 14 years of the band's career with one exception. On September 3, 1988 the Grateful Dead busted out an electric “Ripple” for the first time in 17 years for what would be the final performance of the tune.As the story goes, which is unconfirmed, the band was approached by the Make-A-Wish Foundation with a request from a young fan dying of cancer. The Grateful Dead were asked to perform “Ripple” at their September 3, 1988 show in Landover, Maryland. Jerry Garcia & Co. honored the request by ending the evening with the tender ballad. “Ripple” hadn't been played in any form in 459 shows and it had been 1,113 performances since the last electric version of the American Beauty stunner which took place at New York City's Fillmore East. As you can imagine, the crowd went absolutely ape shit the moment the “Ripple” bust out begins.That was also the night of the rehearsal dinner for my wedding weekend in Chicago.  A number of my good Deadhead friends were in town celebrating with my wife and me and much later that night (remember, no cell phones or internet or on-line set lists.  Had to wait for the 800 RUN DEAD line to be updated and then be able to get through.  Somehow even by those standares word got around very fast and my buddies were not at all pleased since many of them would have undoubtedly been at that show (although, since it was a second encore a number of fans had already walked out of the Cap Center and then desperately tried to get back in.No better way to end any show, including this one. Music Stories:Neil Young & Crazy Horse Deliver ‘Tonight's The Night' and ‘Everybody Knows This is Nowhere' in Full Bobby Weir & Wolf Bros Announces Three-Night New Year's Eve Stand in Fort Lauderdale Phish to Bring Four-Night New Year's Run Back to Madison Square Garden

We discuss our 1-0 win at Crystal Palace and how much more comfortable it was viewed 2nd time around. From Eddies chances to Tomy's sending off we delve in to what happened. Then in the second half we discuss the brilliance of Declan Rice, how our season has gone so far, If we'd mind selling Balogun to Chelsea and if we can sell anyone, well, anywhere. Hosted on Acast. See acast.com/privacy for more information.

Wo ist die Terminal Rate, der Hochpunkt im Zinszyklus? Das fragt sich Andreas Scholz in der neuen Euro Finance Weekly und schwört die Zuhörer zugleich auf den Euro Finance Summit am 3. Juli in Frankfurt ein. Wie ist die Situation in den USA? Powell ist als "rockiger Falke" on tour: "Brokedown Palace" oder "Bis zum bitteren Ende"? Ein Königreich für eine bessere Wirtschaftslage - so das Motto in England. "Die verdammte Kernrate geht auch weiter hoch. Viele Briten sind verschuldet." Ist die Insel auf Rezessionskurs? "Downward Spiral" für die türkische Lira - 650 Basispunkte als Antwort. Eine Verzweiflungstat? Die Schweizer dagegen auf einer "Joyride": "Die sind in Sachen Inflationskontrolle sehr gut unterwegs."

This week we continue listening to the second set of the band's performance at Memorial Auditorium in Uttica New York on March 21, 1973. As was the case last week, we have a very long set this week, around an hour and 43 minutes. This set features more jamming of course, including a jazzy 'Dark Star' marked with some fine drum rolls by Mr. Kreutzmann, a lovely 'Eyes of the World' and several classic songs from the period including 'Me & Bobby McGee'.      Grateful Dead Utica Memorial Auditorium Utica, NY 3/21/1973 - Wednesday Two     [1:45:34]  Greatest Story Ever Told [4:43]   They Love Each Other [5:21]   Mexicali Blues [3:09]   Brown Eyed Women [4:49]   Big River [3:58]   Brokedown Palace [5:14]   Me And Bobby McGee [5:12]   Weather Report Suite Prelude [0:57] > Dark Star [21:00] > Eyes Of The World [15:48] > Wharf Rat [9:25]   Sugar Magnolia [9:17]   Casey Jones [6:00] Comments     {Dark Star 0:00 > First Verse 9:20 to 10:30 > end 21:00} Is Casey Jones perhaps an encore? You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod051223.mp3  "Wake now, discover that you are the song that the morning brings But the heart has it's seasons, it's evenings and songs of it's own" thanks..  

Ed interviews Sahajak “Poo” Boonthakit, Thai actor and entertainer. K. Poo begins by explaining his unusual childhood: his father was a Thai diplomat and when Poo was a young boy his family moved to Nairobi, Kenya, where Poo would spend the next 11 years. Poo discusses life in Kenya among Africans and Indians and white ‘colonialists,' but also the incredible natural phenomena of the African savannah. However, in high school, Poo's family would move to New York, where he at first became more American but then later learned ‘how to be Thai' from the tight knit community of Thai expats in the city. Ed asks Poo about his history as an entertainer, and Poo explains that in Nairobi his brothers formed an acting troupe that performed on stage at school and in the city. In New York, Poo continued by becoming a singer and guitar player at local Thai restaurants.  In the late 1990s, Poo returned to Thailand with his Filipino wife, and they started The Garage, one of the first American burger joints in Bangkok. Through a stroke of luck, their young son was cast in a commercial and Poo landed the role of the father (he was a natural at it). :) This led to a fascinating career acting in films, from “The Beach” with Leonardo DiCaprio to “Brokedown Palace” with Claire Danes, up until the very recent “Thirteen Lives” directed by Ron Howard. Poo tells the story of his amazing three month shoot in Australia with the famous director and luminaries such as Viggo Mortenson and Colin Farrell. And The Garage is still going strong after twenty plus years! Poo invites all podcast listeners to join him for some American grub at the corner of Sukumvit 32 and Sukumvit Road.  Don't forget that Patrons get the ad-free version of the show as well as swag and other perks. And we'll keep our Facebook, Twitter, and LINE accounts active so you can send us comments, questions, or whatever you want to share.

We've got a holiday weekend worth of fun, fresh content to dive into (once Nick finishes watching Twilight). The new show Fleishman is in Trouble brings us a surprisingly mysterious stroll through NYC, White Lotus is about to descend into delicious chaos, Dan Levy and the impeccable Sohla El-Waylly guide chefs through a heartwarming brunch competition and Mindy Kaling's College Girls are back. Hope everyone has an amazing weekend, we're super grateful for you!! Show Notes: @1:00 - Hot takes | Twilight party, phone addiction, Fleishman, Brokedown Palace, White Lotus, Sex Lives of College Girls, Disenchanted, Maya Rudolph, Survivor 43, Amazing Race/The Challenge @28:30 - Tweets of the Week | Oh no, noodles! @50:00 - Game | Taboo! Want to support us and get fun extras? Join our Patreon! At takespod.com or Patreon.com/takespod Like 30 Rock? Like Nick and Julie? Listen to them on their 30 Rock rewatch podcast: Blerg! (@blergpodcast) wherever you listen to Takes.

Wherein Bilal blames his demise on postpartum depression, we save the manatees and Angela didn't watch Brokedown Palace on the way to Africa.

This Labor Day weekend the Deadpod brings you the 2nd set from the band's performance at the Shoreline Amphitheater on August 18, 1991. There's alot of joy in this set, I think, as the band seems to be enjoying themselves throughout. A fine 'Deal' opens things up - Hornsby is evident here and throughout. The band delivers a topnotch version of 'Samson and Delilah' to follow. A somewhat sloppy 'Mississippi Half-Step' leads into a rather funky 'Feel Like a Stranger'. Out of the Rhythm Devils we get a favorite of mine, 'China Doll', then the band closes with a rocking trifecta of 'Goin' Down the Road', 'Throwin' Stones' and 'Not Fade Away'.  One of the highlights is the perfectly executed 'Brokedown Palace' encore.    Grateful Dead Shoreline Amphitheater Mountain View, CA 8/18/1991 - Sunday Two     Deal [8:41] Samson And Delilah [8:40] Mississippi Half-Step Uptown Toodeloo [8:15] Feel Like A Stranger [8:20] > Drums > Space > China Doll > Goin' Down The Road Feeling Bad > Throwing Stones > Not Fade Away Encore     Brokedown Palace   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod090222.mp3 Have a safe and happy Labor Day!! thank you for listening and of course for you kind support. 

Edition 77: A Digest of Michigan Women's Music and Arts Festivals 2022. Both Thistle and Jenna got to gather with women in the woods of Michigan this Summer 2022. Both give their reports from a variety of women's lands and festivals in the great State of Michigan. Hear Emiliann Lorenzen's world news headlines after Liz Miller's segment "Getting Organized" wherein she interviews Dawn Smith, founder and organizer of Michigan Framily Reunion (MFR). Then, stay tuned for Thistle's interviews with Jori Costello and Emily Faye, two women artists and musicians on women's lands and at women's gatherings this Summer in Michigan. Jori Costello is a member of the band Big Bad Gina and instructor at WWTLC.org's festival called Women's Performance Initiative or WIPI Band Camp. Thistle met her on the Land where the original MichFest took place and they talked about WIPI and the mythos of Michigan in general as the rain pitter patters in the background, deep in the woods. Emily Faye is a cross country traveler spreading love and cheer with her unique yoni art and booth she sets up on Women's lands. You might know her by the tick tick tocking of her old fashioned type writer where she furiously writes secret pages of unknown content. You can find her on the interwebs here: www.radicallybedazzled.com. Finally, stay tuned for Thistle's commentary about the two Michigan gatherings she got to go to this Summer, one by bike! Her rendition of the classic Grateful Dead song "Brokedown Palace" is woven in with her words describing highlights and moments on the Land. Enjoy and thanks, as always, dear listeners, for staying tuned to WLRN. To donate to the cause of feminist community powered radio WLRN, click here: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=ULAE4ZHPARLFE

The guys start off discussing the Brittany Griner saga (3:32) Hollywood gives a halfway review of the movie Brokedown Palace (9:33). The sentencing of Derek Chauvin (11:30) and receives the lucrative Jada Pinkett I hate you award. Hollywoods thing I hate segment (15:00). Christopher Columbus vs Bin Ladin (17:10), the guys address the outpouring of hate Mayor Cantrell receives (28:10) and finally get into the topic of being a side dude (38:00)

We were warned. Teachers taught us about the oppression of communist rule. Pop culture gave us “Midnight Express” and “Brokedown Palace.” We knew committing crime on foreign soil was a bad idea. WBNA star Brittney Griner isn't the first to learn this lesson the hard way. Griner sits in a Russian prison accused of a crime she may be innocent of, but she is guilty of the offense of being an American in the wrong place at the wrong time. Rather than blame Griner, or even Russia, some members of the media and sports world have indicted America's racism as the culprit of her incarceration. Jason explores how they reach that conclusion. “Russia locks up a 6-foot-8 black woman for a tiny amount of hash, and it's America's fault. Really? What's the matter with us? Are we really filled with this much self-hate?” Jason believes if you really want to blame this country for the imprisonment of political adversaries, look to the Jan. 6 protesters. They deserve the sympathy that's being rained down on Griner. “Fearless” contributor Royce White weighs in on the situation and shares why he's never played overseas, even after being blackballed by the NBA. Delano Squires drops in to share his thoughts on ESPN's Elle Duncan's attack on #GirlDad in the Roe v. Wade aftermath. Plus, Maj Toure explains how red-flag laws failed in the Highland Park shooting, Shemeka Michelle has words for "Saturday Night Live's" Leslie Jones, and in Tennessee Harmony, Pastor Anthony Walker answers the question: To tithe, or not to tithe? Today's Sponsor: Make gatherings at the table common again with Good Ranchers. Right now, get $30 off your order! Plus, FREE shipping is a huge cost covered for customers. Use my code, “FEARLESS”, or visit https://GoodRanchers.com/FEARLESS. Get 10% off Blaze swag by using code Fearless10 at https://shop.blazemedia.com/fearless Make yourself an official member of the “Fearless Army!”   Support Conservative Voices! Subscribe to BlazeTV at https://get.blazetv.com/FEARLESS and get $10 off your yearly subscription. Learn more about your ad choices. Visit megaphone.fm/adchoices

Let's talk about a movie none of us have seen in a while! Alice and Darlene are best friends, just graduating from high school when they take a trip to Thailand. Things don't go well and they end up in a Thai prison. Samantha and Tristan talk about whether or not they would make it through this together (probably), if this ever would have happened to them in the first place (absolutely not), and if they look at each other as lovingly as Alice looks at Darlene (ew, no). Besties, never agree to take drugs across the border for a man, even if he's hot.

Miami-based collage artist, Jon Davis, presents his most recent body of work as an homage to the city he calls home. Throughout “Brokedown Palace” images capturing ‘moments' of Miami are fractured, stratified, and presented through a renewed understanding of not only the space they represent, but as they currently exist within each seamless rendering. After undergoing a year-long distillation period, this most recent body of work can be expressed as the culmination of Davis's practice over the past 30 years. In previous iterations of his work, Davis has used found photographs to curate narratives that express the nuanced, often untranslatable, realities that exist within the human experience. In this tangential vein of new work, “Brokedown Palace” brings this concept closer to come featuring photographs taken by the artist throughout the tropical metropolis, placed in conversation with imagery pertinent to the larger story of Art History, and translated through Davis's conceptually based process. Davis's work is comprised of synthesized realities, dissolving the gap between past and present. He merges each selected image to question a conventional understanding of reality while simultaneously highlighting their similarities. He flattens the chronological distance between each facet within each collage as they are flush, mounted on canvas or wood. Davis's work shows that regardless of the technological changes that develop with the passing of time, the symbiotic relationship between art and life never ceases. Through the duration of his artistic career, Davis's self-taught practice creates his distinctly unique visual language, pulling inspiration from the philosophical, and ensuing formal, evolution of the arts in the late twentieth century. Davis's work can be understood as a personal rendition of ready-mades, as he transforms present happenings provided by his surroundings through each synthesized reality contained within panes of glass. In this, Davis uses skills of everyday life to reflect a higher creative culture. He is currently reading Once Upon a Time in Hollywood by Quentin Tarrantino.

Welcome back to the Help on the Way podcast. This week, our hosts Game and Fig find themselves in one hell of a town. It's May 9th, 1981 and the Grateful Dead are playing at Nassau Coliseum in Uniondale, NY. Much discussions of the contributions of women in the music of the Grateful Dead, teases from Brent and Jerry, and the gorgeous gorgeous Brokedown Palace. And enjoy a nice preview of the second set.   Mississippi Half Step Franklin's Tower-> Feel Like A Stranger Bird Song-> Little Red Rooster Candyman Mama Tried-> Mexicali Blues Looks Like Rain-> China Cat Sunflower-> I Know You Rider   Lost Sailor-> Saint Of Circumstance-> Ship of Fools Estimated Prophet-> Eyes Of The World-> Drums-> Space-> Truckin'-> Black Peter-> Around & Around-> One More Saturday Night   E: Brokedown Palace    

This week we go back to some good ol' Grateful Dead from December 1970. The boys are young and full of spunk on this one as they run through some of their early numbers. Pigpen is in fine form here and the 'Hard to Handle' is classic. The 'Deep Elem' has a unique and very pleasant arrangement to my ears. 'Cumberland Blues' showcases Phil's talents as always and a great China>Rider could be the highlight of the set. For a tape from 1970 this one sounds really good, I hope you enjoy it!    Grateful Dead Legion Stadium El Monte, CA 12/27/70 - Sunday     One - 1:15:14 Tuning [0:24] Truckin' [8:30][0:24] Mama Tried [2:44][0:59] Hard To Handle [8:44][0:28] Deep Elem Blues [7:21][0:24] Sugar Magnolia [5:21][0:27] Brokedown Palace [6:04][0:33] Cumberland Blues [5:10][0:07]%[0:07] It Hurts Me Too [5:10#][0:06] Me And My Uncle [3:11][0:51] China Cat Sunflower [3:20] > Jam [3:28] > I Know You Rider [3:28][0:18]%[0:40] Casey Jones [5:20][0:11]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121721.mp3  I hope everyone is healthy and doing well as we head into Christmas week!  thank you so much for your kind support! 

In this convervsation, Steven Brust (@StevenBrust on twitter) and I speak about writing—how plot is like a magic trick—how the the imagination and blind luck builds worlds, and then we speak about his parent's involvement in Minneapolis unionization politics over the course of the 20th century. Steven has so, so many books. I suggest the Vlad Taltos series, but a couple great one-offs are Agyar and Brokedown Palace. Here's a link to his amazon page: https://amzn.to/3BamRza Support this channel: https://www.paypal.me/benjaminboyce Read my writing: http://bit.ly/aliastodream https://www.patreon.com/benjaminboyce --- Send in a voice message: https://anchor.fm/calmversations/message

This week's Deadpod features the fine recording of the second set of the band's performance on September 20, 1974 in Paris France.  This one is pretty sweet all the way through, starting with 'China Cat>I Know You Rider'. The 'Big River' that follows is nicely up tempo. Another highlight for me is the 'Brokedown Palace' which is placed right in the center of the set and features some great closing vocals. 'Truckin' is the most exploratory moment of the set, with Billy alternating with Phil and Jerry, to get out to some deep space, before returning back to Earth as they enter in a somewhat shorter 'Eyes of the World'. Straight ahead rocking Dead closes the set which I hope you'll find as enjoyable as I did.   Grateful Dead Palais des Sports Paris, France 9/20/74 - Friday     Two     China Cat Sunflower [9:42] > I Know You Rider [5:01] ; Big River [5:10] ; Brown Eyed Women ; Greatest Story Ever Told [4:30] ; Brokedown Palace ; Truckin' [17:45] > Eyes Of The World [16:04] > Not Fade Away [11:#10] > Goin' Down The Road Feeling Bad [7:00] > One More Saturday Night [2:40#] Encore      U.S. Blues   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod091721.mp3  thanks for listening and for your kind support of the Deadpod!   

The Alan Cox Show

Here is the second set of the band's performance at the 'In Concert Against AIDS' event that took place on May 27, 1989 at Oakland California.  Clarence Clemmons sits in on the first four songs of set 2 and the closing Lovelight, and I think to particularly nice effect on the 'Fire On the Mountain' and 'Lovelight'. There are two very nice Brent tunes here - a good version of 'Blow Away' and a sweet 'I Will Take You Home' out of space.  Jerry delivers a perfect version of 'Wharf Rat' out of  'The Other One' and the 'Lovelight' provides a great rocking ending to the set. The pretty 'Brokedown Palace' encore is a nice way to end the set...    Grateful Dead Oakland-Alameda County Coliseum Stadium Oakland, CA 5/27/89 - Saturday     Two     Hell In A Bucket (1) ; Fire On The Mountain (1) ; Blow Away (1) ; Truckin' (1) ; Drums ; Space ; I Will Take You Home ; The Other One ; Wharf Rat ; Turn On Your Love Light (1) Encore     Brokedown Palace (1) In Concert Against AIDS. (1) with Clarence Clemons on saxophone.  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod060421.mp3   

This is the best of some mellow Dead, and if you watch on YouTube it will be accompanied by a black screen for less light to keep you awake. Enjoy the sweet sounds, and we bid you goodnight. 1. Been all around this world 10.1.80 New Orleans 2. Crazy Fingers 9.30.76 Columbus OH 3. Peggy-O 4.22.78 Nashville 4. Looks Like Rain 10.31.85 Columbia SC 5. I will take you home 5.6.89 Frost Amph. CA 6. Lost Sailor 8.13.79 Denver CO 7. Stella Blue 7.18.76 San Francisco 8. Hes Gone 7.2.89 Foxboro MA 9. Candyman 12.15.86 Oakland CA 10. Birdsong 3.16.73 Nassau Col NY 11. FOTD 5.7.77 Boston Garden 12. Brokedown Palace 12.7.71 Felt Forum NYC 13. Black muddy 6.13.87 Ventura CA 14. To lay me down 9.20.70 Fillmore East NYC 15. We bid you goodnight 6.24.69 Hollywood FL

A rare but lovely third set is up on this week's Deadpod.. from Winterland in San Francisco, the first show the band played in 1974 on February 22, 1974.  'Hello baby I'm gone goodbye'... as the band opens this set with a beautiful 'Mississippi Half-Step'... love Garcia's silkly guitar on this one.. Bobby revs it up with a smokin' 'Promised Land', nice work by Keith on the piano here. They switch gears completely with a slow, soulful 'Brokedown Palace', but follow up with a great 'Jack Straw'.  The heart of this set follows however with a beautiful 'Eyes', then 'China Doll' and 'Wharf Rat'.. 'Sugar Mag' brings this monster show to a close, but they follow with a 'Uncle John's Band' encore..  Enjoy.   Grateful Dead Winterland Arena San Francisco, CA 2/22/74 - Friday     Three     Mississippi Half-Step Uptown Toodeloo [7:50] ; The Promised Land [3:37] ; Brokedown Palace [5:28] ; Jack Straw [4:10#] ; Eyes Of The World > China Doll > Wharf Rat > Sugar Magnolia Encore     Uncle John's Band  You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod031221.mp3     thanks to all

Featured Songs: 1. 00:38 - Bird Song - 01-24-19 - The Bluebird - Bloomington, IN 2. 12:25 - Brokedown Palace - 12-31-19 - The Intersection - Grand Rapids, MI 3. 16:12 - Wharf Rat - 01-18-20 - The Capitol Theatre - Port Chester, NY  4. 23:42 - Cold Rain And Snow - 07-18-20 - Brooklyn Bowl - Nashville, TN (with Molly Tuttle) 5. 29:39 - Mr. Charlie - 09-26-20 - Red Rocks Amphitheatre - Morrison, CO See omnystudio.com/listener for privacy information.

For this week's episode, we travel to Thailand to discuss the Jonathan Kaplan-directed drama Brokedown Palace. We talk about why this film couldn't actually be filmed in Thailand, how this film ended up producing its own craft beer, and why Claire Danes was banned from ever setting foot in the Phillippines. It's a wild one this week, and we're looking forward to bringing you along on this journey! Next episode: the sci-fi comedy epic Galaxy Quest! Follow The Podcast: Twitter: @The1999Podcast Instagram: @the_1999_podcast Follow Jared Stossel Twitter: @JaredShameless Instagram: @heymynameisjared Follow Andrew Tucker Twitter: @TUCKmeinatnight Instagram: @craftdrew --- Support this podcast: https://anchor.fm/1999-podcast/support

Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones they made in between. Today, Conor and Dan dish on our movie crushes. More specifically, the movie crush from Dan's life as a young cinephile: Kate Beckinsale. The B-Sides in the pipeline are: Laurel Canyon, Tiptoes, Nothing but the Truth, Whiteout, and Everybody's Fine. The sheer diversity of these five pictures cannot be overstated. Beckinsale, while known by most Americans for her role in the Underworld franchise, comes from a comedy lineage in the U.K., the daughter of sitcom legend Richard Beckinsale. Soon enough, period pieces like Much Ado About Nothing gave way to Hollywood dramas like Brokedown Palace and indie spotlights like The Last Days of Disco for Kate Beckinsale. And then...Pearl Harbor! All of these B-Sides are what happened after the Michael Bay epic and the spark-plug start that was Underworld. We discuss how exactly Tiptoes got made, Beckinsale's refreshing honesty in interviews, the sad failure of Nothing but the Truth (a take on the Judith Miller/Valerie Plame Affair) and the brilliance of late-period, understated Robert De Niro. We don't bring up Van Helsing once! But we do bring up Gabriel Macht. Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. We are also now on Spotify and Stitcher. Enjoy!

From the early 1980s to 2007, Maggie Dubris worked as an EMT out of the Hell's Kitchen hospital, St. Clare's. Her new book, "Brokedown Palace" chronicles those years in a very personal, and present, honest way. She talks about some of the stories from those years, including the impact of AIDS on communities throughout NYC, and, of course, 9-11. During the interview, Maggie reads a few of her poems from the book. We end the podcast with new music from Maggie, and Lisa Gutkin from the Klezmatics (klezmatics.com). The song is called "Rise". Along with Maggie and Lisa, Sara Wendt does vocals on this recording. Check out the video for "Rise" on YouTube at https://youtu.be/qBEVJ2qlxLE Learn more about Maggie's work at https://www.maggiedubris.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/tom-jackson2/support

Merry Christmas .. Happy Hanukkah This year's holiday edition of the Deadpod features one of the best acoustic performances of 1970. This takes place at the Fillmore East in New York City on September 20th, 1970. The acoustic set, which we present today, is not only a fine performance but also a fine recording. David Grisman plays mandolin on 'Friend of the Devil' and David Nelson joins with another mandolin on a slow soulful, 'Big Railroad Blues', both continue through Ripple. There is some speculation that Jerry plays piano on 'To Lay Me Down', clearly a wonderful highlight here. Nelson and Grisman are back with mandolins on a fine Rosalie McFall, following a rare acoustic 'Truckin'. I love 'Cumberland Blues' here.. but then again I usually love this song.. Jerry plays an electic during 'New Speedway' but the vibe is very acoustic. 'Brokedown Palace' provides a fitting conclusion to the set.. Following, I decided to feature one more cut from Holly Bowling's beautiful work 'Better Left Unsung'.. this is 'Eyes of the World (Louieville KY 61874).. it speaks for itself.. Grateful Dead Fillmore East New York, NY 9/20/70 - Sunday One - 1:02:46 Intro [0:03] ; Uncle John's Band [6:47] % Deep Elem Blues [5:51] % Friend Of The Devil [3:32] % Big Railroad Blues [3:14] % Dark Hollow [2:56] % Ripple [4:20] % To Lay Me Down [5:12] % Truckin' [5:35]%[0:12] ; Rosalie McFall [2:24] % Cumberland Blues [5:04] % New Speedway Boogie [9:31] % Brokedown Palace [5:13] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122316.mp3 My most sincere hope that all of my friends here have a very healthy and happy Holiday... thanks for your support........... the professor