Podcasts about Iko Iko

El mes de mayo de 1965 merecía una segunda parte de canciones que alcanzaron su puesto más alto en el Billboard Hot 100 de EEUU en ese mes de hace 60 años.Playlist; (sintonía) SOUNDS ORCHESTRAL “Cast your fate to the wind” (top 10)THE ROLLING STONES “Play with fire” (top 96)CHAD and JEREMY “What do you want with me” (top 51)GERRY and THE PACEMAKERS “It’s gonna be alright” (top 23)THE DAVE CLARK FIVE “Reelin’ and rockin’” (top 23)THE DRIFTERS “Come on over to my place” (top 60)DOBIE GRAY “(See you at the) Go Go” (top 69)THE SHANGRI-LAS “Out in the streets” (top 53)THE DIXIE CUPS “Iko Iko” (top 20)CHUBBY CHECKER “Let’s do the Freddie” (top 40)SOUPY SALES “The mouse” (top 76)JULIE ANDREWS and DICK VAN DYKE and THE PEARLIES “Super-cali-fragil-istic-expi-ali-docious” (top 66)THE NEW CHRISTY MINSTRELS “Chim chim cheree” (top 81)LITTLE MILTON “We’re gonna make it” (top 35)TONY CLARKE “The Entertainer” (top 31)ALVIN CASH and THE CRAWLERS “The Barracuda” (top 59)THE KINGSMEN “The climb” (top 65)THE OLYMPICS “Good lovin’” (top 81)DEL SHANNON “Break up” (top 95)THE IMPRESSIONS “Woman’s got soul” (top 29)Escuchar audio

Tonight President Trump will address a joint session of Congress. Clips from a recent interview between NBC's Chuck Todd and political strategist Steve Schmidt on President Biden's cognitive decline. We're joined by John Dombroski, founder and president of Grand Canyon Planning Associates. Seth and Producer David Doll receive a gift! The Mardi Gras song "Iko Iko." See omnystudio.com/listener for privacy information.

It was a wonderful surprise to find Kevin Walters waiting for us at work this morning, and it gave a late Nikki the shock of her life - We're deep in Anthony Warlow territory and what's the difference between Waka Waka and Iko Iko?See omnystudio.com/listener for privacy information.

Just a quick one with FiG and Knob as we ring in the new year and featuring set 2 of 3/9/92!     One Jack Straw (6:00) ; West L.A. Fadeaway (8:16) ; Me And My Uncle(3:06) > Big River (6:40) ; Row Jimmy (11:09) ; Cassidy (7:03) ; Deal (9:13) Two Victim Or The Crime (7:27) ; Iko Iko (10:49) ; Corrina (11:37) > Dark Star (14:13) > Drums (12:15) > Space (14:28) > I Need A Miracle (6:33) > Morning Dew (12:50) Encore (I Can't Get No) Satisfaction (6:15)

Those cornfed fillies start looking good! This week, our hosts Game, FiG and Knob are heading to Iowa! Specifically, the Iowa Fieldhouse at Iowa University in Iowa City, Iowa. It's August 10th, 1982, and the Grateful Dead are wrapping up their summer tour! Discussions abound about skipping past technical difficulties, Bob Weir's recent career moves, and the power of dynamics.  Feel Like A Stranger Friend Of The Devil New Minglewood Blues Tennessee Jed Cassidy It Must Have Been The Roses Beer Barrel Polka >  On The Road Again >  Beat It On Down The Line Stagger Lee I Need A Miracle >  Bertha  China Cat Sunflower >  I Know You Rider Lost Sailor >  Saint Of Circumstance >  Eyes Of The World >  Drums >  Iko Iko >  Truckin' >  Stella Blue >  Sugar Magnolia It's All Over Now Baby Blue > Johnny B. Goode

Conversation avec la musicienne, autrice/compositrice, productrice et chanteuse Armelle Pioline qui s'est fait connaître avec le groupe Holden de 1998 à 2012 et qui a formé depuis le groupe Superbravo. L'occasion d'évoquer ses différentes apparitions au festival sur 4 décennies de 1999 à 2023, de son lien aux artistes femmes et de l'évolution de leur place dans la musique. Un podcast produit par Les Femmes S'en Mêlent et réalisé par Inbar dans le studio d'enregistrement de La Gaîté Lyrique. À écouter chaque mardi, du 5 novembre au 26 novembre à 11h, sur Tsugi Radio et sur toutes les plateformes. Écrit par Stéphane Amiel Directrice de création : Marine Rivollet Montage, Sound Design et Mixage : Valentin Lavoillotte Voix off : Marine Rivollet Remerciements particuliers aux personnes ayant témoigné Nicolas d'Aprigny (Directeur et programmateur du Normandy à Saint-Lô), Christine Lidon (Artiste, autrice-compositrice-interprète, présidente de la SACEM), Cléa Vincent (Artiste et musicienne), Marion Gabbaï (Agent artistique chez Vedettes Agency), Vale Poher (Artiste et musicienne), Corinne Sadki (Présidente de la commission égalité femmes/hommes CNM), Cécil Mathieu (Photographe), Emmanuelle Jeanne (Spectatrice). Archives Thierry Ardisson – "Le casting de potiches pour 'Ardimat'" (INA, 1993) YouTube Flore Benguigui – "Cherchez la femme | Carte Blanche" (YouTube, 2020) INA – "L'histoire du féminisme et du MLF" (YouTube, 1982) Archive Les Femmes S'en Mêlent Elysian Fields – Live LFSM Café de la Danse (Enregistrement en direct, 2002) Shannon Wright – Café de la Danse 2002 Live LFSM (Enregistrement en direct, 2002) Musique Holden – "La Machine" Holden – "C'est Plus Pareil" Edith Frost – "Temporary Loan" Holden – "Ce Que Je Suis" Sheila & B. Devotion – "Spacer" Élisa Point – "Toi Mon Toit" The Dixie Cups – "Iko Iko" The Velvet Underground – "I'm Waiting for the Man" Eszter Balint – "Un Poison Violent" Cat Power – "The Greatest" Holden – "Dans la Glace" Lonelady – "Nerve Up" Sonic Youth – "Incinerate" Sonic Youth – "Bull in the Heater" Gina Birch – "Feminist Song" Ela Orleans – "Neverend" Scott Buckley – "Petrichor" Au Revoir Simone – "Hurricane" Micachu – "Just in Case" Wildbirds & Peacedrums – "Bleed Like There Was No Other Flood"

596. Our old friend Derby Gisclair returns to talk about his research into Louisiana politician and snake oil salesman (to the degree they're different!) Dudley J. LeBlanc. "Coozan Dud" was a moderately successful Louisiana politician and a wildly successful salesman of Hadacol, the patent medicine. He hosted a traveling variety show to sell the elixir he created in his bathtub with vitamins, other ingredients, hydrochloric acid, and 12% alcohol. Join us to learn more about this drink that's good for what ails you.Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 220 years. Order your copy today! This week in Louisiana history. October 13, 1931. Lt. Gov. Cyr takes oath of office "since Huey Long is now a senator" This week in New Orleans history. October 12, 1934. James "Sugar Boy" Crawford is Born. New Orleans musician James "Sugar Boy" Crawford, Jr., born on October 12, 1934, was the author of "Jock-A-Mo" (1954), a hit that was later recreated as "Iko Iko" by The Dixie Cups and recorded by many artists including Dr. John, Belle Stars, The Grateful Dead, Cyndi Lauper, and as "Geto Boys" by Glass Candy. Starting out on trombone, Crawford formed a band which local DJ Doctor Daddy-O named "The Chapaka Shawee" (Creole for "We Aren't Raccoons"). Although his song "Jock-A-Mo" became a standard at the New Orleans Mardi Gras, Crawford himself disappeared from public view, and in a 2002 interview for Offbeat Magazine, told how his career came to an abrupt halt in 1963, after a severe beating at the hands of state troopers incapacitated him for two years, forcing him to leave the music industry. In 1969, he decided to limit his singing to in church only. In 2012 Crawford made a guest appearance singing gospel on an episode of the HBO series Treme. He died one month before the episode aired. He died on September 15, 2012. after a brief illness in a hospice at age 77. (Wiki) This week in Louisiana. 2024 Nola Reggae Fest Fri. Oct. 25 2024 — Sun. Oct. 27 2024 Congo Square (Armstrong Park) 701 North Rampart Street New Orleans, LA Reggae & Good vibes in the Big Easy Welcome to the 2024 Nola Reggae Fest! We are excited to be back home in the historic Congo Square for Music, Food, Arts & Crafts, and Vibes. Our festival this year will welcome international artists, bands, and DJs on 2 stages on 3 different days and variety of local vendors selling everything from food to art. This year we have 3 days for you to enjoy all the irie vibes! Each day comes with a different set of legendary international artists and DJs. Plan ahead and make sure you are ready to experience a great weekend of fun! Friday: 2pm to 8pm Saturday: 12pm to 8pm Sunday 12pm to 8pm Loads of fun for all to enjoy! Get your tickets can come join us at the 2023 Nola Reggae Fest. Basic admission is free. Tickets here. Website. Postcards from Louisiana. Roxy Doll sings at the French Quarter Fest. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook. 

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

It's a wild kingdom! Cause this week, our hosts Game and FiG are going to Omaha. It's July 5th, 1978 and the Grateful Dead are playing the Omaha Civic Auditorium. Discussions abound about Billy Strings' baby, Knob slander, and the death of Kris Kristofferson.  Sugaree  Beat It On Down The Line  They Love Each Other  Looks Like Rain  Dire Wolf  It's All Over Now  Candyman  Lazy Lightnin' > Supplication  Deal  Samson And Delilah  Ship Of Fools  Estimated Prophet > Eyes Of The World > Drums > Space > Wharf Rat > Truckin' > Iko Iko > Around And Around  The Promised Land

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .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

"Celebrating July 4th with Grateful Dead Memories and Rolling Stones Reverence"Larry Mishkin highlights a memorable Grateful Dead concert from July 1984 at Pine Knob Music Theater in Clarkston, Michigan, which holds special significance for Larry and his friends who attended the University of Michigan. He reflects on how attending this concert was a fitting farewell for his crew as they wrapped up their college years.The show begins with the Grateful Dead's lively rendition of "Iko Iko," a song with a rich history and a favorite of Larry's. He shares his experiences of following the Dead's tour in 1984, which included several memorable concerts. He discusses the band's performance of "Little Red Rooster," a blues classic by Willie Dixon, and how it sometimes felt like a letdown after high-energy openers but ultimately captivated the audience with its jam session.Larry then shifts to music news, discussing the origins of the song "Cover of the Rolling Stone" by Dr. Hook and the Medicine Show, written by Shel Silverstein. He highlights Silverstein's diverse contributions to music and literature, including his work with Johnny Cash and Dr. Hook.The episode transitions to Larry's recent experience at a Rolling Stones concert at Soldier Field in Chicago. He recounts the thrill of seeing the Stones live, especially with Mick Jagger's energetic performance and the band's enduring musical prowess. The setlist included classics like "Start Me Up," "Wild Horses," "Sympathy for the Devil," "Gimme Shelter," and "Jumpin' Jack Flash." Larry praises the band's longevity and urges listeners to seize any opportunity to see the Rolling Stones live.  In more music news, Larry introduces Daniel Donato, a rising star in the Cosmic Country genre, who recently performed at the Chop Shop in Chicago. He expresses his admiration for Donato's music, hinting at a promising future for the young artist. July 1, 1984Pine Knob Music TheaterClarkston, MI (Detroit)Grateful Dead Live at Pine Knob Music Theatre on 1984-07-01 : Free Download, Borrow, and Streaming : Internet Archive The last night in Ann Arbor, what better way to say goodbye after 4 amazing years than go to a “hometown” Dead show.  Our whole crew was there, Harold's birthday, great seats in the pavilion and a memorable show.  Always memorable when they start out like this:  INTRO:                                 Iko Iko                                                Track #1                                                0:10 – 1:36  SHOW No. 1:                    Little Red Rooster                                                Track #2                                                5:00 – 6:48 MUSIC NEWS: Stones reviewDaniel Donato reviewNeil Young cancels remainder of summer tour dates due to illnessWillie Nelson sitting out Outlaw Music Festivals – our rock idols are getting old (see Stones!) SHOW No. 2:                    Might As Well                                                Track # 8                                                1:07 – 2:45 SHOW No. 3:                    I Need A Miracle                                                Track # 16                                                1:47 – 3:17MJ NEWS: IRS Advises Marijuana Businesses That They Still Can't Take Federal Tax Deductions Due To 280E Until Rescheduling Is Finalized2.      Maryland Governor Launches Marijuana Workforce Development Program Focused On People Criminalized Over Cannabis3.    Marijuana Rescheduling Won't Affect Drug Testing For Truckers, Transportation Secretary Buttigieg Say4.    House committee votes to include intoxicating hemp ban in draft Farm Bill SHOW No. 4:                    Bertha                                                Track # 17                                                3:24 – 5:00OUTRO:                               It's All Over Now Baby Blue                                                Track #19                                                5:10 – 6:33 .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 Day on the Green: Celebrating 35 Years Since the Legendary Concert"Larry Mishkin  highlights a significant Grateful Dead concert from May 27, 1989, at Oakland Alameda County Stadium, part of an AIDS benefit organized by Bill Graham. The event featured artists like Tracy Chapman, John Fogerty, Los Lobos, Joe Satriani, and the Grateful Dead. Larry delves into Fogerty's set, backed by Jerry Garcia and Bob Weir, sharing insights and historical context. He also touches on the canceled Neil Young concert due to illness, expressing disappointment and hope for rescheduling. The episode mixes personal anecdotes, music history, and current events in the music world. Grateful DeadMay 27, 1989Oakland Alameda County StadiumOakland, CAGrateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet ArchiveA Day On The Green: Aids Benefit Concert:Tracy Chapman                an American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album “Tracy Chapman” (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, “New Beginning” (1995).  Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, who's cover version went platinum in 2023 and by September that year was a No 1 country hit making Chapman the first black woman with a sole songwriting credit at No. 1 on the Country charts.John Fogerty                Of Credence Clearwater Revival fameLos LobosJoe Satriani              an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.[3]In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour.[4] Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993.[5] He has worked with a range of guitarists during the G3 tour, which he founded in 1995.Tower of Power, and, last but not least Dead INTRO:                                 Althea                                                Track #3                                                4:51 – 6:21                From the Go To Heaven album (April, 1980), Garcia and Hunter masterpiece.  Always a Jerry favorite and loved by Deadheads everywhere, this was the third song of the show following the Touch of Grey opener (of course) and Greatest Story.  Great guitar work, lovely vocals, this song really launches the show and gets everyone in the groove. Played 273 timesFirst:  August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USALast:  July 8, 1995 at Soldier Field, Chicago          The weather for the Day On The Green concert was perfect. Bill Graham, apparently, had an exclusive arrangement with some greater power, so that it never, ever rained when he was having a major outdoor show, and his deal remained in place for the May '89 AIDS Benefit. Another oddity about the AIDS Benefit was that there were no less than five opening acts for the Grateful Dead, which I think was some kind of record for a Bay Area Grateful Dead show. To see that whole event would mean at least 12 hours in the sun, just to wipe yourself out for what we all really wanted to see at the very end.            It seems shocking today that a Benefit concert for a terrible disease would be seen as a progressive political act, but such was the Reagan 80s. At least in San Francisco, efforts to prevent AIDS and provide care for those suffering from it had finally expanded beyond the gay community into the general culture. Nonetheless it was still significant when major rock bands headlined a large benefit concert in the Bay Area's biggest venue. Concern for AIDS had finally reached parity with Amnesty International and the Rain Forest, which was a welcome thing. The Coliseum benefit was the largest of several events around the Bay Area, all organized by Bill Graham Presents, and meant to raise awareness as well as money.            Originally the Oakland show was supposed to have joint headliners, with both the Grateful Dead and Huey Lewis and The News. A few weeks before the show, however, Huey Lewis had to drop out of the show. Rather sheepishly, his management publicly conceded that the stadium show was cutting into ticket sales for Lewis around Northern California, and they couldn't afford to work for what was effectively nothing.             The Dead, of course, had no such concerns. At a press conference, Jerry Garcia graciously said that Huey had to listen to his management, it was part of the business.  Huey Lewis And The News were the biggest act in the Bay Area at the time with respect to record sales, and yet the Dead outdrew them by several multiples. The Dead were no longer an aging hippie band who hadn't broken up--they were the biggest draw in town.           By 1989, the Dead were huger than ever, thanks to "Touch Of Grey" – which the Dead opened with - and the Coliseum show was an opportunity for a lot of people who had always wanted to see the Dead but hadn't been been able to get tickets. Frost and Shoreline shows sold out pretty rapidly, so regular rock fans who wanted to see the Dead were out of luck. Thus the crowd was very Dead-positive, with plenty of Deadheads, but far less like the insular club of Deadhead veterans that were characteristic of Bay Area shows at the time.            There were many fascinating aspects to this event, but in retrospect the most fascinating was that former Creedence Clearwater Revival frontman John Fogerty was second on the bill, and it was known before the show that Jerry Garcia and Bob Weir would be part of his backing group.            Creedence had been hugely, titanically popular, but Fogerty had been in a bitter dispute with his record company since the mid-70s, and as a result had refused to play any of his great Creedence songs in concert. By 1989, however, although Fogerty's ire towards Fantasy Records had not subsided, for various reasons he had come to terms with his old songs, so it was widely known that not only would Garcia and Weir be backing Fogerty, but that they would be playing Creedence classics as well. Everything pointed towards an event of historic proportions.            There is a You Tube video of the entire Fogerty set that I encourage you to view.                   Fogerty had a unique status in the Bay Area at the time, and everyone was reminded of that when word was unofficially "leaked", I believe through Joel Selvin's Chronicle column, that not only would Garcia and Weir back Fogerty, but that Fogerty would be playing old Creedence songs.            John Fogerty hit the stage in the late afternoon, last up before the Grateful Dead. His band, previously announced, wasJohn Fogerty-lead guitar, vocalsJerry Garcia-guitarBob Weir-guitarRandy Jackson-bassSteve Jordan-drumsJackson and Jordan were well-known and well regarded as session players. Randy Jackson was a working member of Santana's band at the time, among many other gigs. Today, of course, Jackson is best known as a judge for the TV show American Idol, but that was far in his future. Jordan had played the Bay Area recently, on the 1988 tour with Keith Richards, whose album he had co-produced. Fogerty played 11 songs in about 45 minutes. Born On The BayouGreen RiverDown On The CornerRock And Roll GirlCenterfieldProud MaryMidnight SpecialBad Moon RisingFortunate Sonencores with Clarence Clemons-tenor saxophoneSuzie QLong Tall Sally             The question many would most like to have answered about this show is "who rehearsed?" From watching the video, it is clear that John Fogerty had run through the songs with Randy Jackson and Steve Jordan. Now, Creedence songs are delightfully basic, as well as famous worldwide, so pros like Jackson and Jordan hardly needed many takes. On every song, however, Jackson and Jordan both provide a funky bottom and plenty of accent. They knew the tunes, and they knew how to make them swing, so I think they had worked on them with Fogerty.            Jerry Garcia, however, was notorious for never wanting to rehearse. Weir is far less notorious for avoiding rehearsals, though it is also known that he is famously not on time, so it may amount to something similar. Since John Fogerty wasn't particularly close to any members of the Dead, it's clear that Bill Graham was the one who got Garcia and Weir to accompany Fogerty, and in so doing make it "an event," in classic Graham style. Could Graham have persuaded Garcia to rehearse? The alternative is strange, namely playing a show in front of 40,000 people with at least two band members completely flying blind.            On the day of the show the story is that Garcia and Weir had a dressing room run-through with Fogerty and the rhythm section, agreeing on the tempos and the intros. Sandy Rothman has described how the Jerry Garcia Acoustic Band did not really practice songs, they just agreed on an intro and tempo and sang a chorus together. Granted, Rothman, Garcia and David Nelson had played all those songs before, but it was usually twenty years earlier. Still, one chorus run through was sufficient. So I think Fogerty talked Garcia and Weir through the planned songs, but they had never really played together until they got on stage.            Creedence songs have a nice groove, but they aren't jamming platforms, so of course Garcia just plunks away through the entire show, maybe not his most memorable performance.  On one hand, Jerry Garcia's health in 1989 was as good as it had been in at least a decade, nor it would ever be that good again. Yet the stunning success of "Touch Of Grey," gratifying as it must have been, insured that the bubble of Garcia's life meant that he was more insulated than ever. Garcia wasn't just a legend to Deadheads, he was in the pantheon now, the biggest rock star in the Bay Area, in a beautiful cage with no escape.When Fogerty kicks off the familiar, booming riff of "Born On The Bayou," Garcia is tucked back on stage left, next to Steve Jordan's drums. Randy Jackson is on the other side of Jordan, and Weir is right next to Jackson. Although Garcia plays a very simple figure behind Fogerty for "Bayou," his eyes are on Jordan, and Jerry has a big, happy grin on his face. I'm not imagining this--Garcia has a big grin on his face throughout the entire set, and he mugs happily with Jordan as the drummer plays fills and accents through the set. Weir seems to be having the same kind of fun with Randy Jackson over on stage right. Fogerty is the star, front and center, but the band is getting their own groove on behind him. SHOW No. 1:                    Down On The Corner (and Band introductions)                                                John Fogerty (w. Jerry and Bobby)                                                JERRY GARCIA JOHN FOGERTY CLARENCE CLEMMONS AND BOB WEIR 5-27-1989 AIDS BENEFIT OAKLAND CA (youtube.com)                                                10:49 – 12:42                 "Down on the Corner" is a song by the American band Creedence Clearwater Revival. It appeared on their fourth studio album, Willy and the Poor Boys (1969). The song peaked at No. 3 on the Billboard Hot 100 on 20 December 1969. The flip side, "Fortunate Son", reached No. 14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits.           The Fogerty set isn't a big deal to Deadheads, but it's hard to get around the fact that Garcia is having a great time. Whether Fogerty was "bigger" than Garcia is beside the point. Fogerty is a genuine star, with genuine hits, so he is the center of attention while he is on stage. For any singer less important than Fogerty--as in, just about all of them--Garcia could not hang back, but he can do so here. For 45 minutes, it's like Garcia is at the Keystone Berkeley or something, hanging out with his peers, playing the guitar parts that are dictated by the music, simple though they may be. When they got to "Down On The Corner," Jerry is practically jumping up and down. In a small but fascinating moment, he steps up to the mic to sing the backing vocals. Now granted, the whole English speaking world knows that it goes "Down on the corner/Out in the street/Willie and The Poor Boys are playing/Bring a nickel, tap your feet," but Jerry actually steps up to sing. Over the years, Deadheads have seen and heard Garcia make lots of guest appearances with various artists. Yet how often did he sing the chorus of other people's hit songs? After "Down On The Corner," Fogerty introduces the band, and Garcia's back is turned when it is his turn, as he's tuning up. Fogerty says "wake him up!' and Garcia turns around. "On guitar, Jerry Garcia!" Garcia grins and goes back to tuning, and Fogerty says "Genius at work." This is just musicians goofing around, albeit goofing around on stage in front of 40,000 people, but Garcia gets to be just another dude on stage, perhaps for one of the last times. A few months later (August 2, 1989), he would share the stage with Carlos Santana and Ruben Blades but that was for a TV special where he was a featured guest. At the Oakland Coliseum, he's just a hired gun playing a bunch of top 40 songs.             As Deadheads, we always wanted certain things from Jerry. When Garcia didn't give us what we want, we grumbled, and thanks to the magic of tape and digital recording, we can collectively complain about it for decades. Good times! But we have to keep in mind that what we wanted wasn't always what Jerry wanted. For a Memorial Day Saturday, Garcia wanted to be in a band, playing songs the way they were written, singing his parts when they came around, grooving with the drummer and letting the front man do the heavy lifting. Did it ever come around again that Jerry got to play simple, popular songs with a front man with enough gravitational pull so that it wasn't All About Jerry? In that sense, Garcia's role as John Fogerty's backing musician is a last look backwards for Garcia, a time when he could just be in the band, if only for 45 minutes.             Or, as I like to think of it, the Fogerty set was a big pre-show jam session for Bobby and Jerry who soon came back out with the Dead for their standard 3+ hour performance.  However you look it at it, the Fogerty set was a fun throwback for Deadheads and a chance to see Jerry and Bobby play with another legend.  MUSIC NEWS: Neil Young show in Chicago canceled 90 minutes before show time  May 23, 2024 at Northerly Island in Chicago.Going to see Dead & Co. this Saturday, June 1, at the Sphere with a bunch of good friends including good buddy Marc from St. Louis.  I hope to be able to have a report on the show for next week's episode but with travel the next day, it may be hard to get the story ready in time.  If so, there will be a big report in two weeks.  Very excited to see the boys, the Sphere and all my good buddies.The Music Plays the Band – new Dead cover album  SHOW No. 2:                    Iko Iko w/Clarence Clemmons                                                Track #5                                                5:09 – 6:11                 The classic Dead cover of the Dixie Cups tune joined by the Big Man wailing on the sax.  Clarence had played a few tunes during Fogerty's set and joined the boys for this tune and a few others during the show.  In '89 the Boss was as big as ever and Clarence was a big part of that success.  But he enjoyed playing in the improv style embraced by the Dead.                 Clarence first played with the Dead at their New Year's run on December 27 and December 31, 1988 in Oakland and soon after this how, on June 21, 1989 at Shoreline Amphitheater.  He also played a number of times with JGB.  And it turns out that one of Clarence's final live performance was playing a show with Phil and Friends a few years back.               When the E Street Band went on hiatus at the end of the Eighties, Clemons, who by then had moved to the Bay Area, went in search of work and new musical experiences. In 1989, he toured with the first version of Ringo Starr's All Starr Band, cut an album with producer Narada Michael Walden, and — not surprisingly, given his new home base — befriended members of the Dead.Starting in early 1989, Clemons sat in with both the Dead and the Jerry Garcia Band (JGB) at several shows. With the Dead, he joined in on songs like “Estimated Prophet” and “Eyes of the World” and partook of the overall Dead vibe. “Clarence was an old pal, a soulful bro,” Bob Weir told RS in 2011, right after Clemons' death from complications of a stroke. “He was a good hang. Back in the late Eighties and early Nineties, he was living out here in Marin County. He was in moving-on mode, and he, Jerry, and I mixed it up a bit. We were dropping by clubs like Sweetwater and sitting in with various bands.”The association wasn't just musical. “Jerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,” Weir recalled bemusedly. “Jerry and I almost went for it. It would've been a lot of fun, but I don't think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.”  SHOW No. 3:                    Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence                                                Track #6                                                2:26 – 3:51 "Stuck Inside of Mobile with the Memphis Blues Again" (also listed as "Memphis Blues Again") is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971). Dylan played the song live in concert 748 times from 1976 to 2010. A live version recorded in May 1976 was included on the live album from that tour, Hard Rain (1976), and was also released as a single with "Rita May" as the B-side. The first live performance was at the University of West Florida, Pensacola, on April 28, 1976,[32] during the Rolling Thunder Revue tour. Played 70 times by the Dead.  Part of Bobby's first set rotation of Dylan tunes with Queen Jane Approximately, Desolation Row, Masterpiece and Ballad of a Thin Man.First:  March 17, 1988 at Henry J. Kaiser Convention Center, Oakland, CA, USALast:  April 2, 1995 at The Pyramid Arena, Memphis, TN, USA  MJ NEWS                 SHOW No. 4:                    Blow Away                                                Track #11                                                7:37 – 9:10                 A Brent tune, lyrics by John Barlow (? – seems like a lot of Brent rapping during the song)                When you listen to (and read, thanks to the transcription efforts of careful listeners like Alex Allan of The Grateful Dead Lyric and Song Finder site) to Brent's closing rap / rant from the version of “Blow Away” captured on Dozin' at the Knick, you have to acknowledge that, whether the words were improvised or not, they come from the heart, and have a strong sense of immediacy and urgency. Played 23 timesFirst:    June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USALast:    July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY – it died with Brent   OUTRO:                               Wharf Rat                                                Track #17                                                3:59 – 5:26                 Not the closer this night, or most nights, but it could have been a perfect closer.  Hunter/Garcia masterpiece. Wharf Rats are a group of concert-goers who have chosen to live drug and alcohol-free. They arose out of the environment around the rock group the Grateful Dead and their followers the Deadheads, both of which were rooted in the drugs-embracing counterculture of the 1960s.[1]Their primary purpose is to support other concert goers who choose to live drug-free, like themselves. They announce their presence with yellow balloons, signs, and the Wharf Rats information table. At a set break during Grateful Dead (and related) concerts they hold self help style meetings but are not affiliated specifically with any 12-Step organization and have no requirement for attendance at one of their meetings besides providing some helpful drug free fellowship.[2] Like Deadheads, members of Wharf Rats come from all walks of life.[3] By 1990, the Wharf Rats mailing list had some 3,000 names.[1]The Wharf Rats began during the early 1980s[2] as a group of Deadheads under the name "The Wharf Rat Group of Alcoholics Anonymous". The Wharf Rats originally came from a small group of Narcotics Anonymous members who went to a Grateful Dead concert in Philadelphia and located each other by their Yellow balloons with the NA symbol drawn on in Magic Marker.[4] However due to operational differences they soon split off from Narcotics Anonymous, and are not affiliated with them, AA, or any other twelve-step program (though many of members of the Wharf Rats are members of AA, NA or other 12-step programs). The Wharf Rats see themselves as "a group of friends sharing a common bond, providing support, information and some traction in an otherwise slippery environment." The relationship between the Wharf Rats and more traditional such groups has been studied in the academic journal Deviant Behavior.[1]While the Wharf Rats originated at Grateful Dead concerts, they now have a presence at other concerts as well. Similar groups include The Phellowship for Phish, The Gateway for Widespread Panic, The Jellyfish for The String Cheese Incident, Much Obliged for Umphrey's McGee, Happy Hour Heroes for moe., the Digital Buddhas for The Disco Biscuits, Better Than Before for The Werks, the Hummingbirds for Bassnectar, and the Sunny Bunny Recovery for Ween, Dustie Baggies for Billy Strings and The Hot Tea Party for Goose—all based on the Wharf Rats, which remain the best-known.[2]The name of this group comes from the 1971 Dead song "Wharf Rat" (written by Jerry Garcia and Robert Hunter and appearing on Skull & Roses), which contains the self-told story of August West, a down-and-out dockside wino Played: 399 timesFirst:      February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:      June 25, 1995 at RFK Stadium in D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Singles Going Around- Early Bird Gets The Worm..The aftermath of this years RSD.. Got some great releases and found some other favorites. Let the good times roll.Nancy Sinatra- "Bang, Bang"The Yardbirds- "Psycho Daises"Captain Beefheart- "Click Clack"Dr John- "Huey Smith Medley"The Ramones- "Needles and Pins"The Monkees- "Auntie's Municipal Court"Lightnin' Slim- "Sweet Little Woman"Small Faces- "Get Yourself Together"Van Morrison- "Saint Dominic's Preview"Bo Diddley- "Diddley Daddy"Lee Hazelwood & Nancy Sinatra- "Sand"The Grateful Dead- "Friend Of The Devil"The Yardbirds- "The Nazz Are Blue"Dr John- "Iko Iko"The Monkees- "Valleri"Captain Beefheart- "I'm Gonna Booglarize You Baby (Full Length Version)The Yardbirds- "Got Love If You Want It"*Thank you Mike.

The ever changing window displays at Iko Iko are also visual treat for regulars and visitors alike to Wellington's Cuba Street. Emma Smith is the clever creative behind the displays, she speaks to Jesse.

"From Chicago to Egypt: Collecting Dead Memorabilia and Memories with Jay Blakesburg"Larry Mishkin features a nostalgic recounting of a Grateful Dead concert from March 11th, 1993, at the Rosemont Horizon in Rosemont, Illinois. The discussion covers various aspects of the event, including the venue's challenges, the band's performance, and reflections on specific songs played during the show. Larry also touches on recent music events, such as Phil Lesh and Friends' performances and upcoming Phish summer tour dates. It also highlights an exhibition by photographer Jay Blakesburg and his collection of Grateful Dead memorabilia, along with personal anecdotes related to Dead history.  Grateful DeadMarch 11, 1993 (31 years ago)Rosemont HorizonRosemont, Illinois (Chicago)Grateful Dead Live at Rosemont Horizon on 1993-03-11 : Free Borrow & Streaming : Internet ArchiveFinal night of 3 show run March 9 – March 11 (Tuesday – Thursday)  INTRO:                  Help On The Way                                Track #1                                :20 – 2:06                                 Released on Blues For Allah (1975)                                Played 111 times                                First time:  June 17, 1975 at Winterland, S.F.                                       Last time:  June 22, 1995 at Knickerbocker Arena, Albany, NY       SHOW No. 1:      When I Paint My Masterpiece                                Track #6                                1:36 – 3:12                 "When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971. Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar, appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer.             Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages. Douglas Brinkley, while interviewing Dylan for the New York Times in 2020, noted that "When I Paint My Masterpiece" was a song that had grown on him over the years and asked Dylan why he had brought it "back to the forefront of recent concerts". Dylan replied, "It's grown on me as well. I think this song has something to do with the classical world, something that's out of reach. Someplace you'd like to be beyond your experience. Something that is so supreme and first rate that you could never come back down from the mountain. That you've achieved the unthinkable. That's what the song tries to say, and you'd have to put it in that context. In saying that though, even if you do paint your masterpiece, what will you do then? Well, obviously you have to paint another masterpiece". According to his official website, Dylan played the song live 182 times between 1975 and 2019.[4] Five live performances of the song from Dylan's 1975 Rolling Thunder Revue tour were released on the box set The Rolling Thunder Revue: The 1975 Live Recordings in 2019. The live debut occurred at the War Memorial Auditorium in Plymouth, Massachusetts on October 30, 1975 and the most recent performances occurred on the Rough and Rowdy Ways World Wide Tour in 2023. Played 146 timesFirst: June 13, 1987 at Ventura County Fairgrounds, Ventura, CALast: July 9, 1995 at Soldier Field, Chicago My favorite Dylan cover.  Would rotate in first set with other Dylan covers including Queen Jane Approximately, Stuck Inside of Mobile With Memphis Blues Again and Desolation Row.            SHOW No. 2:      So Many Roads                                Track #7                                :39 – 2:21                 So Many Roads was first performed by the Grateful Dead on February 22, 1992. It was then played regularly through to the last performance of the song on July 9, 1995. In total the song was played just over 50 times.Jerry Garcia spoke about So Many Roads in an interview with Dave DiMartino in 1992;“It's Hunter writing me from my point of view, you know what I mean? We've been working together for so long that he knows what I know. The song is full of references to things that have to do with me.... “....Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that's the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. There actually biographical I guess. He's the one writing them, but even so they express my point of view - and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up ... I can sing that song, feel totally comfortable with it.” Robert Hunter's comments on the origins of this song in the notes in Box Of Rain: Lyrics 1965-1993; “One afternoon, Jerry was playing some unstructured changes on the piano. Figuring they might be forgotten otherwise, I clicked on my tape recorder. Ten years later I found the tape and listened to it, liked it, and set these words to it. Listening to the pitifully recorded and time-degraded tape, Jerry protested that, although he liked the words, his changes were not very good and unfinished besides. This didn't seem to be the base and I requested that he at least give it a run through. The result was one of the better received new GD songs and one that almost got away.” Never released on a Dead studio album but was a centerpiece of the Dead's first Box Set:  So Many Roads, 5 disc retrospective of the band from 1965 to 1995. Many commentators said this was the best one ever.  When I saw the show, we were still just all hearing the song fort the first few times and getting used to it.  Over time, it has become a favorite thanks to Hunter's lyrics and Jerry's playing and singing. Very emotional.    SHOW No. 3:      Iko Iko                                Track No. 9                                4:04 – 5:38                 "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 story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.             The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko". In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. In 1972, Dr. John had a minor hit with his version of "Iko Iko".  Second set opener.  From intro, it was hard to tell if they were going into Women Are Smarter to Iko.  Really enjoyed Women Are Smarter, but always extra happy when it turns out to be Iko. Great version.  Jerry very energetic and really getting into it.                 Played 185 times                First: May 15, 1977 at The Arena in St. Louis                Last: July 5, 1995 at Riverport Amphitheater in St. Louis (first and last time in St. Louis!!)                 SHOW No. 4:      Space                                Track #15 (note that there are 2 “Space” tracks, this is the first one, Track 15)                                4:25 – 5:42 (The Island – Ken Nordine)                               Ken Nordine (April 13, 1920 – February 16, 2019) was an American voice-over and recording artist, best known for his series of word jazz albums.[2] His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that "you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice.”             In 1955, he provided the voiceover on Billy Vaughn's version of "Shifting Whispering Sands", which peaked at number 5 on the Billboard Hot 100. He subsequently attracted wider attention when he recorded the aural vignettes on Word Jazz (Dot, 1957). Love Words, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over cool jazz by the Fred Katz Group featuring Chico Hamilton recording under an alias.             Nordine began performing and recording such albums at the peak of the beat era and was associated with the poetry-and-jazz movement. However, it has been observed that some of Nordine's writings "are more akin to Franz Kafka or Edgar Allan Poe" than to the beats.[8] Many of his word jazz tracks feature critiques of societal norms.[9] Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios. Nordine's DVD, The Eye Is Never Filled was released in 2007.[9]Nordine hosted the weekly Word Jazz program on WBEZ, also carried on other stations, from the 1970s for over forty years.In 1990, Nordine was approached by Jerry Garcia of The Grateful Dead to be the anchor for their New Year's Eve radio broadcast from Oakland, California.[13] For the broadcast he recorded some improvisations with Garcia, drummer Mickey Hart and Egyptian musician Hamza El-Din.[13] This subsequently led to an album Devout Catalyst, released on the Grateful Dead's own label in 1991[13] and Upper Limbo in 1993[14] and an appearance with the band live at a show at Rosemont, Illinois, in March 1993.            Ken Nordine died February 16, 2019.                OUTRO:                Days Between                                Track No. 18                                4:51 – 6:51                 “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.)            It appeared like the ghostly ships it describes, as if gradually from a fog and only slowly revealing itself as something very big, towering above everything around. It's hard to say it any better than Phil Lesh did in his autobiography, Searching for the Sound:“Achingly nostalgic, ‘Days Between' evokes the past. The music climbs laboriously out of shadows, growing and peaking with each verse, only to fall back each time in hopeless resignation. When Jerry sings the line ‘when all we ever wanted / was to learn and love and grow' or ‘gave the best we had to give / how much we'll never know,' I am immediately transported decades back in time, to a beautiful spring morning with Jerry, Hunter, Barbara Meier, and Alan Trist—all of us goofing on the sheer exhilaration of being alive. 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.”            Each verse in the song contains fourteen lines, and each evokes a different season of the year, although not in sequence. The first verse contains the lines “Summer flies and August dies / the world grows dark and mean.” I can't hear that line without thinking about August West, in Wharf Rat, and, by extension, Garcia himself. “The singing man is at his song / the holy on their knees.” Who is the singing man, if not Garcia, when it comes to Hunter and his words?                Played 42 times by the band, always in the second set, almost always out of drums                First:  February 22, 1993 at the Oakland Alameda County Coliseum in Oakland, CA                Last:  June 24, 1995 at RFK Stadium, Washington, D.C. This was just the second time it was ever played “Gave the best we had to give, how much we'll never know” No chorus in this song, just verses that keep building on each other. .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

This week on TRF we cover: Wayfair CEO says uses his outside voice - again. He thinks he's Elon Musk and can get away with saying whatever pops into his head. Its cringe worthy. Flockity, friend of the show Tracy Parsons creates the first Influencer platform for jobs. Hiring Branch study shows some surprising data on language skills connection to success on the job. In the News Canada pumps the brakes on the number of International students, for all the right reasons. WebMD parent company Internet brands return to office video is so bad, we don't think their employer brand will ever recover. Tip of the Week The top 15 jobs people want to quit. This list is a recruitment marketer's dream. Leverage this for the skills that will easily transfer to your organization.  Recruiting Insights The weirdness of the US labour market continues. Job seeker behaviour is changing, more discerning than ever before.  Job postings in November took a nose dive and the rate of hiring dropped like a rock too, something we've not seen since the 2008 crash. Adriano Herdman strikes again. This week is the 21 Talent Acquisition Tatics comparison chart. Just brilliant.

This week on TRF we cover: Wayfair CEO says uses his outside voice - again. He thinks he's Elon Musk and can get away with saying whatever pops into his head. Its cringe worthy. Flockity, friend of the show Tracy Parsons creates the first Influencer platform for jobs. Hiring Branch study shows some surprising data on language skills connection to success on the job. In the News Canada pumps the brakes on the number of International students, for all the right reasons. WebMD parent company Internet brands return to office video is so bad, we don't think their employer brand will ever recover. Tip of the Week The top 15 jobs people want to quit. This list is a recruitment marketer's dream. Leverage this for the skills that will easily transfer to your organization.  Recruiting Insights The weirdness of the US labour market continues. Job seeker behaviour is changing, more discerning than ever before.  Job postings in November took a nose dive and the rate of hiring dropped like a rock too, something we've not seen since the 2008 crash. Adriano Herdman strikes again. This week is the 21 Talent Acquisition Tatics comparison chart. Just brilliant.

"The Tragic Consequences of Strict Drug Policies: Remembering Lee Sun-kyun"Larry Michigan, starts off by wishing everyone a happy new year and reminiscing about the Grateful Dead's legendary New Year's Eve shows. He decides to feature songs from the Grateful Dead's New Year's Eve show in 1981 at the Oakland Coliseum. Larry describes the chaotic countdown and the band's energetic performance at midnight. He also pays tribute to John Cutler, a Grateful Dead sound technician and producer who recently passed away. Larry discusses the strict anti-drug policies in South Korea and the tragic death of Korean actor Lee Sun-kyun, who was subjected to relentless media scrutiny for his alleged marijuana use. He criticizes the punitive approach to drug abuse and emphasizes the need for rehabilitation rather than punishment. Larry also predicts that the University of Michigan's football team will win their game against the University of Alabama in the Rose Bowl based on his "Deadhead Cannabis System." The episode concludes with a discussion of the Grateful Dead's performance of "Dark Star" at the New Year's Eve show and the significance of the song's rarity.Timestamp Chapters:00:00:36 - Introduction and New Year's Eve celebration00:04:22 - Featuring songs from the Grateful Dead's New Year's Eve show of 198100:05:52 - Discussion on the song "Iko Iko" and the energy of a Dead New Year's Eve show00:33:48 - Tragic story of Korean actor Lee Sun-kyun and the strict anti-drug policies in South Korea00:38:00 - Predicting the winner of the Michigan vs. Alabama football game using the Deadhead Cannabis System00:42:00 - The encore set featuring Dark Star and other songsNote: The timestamps are approximate and may vary slightly when listening to the actual podcast episode.  Grateful DeadDecember 31, 1981Oakland ColiseumGrateful Dead Live at Oakland Auditorium on 1981-12-31 : Free Borrow & Streaming : Internet Archive *With Joan Baez **With Matt Kelly ***With John Cipollina. Bill Graham flies in on a joint - also: NRPS - only "Banks Of The Ohio" - final "Bobby McGee" - final "Bye Bye Love" - final "Children Of The 80s" - last "Dark Star": 01-20-79 [232] - final "Lucifer's Eyes" INTRO:                    NYE Countdown                                Track No. 20                                6:35 – 7:35  SHOW No. 1:          Iko Iko                                Track No. 21                                :26 – 2:00 SHOW No. 2:          The Boxer   (with Joan Baez)                                Track No. 3                                0:00 – 1:35 SHOW No. 3:          Bye Bye Love   (with Joan Baez)                                Track No. 6                                0:00 – 1:14 SHOW No. 4:          Dark Star                                Track No. 31                                4:20 – 6:00  OUTRO:                  It's All Over Now Baby Blue                                Track No. 34                                1:41 – 3:45 Talk about the dead show/NYE shows in generalKorean Actor who committed suicide because he was being investigated for MJ useDead U. at Stanford with David GansRIP John CutlerAnd more .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

EPIZEUXUS!Want to join the amazing Axe on the show? have a playlist/topic/band in mind? Let us know! Reach out via @AXEPLAYLIST or @SJPWORLDMEDIA now!"Rebel Rebel," - David Bowie"Mony Mony," - Tommy James and The Shondells"C'mon C'mon," - The Von Bondies"Kiss, Kiss," - Yeah Yeah Yeahs"My My," - Seven Mary Three"Boom Boom," - The Animals"Iko Iko," - The Dixie Cups"Shimmy Shimmy, Ko-Ko-Bop," - Little Anthony & The Imperials"Louie Louie," - Otis Redding"Honey, Honey," - Ben Harper"Wah-Wah," - George Harrison"Radio, Radio," - Elvis Costello & The Attractions"Money Money," - Grateful Dead"Chewy Chewy," - Ohio Express"Sugar, Sugar," - The Archies*Disclaimer*Despite Chuck Winchester's total confidence, David Bowie is Jareth, the Goblin King, not the Baby King. He only steals that baby because Sarah wishes him to, so he's not really the bad guy, right?

Following the break-up of The Bodysnatchers, Jennie Matthias got her big break in the 80's all girl group The Belle Stars, later signed to Stiff Records, and hit the charts in 1982 with Iko Iko, a song which was to later again feature significantly in Jennie's life, after it was used in the Dustin Hoffman, Tom Cruise film Rain Man. Full Interview on YouTube here:In the UK, The Belle Stars released a further 7 singles after 'Iko Iko', scoring their biggest hit with ‘Sign of The Times'.This is Jennie's story, which is deeper and more moving that the two paragraphs above could do justice to.She witnessed her mother kill her sister in front of her.She spent time in a children's homeShe was sent back to live with her mother, and again physically abused.She became a pop star in The Belle Stars almost by accidentShe became a heroin addictShe was in the States, trying to get off Heroin, when Iko Iko became a hit after bring used in the film Rain Man.Her boyfriend of 7 years committed suicide. A moment that changed her life.Today she works with disadvantaged children. And she uses her poetry to raise awareness of drug issues.Devised a system of help for people who have been through similar issues in their livesAuthored a book about her journey and the process of help; Surviving the Storm; How to embrace your pain and grow through adversityThis is Jennie's story, powerful, uplifting, and moving.Support this podcast at — https://redcircle.com/pop-the-history-makers-with-steve-blame/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy Hosted on Acast. See acast.com/privacy for more information.

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.

Never miss a Sunday showLarry Mishkin shares stories about a Grateful Dead concert at Hampton Coliseum in 1988 and how the show was different from previous years. He also talks about the Phish fans' motto, "Never miss a Sunday show," and how it applies to the Grateful Dead. Larry discusses how the audience's participation is an essential part of a Dead show and how it's sometimes lost in professionally recorded versions. Lastly, he reflects on the joy of hearing the crowd's reaction to the opening song, "Iko Iko," and the magic of the moment.Produced by PodConxDeadhead 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-blakesbergRecorded on Squadcast  https://www.marijuanamoment.net/kids-taken-from-family-following-marijuana-arrest-remain-in-tennessee-state-custody-following-hearing/https://www.marijuanamoment.net/gop-senator-wants-bankers-to-unleash-an-army-of-lobbyists-to-help-pass-marijuana-banking-bill/https://www.marijuanamoment.net/new-york-bill-to-require-health-insurance-coverage-of-medical-marijuana-clears-assembly-committee/https://www.marijuanamoment.net/texas-lawmakers-vote-to-allow-medical-marijuana-as-opioid-alternative-while-increasing-thc-limit/https://www.marijuanamoment.net/justice-department-says-ending-gun-ban-for-medical-marijuana-patients-would-have-wide-ranging-consequences-in-new-federal-court-brief/https://www.marijuanamoment.net/one-in-five-people-who-are-ditching-alcohol-for-dry-january-say-theyre-using-cannabis-as-an-alternative-survey-finds/

Doc Watson "Down In the Valley to Pray"Neko Case "Look For Me (I'll Be Around)"Steve Earle "Taneytown"Big Bill Broonzy "(In the Evening) When the Sun Goes Down"Big Maybelle "96 Tears"Mattiel "Looking down the Barrel of a Gun"Ry Cooder "Jesus On the Mainline"Ry Cooder "It's All Over Now"Glossary "The Natural State"Jimi Hendrix "Once I Had a Woman"Howlin' Wolf "Killing Floor"Valerie June "Heart On a String"Bob Dylan "Like a Rolling Stone"Sam Cooke "Bring It On Home To Me"George Jones "If Drinkin' Don't Kill Me (Her Memory Will)"Wanda Jackson "Whole Lot of Shakin' Goin' On"Wayne Shorter "Speak No Evil"Linda Lyndell "What A Man"D'Angelo "Untitled (How Does It Feel)"Drive-By Truckers "Sea Island Lonely"Humble Pie "30 Days In the Hole"Mike Watt &The Black Gang "30 Days in the Hole"Reverend Gary Davis "Samson and Delilah"Grateful Dead "Brown-Eyed Woman"Widespread Panic "All Time Low"The Dixie Cups "Iko Iko"Willie Nelson "Stella Blue"The Valentinos "It's All Over Now"Lucero "Nothing's Alright"Pavement "We Dance"Aimee Mann "Suicide is Murder"Waxahatchee "Lips and Limbs"Art Blakey and the Jazz Messengers "Those Who Sit And Wait"Cat Clyde "Papa Took My Totems"Wilco "Red-Eyed and Blue"Clem Snide "I Love the Unknown"Albert King "Don't Burn Down The Bridge"John Hammond "Down In the Bottom"Craig Finn "Rescue Blues"

Dave Bartholomew "That's How You Got Killed Before"Aimee Mann "Robert Lowell and Sylvia Plath"Slobberbone "Barrel Chested"Centro-Matic "Salty Disciple"Widespread Panic "Christmas Katie"R.E.M. "Losing My Religion"Betty Harris "There's A Break In The Road"Nicole Atkins "Brokedown Luck"Billy Joe Shaver "Georgia On a Fast Train"Professor Longhair "Mardi Gras In New Orleans"The Band "Rag Mama Rag"Gillian Welch "Hard Times"Hank Williams "Jambalaya (On The Bayou)"Tommy Ridgley "Looped"Chisel "Citizen Of Venus"Lightnin' Hopkins "Breakfast Time"The Dixie Cups "Iko Iko"The Deslondes "Muddy Water"Bonnie 'Prince' Billy "New Memory Box"Wilco "Falling Apart (Right Now)"Amanda Shires "Box Cutters"Willy Tea Taylor "Lost in a Song"Vic Chesnutt "Society Sue"Dolly Parton "Jolene"Iron &  Wine "Southern Anthem"Big Thief "Simulation Swarm"Drive-By Truckers "Mercy Buckets"Jelly Roll Morton "Mamie's Blues"Bob Dylan "Blind Willie McTell"MC5 "The American Ruse"Blind Willie McTell, Curley Weaver "Wee Midnight Hours"Cory Branan & Jon Snodgrass "The Corner"Memphis Minnie "Night Watchman Blues (Take 2)"Sugar Pie DeSanto "I Want To Know"Irvin Mayfield "New Second Line"Blue Lu Barker "Don't You Feel My Leg"Oscar "Papa" Celestin "Marie Laveau"Clifton Chenier "Black Snake Blues"Lucinda Williams "Crescent City"79rs Gang "Indian Red"Danny Barker & His Creole Cats "My Indian Red"Cousin Joe "A.B.C.'s Part 1"Cousin Joe "A.B.C.'s Part 2"James Booker "Junco Partner"Louis Armstrong "Back O' Town Blues"Dr. John "Big Chief"

Intro/Outro: Man on the Silver Mountain by Rainbow (requested by William)1. Everybody's Talkin' by Harry Nilsson (requested by Gene)2. Aerials by System of a Down (requested by Sarah)3. Broken Bones by Kaleo (requested by Andrew)4. Iko Iko by The Dixie Cups (requested by Ollie)5. The Lion the Beast the Beat by Grace Potter & the Nocturnals (requested by Jessica)

It's the early '80's and I'm going through one of many identity searches. I was always drawn to the non-conformers, even though I conformed in many ways. Therein lies a struggle.Music was obviously a massive part of that identity search and the early 80s kinda gave me the chance to experiment with clothes (usually atrocious) and music (stuff that is still with me today and stuff that was as atrocious as the clothes). The Belle Stars were part of that identity searching. They formed in 1980 when The Bodysnatchers disbanded. They looked and sounded fantastic, wearing fabulous clothes (mine extended to a second hand combat jacket and  DMs with not enough holes) and their music fused a whole host of sounds and influences that I, as a narrow minded punk rock hardcore kid, found fascinating and exciting. They toured a lot, headlining and also supporting The Clash, the Police, Madness, Stray Cats. They released a bunch of iconic singles, including their debut Hiawatha, Iko Iko, The Clapping Song and Sign of The Times. The lead singer of the Belle Stars was, of course, Jennie Matthias  and it's a true honour to talk with someone who has, in the words of her debut book, experienced pain and grown through adversity about how her mindset has guided her through her life.{Jennie photo credit: Jo Grant}I Wanna Jump Like Dee Dee is a music podcast that does music interviews differently. I'm Giles Sibbald and I'm talking to extraordinary musicians, DJ's and producers about how they use an experimental mindset in their lives to amplify their own creativity, pursue new challenges, overcome fears and bounce back from mistakes.- brought to you by Hey Sunday, the mothership of the experimental mindset™.- podcast logo and art by Tide Adesanya, Coppie and Paste

TSLP débute le mois de la sorcellerie avec un film qui met en vedette Kate Hudson. La Clé des secrets (La Porte des secrets en France) nous présente aussi une très efficace Gena Rowlands. Un ti-peu épeurante. Au menu: Explication du Hoodoo, une histoire qui pousse à la mort, un duo de Bruno et Serge sur la toune Iko Iko, une discussion sur le tatouage de Kate Hudson et une autre magnifique chanson de nos chanteuses.   Bonne écoute! Tu peux nous écouter sur la plupart des plateformes de baladodiffusions et sur YouTube https://bit.ly/30HxCIE Aussi, tu peux échanger avec nous sur: https://www.instagram.com/terreursurlepodpodcast/ https://www.facebook.com/Terreur-sur-le-Pod-111446400732063 https://www.instagram.com/lafreniere.serge/ @surlepod sur Twitter LA SEMAINE PROCHAINE: Magie Noire (The Craft) 1996   The Skeleton Key creds Résumé chanté: Total Eclipse of the Heart · Nicki French https://youtu.be/93zTierfljM https://youtu.be/GfsJuFxEAlY Caroline, une infirmière à domicile,  est engagée pour s'occuper du mari souffrant  d'une vieille femme, dans une habitation  située aux environs de La Nouvelle-Orléans.  Intriguée par ce couple énigmatique,  leur comportement mystérieux et  leur demeure non moins étrange,  elle se décide à explorer la  vieille maison armée d'une clé  passe-partout qui ouvre  toutes les portes. Ou presque!  Que s'est-il passé dans  cette pièce non accessible? Turn around Caroline! Y ont besoin de toi à l'hôpital! Turn around Caroline! Car la Covid-19 fait encore du mal! Mais toi tu t'en vas là-bas! État de Britney, Louisianna Pour t'occuper de grand-papa Et d'sa femme étrange Violetta Car tout le monde te dit d'pas aller là! Mais toi t'écoutes personne! Il était un fois: la thématique du mois Juste avant l'centième épisode On parle de sorcellerie Ce soir à Terreur sur le Pod Ma chère Poussineau/Poussinette de l'horreur T'as pas besoin d'aller à l'écôle On parle de sorcellerie Ce soir à Terreur sur le Pod! Little Mix - Wasabi https://youtu.be/ee5aEU4XEnc Are You Afraid of the Dark?  504 - The Tale of the Mystical Mirror https://youtu.be/ZFavKFZiup8 Iko Iko https://www.youtube.com/watch?v=TzwqnlYMqIg https://www.youtube.com/watch?v=F6jYA7zsEmU Music by Karl Casey @ White Bat Audio

The "Mission: Impossible" series is the rare Hollywood franchise where each new film somehow manages to top the last. But in the year 2000, the series hit a slight critical bump when John Woo took over for Brian De Palma and delivered what is still the only Rotten entry in the lucrative franchise. Was it the early millennium nu-metal soundtrack featuring Limp Bizkit and Uncle Kracker? Was it the Oakley-sponsored lineup of tragic choices in eye-wear? Was it the slow motion Flamenco dance? The doves? The Iko-Iko remix?? Okay, granted some of these things are *not* great, but that's part of the film's endurance! Besides being the only certified Nu-Metal entry in the franchise, "Mission: Impossible II" is the only sequel that values vibes more than a twisty narrative, putting it more in line with Michael Mann's similarly maligned 2006 adaptation of "Miami Vice." We're joined by critic, comedian and co-host of the Bad Romance Podcast, Jourdain Searles, to unpack the sequel, as well as the rare on-screen chemistry Cruise shared with co-star Thandiwe Newton and why critics were not horny enough in the early 2000s. We also discuss important cultural topics like: Are British capable of being funny and when are we going to start sexualizing men the way we did in the 80s and 90s? Make sure to find us on Patreon for more exclusive content and bonus episodes at www.patreon.com/rottenrewind Follow Jourdain on Twitter @judysquirrels and listen to the Bad Romance Pod wherever you listen to podcasts!

Welcome back to the Help on the Way Podcast, where our number one occupation is talking about the Grateful Dead. This week, we're heading to Rochester, New York, for the Dead's 9/2/80 show at the Community War Memorial Auditorium. Conversation abounds about the 80s vs the 90s, a controversial Iko Iko, and our ten favorite things about the new Dead and Company tour which definitely happened before we recorded this episode. Then enjoy a preview of Set 1!    New Minglewood Blues Sugaree El Paso Friend of the Devil It's All Over Now China Cat Sunflower I Know You Rider Lost Sailor Saint of Circumstance Don't Ease Me In Althea C.C. Rider Ship of Fools Estimated Prophet Terrapin Station Playin' in the Band drums Iko Iko Morning Dew Sugar Magnolia Alabama Getaway

L'une des chansons les plus connues de Mardi Gras est "Iko-Iko", vous l'avez tous entendue. Elle est dans des milliers de films et mes enfants m'ont fait découvrir des versions franchement sans intérêts mais en tendance sur l'application Tik Tok.

"Laguna Tropical Surf" features the catchy groove of The Grateful Dead after a short history of the Mardi Gras Indian song "Jock O Mo" by Sugar Boy Crawford and later know as "Iko Iko" by The Dixie cups. In his "Surf Report", Mark Freeman says that the water is cold and the winds will be kolohe in spite of some predicted surftable swells. Michelle's "Henton Updates" now has a sponsored "Chirp Report"! Smiling porpoise photo curtesy of Laguna local Rich German!

Roger Ashby goes behind the hits of your favourite songs from the 50s, 60s and 70s. Listen to The Roger Ashby Oldies Show anytime on the iHeartRadio app.

Grateful Dead Live at Oakland-Alameda County Coliseum on 1993-01-24   Analysts cut hundreds of millions from Tilray, Canopy and Aurora's marijuana sales forecasts.  Larry Mishkin and Rob Hunt discuss how the Canadian troubles could impact US companies.   Rob shares memories from the Dead's 1993 Chinese New Year concerts in Oakland.  In addition they mourn the passing of Rosa Lee Hawkins from the Dixie Cups who first recorded Iko Iko in 1965.Produced by PodConXDeadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntDan Humiston - https://podconx.com/guests/dan-humistonDeadhead Cyclist - https://deadheadcyclist.com/Photo courtesy of Jay Blakesberg

The Belle Stars with Sarah-Jane Owen in conversation with David Eastaugh After The Bodysnatchers broke up, guitarists Stella Barker and Sarah-Jane Owen, saxophonist Miranda Joyce, keyboardist Penny Leyton, and drummer Judy Parsons decided to form a new band, recruiting bass player Lesley Shone and lead vocalist Jennie Matthias (also known as Jennie Bellestar). Their first performance was on Christmas Day 1980, before they had chosen a name. Within a short time, the group became well-known around London, notably appearing on the front cover of Sounds magazine early in 1981. Shortly thereafter, they were signed by Stiff Records, then highly successful through its star act, Madness. The band's debut single, "Hiawatha", was released in the late spring of 1981; it was produced by Madness producers Clive Langer and Alan Winstanley. The band promoted the single by playing support slots at gigs by ska acts The Beat and Madness.  When the third single, the radio-friendly "Another Latin Love Song" again failed to break into the charts, the band tried cover versions instead, with some success. "Iko Iko", a cover of The Dixie Cups' 1965 hit  In January 1983, the Belle Stars released what would be their signature single, "Sign of the Times", peaking at number three, and a chart success throughout Europe

We go big for episode 200! Songs so nice they named them twice. Monday Monday, by The Mamas and the Papas, covered by Petula Clark, Mony Mony, by Tommy James and the Shondells, covered by Billy Idol, and Rebel Rebel, by David Bowie, covered by Shaun Cassidy. Outro music is Iko Iko by The Dixie Cups.

Mark caught up with Justin Wellington in Cairns to talk everything Iko Iko and his awesome music. See omnystudio.com/listener for privacy information.

Cette année sur la route des vacances, pas moyen de mettre un pied dehors sans entendre Iko Iko (My Bestie) par ce type au polo noir et à la casquette rouge qui  ne sait ni chanter ni danser. On appelle ça "un tube de l'été" ! Or, derrière cette chanson, se cache un classique de la Nouvelle Orléans à la trajectoire rocambolesque : Jock-O-Mo, créé en 1953 par Sugar Boy Crawford !

L'australien Justin Wellington (feat. Small Jam, un groupe des îles Salomon) vient de remettre au 'goût' du jour "Iko Iko", un classique remontant à 1953. L'artiste, auteur-compositeur aux influences reggae-dancehall-pop, originaire de Papouasie-Nouvelle Guinée, aura mis une petite vingtaine d'années avant de décrocher un hit planétaire. --- Jean-Paul Smismans vous propose un titre original accompagné de ses reprises. (Re)découvrez les grand hits des 50-60’s ainsi que les covers de ces titres mythiques dans les 70’s, 80’s, 90’s et même plus récents. ''Double Shot'' le lundi à 16h45 dans On The Road Again.

Robert Mann has dedicated his life to politics. A professor at LSU in the Manship School of Mass Communication, he is the author of numerous books about American history and politics. He now has a memoir out, Backrooms and Bayous: My Life in Louisiana Politics.  Born in west Texas, Bob moved to Louisiana as a young man. A conservative at first who had politically minded parents, he developed his writing chops as a reporter and journalism student. He learned many lessons about politics along the way and eventually got his first major job working for Senator Russell Long. Long was a Democrat and son of the notorious senator and governor Huey Long, the "Kingfish," whose shadow falls long over the state's history. Senator Long made an impression on Bob, and he is still grappling with the Long legacy in Louisiana. Louisiana has a colorful political history, from "Uncle" Earl Long to Edwin Edwards. Some figures have been sinister, such as Klansman and neo-Nazi David Duke, and Bob was on the ground floor of making sure Duke did not win a prominent seat in Louisiana government. He also worked with Kathleen Blanco, who had the misfortune of being governor during Hurricane Katrina. While a unique state in many ways, Louisiana is also reflective of American politics generally. Bob has seen many politicians come and go, which is why it's worrying that he fears for this country's political future more than ever.     Music used: "Every Man a King," originally by Huey Long, performed by Randy Newman; "Louisiana, 1927," by Randy Newman; Professor Longhair, "Go to the Mardi Gras"; and in the outro, "Iko Iko" by Dr. John.

"MUSIQUE ! - Comment sont nés vos tubes préférés ?" NOUVEAU PODCAST CHAQUE MERCREDI A 18H SUR SOUNDCLOUD La liste des chansons racontées puis diffusées : "Daniela", Les Chaussettes Noires, 1961 "If you leave me now", Chicago, 1976 "Alone", Heart, 1987 "L'Autre Finistère", Les Innocents, 1992 "Cassé", Nolwenn Leroy, 2003 + "Free", Ella McCready, 2021 + "Iko Iko", Justin Wellington, Small Jam, Pedro Capo, 2021 + "Brésil, Finistère", Nolwenn Leroy, 2021 Extraits chansons également diffusés dans l'émission : "Bo Bop a Lula", Les Chaussettes Noires, 1960 "Alone", I-Ten, 1983 "True Colors", Cyndi Lauper, 1986 "Like a virgin", Madonna, 1984 Réécoutez vos tubes préférés et découvrez-les sous un autre jour ! Toutes les émissions ici: soundcloud.com/yann-fadigas/sets/musique-comment-sont-nes-vos Concept: Animée par Yann FADIGAS, "MUSIQUE !" raconte dans chaque numéro la naissance des grands tubes français et internationaux des années 60 à 2010 à travers des histoires. L'émission commence par les anecdotes puis la diffusion d'une chanson des années 60 puis 70, 80, 90, 2000 et 2010 pour finir par deux chansons récentes datant de la décennie actuelle. Le tout montre l'évolution musicale de ces cinquante dernières années ! Important: Je ne touche aucun droits d'auteur sur ces chansons. Les droits reviennent intégralement aux auteurs/compositeurs/interprètes. Diffusion: Mercredi 10h-11h sur RDL (103.5 dans le Centre Alsace) ou sur le direct du site : rdl68.fr https://ecouterradioenligne.com/rdl-colmar/ Tous droits réservés

J Balvin, Ed Sheeran, Lana del Rey, Bely Basarte y Lisa de BLACKPINK nos ayudan a afrontar la semana con sus nuevas canciones. Las guitarras de Pignoise vuelven a rugir en Madrid. BTS, Rauw Alejandro y Olivia Rodrigo quieren destronar a ‘Iko Iko'. Y en el cine… ¡¡Llegan los estrenos de la semana!!

È meglio In tutte e tre le clip il brano è "Iko iko" (autore James Crawford-1954): nella prima clip è cantata da Justin Wellington nel 2019, nella seconda dall'autore dell'originale James Crawford nel 1954, nella terza da Cyndi Lauper nel 1987. All rights are reserved agli autori e alle etichette di distribuzione

Émilie nous parle de l'instru de son weekend, on parle des gens qui parlent trop fort, des grosses dépenses à venir, de se faire donner un char, de passer du temps dehors, d'un cadeau pour papa incroyable et on vit un énième revirement à Jeyopardy. Au culturel, la programmation d'Éole en musique, les succès au cinéma, la folie de Iko Iko et de la musique québécoise en valeur!

durée : 00:04:15 - La Chanson qui fait du bien France Bleu Cotentin

The Four-Color Flashback, that most venerated non-Gobbledyween tradition, has been around in some form for nearly all of this podcast's 11 years. And yet--we've never discussed manga, the world's most popular comics format. Paul and Arlo have decided to rectify that with the first volume of Inio Asano's Goodnight Punpun, the surreal exploration of one young boy's troubled adolescence. Punpun Punyama has a crush on the new girl at school, stays with his hipster uncle because of his abusive dad, hears the voice of God, and is beginning to familiarize himself with the art of self-pleasure. Oh, he and his whole family are also rendered as simple little cartoon bird and/or ghost people, while the world around them is drawn in gorgeous detail by Asano. The boys share their limited experience with manga, Arlo enjoys weird vagina monsters, and Paul has an epiphany.   Next: free(style) as a bird(boy).     BREAKDOWN 00:00:55  -  Intro / Guest 00:04:58  -  Main Topic 01:16:40  -  Outro / Next     LINKS Goodnight Punpun: A Masterpiece of Millennial Fiction by Jamie Redgate, Books & Bao Goodnight Punpun and Good Morning Depression by John Smith, Ani-Gamers Manga Review: Goodnight Punpun by Jack Poskus, NEIU Independent Goodnight Punpun is the Strangest Manga of the Year (and One of the Best) by Tom Speelman, Comics Alliance The Depths of Despair: Oyasumi Punpun Manga by Lumi(?), Lumi Reviews Things       MUSIC “Baby Blue” by Fishmans, Kuuchuu Camp (1996) “Iko Iko” by The Dixie Cups, Chapel of Love (1964)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/

May 1988 was a big one for pop culture: the airing of the St. Elsewhere series finale meant the dawning of the Tommy Westphall Universe! After discussing that, plus some other big moments in contemporaneous TV finales, we take a stroll through What Now. Molly Ringwald and Andrew McCarthy, stretching as actors! Patrick Swayze, opening a restaurant in New York! Karen, breaking a Tiffany album in half! And Pam delves into the dark history of Anna Jarvis, creator of Mother's Day! Finally, the issue folds One To Watch into its one and only pop culture feature, having Christina interview FOUR Ones To Watch. Sure, we all know who Alex Winter is, but did Paul Hipp, Billy McNamara, and Alan Boyce amount to anything? Find out with our latest episode!QUICK LINKS

Chapter 2 begins! We identify an old song. Shadow wants to wait. The air goes blue. Find out more at https://the-world-beyond-the-tale.pinecast.co This podcast is powered by Pinecast.

On This Week's Show, Lisa Lawrie (@JMOESandBFFS) is joined by "Henny Loggins" more like "Yule Loggins" Rafael Castañeda(@RMCGuitars) and "Fresh Meat" Kelly (@SatchelsOfGold) to talk about The @ARIYNBF Episodes-"Laura Kightlinger" (@KingKightlinger) and "New Year's Resolution,Placenta Eating & Goal Holes" (@JordanMorris) We discuss Engaging Rings On eBay, Extroverted Hermits, Cocktails of Choice, Stop JMOE Hate, Patreon Baby Shower, Keeping Resolutions, Last Thursday Show of the Year, Fun With Feces, Drawer Babies, Star Sightings, Placenta Parties, DM Slippin' Weiners, Tasty Snack Chat, Philly Turn Offs and Buche De Noel is Just Another Yule Log! PLUS EXCITING RAFFI DESIGNED ARIYNBF T-SHIRT NEWS!! Music-The Vandals "Happy Birthday To Me" and Dixie Cups "Iko Iko"