Podcasts about Giants Stadium

On the evening of June 18, 1994, Ireland stopped. At the Giants Stadium in New York, Ireland were playing Italy in the first match of the World Cup. Across the country, people were making plans to watch the game.In The Heights Bar in Loughinisland Co Down, the small community had gathered on a Saturday evening with the added excitement of the game. In Belfast and other places there were fears of sectarian killings, but not in Loughinisland. In Loughinisland, the Troubles were something that happened somewhere else. On this night it happened here. With eyes on the game, nobody noticed the UVF killers walking in to The Heights Bars. Six men were murdered that night, the oldest of them 87 years old.On Free State today, Joe and Dion are joined by Trevor Birney to talk about the state collusion that was part of that massacre and his documentary No Stone Unturned, which led to a dawn raid on his house from the PSNI one summer morning.Free State with Joe Brolly and Dion Fanning is a Gold Hat Production in association with SwanMcG.For more on Free State: https://freestatepodcast.com/ Hosted on Acast. See acast.com/privacy for more information.

Erik has been in and around the beautiful game since his days as the Operations Director for Giants Stadium around year 2000. In that role, he got his first taste of professional soccer through the NY/NJ Metrostars, and the international teams that rolled through that area. Around 2008, he became the Managing Director for Red Bull NY and oversaw the development, opening, and operation of one of the US's best soccer-specific stadiums; Red Bull Arena. In 2012, he moved on to be the CEO in the successful reboot of the New York Cosmos in 2013. He oversaw international tours, championship teams, US Open Cup wins, and more. Around September of 2018, Stover Management and Consulting, LLC started up and Erik was involved in projects from Fox Soccer Academy (of Christian Fuchs fame), to consulting for Bundesliga teams, and something that is near and dear to my heart as a native Northern Jersey guy, the redevelopment of Hinchcliffe Stadium in Paterson, NJ.  Erik was kind enough to carve out time in his day to jump on this humble production to talk about his journey in soccer and the recently announced "USL to Jersey" campaign. There are so many reasons to be excited about this project, and the announcement of USL's intention to go D1 only adds to it.   

An Aerial View Archive from February 16, 2001, originally heard over WFMU and not since. I tell the story of working the first ever XFL (the new defunct winter football league) game at Giants Stadium. Hosted on Acast. See acast.com/privacy for more information.

Exploring the rich tapestry of the New York Giants' history, this episode invites listeners to journey through the evolution of one of the NFL's most storied franchises. The discussion begins with the origins of the Giants' name, tracing back to the baseball team that captured the hearts of New Yorkers long before the football team took the field. Host Darren Hayes delves into the significance of branding and identity in sports, highlighting how Tim Mara's decision to adopt the 'Giants' name in 1925 was a strategic move to leverage the popularity of the baseball team while establishing a unique identity in the burgeoning world of professional football. Through insightful anecdotes and historical context, Hayes paints a vivid picture of the early years of the Giants, their struggles, and their triumphs as they carved out a place in the hearts of fans.As the conversation progresses, the episode transitions into a detailed exploration of the various stadiums that have served as the Giants' home over the decades. From the Polo Grounds to Yankee Stadium, and later to Giants Stadium and MetLife Stadium, each venue tells a story of change, adaptation, and the evolving nature of American football. The host provides fascinating facts about each location, discussing the team's relocation strategies and the impact of these moves on their fan base and overall franchise culture. The narrative unfolds in a dynamic manner, allowing listeners to appreciate not just the geographical shifts, but also the emotional connections fans have with each stadium, underscoring the Giants' enduring legacy in the NFL.The episode culminates in a reflective discussion about the Giants' centennial season, looking ahead to what the future holds for the franchise. With a tone that inspires nostalgia while embracing the excitement of new beginnings, Darren Hayes invites listeners to engage with the Giants' history in a way that honors the past while eagerly anticipating future accomplishments. This exploration of the New York Football Giants is not just a recounting of dates and events; it is a celebration of football culture, identity, and the enduring spirit of one of the league's most iconic teams.Join us at the Pigskin Dispatch website and the Sports Jersey Dispatch to see even more Positive football news! Sign up to get daily football history headlines in your email inbox @ Email-subscriberDon't forget to check out and subscribe to the Pigskin Dispatch YouTube channel for additional content and the regular Football History Minute Shorts.Miss our football by the day of the year podcasts, well don't, because they can still be found at the Pigskin Dispatch website.

Who better to look back at Richard Dunne's one-man defensive effort against Russia in Moscow in 2011 than Paul McGrath?As we continue to mark the great man's 65th birthday, we check in on the night that Dunne seemingly equalled McGrath's Giants Stadium performance - September 6th 2011.

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .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

We've reached the quarter-finals of USA 94, a set of games which feature dramatic late twists. It's The Baggio Show in Boston as Italy beat Spain, with Dino opening the scoring and Roberto grabbing a late winner. Brazil unveil a famous celebration but their march to glory is threatened by a Dutch comeback until Branco (liberated from the subs bench) produces a thunderbolt free-kick. Sweden versus Romania is an intriguing battle between two dark horses, with the game exploding into life late in the second half and going all the way to penalties. However, the tournament's ultimate shock comes at the Giants Stadium where Germany, the reigning World Champions, are sent packing by a double whammy from Bulgaria. Subscribe to World Cup Rambling on your podcast platform. TWITTER/X @MatthewOkot @WorldCupRamble

Dotun and Tim welcome Paddy Barclay back onto the show to discuss Giants Stadium turning Green and Ray Houghton scoring the winner in the Republic of Ireland's opening game of the 1994 World CupSUBSCRIBE TO BRAZILIAN SHIRT NAME EXTRA FOR EARLY ACCESS AND NO ADS:https://brazilian-shirt-name.hubwave.net/FOLLOW THE BRAZILIAN SHIRT NAME ON INSTAGRAM:https://www.instagram.com/brazilshirtpod/FOLLOW THE BRAZILIAN SHIRT NAME ON FACEBOOK:https://www.facebook.com/BrazilShirtPodFOLLOW THE BRAZILIAN SHIRT NAME ON TWITTER:https://twitter.com/BrazilShirtPodPURCHASE DOTUN'S LATEST BOOK, EFFRIES HERE: https://amzn.to/4cM260f

Currently on commentary duty at Euro 2024 in Germany, Ray Houghton took some time out to recall that famous match at Giants Stadium when he lobbed Pagliuca to earn a first World Cup win for Ireland.

Kate and Danny Tamberelli are not just a married couple, they're also the co-authors fo the new book Road Trip Rewind, which is great and you should read. The book features characters born in Jersey, much like Danny himself was. Danny was raised in Wyckoff before starring as Little Pete on The Adventures of Pete and Pete, a show Gethard has long argued is actually the most Jersey show of all time. Danny and Kate talk to Chris and Andrea about building creative projects as a married couple, what it's like to star in something so iconic, and most importantly, a secret route from Bergen County to Giants Stadium.  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Former Bomber David Zaharakis, Perth reporter Ryan Daniels and Triple M Footy's Jack Heverin are on deck unpacking round 9.  On the agenda is the strength of Freo after a hard week for the club. The challenge ahead for the Hawks over the next fortnight and the boys discuss the WORST part of our game!  -------- Add the show to your favourites on LiSTNR: https://listnr.com/podcasts/footy-talk-australian-rules-podcast  Listen on Apple: https://podcasts.apple.com/au/podcast/footy-talk-daily-australian-rules-podcast/id1673652644  Listen on Spotify: https://open.spotify.com/show/1q5RUW2KTONUoP8KF3ZZHY?si=6798bf7f4a1540be See omnystudio.com/listener for privacy information.

In this episode Corinne sits down with flutist Patricia Lazzara to explore her  varied musical career. We delve into Patty's passion for diverse genres and her advocacy for contemporary composers, showcased through her groundbreaking collaborations. Hear firsthand accounts of unforgettable performances at prestigious venues such as Carnegie Hall and the Kennedy Center, as well as her role as the flute soloist for the Papal visit to Giants Stadium. Discover Patty's multifaceted involvement in education and ensemble leadership, and gain insight into her deep connection with Assisi, Italy. Plus, get a sneak peek into Patty's upcoming projects and performances that promise to elevate the musical experience. Tune in and immerse yourself in the harmonious world of Patty's musical journey. www.patricialazzaraflutist.comWatch our episodes on our Creative OPERAtions YouTube Channel under the playlist Create Outside the Box!Follow Us!Instagram @co_creativeoperationsFacebook www.facebook.com/CreativeOPERAtionsNYCMetroArea/Website www.creative-operations.orgThank You for Listening!!!

"Reflecting on the Grateful Dead's Capitol Theatre Shows and Toby Keith smoking with Willie Nelson"Larry Michigan discusses the Grateful Dead's historic show at the Capitol Theatre on February 19, 1971. Larry reminisces about the atmosphere of the venue and the significance of the performance, highlighting the debut of several iconic Dead songs. The discussion delves into the band's evolving musical style, particularly the transition from psychedelic blues to Americana influences. He explores the historical context surrounding the show, including Mickey Hart's departure from the band and the impact of manager Lenny Hart's embezzlement. He also touches upon the significance of the show's release in the "From the Vault" series and discuss other notable releases in the Dead's catalog. Additionally, Larry provides updates on Bob Weir and Wolf Brothers' postponed performances with the National Symphony Orchestra and share news about upcoming music releases.  Grateful DeadFebruary 19, 1971 (53 years ago)Capitol TheatrePort Chester, NYGrateful Dead Live at Capitol Theatre on 1971-02-19 : Free Borrow & Streaming : Internet Archive The second of the legendary six night run at the Capitol Theatre in late February, 1971:Feb. 18, 19, 20, 21, 23, and 24 INTRO:                  Loser                                Track #3                                2:55 – 4:24 Hunter/Garcia tune that was released on “Garcia”, Jerry's first solo album, in January, 1972, the last song on side one of the album.  It was a standard first set tune, part of a rotating number of Jerry first set ballads including Candyman, It Must Have Been The Roses, High Time, Row Jimmy, To Lay Me Down and others. A very sweet melodic tune that tells a great story by way of a beautiful piece of music.  SECOND time playedPlayed a total of 353 timesFirst time:  “Last”night 2.18.71Last:  June 28, 1995, The Palace of Auburn Hills, outside Detroit                               THIS SHOW: Last year we covered the Feb. 18th show famous as the debut for Bertha, Greatest Story, Loser, Wharf Rat and Playin In The Band and the Beautiful Jam out of Wharf Rat and back into Dark Star.  It was also Mickey's last show before his almost three year hiatus before he returned for the final 1974 show before the band's 1975 year off February 19th show is just as historical:  The band's first show without Mickey since he joined the band in 1967.  Many people theorize that this was Mickey's response to his father, Lenny Hart who was the band's manager stealing almost $155,000 of the band's assets before disappearing.  Although he was eventually located by a private detective hired by the band and arrested in San Diego on July 26, 1971, convicted and spent six months in jail, the money was never returned.  The song, “He's Gone” is based on Lenny Hart's embezzlement and disappearance.  Ashamed by his father's actions, Mickey left the band after the 2.18.71 Capitol Theater show returning full time in 1975.  Lenny died of natural causes on Feb. 2, 1975.  According to Dennis McNally, "Mickey went to the funeral home, cleared the room, took out the snakewood sticks that had been his inheritance, played a traditional rudimental drum piece, "The Downfall of Paris" on Lenny's coffin, and split." Starting with this show, the band became a very lean mean fighting machine with just five members (Jerry, Bobby, Phil, Bill and Pig) until Keith jointed the band seven months later in September.  On this night, the band played the five songs debuted the night before and debuted Deal and Birdsong.  Pig also has a strong showing this night leading the band through four standouts:             Hurts Me Too            Smokestack Lightning:  the third to last time it would be played with Pig in the band            Easy Wind:  the second to last time it would be played without Pig in the band            Good Lovin  This really marked the beginning of the band's hard shift away from psychedelic blues (Primal Dead) to the more Americana style music that began with Workingman's and American Beauty.  Within a year, Pig would be very ill with just enough energy left for the Europe '72 tour.  But this night, he was rocking the house like only he could do.  Here is the first of his four featured songs:  SHOW No. 1:      Hurts Me Too                                Track # 5                                2:08 – 3:42 Great showcase number for Pig featuring his singing and harp playing.  We got just a bit of Jerry's lead but all this great music is too long to fit into one clip – don't want Dan getting mad at me! "It Hurts Me Too" is a blues standard that is "one of the most interpreted blues [songs]".[1] First recorded in 1940 by Tampa Red in Chicago, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many artists.  Release on May 10th with Tired of Your Reckless Ways on the B-side. In 1949, Tampa Red recorded a variation of "It Hurts Me Too", titled "When Things Go Wrong with You".[9] It was recast in the style of a Chicago blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on Billboard'sRhythm & Blues Records chart in 1949.[10] (The original "It Hurts Me Too" was released before Billboard or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although the former's title won out over the latter's.) Although the song retained the refrain "When things go wrong, so wrong with you, it hurts me too", Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song with some of their own lyrics. Noted covers:            Elmore James            Junior Wells            Grateful Dead – with Pig singing the vocals.  Was first released by the Dead on Europe '72 album.  After Pig left the band, the song was retired.             The Dead played the song a total of 59 times            First:    May 19, 1966 at the Avalon Ballroom, San Francisco            Last:     May 24, 1972 at the Lyceum Ballroom in London (last show of Europe '72 tour             “FROM THE VAULT”: This entire show was released by the Dead as “Three From The Vault” in 2007.  The “From The Vault” series, launched by the Band in 1991 with One From The Vault – August 13, 1975 at The Great American Music Hall, with first live performance of the songs from Blues For Allah.  In 1992 the Dead released “Two From The Vault” – August 23 and 24, 1968 at the Shrine Auditorium in Los Angeles.  Then, along came Dick Latvala and his Dead scene changing Dick's Picks series which was wildly popular, so much so that the In The Vault Series was put on hold.  For 15 years.  Until 2007 when they circled back to the original series of live releasees with Three From The Vault which features the same show we are talking about today from the Capitol Theatre.  That was it for In The Vault releases.  The Dead did have several other “Vault” like releases – multi-track recordings including Hundred Year Haul, Dozin' At The Knick, Fallout From the Phil Zone, Terrapin Station, Live At the Fillmore East 2.11.69, Ladies and Gentlemen, the Grateful Dead, Nightfall of Diamonds, Trucking Up To Buffalo and so many more. They just stopped calling them “From The Vault”.  Dick's Picks, of course would go on to have a total of 36 releases, the last few releases coming after Dick's death in 1999.  Which led into the still wildly popular Dave's Picks from David Lemieux who took over for Dick and now has 49 releases and still going strong.  And “short” lived, but generally popular  “Roadtrips” series.  And all of the box sets that are all amazing but too numerous to name except for the Complete Recordings, the four-night run at the Fillmore West from Feb. 27 to March 2, 1969 – four shows with the band at the peak of Primal Dead, and Europe '72 which consists of the live recordings for all of the shows on that tour.  Another milestone for the Dead in terms of their ever expanding reputation for Jam Band, psychedelic, and amazing song catalogue, even at that “early” stage of the band's existence.  SHOW No. 2:      Playin In The Band                                Track # 7                                2:23 – 4:05                                            By:  Weir and Hunter "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan).The instrumental break of "Playing in the Band" was introduced as early as the February 19, 1969 "Celestial Synapse" show at the Fillmore West, in which it appears somewhat indistinct from the preceding and following jams.[5] The completed song was also included on Mickey Hart's 1972 solo album Rolling Thunder within "The Main Ten", making reference to the song's time signature of 10/4.  "The Main Ten" appears on Dick's Picks Volume 16, from their performance at the Fillmore West on November 8, 1969. On that set, it appears in the middle of "Caution (Do Not Stop On Tracks)".During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it" It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire, usually as a second set pre-drums jumping off point for jams to who knows where. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with over 600 performances. If you download this show from Archive.org, and play this track, at the 3:20 mark during the mid-song jam, they get to the point where they would normally dive back in but instead, Bobby plays on for an almost additional 30 seconds and then just dives back in to the song.  He is clearly still working it out.  Over the course of the Europe '72 tour, it was played almost every night as Bobby finally worked it outThis is all really good stuff. SECOND time ever played 661 times (No. 1)                First – “last: night's show, Feb. 18, 1971 Capitol Theatre                Last:       July 5, 1995 at Riverport Amphitheater, Maryland Heights, MO outside of St. Louis.                SHOW No. 3:      Greatest Story Ever Told (The Pump Song)                              Track #13                           Start – 1:41               By Weir, Hart and Robert Hunter (some give credit to Rev. Gary Davis)               Reverend Gary Davis, also Blind Gary Davis (born Gary D. Davis, April 30, 1896 – May 5, 1972),[1] was a blues and gospel singer who was also proficient on the banjo, guitar and harmonica. Born in Laurens, South Carolina and blind since infancy, Davis first performed professionally in the Piedmont blues scene of Durham, North Carolina in the 1930s, then converted to Christianity and became a minister. After moving to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival that peaked during the 1960s. Davis' most notable recordings include "Samson and Delilah"[2] and "Death Don't Have No Mercy" Released on:AceRolling Thunder, as "The Pump Song"Dead SetDick's Pick's, vol. 6Europe '72 box setLots of other releases              Per Hunter:  "Also known as "Pumpman" and "Moses"--I wrote this to the rhythm of the pump in Mickey Hart's well."                Released on Ace on May 1, 1972              First song on the album with Bobby setting a rocking tone              Another tune that was played almost every night of and refined during the Europe '72 tour                             283 times              First:  “last night” 2.18.71              Last:  June 27, 1995 at the Palace at Auburn Hills outside Detroit               SHOW No. 4:      Bird Song                                Track #15                           :42 – 2:15               By Garcia and Hunter              Second song on Garcia              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 A regular for the Dead, and still played by Dead and Co., Bobby and Phil and Friends. Beautiful song, even for the fist time you know it's going to be special. Played 301 tines              First:  This is it!              Last:   June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA   OUTRO:                Deal                                Track #17                                Start – 1:33  May 16, 2023 by Chris Huber of Chill One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel. Although it would move around a bit in the set list early on, this debut version is consistent with the ultimate tradition of the song closing out the first set.  Even in JGB sets it was a first set closer.  And would always leave you waiting through the break to see how they were going to kick off the second set and keep the show moving along.  For a first time played, this version stays true to the version we all know and love from a few years later.                            Played 428 times              First:  This is IT              Last:  June 18, 1995, Giants Stadium in East Rutherford, NJ Thank you. .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

A new week means new questions! Hope you have fun with these!The Punic Wars, fought between Rome and Carthage, were a series of how many major conflicts?In a 1945 essay, which English writer coined the term "cold war"?Which artist was commissioned to produce a series of posters for the 1889 opening of the Moulin Rouge?The Art Ross trophy is awarded to the player who leads the league in points at the end of the regular season in which professional sport?What is a traditional fox hunter's cry when a fox has been sighted that has gone on to be used as a phrase to mean general excitement for a discovery or to start a pursuit?What is the primary active component in digestive fluid found in the stomach?What was the name of Rosco P. Coltrane's lazy bassett hound on The Dukes of Hazzard?Link snacks on this cassava pudding while he traverses Hyrule in search of the evil Ganandorf assisted by Sheik and his fairy Navi while playing his chronology altering vessel flute.What is the term for a set of structural rules on speakers' or writers' usage and creation of clauses, phrases, and words in a language?Which character dies defending Philippe in the 1998 film The Man in the Iron Mask?In the standard Settlers of Catan game, the robber is moved when a player rolls what number on the dice?Since 1956, what “message” has the blinking light on top of the Capital Records Tower in Los Angeles repeatedly sent?Chunkylover53@aol.com is the email address of which fictional character?Which warrior of legend killed the monster Grendel for Hrothgar, king of the Danes?Mythbusters once searched for Jimmy Hoffa's body in the end zone of Giants Stadium using what technology?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5857487/advertisement

A new week means new questions! Hope you have fun with these!The Estates General of 1789 marked the beginning of which revolution?What was Carol Danvers Air Force call sign when she flew the F-15 Eagle? There are two possible answers, one from the comics and one from the MCU.What sea separates Saudi Arabia from Africa?Which two foods are mentioned in the lyrics to Frasier's closing theme song?What's the name of Agatha Christie's fictional village which was home to amateur detective Miss Marple?What was the name of the titular earthworm who wears a robotic suit in a side-scrolling platform game from Shiny Entertainment?In what country did the genre dub-step originate?Which holy day begins with the recitation of the Kol Nidre? The difference between a kosher dill pickle and a regular dill pickle is the presence of what ingredient?What is the literal meaning of the Russian word "Kremlin"?What name is given to the property of a body that causes it to remain at rest or in uniform motion until external force is applied?Chunkylover53@aol.com is the email address of which fictional character?Which warrior of legend killed the monster Grendel for Hrothgar, king of the Danes?Mythbusters once searched for Jimmy Hoffa's body in the end zone of Giants Stadium using what technology?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5857487/advertisement

Exploration of the peak Dylan/Dead show in Giants Stadium. Dylan finds his muse and Garcia is on fire all night long.

Join Row on Triple M's latest gig review as we relive an unforgettable night of rock 'n' roll at Sydney's Giants Stadium. In this epic episode, we cover the sensational performance of two rock legends, Def Leppard and Mötley Crüe, during their electrifying joint world tour. The episode kicks off with a bang as Def Leppard takes the stage. Listeners will get an in-depth look at their dynamic set, starting with the energetic 'Take What You Want', moving through crowd-pleasers like 'Let's Get Rocked' and 'Animal', and culminating in the roof-raising 'Pour Some Sugar On Me'. Row dives into the band's chemistry and stage presence, particularly highlighting Joe Elliott's undiminished dynamism and Rick Allen's inspirational performance. Then, the spotlight shifts to Mötley Crüe, transporting listeners back to the heyday of 80's rock. The band's set, featuring hits like 'Wild Side', 'Dr. Feelgood', and 'Girls, Girls, Girls', showcases their enduring energy and raw power. We discuss the new dynamics with guitarist John 5, reminisce about Mick Mars, and analyze Vince Neil's vocals, providing fans with a comprehensive review of the night. Filled with vivid descriptions, backstage insights, and a celebration of rock music, this episode is perfect for long-time fans and new listeners alike.See omnystudio.com/listener for privacy information.

A new week means new questions! Hope you have fun with these!In which country was the first men's World Cup held?Does a wolf have more teeth on its upper jaw or lower jaw?King Richard I of England had what affectionate nickname for his reputation as a great military leader and warrior?California Girls and God only knows this fruit is a cross between the European raspberry, European blackberry, American dewberry, and loganberry?Used in making pies and tarts this fruit can also be given as a wedding gift to Hera, after getting it past Ladon.The Planet Express crew go for dinner at a Japanese restaurant for tasty noodles served in a broth.In 1796, which British Physician created the first vaccine, by purposely injecting cowpox in order to cure the more deadly smallpox?Mark Twain was born in 1835 and died in 1909 which was the same years as what space phenomenon?In which unique sport each participant must have competed in at least 50 amateur boxing matches and have an ELO rating of at least 1600 in order to qualify .In what country is the tallest bridge in the world? For two extra points, what is the name of it? Hint: It straddles the Tarn ValleyWhat is the name of the operation, symbolized by an exclamation mark, the multiplies a number by all the whole numbers less than it, for example. 4x3x2x1?What is Cap'n Crunch's first name? Hint: it is the same name as Hamlet's "best friend"Who said, "I don't design clothes. I design dreams"?Chunkylover53@aol.com is the email address of which fictional character?Which warrior of legend killed the monster Grendel for Hrothgar, king of the Danes?Mythbusters once searched for Jimmy Hoffa's body in the end zone of Giants Stadium using what technology?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5857487/advertisement

Nat Keefe of "Hot Buttered Rum" gives us an update on the band, his personal projects and holding down the gig at Giants Stadium signing the National Anthem He talks about how Western African music has influenced his life and his music.

In the latest episode of None But The Brave, co-hosts Hal Schwartz and Flynn McLean complete their look at Bruce Springsteen's The Rising Tour with an in-depth look at the tour's final leg in North America, which began at Giants Stadium in July and concluded with an epic 3 show stand at Shea Stadium in October. Also, they discuss the announcement of the 2024 European leg and the Springsteen Archives event for the 50th anniversary of WIESS. For more information on exclusive NBTB content via Patreon, please visit: Patreon.com/NBTBPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

A new week means new questions! Hope you have fun with these!Which American poet received the Pulitzer Prize four times between 1924 and 1943?What name is a variant of the name Susan or Susanna and is the first name of characters notably played by Anna Pacquin and Melissa McCarthy?In "The Princess Bride" which character says "Life is pain, Highness. Anyone who says differently is selling something."?The country called Eswatini was formerly known as?From the Latin stannum, Sn is the chemical symbol for what metal that can be bent by hand?How many instars (phases) does a monarch caterpillar go through before it goes into chrysalis?What tree do acorns come from?In the Game "Space Invaders" how many rows of aliens appear on the first screen? For two extra points, how many aliens are in a row?In the Apple Logo, is the apple bitten on the left or right side?Tracy Jordan is waiting for Liz Lemon to bring him some ice cream with nuts, chocolate, and marshmallows.President Nasser was President of what country during the Suez Crisis?Chunkylover53@aol.com is the email address of which fictional character?Which warrior of legend killed the monster Grendel for Hrothgar, king of the Danes?Mythbusters once searched for Jimmy Hoffa's body in the end zone of Giants Stadium using what technology?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5857487/advertisement

A new week means new questions! Hope you have fun with these!Who is the adult leader of the gang of pickpocketing orphans in Oliver Twist?What is the term for a substance produced by a living organism which acts as a catalyst to bring about a specific biochemical reaction?What is the capital of Paraguay?Which American Television gameshow personality holds the Guinness World Record for Most Frequent Clapper?Frederic Bazille, Alfred Sisley, and Pierre-August Renoir were all leaders of what 19th c. art movement?How many wings does a butterfly have?What 1999 horror action film starred Arnold Vosloo as the titular villain, NOT Billy Zane?The humerous, radius, and ulna bones meet at which joint in the body?Which tennis hall of famer and former world #1 player was stabbed by a rival's fan during a match in 1993?Chunkylover53@aol.com is the email address of which fictional character?Which warrior of legend killed the monster Grendel for Hrothgar, king of the Danes?Mythbusters once searched for Jimmy Hoffa's body in the end zone of Giants Stadium using what technology?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5857487/advertisement

"Middle-Aged and Older Patients Report Improved Health with Medical Marijuana"Larry Mishkin discusses a recent study from the University of Florida which shows that medical marijuana use can lead to lower pain levels and reduced dependency on opioids and psychiatric prescriptions among middle-aged and older chronic pain patients. Participants in the study reported improved physical and mental functioning, better sleep quality, and reduced anxiety. The research adds to the growing body of evidence supporting the therapeutic benefits of medical cannabis for pain management..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, October 16, 1989, Melk Weg Club, Amsterdam, the NetherlandsGrateful Dead Live at Club Melk Weg on 1981-10-16 : Free Borrow & Streaming : Internet Archive Second of two night stand at this famous hash bar that only held about 500 people in the room in which the Dead performed.  Very cool and famous club in Amsterdam, one of the best known hash bars.  Went there one time in 1988 with good buddies Mikey and H.  A highlight of our trip. Another good buddy, Freddie Burp, was spending the school year abroad in the fall of 1981 and was one of the lucky ones who were present for this show.  He's a tough guy to get a hold of, but maybe some day I can get him on the show to talk about this concert.  INTRO:                  The Race Is On                                Track No. 8                                1:10 – 2:24                 Show had an acoustic first set and an electric second set.  Many of the songs in the acoustic set we featured a few weeks ago from the September, 1980 show at the Warfield Theater in San Francisco as part of the recordings for the Dead's Reckoning album.  So I went with this one which has always been one of my favorites ever since my good buddy Mikey (who took me to three of my first four shows) used to play it for me as we drove through the northwoods of Wisconsin on nights out from the summer camp where we were spending the summer in 1981. "The Race Is On" is a song written by Don Rollins[1] (not to be confused with the Don Rollins who co-wrote "It's Five O'Clock Somewhere" for Alan Jackson and Jimmy Buffett) and made a hit on the country music charts by George Jones and on the pop and easy listening charts by the unrelated Jack Jones. George's version was the first single released from his 1965 album of the same name. Released as a single in September 1964, it peaked at number three on the BillboardHot Country Singles chart and at number 96 on the BillboardHot 100 in January 1965. Jack's version topped Billboard'sEasy Listening chart and reached number 15 on the Hot 100 the same year. The two recordings combined to reach number 12 on the Cashbox charts, which combined all covers of the same song in one listing and thus gave George Jones his only top-40 hit. The song uses thoroughbred horse racing as the metaphor for the singer's romantic relationships.                 Rockabilly artist Dave Edmunds, in collaboration with the Stray Cats, whose debut album Edmunds had recently produced, recorded a version for his 1981 album, Twangin.... Stray Cats drummer Slim Jim Phantom recalled Edmunds' affection for the song when he was courting the band to produce their debut album: "We met with Edmunds at his house. He had a little pub in his basement. He had a finished basement, outside of London. Edmunds had a jukebox, a little jukebox. He had 'The Race is On' and 'Rockabilly Boogie' by Johnny Burnette. He had those records in his jukebox. We all looked at each other and said, 'This is it.'"[3] Phantom also recalled that the song took "one or two takes" in the studio.[4]Thank you.                 Covered by:        Jack Jones                                                Loretta Lynn                                                Alvin and the Chipmunks for their 1965 album, “Chipmunks a Go Go”                                                Waylon Jennings                                                The Georgia Satellites from 1965 debut album, “Keep The Faith”                                                Elvis Costello                                                And others                                                 Dead played it 60times in concert                                                First:  December 31, 1969 at Boston Tea Party in Boston                                                Last:  May 20, 1995 at Sam Boyd Silver Bowl, Las Vegas  SHOW #1:                           Ripple                                                Track No. 9                                                1:50 – 3:06                                 We prominently featured this song form the Warfield show and talked about how it was last played ever on Sept. 3, 1988 at the Cap Center.  What makes this version we just listened to so special is that this was the last Ripple played by the Dead until the Cap Center show, a seven year gap, and that that was it, no more Ripple.  So this is the last accoustic Ripple ever played since the Cap Center was electric.  Maybe the most famous Dead tune ever, from American Beauty, Hunter's lyrics and Jerry's music mesh together in a way to make this tune not just one of the best Dead tunes ever, but one of the best tunes ever, IMHO!  SHOW #2:                           Hully Gully                                                Track No. 12                                                0:15 – 1:38                                 "(Baby) Hully Gully" is a song written by Fred Sledge Smith and Cliff Goldsmith and recorded by The Olympics, an American doo-wop group formed in 1957.  Released in 1959 on the album, “Doin' the Hully Gully”, it peaked at number 72 on the Billboard Hot 100 in February 1960[2] and sparked the Hully Gully dance craze.                         Covered by:     Buddy Guy                                                Chubby Checkers                                                The Ventures                                                The Beach Boys                                                Many others                                                Peter Pan Peanut Butter add jingle in the 1980's                                                 The Dead's version of this song from this show is the only time they played it in concert.  SHOW #3:                   Gloria                                    Track No. 15                                    2:15 – 3:45                         "Gloria" is a rock song written by Northern Irish singer-songwriter Van Morrison, and originally recorded by Morrison's band Them in 1964. It was released as the B-side of "Baby, Please Don't Go” on December 2, 1964.  The song became a garage rock staple and a part of many rock bands' repertoires.                         According to Morrison, he wrote "Gloria" while performing with the Monarchs in Germany in the summer of 1963, at just about the time he turned 18 years old.[6] He started to perform it at the Maritime Hotel when he returned to Belfast and joined up with the Gamblers to form the band Them. He would ad-lib lyrics as he performed, sometimes stretching the song to 15 or 20 minutes. After signing a contract with Dick Rowe and Decca, Them went to London for a recording session at Decca Three Studios in West Hampstead on 5 April 1964; "Gloria" was one of the seven songs recorded that day.                         Alan Henderson (guitar) contends that Them constituted the first rock group to use two drummers on a recording.[7] Although some sources claim that Jimmy Page played second guitar, other sources deny this.                         Covered by:                 The Doors –   The Doors performed the song several times in 1966 and 1967, with one recording released on Alive, She Cried (1983). It was also released as a single, which reached number 18 on Hot Mainstream Rock Tracks and number 71 on Billboard Hot 100 in 1983.[18] The song is included on Legacy: The Absolute Best (2003) and The Very Best of The Doors (2007).                                                             Patti Smith - Patti Smith recorded it for her album Horses in 1975. Based on the Van Morrison tune, the lyrics had been adapted from an early poem, 'Oath'.[5] Smith's band had started to play the song live and merged it with the poem by 1974, so the song contained half of Smith's own words.[5] For the recording of her debut album, Smith and her band recorded the song live and, after mixing, chose it as the album's opener.                                                            In 1993, Van Morrison recorded a version with John Lee Hooker, which reached the Top 40 in several countries.                                                                        For the Dead, this was the first time they played it live in concert.                                    They wound up playing it only a total of 14 times                                        Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh                                                   I was lucky enough to catch it on June 25, 1992 at Soldier Field.  SHOW #4:                   Turn On Your Lovelight                                    Track No. 16                                    1:03 – 2:33                                     "Turn On Your Love Light" is a rhythm and blues song recorded by Bobby Bland in 1961. It was both an important R&B and pop chart hit for Bland and has become one of his most identifiable songs. A variety of artists have recorded it, including the Grateful Dead, who made it part of their concert repertoire.  was written by band leader and arranger Joe Scott (with an additional credit given to Duke Records owner/producer Don Robey aka Deadric Malone). Scott's brass arrangement "upped the excitement ante"[2] with "the groove picking up momentum as the horns and percussion talk to each other" and Bland's vocal "riding on top".                                     In 1967, "Turn On Your Love Light" became a staple of Grateful Dead concerts, sung by Ron McKernan: a 15-minute rendition is on their 1969 double live album Live/Dead. McKernan's final performance of "Love Light" – complete with extended vocal raps – occurred at the Lyceum Theatre, London, during the Europe '72 tour. Versions with McKernan were often very long due to long vocal raps, instrumental jams, and drum solos throughout. A version performed at the 1969 Woodstock Festival lasted more than 45 minutes.[8] The Grateful Dead later revived the song in the early 1980s with Bob Weir singing.                                     Before this show at the Melk Weg, the last time the Dead had played it in concert was on May 24,1972 at the Lyceum Ballroom in London at the very end of the Europe '72 tour.  In other words, this was the Dead's first performance of the song without Pigpen on lead.  Dead went on to play it a lot after this show right up until the end.  Bobby played it well, but never even tried the rap that Pig made famous in his extended versions.  No Box Back Knitties when Bobby sang it.                         Dead played it 355 times in concert!  Originally part of the Dark Star>St. Stephen>The Eleven>Lovelight suite of songs that the Dead played constantly during the primal Dead years in the late ‘60's.                        First played on August 4, 1967 at the O'Keefe Center in Toronto                        Last played on June 19, 1975 at Giants Stadium in New Jersey                                     When my good buddy Marc started seeing the Dead in 1984, we joked that every time he went to a show they played Lovelight.  Not a bad thing to be associated with.  Always fun to hear it in concert even without Pig.  OUTRO:                      Sugar Magnolia                                    Track No. 20                                    6:30 – 8:05                                     One of the best Dead tunes of all time and the ultimate show closer.  Always nice to add a little Sunshine Daydream to your day! The boys jam the hell out of it here, a 10+ minute version to close out a remarkable one of a kind Dead show.  Either you were there or you missed it.  What being a Deadhead is all about. 

I recorded this episode at Sundance right before the pandemic.  I was feeling pretty blue as sometimes happens there, and I went to an AA meeting where I met Kosha Dillz, and he and I went out on a fun, funny night around Park City and recorded this episode the next day. Here are the original notes... Rami is a rapper who performs under the stage name Kosha Dillz.  He grew up in New Jersey and spent some time in and out of jail before getting sober and finding his calling in the world of music.  He won the 2009 Hot 97 Rap Battle at Giants Stadium.  He has performed with Snoop Dogg, RZA, Matisyahu to name a few and appeared  at Sundance and SXSW. Follow him @koshadillz You can support this podcast at my Patreon Page:   https://www.patreon.com/thedrunkalogues

In this "Giant Mess", New York Giants fan Neal Lynch recaps one of the worst blowout losses in Big Blue's franchise history, a 40-0 shellacking delivered by the Dallas Cowboys at cursed MetLife Stadium. Neal then reveals where this historic defeat ranks amongst the worst blowout losses. The Giants have lost 5 in a row and 12 of their last 13 games to Dallas.  *The Giants are 4-10 in home openers at MetLife. *The Giants are 1-10 vs. Dallas in season openers, including 0-3 at home and 0-2 in MetLife. *The Giants are 23-32-1 on Sunday night, including 6-9 vs. Dallas. Worst loss since 1973. No team has ever... Lost 40-0 or worse Lost the sack battle 7-0 or worse Lost the turnover battle 3-0 (or worse) Had a blocked FG returned for a TD Threw a pick-6 ...in the same

In Episode 429 of For All You Kids Out There Jeffrey and Jarrett discuss the best way to exit Giants Stadium, take stock of where Druw Jones is, and do other mostly Mets-adjacent things, but there is plenty of time to talk about Ronny Mauricio...again and CM Punk...again.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3387387/advertisement

A journey into one of the essential dates of Deadology, September 2, with a focus on the Grateful Dead's first Giants Stadium show in 1978, and their 1980 show in Rochester featuring the immortal Iko Iko > Morning Dew > Sugar Magnolia segment.

Tips for guessing within two years when a song was played.Larry Mishkin reviews the Grateful Dead concert from August 4th, 1994, at Giant Stadium. He discusses the show and welcomes guest   Christian Sauska, who attended that concert and shares his love for New Orleans-style music and his journey as a Deadhead. The conversation delves into the 80s and 90s eras of the band, and they discuss their musical backgrounds and the band's new music.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-huntChristian Sauska -  https://www.linkedin.com/in/christian-sauska-5aab2310/Jay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast  Grateful DeadAugust 4, 1994Giant's StadiumEast Rutherford, NJTraffic opened the show              Jerry sits in with Traffic on Dear Mr. Fantasy and Gimme Some Lovin  INTRO:              Box of Rain                           Track No. 2                           3:42 – 4:51 SHOW #1:        Jack Straw                           Track No. 3                           5:00 – 6:09  SHOW #2:        Eternity                           Track No. 7                           0:36 – 1:45               A “new” Bob Weir song, music by Bob and Rob Wasserman and lyrics by Willie Dixonfirst played on February 21, 1993 at Oakland Alameda County Coliseum              Played 44 times in concert              Last played July 8, 1995 at Soldier Field  – second to last show              Released on Dead's first post-Jerry box set, So Many Roads               Rob Wasserman (Rat Dog with Bobby)  Wasserman started playing violin, and graduated to the bass after his teenage years. He studied at the San Francisco Conservatory of Music where he studied composing with John Adams and double bass with San Francisco Symphony bassists.[5]He worked with Van Morrison, Oingo Boingo, and David Grisman. His 1983 album Solo won Down Beat magazine's Record of the Year award. On the albums Duets and Trios, he worked with Bobby McFerrin, Rickie Lee Jones, Cheryl Bentyne, Lou Reed, Stéphane Grappelli, Jerry Garcia, Brian Wilson, Willie Dixon, Branford Marsalis, Bob Weir, Edie Brickell, Les Claypool, Neil Young, and Elvis Costello.Duets was nominated for three Grammy Awards. Bobby McFerrin won for "Brothers", which was performed with Wasserman. Wasserman also won Holland's Edison Award for Record of the Year.His 2000 album, Space Island, incorporated more contemporary musical elements. RatDog, which he co-founded with Bob Weir from the Grateful Dead, occupied much of his time. He toured extensively with Lou Reed.Wasserman was a judge for the sixth-tenth annual Independent Music Awards.[8]Rob Wasserman died on June 29, 2016. Cause of death was cancer.[9] Entombment was made in Salem Memorial Park and Garden at Colma, California.[10]                Willie Dixon (1915-1992) was one of the preeminent blues songwriters and performers of all time. The Grateful Dead covered a fairly lengthy list of his songs, attesting to his influence on the band: “Down in the Bottom,” “I Ain't Superstitious,” “I Just Want to Make Love To You,” “Little Red Rooster,” “The Same Thing,” “Spoonful,” and “Wang Dang Doodle.”            The song was written during the sessions for Rob Wasserman's Trios album. “Guitar Player” magazine ran an interview with Weir in 1993:“I had this chord progression and melody that I wanted to run by Willie to see if he liked it .... he did, so he started dashing off words. He wanted me to run a certain section by him again and stuff like that, and we started working on a bridge. Then he dashes off this sheet of lyrics and hands it to me. Now I'm really stoked to be working with the legendary Willie Dixon and I'm prepared for just about anything.“He hands these lyrics to me and I'm reading through them. And they seem, you know, awfully simplistic. Like there wasn't a whole lot to them....“....Now he wants me to read through it and sing the melody I have and see if they fit. And so I started singing through these simplistic lyrics, and that simplicity takes on a whole other direction.“By the time I had sung through them, it's like my head is suddenly eons wide. I can hear what's happening just sort of echoing around in there and I'm astounded by the simple grace of what he has just presented to me. I'm sitting there with my mouth open literally, and Willie's laughing. He's just sitting there laughing, saying, 'Now you see it. Now you see it. That's the wisdom of the blues.'”           David Dodd (author of Complete Grateful Dead Annotated Lyrics) – “Weir's songs from this era (anything from “Victim or the Crime” forward) seem aggressively innovative, shall we say. The rhythmic patterns, the big multi-layered chords, the changes in meter and tone, all add up to something that seems calculated to disrupt any comfort we might have been sinking into. OK, I didn't say that very well, but anyone who has struggled with these late-period Weir songs knows what I mean.”           SHOW #3:        Childhood's End                           Track No. 8                           3:10 – 4:15               A “new” Phil tune, first played July 24, 1994 at Deer Creek Music Center, Noblesville, IN              Played 11 times in concert              Last played July 9, 1995 at Soldier Field – last show              Never released on a studio album                “Childhood's End” on 7/20/94 – the last original Grateful Dead song to enter the live repertoire, written and sung by Phil Lesh.             Per John Hilgart of 4CPComics, the background story is that Lesh (and perhaps the others) felt that new songs would help fuel Garcia engagement in a period when Jerry was headed in the same direction as in the mid-1980s, when his drugged-out-bad-health put him in a coma that he narrowly survived – living on to drive the 1989-onward renaissance of the band. In the 1995 remake, Jerry died. The big musical difference between those two episodes is that everyone else in the band had their shit together in 1994, whereas the whole band was a mess in 1986.              John's general take on post-Brent 1990's Dead is that they were not to be dismissed – a band that had stopped depending on Garcia's leadership to determine the musical outcome, but who were always therefore also ready when Garcia was feeling spry. Weir has said something to that effect. And when Garcia was feeling spry, it was just as you would wish it to be. SHOW #4:        Way To Go Home                           Track No. 14                           2:59 – 4:12                           A “new” Vince song music by Vince and Bob Bralove, lyrics by Robert Hunter.              First played February 23, 1992 at Oakland-Alameda County Coliseum              Played 92 times              Last played June 28, 1995 at The Palace of Auburn Hills, Auburn Hills               Also wrote Samba In The Rain for the Dead.               Bob Bralove is a keyboard–synthesizer player who worked as a sound technician with the Grateful Dead from 1986 to 1995. Throughout his tenure, he performed as an auxiliary musician throughout "Drums" and "Space", the band's signature aleatoric music segments.[1]Accordingly, he played a key role in their integration of MIDI technology (Musical Instrument Digital Interface) is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music.[1]  ; Before the development of MIDI, electronic musical instruments from different manufacturers could generally not communicate with each other. This meant that a musician could not, for example, plug a Roland keyboard into a Yamaha synthesizer module. With MIDI, any MIDI-compatible keyboard (or other controller device) can be connected to any other MIDI-compatible sequencer, sound module, drum machine, synthesizer, or computer, even if they are made by different manufacturers.), first working with drummers Mickey Hart and Bill Kreutzmann, keyboardist Brent Mydland, and later guitarist Bob Weir and synthesizer/piano player Vince Welnick. He also co-wrote several songs with Weir and Welnick, including "Picasso Moon" on Built to Last (1989) and "Way to Go Home" and "Easy Answers", which were slated to appear on the band's unfinished fourteenth studio album. (A live reconstruction, Ready or Not, was ultimately released in 2019 and contains both songs.) Perhaps his most significant project with the band was curating excerpts from "Drums" and "Space" on Infrared Roses, a 1991 compilation album. "Parallelogram" and "Little Nemo in Nightland" are some of his most notable "compositions" from this release.Bralove was also a member and producer of the Psychedelic Keyboard Trio, along with Welnick and fellow former Grateful Dead keyboardist Tom Constanten.[2] Bralove and Constanten also collaborated as Dose Hermanos, a showcase for their improvisational keyboard work; since 1998, they have toured irregularly and released five albums under the moniker. Bralove also worked with Stevie Wonder, setting up and programming Wonder's synthesizers including while he was touring.[3]  OUTRO:            Days Between                           Track No. 20                           5:55 – 7:24                           “new” Jerry tune              First played February 22, 1993 at Oakland-Alameda County Coliseum Arena              Played 42 times by the Dead              Last played June 24, 1995 at RFK Stadium in D.C.               It has become a favorite of the surviving band members, played the third night at the 50th Anniversary Shows at Soldier Field in 2015 and frequently played by Dead & Co. with Bobby singing,  Also played by Bob Weir and Wolf Bros. and Phil and Friends.  Great tune to end this episode.               David Dodd:  “Days Between” has come to be an anthem that makes us remember Garcia in a particular way, and, in particular, the days between his birth date of August 1 and his death date of August 9. It's a fitting song for such thoughts, with its big sweeping chords and its lyrics heavy with nostalgia and longing.There's a word in German, sehnsucht, that lacks a proper emotional counterpart in English, but which means, roughly, “longing.” It carries a sense of wishing you could see something—see something again, see something at all—that something is missing from your eyes and from your presence. I find that “Days Between” belongs with a raft of songs that induce this feeling in me.“Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia's playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.) During its relatively short time in the live repertoire, they played it 41 times, always in the second set, and fairly frequently rising out of the Drums. Phil:  “I don't know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”

This week the Deadpod continues with the high energy second set from July 9, 1989 at Giants Stadium in East Rutherford, NJ. This is a rockin' second set, starting with a great 'China>Rider' - check out Jerry when he is on that northbound train! The jam out of Truckin' is also quite excellent and the entire post-drums sequence shows some serious rockin'!  Never miss a Sunday show!  Grateful Dead Giants Stadium East Rutherford, NJ 7/9/1989 - Sunda Two China Cat Sunflower [6:04] > I Know You Rider [6:21] ; Samson And Delilah [7:20] ; Built To Last [5:20] ; Truckin' [7:54] > Jam [2:57] > Drums [7:26] > Space [10:#26] > Gimme Some Lovin' [5:09] > Goin' Down The Road Feeling Bad [6:35] > Throwing Stones [10:12] > Not Fade Away [9:56] Encore Brokedown Palace [5:21]       You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod072123.mp3 Enjoy. 

This week's Deadpod came from a request from Tyler, a friend of the pod, who wanted to hear this classic summer stadium show from 1989. This is from Giants Stadium on July 9, 1989. The band is fired up and ready to satisfy what I'm sure was a loud and raucous crowd, opening with the classic 'Shakedown Street' and then an uptempo 'Jack Straw'. Things slow down a bit with 'West L.A. Fadeaway' then take a darker turn with the relatively new 'Victim or the Crime'. 'Brown-Eyed Women' and 'Queen Jane' straighten things back up, and they close this first set with a sweet 'Bird Song'.      Grateful Dead Giants Stadium East Rutherford, NJ 7/9/1989 - Sunday One      Shakedown Street [13:01]   Jack Straw [5:39]   West L.A. Fadeaway [7:31]   Victim Or The Crime [7:12]   Brown Eyed Women [5:24]   Queen Jane Approximately [5:45]   Bird Song [11:17]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod071423.mp3 Stay cool! and many thanks for your kind supporrt!! 

The Hawks are 0-8 at Giants Stadium after another tough loss, but fans were treated to a much-improved performance overall, with positives aplenty to take from the game. It's another fun-filled Hawk Talk Podcast! Don't forget to find us on Twitter - @HawkTalkPod Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Seamus Mitchell has been named the round 17 AFL Rising Star after his impressive performance in the Hawks' loss to Greater Western Sydney on Saturday. Mitchell had 20 disposals (six contested, five intercept possessions) at 70 per cent efficiency, and took four marks in the Hawks' 13-point loss at Giants Stadium.See omnystudio.com/listener for privacy information.

Listen back to the full preview with Jimmy Bartel, Bruce Eva and Rohan Connolly, in the lead-up to GWS vs. Hawthorn at Giants Stadium.See omnystudio.com/listener for privacy information.

Here's the latest in Triple M Rock News with Kalun! Get ready for an unforgettable experience as two legendary rock bands, Def Leppard and Mötley Crüe, embark on their co-headline world tour, hitting the Australian shores this November. The excitement kicks off at Brisbane's Suncorp Stadium on November 8, followed by an epic performance at Giants Stadium in Sydney on November 11. And don't miss the grand finale at Melbourne's Marvel Stadium on November 14. These iconic rock bands are sure to deliver a sensational show that will leave you craving for more. Make sure to mark your calendars, as tickets go on sale on Thursday, June 8. The sale starts at 11 am in Brisbane and Melbourne, while Sydney enthusiasts can join in the excitement from 12 pm onward. Remember, all mentioned times are local, so set your alarms accordingly to secure your spot. But that's not all! Today, you can grab your tickets for the evanescence 'Celebrating 20 years of Fallen' tour. These renowned American rockers are bringing their mammoth live show to various cities in Australia, including Brisbane, Sydney, Adelaide, Melbourne, and Perth. Don't miss the chance to experience the magic of Evanescence live on stage. Amy Lee, the lead vocalist of Evanescence, expresses her excitement about returning to our shores, promising an incredible performance that will captivate the audience. For the latest updates and news in the music world, head over to articles.listnr.com. Stay tuned to Triple M Rock News for all the hottest rock news, interviews, and more.See omnystudio.com/listener for privacy information.

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

We're joined by AFL insider Jack Heaven to talk through how the game unfolded, who scored the goals and what we learned about St from the game. The Bombers have started the season with three straight wins to start the season under Ross Law, which is incredible. What did the Saints learn about themselves when their backs were against the wall? And how will the expectations for the rest of the season evolve as the season goes on?See omnystudio.com/listener for privacy information.

In the first edition of 'The Final Word', Garry and Tim share their thoughts on the biggeest stories to come from Round 1, including the issues at West Coast, the Bulldogs' early struggles with four tall forwards, the Hawks disappointing performance against Essendon, Nat Fyfe's challenges up forward, Scott Pendlebury's incredible form, the young talent at Port Adelaide, the crowd at Giants Stadium, the MCG surface, Tom Mitchell's first game for Collingwood, Ross Lyon, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Karen Jacobsen is ‘Siri'. Well, more accurately, she's the voice of Siri. She's also the Sat-Nav lady. She's been telling me (and a billion others) where to go for years and I didn't even know it. No wonder she sounded familiar. Karen is also a brilliant musician, songwriter and performer who has played all over the world with huge names (Norah Jones, Neil Sedaka, Jon English and Christopher Cross) and at huge venues (Madison Square Garden, Fenway Park, Dodger Stadium, Giants Stadium, Suncorp Stadium). This was an interesting chat. Enjoy.See omnystudio.com/listener for privacy information.

Bill Squires, or as I know him as Professor Squires from Columbia University's Sports Management Master's program, emphasizes the importance of being curious. Curiosity and being kind go a long way. It's just not about networking, it's about making connections that can lead to friendships. He has an amazing story of how he started working in the sports business and continued to pivot. Additionally, he's now the president of the Cystic Fibrosis Foundation NJ Chapter. More about Bill: Bill is a graduate of the United States Naval Academy (Class of 1975) and served on active duty as a naval aviator for 12 years before joining the Naval Reserves. Bill retired from the Naval Reserves as a Commander after 24 years of service. In 1987, following active duty in the United States Navy, Bill entered the sports facilities and event management business. He has held top-level positions with the following facilities: Yankee Stadium, Giants Stadium (two tours), Cleveland Browns Stadium (currently known as First Energy Stadium) and Disney's Wide World of Sports (currently known as ESPN Wide World of Sports). Bill was involved in the design, construction, and operations of ESPN Wide World of Sports, First Energy Stadium and MetLife Stadium. His responsibilities included budgeting, staffing, training, event execution, maintenance, and capital improvements as well as many other responsibilities. Bill is a Past President of the Stadium Managers Association which has members from the National Football League, Major League Baseball, Minor League Baseball, Major League Soccer, the Canadian Football League, Universities/Colleges, and other facilities, both national and international, that host sports and entertainment events. Bill currently has his own consulting business featuring clients such as the New York Football Giants. Bill is the liaison between the team and the New Meadowlands Stadium Company which operates the $1.6 billion MetLife Stadium. Many of his other clients provide products and services to the sports facility industry. Bill also works as an expert witness in lawsuits that involve sports teams and venues.

Hour 1: Today is our final show from the media center in Phoenix. It's been a strange week. Boomer is back today after being very ill yesterday. Boomer's daughter sent an IV nurse to his room. Gio is embracing the fact that he is going to get the Norovirus from Boomer. The Rangers made a trade with the Blues and Boomer likes it. There is very little buzz for this Super Bowl for a lot of reasons. Jerry is here for his first update of the day but first there's a Twitter poll for who on the staff will get the Norovirus from Boomer. Gio is in the early lead. The Jets dominated the NFL Honors with REVIS and KLECKO going into the Hall and Sauce and Garrett Wilson winning offensive and defensive rookies of the year. Woody Johnson talked about the Jets QB situation and called it ‘plug and play'. Brian DABOLL won Coach of The Year and we listened to his acceptance speech. Patrick MAHOMES was named MVP. Michael Irvin filed a $100 million lawsuit and Brett Favre is suing Shannon Sharpe and Pat McAfee. Sean Marks has a message for the fans who already renewed season tix before KD and Kyrie were traded. In the final segment of the hour, we talked about Woody Johnson's comments on the Jets QB situation.  Hour 2: Michael Irvin filed a $100 million lawsuit against the hotel and the accuser for a situation that went down earlier this week in Phoenix. His lawyer is claiming Irvin is a victim of cancel culture. And Brett Favre is suing Shannon Sharpe and Pat McAfee for comments about his mishandling of funds in Mississippi. Boomer likes linemen who have a wrestling background. Jerry returns for an update but first Gio went to some sort of reptile zoo and watched turtles have sex. Al got to meet Evan Washburn yesterday. Joe KLECKO was elected to the Hall of Fame and Joe Namath inducted him. Garrett Wilson won offensive rookie of the year and talked about the Jets culture. Woody Johnson wants to get a QB and takes a shot at the current QB situation. Kirk Cousins sang to Tom Brady last night. Gio is now fully behind Kirk Cousins now. Justin Jefferson was emotional at the NFL Honors. George KITTLE said it's Brock PURDY'S job to lose. The Nets won behind Spencer DINWIDDIE's performance. In the final segment of the hour, Boomer gave Jerry's Waste Management Open tix to Stephen Waldron after he offered them to Jerry first.  Hour 3: Adam SCHEFTER tweeted a pic of Sean Payton out to dinner with Russell Wilson, Ciara and Joe Montana. That's a pic with a message. Look how we're all friends. Gio plays ‘Mike White or' with Boomer. What did Boomer do all day when he was sick? Jerry returns for an update and starts with Ty Law inducting DARRELLE REVIS into the Hall of Fame. Garrett Wilson talked about winning the offensive rookie of the year. Woody Johnson talked about the Jets QB situation and it was not great. Brian DABOLL thanked a lot of people when he won coach of the year. Lawrence Taylor said he once forgot he was playing on Sunday night until he drove by a fully lit Giants Stadium. Jalen Hurts talked about his cheesesteak in Philly. Brett Favre is suing a bunch of people and Michel Irvin is suing a hotel and an accuser from an incident earlier this week. The Nets won last night behind a great night by Spencer DINWIDDIE. Cam Thomas had to apologize for using an anti-gay slur on live TV. Sean Marks talked about the end of the KD/Kyrie era. In the final segment of the hour, Russell Wilson and his charity are being looked at for not using enough of the money on the actual charity and are spending too much on staff instead. It doesn't sound good. What does Jake Plummer look like now and what is he doing? Well, he's a mushroom farmer in Colorado.  Hour 4: Former Bucs QB Shaun King joined us and said you should definitely go into broadcasting instead of coaching. He talked about Tom Brady and Aaron RODGERS. Jerry returns for his final update of the day and starts with Garrett Wilson winning offensive rookie of the year. Woody Johnson is looking for a QB ‘that's actually doing it'. Derek Carr left New Orleans without a deal, which surprised Boomer. Nate Burleson jumped up on stage and surprised us. In the final segment of the week we did our Super Bowl picks. The spread is Eagles -1 ½ . Boomer and Jerry like the Eagles and Gio and Yussef like the Chiefs.

Hour 3 Adam SCHEFTER tweeted a pic of Sean Payton out to dinner with Russell Wilson, Ciara and Joe Montana. That's a pic with a message. Look how we're all friends. Gio plays ‘Mike White or' with Boomer. What did Boomer do all day when he was sick? Jerry returns for an update and starts with Ty Law inducting DARRELLE REVIS into the Hall of Fame. Garrett Wilson talked about winning the offensive rookie of the year. Woody Johnson talked about the Jets QB situation and it was not great. Brian DABOLL thanked a lot of people when he won coach of the year. Lawrence Taylor said he once forgot he was playing on Sunday night until he drove by a fully lit Giants Stadium. Jalen Hurts talked about his cheesesteak in Philly. Brett Favre is suing a bunch of people and Michel Irvin is suing a hotel and an accuser from an incident earlier this week. The Nets won last night behind a great night by Spencer DINWIDDIE. Cam Thomas had to apologize for using an anti-gay slur on live TV. Sean Marks talked about the end of the KD/Kyrie era. In the final segment of the hour, Russell Wilson and his charity are being looked at for not using enough of the money on the actual charity and are spending too much on staff instead. It doesn't sound good. What does Jake Plummer look like now and what is he doing? Well, he's a mushroom farmer in Colorado.

Former Giants running back, Rodney Hampton, sits down with Bob Papa to discuss his 161 yard rushing yard and 2 touchdown game vs the Minnesota Vikings in the 1993 season, talk about his relationship with his teammates, and give his thoughts on the 2023 Giants team. SUBSCRIBE NOW: Apple | Spotify | Google | Stitcher | iHeartRadio 00:00 - Start 00:10 - Hampton's big day vs Minnesota 03:28 - Playing with Phil Simms 06:10 - Playing in Giants Stadium 07:42 - Thoughts on Saquon Barkley 09:53 - Thoughts on Coach DabollSee omnystudio.com/listener for privacy information.

It's the season 3 opener of Stephanie & Stephanie Talk Tunes! And we're going back to the '90s, talking about our memories and stories connected to the the Green Day classic "When I Come Around." Hear about the magical experience of seeing them play at Giants Stadium, growing up with "Dookie," secret songs on CDs, and more. On the way, we talk about the concerts we have on the horizon, including the new Metallica tour for 2024. Enjoying the show? Tell us what you think on the socials at @stephaniestalktunes/@stephaniestalk, or give us a 5-star rating on Apple Podcasts or Goodpods! Proud member of Pantheon Podcasts.(*Please excuse our minor audio issues in the first few minutes of this episode.)

It's the season 3 opener of Stephanie & Stephanie Talk Tunes! And we're going back to the '90s, talking about our memories and stories connected to the the Green Day classic "When I Come Around." Hear about the magical experience of seeing them play at Giants Stadium, growing up with "Dookie," secret songs on CDs, and more. On the way, we talk about the concerts we have on the horizon, including the new Metallica tour for 2024.  Enjoying the show? Tell us what you think on the socials at @stephaniestalktunes/@stephaniestalk, or give us a 5-star rating on Apple Podcasts or Goodpods! Proud member of Pantheon Podcasts. (*Please excuse our minor audio issues in the first few minutes of this episode.) Learn more about your ad choices. Visit megaphone.fm/adchoices

TODAY On  Bell & The Birdmen, We might have to admit Dallas is really good AND are we going to see a blow out at Giants Stadium this Sunday?====Subscribe To Our YouTube  Hit us up on our text line215-509-5833Join our Discord, pick up a hat, order a Bell shirt, OR leave some tip$ in our tip jar to support the show!  BellAndTheBirdmen.comFREE SHIPPING ON EVERY CASE OF LIQUID DEATH - The more Liquid Death you drink, the more content we can make  https://liquiddeath.com/bellCOME ON THE ROAD WITH US - We are going to every away game with Philly Sports Trips!https://phillysportstrips.com/

Boomer tells the story of a fan telling him he sucks on Christmas Eve 1995 against the Saints.

Art welcomes rising NFL analyst Corey Wootton to the show to talk Sunday's Giants-Bears matchup, growing up in the shadow of the old Giants Stadium and MetLife Stadium, and his various ties to Big Blue, including Michael Strahan. Plus, more fan questions answered in this week's The Final Drive!

When we were living in New Jersey, boy, Giants Stadium - it was a mecca in northern New Jersey. At that time, 70,000 people. before the new stadium was built, were... I mean it's bigger now. But, boy, that's a lot of people descending on the Giants football game; cars clogging every artery anywhere near the stadium. And I was one of those crazy people sometimes! All across the New York area, countless others did nothing that afternoon but watch television to see what was going on there at the Meadowlands. It was like that stadium had a giant magnet inside it, with the power to pull multitudes of people to focus on one place and one event. I'm Ron Hutchcraft and I want to have A Word With You today about "God's Magnificent Magnet." For 2,000 years, there's been a magnet that has captured the hearts of millions of people, pulling people from every generation, every background, every corner of the world to one man. That man is Jesus Christ, and that magnet is an old rugged cross on a hill called Skull Hill, just outside the gates of Jerusalem. Even in our day, one of Hollywood's great blockbuster movies was "The Passion of the Christ," a vivid portrayal of the death of Jesus; the power of that cross to still move millions of people. That should come as no surprise really. Jesus said it would happen before He ever died. In John 12:32-33, our word for today from the Word of God, Jesus said, "When I am lifted up from the earth, I will draw all men to Myself." Then the Bible goes on to explain His meaning: "He said this to show the kind of death He was going to die." So, Jesus said, "If I am lifted up on a cross, I'll draw people to Myself." And, sure enough, for twenty centuries, His love poured out on that tree, has melted the hardest hearts and brought hope to the most hopeless hearts. If many people aren't being drawn to Him, maybe it's because those of us who know Him have been lifting up something other than Jesus and His cross; like our church, our politics, our causes. Since that brutal day on Skull Hill, a lot has happened. Churches have been built in Jesus' name, a religion bearing His name has spread across the world, rituals and creeds and ceremonies have grown up around His teachings. A lot of good, and too much that wasn't good, has been done in His name. But a trip back to that blood-stained cross strips away all the Christianity that has grown up around Christ over the centuries, and it takes us back to what the central issue is for you and me. It's you; it's me standing at the foot of that cross, looking into the face of the Son of God. It's you or me watching the blood trickle down from a crown of thorns jammed into His forehead; the spikes in His hands and feet. Beyond all the religious things you've done in His name, beyond those Christians who may have hurt you or confused you, beyond all the facts about Jesus that you have in your head - there's that man dying on that cross. And there's you, one of the people He's dying for, to pay for every wrong thing you've ever done. Your eternity will not be decided by what you do with Christianity. It will be decided by what you do with Christ. This very day, I invite you to walk with me up Skull Hill, to stand there and say the two words that are the difference between heaven and hell, "for me." Maybe you've missed that decisive step of actually giving yourself to the Man who died for you, of abandoning your trust in anything else to make it with God and you put all your trust in Jesus. Tell Him today, "Jesus, you died for me. I can trust you. I'm Yours." And you won't just be believing in Jesus. You'll finally belong to Him. If that's what you want, I invite you to visit our website. I've got a very simple explanation there of how to get started with Jesus. It's ANewStory.com. That's the web address. On the day you stand before God, there's only one thing He's going to ask you. "What did you do with My Son and His death for you on that cross?" Please, get that settled today.

Dotun and Tim welcome Paddy Barclay back onto the show to discuss Giants Stadium turning Green and Ray Houghton scoring the winner in the Republic of Ireland's opening game of the 1994 World Cup Tickets for the live show on the 21st June avaliable here: Goalsaloud.co.uk