Podcast appearances and mentions of Jack Straw

Jack Straw artist Shin Yu Pai has launched the fourth season of her award-winning podcast Ten Thousand Things, produced in part through the Jack Straw Artist Support Program. This week we’re sharing an excerpt from the first episode, which you can hear in full on Apple Podcasts or any other podcast platform. When Yowei Shaw […] The post Shin Yu Pai – Ten Thousand Things appeared first on Jack Straw Cultural Center.

Jack Straw artist Athr talks with Carlos Nieto about her Jack Straw New Media Gallery installation D Butterfly Efekt. The post Athr New Media Gallery Podcast appeared first on Jack Straw Cultural Center.

Jack Straw artist Athr talks with Carlos Nieto about her Jack Straw New Media Gallery installation D Butterfly Efekt. The post Athr New Media Gallery Podcast appeared first on Jack Straw Cultural Center.

Jack Straw resident artists Star Gondola have released “Anthem,” the first single from their Artist Support Program project. You can watch the video on YouTube, and follow them on social media, Bandcamp, or streaming services to hear future releases. The post Star Gondola – Anthem appeared first on Jack Straw Cultural Center.

At the risk of featuring too many sets from this period I decided to bring you this long, wonderful first set from March 22, 1973. While most of these songs don't feature stratospheric jams, they are quite well played in my opinion, and this set does include a truly beautiful 'Bird Song' and a great ending with 'China->Rider- >Playin' In the Band'   There are two sources used, the majority is provided by a Betty Cantor board, probably one that was in a group that suffered water damage and mold - the missing reel was probably thrown away.. The missing segment here, starting with 'China Cat' is from a Dick Latvala cassette.    The fire marshall was apparently giving the band a hard time and threatening to shut the show down, which accounts for some of the warnings about keeping the aisle clear..      Grateful Dead Utica Memorial Auditorium Utica, NY 3/22/1973 - Thursday   One [1:43:22]    The Promised Land [2:58]  Sugaree [7:34]  Mexicali Blues [3:23]  They Love Each Other [5:09]  Looks Like Rain [7:11]  Deal [4:32]  Beat It On Down The Line [3:07]  Bird Song [11:26]  Jack Straw [4:32]  Box Of Rain [4:38]  You Ain't Woman Enough [3:00]  The Race Is On [2:54]  Row Jimmy [7:44]  El Paso [4:15]  China Cat Sunflower [6:02] > Jam [1:48] > I Know You Rider [5:08]  Playing In The Band [15:01]    You can listen to this week's Dead here: http://traffic.libsyn.com/deadshow/deadpod032125.mp3     As always thanks for your kind support.

3 de marzo del año 2000, Pinochet regresa a Chile tras su liberación de su arresto de 503 días en Londres. Un caso que se había iniciado con la orden internacional de detención contra el dictador chileno dictada por el juez de la Audiencia Nacional Baltasar Garzón.Aprovechando la recuperación de Pinochet en una clínica londinense tras una operación de hernia discal, el juez Garzón reclamó su extradición para ser juzgado en España por crímenes de lesa humanidad, amparado en el principio de Jurisdicción Universal.Aunque había poca esperanza de que la orden pudiera prosperar, el caso adquirió una gran repercusión. Se abrió un amplio debate sobre la aplicación del Derecho Penal Internacional y se le llegó a comparar con el proceso de Núremberg.Mientras el caso Pinochet tenía un tortuoso recorrido jurídico, en el terreno político tensó las relaciones entre Chile y el Reino Unido y España. Socialmente, en Chile la polarización creció hasta límites no conocidos en su reciente democracia, aún tutelada por la sombra de la dictadura.A pesar del visto bueno final del Comité Judicial de la Cámara de los Lores a la extradición, aunque recortando los delitos por los que podría ser juzgado, el caso se resolvería en el plano político. El ministro del interior, Jack Straw, liberaba a Pinochet en base a dictámenes médicos que determinaban su supuesta incapacidad para afrontar un juicio.Cuando Pinochet regresó a Chile fue aclamado por sus seguidores, pero ya no era él mismo: había perdido su inmunidad y sería procesado en su propio país.Este documental, con guion de Luis Zaragoza y realización de Samuel Alarcón, cuenta con la participación del propio Baltasar Garzón, junto a los periodistas Ernesto Ekaizer, autor del libro Yo Augusto, y Felipe Gerdtzen, autor de Augusto Pinochet, 503 días atrapado en Londres, y la intérprete Jean Pateras, que asistió a Scotland Yard durante el arresto de Pinochet.Escuchar audio

Jack Straw artist Romson Regarde Bustillo talks with Carlos Nieto about his Jack Straw New Media Gallery installation Proximity Modifier No. 49: Dukkha, Liberation, and Tranquility. The post Romson Regarde Bustillo New Media Gallery Podcast appeared first on Jack Straw Cultural Center.

Jack Straw artist Romson Regarde Bustillo talks with Carlos Nieto about his Jack Straw New Media Gallery installation Proximity Modifier No. 49: Dukkha, Liberation, and Tranquility. The post Romson Regarde Bustillo New Media Gallery Podcast appeared first on Jack Straw Cultural Center.

Sylvia Jones recorded the audio version of her poetry book Television Fathers at Jack Straw as part of her Artist Support Program residency. This excerpt includes the following poems from the book: “Man with Shotgun and Alien” “First Black Cop Bop” “Don Draper Demonstrates in His Clogs” “In Some Underground Cavern” “Don Draper Eulogizes Norman […] The post Sylvia Jones – Poems from Television Fathers appeared first on Jack Straw Cultural Center.

This week's Deadpod features a great audience recording of a fabulous show by the late Jerry Moore..this is from January 20, 1979 at Shea's Theater in Buffalo New York.  I think this is a great first set... all of these are performed so very well. I especially love the tone of Garcia's work on 'Sugaree' and 'It's All Over Now'.. at times the vocals are a little low in the mix, but in the words of Mickey Hart - turn it up! :) The rest of this set is nothing to sneeze at either, especially the smoking hot 'Jack Straw' to close it out..  One note .. apparently the show started some 2 hours late ;)  Grateful Dead Shea's Theatre Buffalo, NY 1/20/1979 - Saturday One      The Promised Land [4:21]   Sugaree [11:45]   El Paso [4:10]   Peggy-O [8:12]   It's All Over Now [7:41]   Jack-A-Roe [4:31]   New Minglewood Blues [5:35]   Stagger Lee [6:46]   Jack Straw [5:32]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod012425.mp3  I hope you enjoy it! and thanks for your kind support!!

Thomasa Eckert and The Bird Tribe Orchestra produced their album Red Ruby Palace during their 2000 Jack Straw artist residency. The post Thomasa and the Bird Tribe Orchestra – Prelude/Dance of the Faeries appeared first on Jack Straw Cultural Center.

HIJACKED NATION - Donald Trump's attack on America's greatness. GET YOUR COPY TODAY!https://amzn.to/4ePrTF7 Life After Prison Release: John Graham's Mission to Change LivesShould ex-cons be given a second chance at life after prison release? See how John David Graham has dedicated his life to helping convicts once they are released from prison. It's a positive, uplifting story you won't want to miss.In this episode of the Lean to the Left podcast, Dr. Graham shares his inspiring journey from homelessness to becoming a business owner, published author, and founder of Good Samaritan Home, a network of refurbished homes that provide safe living space for just released convicts.At 53, Graham began helping people rebuild their lives after prison, and by 75, he had published his debut novel, "Running as Fast as I Can." Link: https://amzn.to/3DKjpl5He discusses his nonprofit's impact on the community, the challenges faced, and the success stories of those who've benefited from his efforts. Tune in to hear about his philosophy of giving second chances and his take on political and social issues over the decades. Graham's story is one of resilience, dedication, and unwavering belief in a moral universe.CHAPTERS:00:00 Introduction to John David Graham00:51 Inspiration Behind Good Samaritan Home02:35 Building Good Samaritan Home10:50 Challenges and Community Resistance16:39 Success Stories and Impact17:53 Writing and Publishing Journey23:21 Reflections on the 60s and Political Climate31:37 Closing Thoughts and Future Plans About Bob Gatty A former journalist and communications consultant, Bob Gatty is the founder and editor of the Lean to the Left blog and host of this podcast, which focuses on progressive politics and the important social issues of our time. Please check out Bob's new book, Hijacked Nation: Donald Trump's Attack on America's Greatness, now available on Amazon.com. Barnes & Noble and other outlets. Paperback: $11; Hardcover: $24. Digital version: $3.99. Here's a direct link: https://amzn.to/4eK8ghZ.As we continue to explore pressing social issues, I encourage everyone to share their stories and experiences. Your voice matters!DISCLAIMER: Some links in this description are affiliate links, which means if you make a purchase through them, you won't pay any extra – in fact, you may even save with a discount! Using these links helps support this channel, allowing us to keep providing free content to help you on your journey. Thank you for your support.

Jack Straw artist – and 2022 Jack Straw Writer – Jessica Gigot has released the second season of her podcast Her Deepest Ecologies, produced in part through the Jack Straw Artist Support Program. In conversation with a wide range of artists, makers, creators, and caretakers, this podcast takes on two fundamental and interconnected questions: “How […] The post Jessica Gigot – Her Deepest Ecologies Podcast appeared first on Jack Straw Cultural Center.

Happy New Year! ... but this NYE set by the Dead should put you in the mood to say goodbye to 2024 and to ring in a brand new 2025... This show occurred at an important turning point for the Dead, as they moved forward with many 'new' tunes and with Keith and Donna as members of the band (Donna makes her vocal debut here on 'One More Saturday Night'). The sound on this FM broadcast is generally very good and the band is tight. The boys play here with a great youthful enthusiasm.. They open with 'Dancin' In the Streets' which they wouldn't play again until June of 76.. This is a long and fun first set, clocking in at over 90 minutes.. Pig has some great moments here - Mr. Charlie, Chinatown Shuffle and Next Time You See Me are great..  All in all a great first set, we'll hear set 2 next week..    Grateful Dead Winterland Arena San Francisco, CA 12/31/1971 - Friday One      Dancing In The Street [#8:29]   Mr. Charlie [3:38]   Brown Eyed Women [4:22]   Beat It On Down The Line [2:56]   You Win Again [3:36]   Jack Straw [4:31]   Sugaree [7:01]   El Paso [4:14]>   Chinatown Shuffle [2:35]   Tennessee Jed [6:41]   Mexicali Blues [3:16]   China Cat Sunflower [4:40] > I Know You Rider [5:18]   Next Time You See Me [4:30]   Playing In The Band [6:09]   Loser [6:15]   One More Saturday Night (1) [4:23#]  You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122724.mp3  Thanks for your support this year.. it means alot..  Happy New Year. 

This week's Deadpod takes us down south to Atlanta Georgia, where the Dead played the first of 36 shows at the Omni back on December 12, 1973. This long and very tasty first set features many of the classics, all played quite well. It features only the second time that 'Peggy-O' was played, great sound throughout, and a very long and spacey 'Playin' In the Band' to end this first set.  Next week we'll play both set 2 and the soundchecks which are amazing in themselves.. Enjoy   Grateful Dead The Omni Atlanta, GA 12/12/1973 One      [1:31:22] The Promised Land [3:09][0:09] Sugaree [7:13][0:18] Mexicali Blues [3:13][0:19] Tennessee Jed [7:53][0:31] Jack Straw [4:44][0:28] Don't Ease Me In % Looks Like Rain % They Love Each Other [0:11] El Paso % Peggy-O [5:42][0:12] Beat It On Down The Line [3:12][0:17] Brown Eyed Women [4:49][0:24] Big River [4:49][0:21] Deal [4:37][0:24] Playing In The Band [22:00]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121324.mp3  My thanks for your kind support of the Deadpod!!

Send us a textInsider Revelations: Author Talks About His Life On Both Sides Of The Law#author #newbook #police #federalinmate #prison A former cop and a former federal inmate with 15 years of experience at each. That's what you call living on both sides of the tracks.  Now here to bring the inside of both worlds to the outside in a way to make you smile, frown and shake your head.Website:  https://jacks-lrc.comBuy The Books: https://www.amazon.com/stores/Jack-Straw/author/B088DG237RThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!

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

Jack Straw artists Transonic recently released “Hook Jab,” the first single produced with help from their Jack Straw Artist Support Program residency. Follow them at @transonicmusic to hear what comes next. Applications are due November 25th for Jack Straw's 2025 Artist Support and New Media gallery programs. Visit us on Submittable for more information: https://jackstraw.submittable.com/submit The post Transonic – Hook Jab appeared first on Jack Straw Cultural Center.

“LORA KROFT” is a sneak preview of Jack Straw New Media Gallery Artist Athr’s exhibit D BUTTERFLY EFEKT. The installation, opening Friday, November 1, is an extended reality music album – an immersive experience where sound and visuals blend together to create virtual worlds. Applications are open now for Jack Straw's 2025 artist residency programs. […] The post Athr – LORA KROFT appeared first on Jack Straw Cultural Center.

Jack Blanchard of Politico analyses the latest developments at Westminster.He speaks to former Labour Foreign Secretary, Jack Straw, for his take on the Commonwealth summit and calls from some leaders for the UK to start meaningful dialogue on slavery reparations. As the Government launches a major consultation on reforming the NHS, Jack brings together two MPs with experience of working in the health service: Labour's Paulette Hamilton and Conservative Luke Evans.The former Conservative Justice Secretary, Alex Chalk, and London's Independent Commissioner for Victims, Claire Waxman, discuss the government's sentencing policy review.And, after the Trump campaign accuses the UK Labour Party of "interference" in the US election, Jack is joined by spokeswoman for Republicans Overseas UK, Sarah Elliott, and Keir Starmer's former political director, Luke Sullivan.

Jack Straw artists Moonyeka and Heidi Grace Acuña of House of Kilig talk with Jack Straw producer Carlos Nieto about their Jack Straw New Media Gallery installation flourish like an ocean’s grief. Applications are open now for Jack Straw's 2025 artist residency programs. Visit us on Submittable for more information: https://jackstraw.submittable.com/submit The post Moonyeka and House of Kilig New Media Gallery Podcast appeared first on Jack Straw Cultural Center.

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

During their artist residency with Jack Straw, So'le Celestial composed and produced a 5 track soundtrack titled Numa'lo – meaning, “revive, do again, return” in Fina' CHamoru (the CHamoru language). This soundtrack explores So'le journey as a Trans & Queer, CHamoru, chronically ill, and disabled person. Numa'lo audibly illustrates So'le's inner soul's movements through life, […] The post So'le Celestial – Numa'lo appeared first on Jack Straw Cultural Center.

Hear Peter Warren discuss insights from Prof. Leslie Wilcox, Professor at London School of Economics; Lord Francis Maude, former Minister of State for Trade and Investment; Prof Keith Martin, Director of the EPSRC Centre for Doctoral Training in Cyber Security for the Everyday; Prof. Neil Barrett, former advisor of cybercrime to then Home Labour Secretary ,Jack Straw; Martin Borrett, IBM Security's UK Technical Director; David Chavez, Cyber Insurance Product Manager and Tushar Nandwana, Risk Control Technology Segment Manager at Intact Insurance Specialty Solutions, and Dr Constance Dierickx, Founder and President of CD Consulting Group.This podcast is for informational purposes only and is not intended to replace professional legal, financial or insurance advice. We are not responsible for any losses, damages, or liabilities that may arise from the use of this podcast. The content and views expressed are those of the host and guests.

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

"From Steel Pulse to Wu-Tang: A Festival of Musical Diversity"Larry Mishkin discusses a review of various experiences and performances, starting with a cannabis event called "Miracle in Mundelein," which took place over the past weekend. The main focus of the review is a discussion of a Grateful Dead show from September 9, 1987, at the Providence Civic Center in Rhode Island. The show was notable for being the second night of a three-show run, marking the opening of the Grateful Dead's 1987 East Coast fall tour.Key highlights include:"Hey Pocky Way" Performance: This was the first time the Grateful Dead performed the song "Hey Pocky Way," which is originally by the Meters, a New Orleans funk band. The song became a fan favorite, primarily due to the influence of Brent Mydland, the band's keyboardist. However, the song fell out of rotation after Brent's death in 1990."Jack Straw" Performance: Another song featured was "Jack Straw," a Grateful Dead classic written by Bob Weir and Robert Hunter. It was originally performed in 1971 and became a staple in the band's setlists. The song was performed in the second spot of the setlist during the 1987 show, indicating the band's tendency to feature it early in their concerts.Music News Segment: The transcript also includes a segment on music news, which starts with a brief history of the band Cheap Trick, particularly their song "I Want You to Want Me."Review of the Miracle in Mundelein Festival: The review shifts to discussing the recent "Miracle in Mundelein" festival, where several acts performed:Steel Pulse: A roots reggae band from Birmingham, England, who delivered a lively and energetic performance.The Soul Rebels: A New Orleans brass band known for their energetic live shows and collaborations with major artists. Their set featured Raekwon and GZA from the Wu-Tang Clan, adding a strong hip-hop element to the performance.Wiz Khalifa: The headliner of the event, Wiz Khalifa, is praised for his stage presence and connection with the audience. The review notes his strong advocacy for cannabis and how his music resonated well with the crowd.Overall, the review captures the blend of nostalgia with the Grateful Dead's classic performances and the fresh, dynamic energy of the Miracle in Mundelein festival, highlighting both the music and the culture of cannabis.https://www.cheaptrick.com/ Grateful DeadSeptember 9, 1987 (37 years ago)Providence Civic CenterProvidence, Rhode IslandGrateful Dead Live at Providence Civic Center on 1987-09-09 : Free Borrow & Streaming : Internet Archive Second night of a three show run, the opening shows of 1987 East Cost fall tour.  INTRO:                                 Hey Pocky Way                                                Track #1                                                :35 – 2:03 First time ever played Hey Pocky Way was written by George Porter Jr., Leo Nocentelli, Art Neville & Joseph Modeliste, founding members of The Meters, an American funk band formed in 1965 in New Orleans by Modeliste (drums), Porter Jr. (bass), Nocentelli (guitar) and Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Song was released on Rejuvenation the band's fifth studio album in 1974. In 2003, the album was ranked number 138 on Rolling Stone magazine's list of the 500 greatest albums of all time,[6] and 139 in a 2012 revised list. Beginning with this show, the Dead began to feature Hey Pocky Way, usually as a show opener.  Sung by Brent who really got into it with both his keyboard playing and strong singing, it  became a fan favorite.  But as a Brent influenced tune, it died when he did. Played:  25 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast: July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (Brent's second to last show)  SHOW No. 1:                    Jack Straw                                                Track #2                                                4:00 – 5:50 "Jack Straw"  written by Bob Weir and Robert Hunter. The track first appeared on the album Europe '72. The song was first performed in concert on October 19, 1971, in Minneapolis, Minnesota at new keyboardist Keith Godchaux's first appearance with the band. In the song's earliest performances (c. 1971–72), Weir sang all of the vocals. By the time the 'Europe 72' version was recorded, (at the Olympia Theater in Paris on 5-03-72), Weir and Jerry Garcia were switching up the vocals - as they had on April 26th when 'Hundred Year Hall' was recorded. The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.[1] Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.[3] Always a great song to hear in concert, the fans loved it and it was always an omen of good things to come in the show. Played:  477 timesFirst:  October 19, 1971 at Northrop Auditorium, Minneapolis, MN, USALast:  July 8, 1995 at Soldier Field in Chicago MUSIC NEWS Miracle In Mundelein – second year of the festival in Mundelein a suburb northwest of Chicago.  Missed last year with JRAD but made it this year on Saturday with my sons Jonathan and Daniel, Jonathan's fiancé, Bella and Daniel's buddy AJ.  Different theme to this year's music focusing on hip hop and rap, not part of my regular music, but certainly a key genre for Daniel and AJ who filled me on details during the show. Acts:Steel Pulse - Steel Pulse are a roots reggae band from the Handsworth area of Birmingham, England. They originally formed at Handsworth Wood Boys School, and were composed of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals), and Ronald McQueen (bass); along with Basil's brother Colin briefly on drums and Mykaell Riley (vocals, percussion). Steel Pulse were the first non-Jamaican act to win the Grammy Award for Best Reggae Album. They were initially refused live dates in Caribbean venues in Birmingham due to their Rastafarian beliefs. During the popularization of punk rock in the mid-1970's, Steel Pulse began to play punk venues such as the Hope and Anchor in London and The Electric Circus in Manchester in 1976.[1] Aligning themselves closely with the Rock Against Racism organization and featuring in its first music festival in early 1978, they chose to tour with sympathetic elements of the punk movement,[1] including the Stranglers and XTC. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Fun set that was in progress when we arrived, great sound and lots of energy that kept the crowd moving. The Soul Rebels - The Soul Rebels (also Soul Rebels Brass Band, Soul Rebels or The Rebels) are an eight-piece New Orleans based brass ensemble that incorporate elements of soul, jazz, funk, hip-hop, rock and pop music within a contemporary brass band framework.  Starting out as a local New Orleans favorite, The Soul Rebels have evolved into collaborating live with major artists in all worlds of music including:Katy PerryNasMetallicaGreen DayTrombone ShortyProdigyString Cheese IncidentUmphrey's McGeeGalacticSuzanne VegaEurythmicsLettuceGov't Mule                                               And many more The band has built its career around an eclectic live show that harnesses the power of horns and percussion in a funky party-like atmosphere. The band routinely plays over 250 shows a year. They have been described by the Village Voice as "the missing link between Public Enemy and Louis Armstrong.  The Soul Rebels consist of percussionists and founding members Lumar LeBlanc and Derrick Moss, trumpet players Julian Gosin and Marcus Hubbard, trombonists Corey Peyton and Paul Robertson, saxophonist Erion Williams, and sousaphonist Manuel Perkins Jr.                                                 On Saturday, they featured Raekwon and GZA from Wu Tang Clan.                                      RAEKWON - Corey Woods[2] (born January 12, 1970),[3][4] better known by his stage name Raekwon (/reɪˈkwɒn/, ray-KWON), is an American rapper. He rose to prominence as a founding member of the hip-hop group Wu-Tang Clan, which achieved mainstream success following the release of their debut album, Enter the Wu-Tang (36 Chambers), in 1993. Raekwon would subsequently pursue a solo career, releasing his first solo album, entitled Only Built 4 Cuban Linx..., in 1995. The album received critical acclaim, and is regarded by many critics as one of the greatest hip-hop albums of all time, as well as a staple of 1990s rap.                                     Raekwon attributes the name Raekwon to the Five-Percent Nation, an offshoot of the Nation of Islam, when he was a "young kid."[11] He converted to Islam in 2009.                                     Growing up, he witnessed his mother being hit and abused by different men, an experience which he said "affected [him] a lot."[10] As a young man, his mother kicked him out of their Park Hill home when Raekwon got into an argument with her boyfriend and his mother sided with the boyfriend. During this time, he spiraled into a pattern of hopelessness and violent behavior.[8] He became addicted to cocaine and crack cocaine until he became aware of how the crack epidemic was affecting those around him, at which point "it was an automatic stop."[10]Raekwon and rap partner Ghostface Killah attended junior high school together on Staten Island.[14] Raekwon attended New Dorp High School, where he befriended rappers Remedy, Method Man and Inspectah Deck.[15]             Woods first rapped as Sha Raider. In 1992, he joined the Wu-Tang Clan, an originally nine-member rap group drawing mainly from the Staten Island but also from the Brooklyn boroughs of New York City. He rapped as Raekwon The Chef, and also used the aliases Lex Diamonds, Shallah Raekwon, and Louis Rich. After being caught in a crossfire and accidentally shot four times, Raekwon began rapping in earnest. He later described being shot as an "important eye opener." In September 2009, MTV ranked Raekwon tenth among "hottest" rappers. In December, HipHopDx's 2009 awards named Only Built For Cuban Linx... Pt. II album of the year, calling it "the Hip Hop equivalent to The Godfather 2, with Rae as revitalized as Marlon was". Raekwon won Emcee of the Year—the prior year, Nas won—while HipHopDX staff explained, Raekwon brought it back to lyrical, dope rap. He released an album that spoke to teens, twenty-somethings, thirty-somethings, and beyond. Without compromising, the Chef made an edgy Hip Hop record that refused to bastardize the catalog he laid down 15 years ago. On top of that, Rae (along with Ghostface) was a go-to for numerous rappers making albums, ranging from the Playaz Circle to Jadakiss to BK One. That's beyond real, as was a year filled with performing in arenas, clubs and even churches. When it came to mastering the ceremony, Rae had 'em all following the leader.[28]— HipHopDX GZA - Gary Eldridge Grice[2] (born August 22, 1966), better known by his stage names GZA (/ˈdʒɪzə/JIZ-ə) and The Genius,[3] is an American rapper. A founding member of the hip hop group Wu-Tang Clan, GZA is the group's "spiritual head", being both the first member in the group to receive a record deal and being the oldest member.[4] He has appeared on his fellow Wu-Tang members' solo projects, and has maintained a successful solo career starting with his second album Liquid Swords (1995). His lyrical style often dismisses typical rap story lines in favor of science and wide-ranging philosophies and has been characterized as "armed with sharp metaphors and a smooth flow".[5][6][7][8] An analysis of GZA's lyrics found that he has the second largest vocabulary in popular hip hop music.[9][10] He teamed up with an education group to promote science education in New York City through hip hop. In 1992, GZA joined the Wu-Tang Clan, a group of nine, formed by his cousin RZA. GZA had some high-profile appearances on the group's debut album, Enter the Wu-Tang (36 Chambers) (1993), including a solo track, "Clan in da Front".[22] This, combined with appearances on other Clan members' albums such as Return to the 36 Chambers: The Dirty Version (1995) and Only Built 4 Cuban Linx... (1995) brought him much recognition. According to Method Man, "we form like Voltron and GZA happens to be the head".                         The combination of the Soul Rebels beat and Raekwon's and GZA's rapping made for an exceptional set of music that caught me off guard but was worth the price of admission.  With lots of cannabis references scattered throughout their lyrics and stage talk, they were a perfect match for this festival. Wiz Khalifa - Cameron Jibril Thomaz (born September 8, 1987),[2] better known by his stage name Wiz Khalifa, is an American rapper from Pittsburgh, Pennsylvania. He signed with the local independent label Rostrum Records to release his debut studio album, Show and Prove (2006). His contract entered a short-lived joint venture with Warner Bros. Records the following year. His Eurodance-influenced 2008 single, "Say Yeah" received urban radio airplay and entered both the Rhythmic Top 40 and Hot Rap Songs charts, becoming his first minor hit.[3] Outside of music, Thomaz has delved into acting with television roles in Dickinson and The Eric Andre Show, the lead role alongside Snoop Dogg in the 2012 stoner comedy film Mac & Devin Go to High School, and voice roles in the animated series American Dad!, Duncanville, and Big City Greens. Thomaz founded the record label Taylor Gang Entertainment in 2008, through which he has signed artists including Juicy J, Ty Dolla Sign, and Berner. Known for his abundant usage of cannabis, Thomaz launched his own cannabis brand, Khalifa Kush, in 2016, which expanded for release in nationwide dispensaries in 2022. His stage name is derived from Khalifa, an Arabic word meaning "successor", and wisdom, which was shortened to Wiz when Khalifa was a young boy.[10] Khalifa stated to Spinner.com that the name also came from being called "young Wiz 'cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that's what I was doing with my music." He got a tattoo of his stage name on his 17th birthday.[11][12] By the age of 15, he was regularly recording his music at a local studio called I.D. Labs.[13] Impressed by the young teen's talent, E. Dan, the owner of the studio offered Khalifa an intern job at the studio in exchange for free recording time. Dan, being a veteran of the Pittsburgh hip-hop scene, would help develop and mentor the young artist early on in his career. He was the headliner and lived up to the billing.  Great tunes, great stage presence, great spokesperson for cannabis.  My first experience with his music and it was very positive. A great musical education for me with my tutors, Daniel and AJ. More in MJ News  Herbie Flowers  RIPJerry Miller  RIPGoose this week at the Salt Shed, Thursday and Friday   SHOW No. 2:                    Greatest Story Ever Told                                                Track #9                                                3:25 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #10                                                0:00 – 1:33 Greatest Story – written by Hunter/Bobby/Mickey, originally called “The Pump Song” on Mickey Hart's 1972 album Rolling Thunder.  As the opening tune of Ace, it is called Greatest Story Ever Told.  But this isn't about that song.  Here, it is the lead-in to a first set couple of “extras” thrown in for some fun. "Devil with a Blue Dress On" (also known as "Devil with the Blue Dress") is a song written by Shorty Long and William "Mickey" Stevenson, first performed by Long and released as a single in 1964. A later version recorded by Mitch Ryder and The Detroit Wheels in 1966 peaked at No. 4 on the U.S. Billboard Hot 100.  "Devil with the Blue Dress" was originally released as Shorty Long's debut single on Motown in 1964, but the single failed to chart. The song describes a femme fatale in a blue dress and not an actual devil.[2] Two years later, Mitch Ryder and The Detroit Wheels recorded the song at Bell Sound Studios in New York City[3] as a medley with an original arrangement of Little Richard's "Good Golly, Miss Molly". Their version, released on their album, “Breakout . . . . !”,  was notably more up-tempo than Long's more blues-influenced rendition.[2] Reaching No. 4 on the Hot 100, their version of the track would end up becoming their most well-known and highest charting hit in the United States. Rolling Stone Magazine ranked it No. 428 on their list of Top 500 Songs of All Time. Basically, another great cover to showcase Brent's singing and keyboard skills.  This was the first of 3 times the Dead covered the song.  Another fun diversion by the band that kept the Deadheads guessing and not wanting to ever miss a show. The transition out of Greatest Story is seamless and makes it so you can't hear the end of Greatest Story without hearing the signature beat of Devil making it a “natural” fit. Played – 3 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  SHOW No. 3:                    Good Golly Miss Molly                                                Track #11                                                0:00 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #12                                                0:00 – 0:51"Good Golly, Miss Molly" is a rock 'n' roll song first recorded in 1956 by American musician Little Richard and released in January 1958 as single on the Specialty label, and later on the album, Little Richard in July 1958.[1] The song, a jump blues, was written by John Marascalco and producer Robert "Bumps" Blackwell. Although it was first recorded by Little Richard, Blackwell produced another version by the Valiants, who imitated the fast first version recorded by Little Richard, not released at that time. Although the Valiants' version was released first (in 1957), Little Richard had the hit, reaching No. 4.[2] Like all his early hits, it quickly became a rock 'n' roll standard and has subsequently been recorded by hundreds of artists. The song is ranked No. 92 on the Rolling Stone magazine's list of the 500 Greatest Songs of All Time. Little Richard first heard the phrase "Good golly, Miss Molly" from a Southern DJ named Jimmy Pennick.[4] He modified the lyrics into the more suggestive "Good golly, Miss Molly/You sure like to ball." Little Richard himself later claimed that he took Ike Turner's piano intro from his influential 1951 rock and roll song "Rocket 88", and used it for "Good Golly, Miss Molly".[5] "I always liked that record," Richard recalled, "and I used to use the riff in my act, so when we were looking for a lead-in to 'Good Golly, Miss Molly', I did that and it fit." In 1966, Mitch Ryder and the Detroit Wheels incorporated "Good Golly Miss Molly" into their version of "Devil with a Blue Dress On". Their version scored a major hit, not only in Ryder's native Detroit, but nationwide, placing at No. 4 on the Billboard Top 100. As with Devil, a Brent thing.  Unfortunately, it was only around for a month.  Then vanished from the Dead's playlist thereafter.  Played:  3 times, makes senseFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  MJ NEWS:             Miracle in Mudelein – a great event sponsored by Rise Dispensaries and Rhythm cultivators.  Second year, featuring great music, excellent food and drink and too many booths for dabbing from various types of rigs including a Studenglass Gravity Bong – my first time using one and it is not your father's four foot Graffix bong!  Daniel and AJ were all over it and as it turned out, the wait in line was well worth the experience.  Rather than try to explain it to you, just Google Gravity Bong and see for yourself!  Great high.             Miracle is that Lake County, a more conservative leaning county, and Mundelein permitted the event.  Attendees can bring in their own flower or extracts (supposedly only if purchased at an Illinois dispensary), smoking accessories, etc.  Rise also was selling products at the show.             A wonderful thing to attend an event and not have to hide and smuggle in your cannabis.  People lighting up everywhere, offering to share, talking strains, etc.  Police were there to keep order and otherwise let it all go on.  Very professional.             Excellent mellow crowd (what else would you expect?).  Well run.  Shot joints out of a canon.  A wonderful day and experience for those who enjoy cannabis, especially not having to hide it or pretend you don't have any when everyone knows attendees are smuggling it in anyway.             A great way to promote cannabis and help normalize it within the community.  And a fun event to be able to share with my boys, Bella and AJ.  Fun had by all.  SHOW No. 4:                    Not Fade Away                                                Track #24 (NOTE – this song is listed as Track #23 AND #24, be sure to use #24)                                                0:00 – end "Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets. Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, "Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" on 10.27.1957 and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time". The song is closely associated with the Grateful Dead as one of their signature tunes—one which the band transformed from Holly's 1950s boy/girl romanticism to one reflecting the 1960s' more spiritual universal love. Their 1971 recording of the song is included on their second live album, Skull and Roses, paired with Going Down The Road Feeling Bad, a regular happening in the early ‘70's. Primarily a second set tune that used to show up in the second half of the second set after Drums-Space.  Beginning in 1983, the Dead began to play it as the second set closer, trailing off with “Love is real will not fade away” as they exited the stage.  A few years later, the Deadheads starting chanting the line as the Dead left the stage and in some cases, kept it up until the band reappeared for their encore, when the band would pick back up on the beat and play it for another minute or so before their encore tune, such as with this show.    Great example of the Deadheads making their mark on the show and the band being tuned in enough to play along with it.  Although sometimes if the Dead took too long to come out for the encore, the chanting would start to fade off.  And sometimes even when the chant made it all the way to the band's return on stage, the band would ignore it and just dive straight into their encore.  Fun when it all came together like this show. Played:  561 timesFirst:  February 19, 1969 at Fillmore West, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis) OUTRO:                               The Mighty Quinn                                                Track #25                                                2:11 – 3:48 Bob Dylan wrote and first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years.  The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann, from their album Mighty Garvey, and became a great success. A demo of 14 of the 1967 Basement Tapes recordings, including the first of two takes of "Quinn the Eskimo (The Mighty Quinn)", was produced in 1968, but was not intended for release. Recordings taken from the demos began appearing on bootlegs, starting with Great White Wonder,[7] a double-album bootleg that came out in July 1969. The first official release of the song was in 1970 on Dylan's Self Portrait album,[14] a live recording from 1969's Isle of Wight Festival. The live version (titled "The Mighty Quinn (Quinn the Eskimo)") was also selected in 1971 for the second compilation of Dylan's career, Bob Dylan's Greatest Hits Vol. II. Covered by:  the Hollies, Leon Russell and Phish, among others. Although they never played the song with Bob Dylan, the Grateful Dead started playing "The Mighty Quinn" in concert in 1985. It became a favorite encore among the Grateful Dead's fans, and remained so to the end of their career. Last verses, end with, “when Quinn the Eskimo gets here, everybody's gonna want to doze” but the Deadheads heard it as “dose” and always gave it a big cheer. Played:  59 timesFirst:  December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  Shoutouts: Lary Vinocur – birthdayElena Mishkin – birthday .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

Jack Straw artists Susie Kozawa and Brigid Kelly talk with Shin Yu Pai, Seattle’s Civic Poet and host of the podcast Ten Thousand Things, about their Jack Straw New Media Gallery installation Tokio Florist Project. Applications are open now for Jack Straw’s 2025 artist residency programs. Visit us on Submittable for more information: https://jackstraw.submittable.com/submit The post Tokio Florist Project New Media Gallery Podcast appeared first on Jack Straw Cultural Center.

Keir Starmer uses his speech in the Downing Street rose garden to warn of a turbulent time ahead, with a 'painful budget' on the way. Ed Vaizey unpacks it with former cabinet minister Jack Straw and Times Radio's Theo Usherwood. Plus: What can the Tory leadership hopefuls learn from when the party was in opposition under Hague, Duncan Smith, Howard and Cameron? Hosted on Acast. See acast.com/privacy for more information.

Join Peter Warren; Martin Borrett, IBM Security's UK Technical Director; Prof. Neil Barrett, former advisor of cybercrime to then Home Labour Secretary ,Jack Straw, and Prof Keith Martin, Director of the EPSRC Centre for Doctoral Training in Cyber Security for the Everyday, as they discuss how organisations can use AI to defend against the growing threat of cybercrime in an increasingly digital world. This podcast is for informational purposes only and is not intended to replace professional legal, financial or insurance advice. We are not responsible for any losses, damages, or liabilities that may arise from the use of this podcast. The content and views expressed are those of the host and guests.

Jack Straw resident artists Foleada released their new album of Brazilian Forró music, Eu Vou Pra Lua, this summer. Forró, a cultural mainstay of Northeast Brazil, describes not just a musical genre but a way of life, a celebration of dance, love, and community. On Eu Vou Pra Lua – Portuguese for “I’m Going to […] The post Foleada – Creoxote appeared first on Jack Straw Cultural Center.

Phish Tour Kicks Off: Anticipation and Reflections from the RoadLarry Mishkin is excited about the ongoing summer tour of the band Phish, particularly looking forward to their upcoming shows at Alpine Valley and St. Louis. He reflects on a Grateful Dead concert from July 22, 1984, at Ventura County Fairgrounds, sharing personal memories of attending shows in 1984, which was a significant year for him. He discusses the song "Loser" by Jerry Garcia, noting its Americana themes and its history with the Grateful Dead. He praises Garcia's performance at the 1984 show and the song's growling vocals and guitar work.Larry also talks about the song "Day Job," highlighting its unique history with the Grateful Dead as a song fans petitioned to be dropped from their setlists. He reflects on why the song wasn't popular among fans, comparing it to another song, "Liberty," which he personally didn't favor. Despite this, he appreciates the version performed at the Ventura show for its energy and Jerry's engagement.In the music world segment, the he provides updates on Phish's summer tour, sharing setlists from recent shows in Mansfield, Massachusetts. He expresses excitement about attending multiple shows and describes how his appreciation for Phish has grown, comparing it to his experience with the Grateful Dead. He anticipates hearing specific songs and is eager to connect with fellow fans.The show also features a segment on Stanley Jordan, a musician known for his unique guitar style. Jordan shares his journey to creating a project called Stanley Plays the Dead, a tribute to the Grateful Dead. He recounts meeting Phil Lesh and performing with him, which inspired his current project. Jordan's distinctive two-hand tapping technique on guitar is highlighted, along with his diverse musical collaborations over the years.    Grateful DeadJuly 22, 1084 (40 years ago)Ventura County FairgroundsVentura, CAThe Grateful Dead Live at Ventura County Fairgrounds on 1984-07-22 : Free Borrow & Streaming : Internet Archive _____________________________________________INCOMPLETE BUT IT HAS ALL THE MUSIC CLIPSCAN WE TAPE TOMORROW AT 10 A.M. MY TIME?Let me know. Thank you______________________________________Fake Intro for my nephew, Ben Mishkin's 11th birthday, I will just introduce it as “my podcast”, play the clip and wish him a happy birthday, then we cut back to our normal intro tune and I do a regular introduction.  What do you think? Bennie and the Jets - Elton John - Live in London 1974 HD (youtube.com)0:08 – 1:18 "Bennie and the Jets" (also titled "Benny & the Jets") is a song written by English musician Elton John and songwriter Bernie Taupin, and performed by John.[3] The song first appeared on the Goodbye Yellow Brick Road album in 1973. "Bennie and the Jets" has been one of John's most popular songs and was performed during his appearance at Live Aid.The track was a massive hit in the United States and Canada, released in 1974 as an A-side using the spelling "Bennie". In most territories the track was released as the B-side to "Candle in the Wind", using the spelling "Benny". Album artwork (back-cover track listing and center-panel design) consistently lists the song as "Bennie" while either "Bennie" or "Benny" appears on the vinyl album depending on territory. The track was released as an A-side in the UK in 1976, as "Benny and the Jets".It is ranked number 371 on Rolling Stone's list of The 500 Greatest Songs of All Time.Happy Birthday to my nephew Ben who turns 11 today while at summer camp in the Poconos.  Great time to be alive.  There with his big sister Lily and lots of good friends while his younger brother Nate has the run of the house!  Have a great day big guy. And now, back to our regularly scheduled show: Normal house intro music   Great show today from one of the Deadhead's favorite venues, Ventura County Fairgrounds.  Basically on the car racing track and demo derby.  View is of the beach and ocean.  Shows start in the afternoon, 2 or 3, so no real light show except mother nature and if you are lucky, a beautiful sunset just as the show ends or shortly thereafter.  Location of my first show ever and the only time I saw the boys there. This show is two summers later and finds the Boys cranking along in 1984, a big year for me in terms of shows that included a big chunk of Spring tour, Red Rocks, my first summer tour experience, first Alpine, and first New Years shows. Still found time to graduate from Michigan and start law school. INTRO:                                 Loser                                                Track #4                                                2:40 – 4:20 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 (Jan, 1972), 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.”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.)The version at this show is one of the best I've ever heard.  Garcia's voice is growling, his guitar playing spot on, energy bursting out of him.  1984 was a great year for the Dead and this show, and this tune, really epitomize all of it.  Almost always a first set tune, usually first part of the set, traded off with Candyman, Must Have Been The Roses, and other first set Jerry ballads.Played: 353 timesFirst:   February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:   June 28, 1995 at the Palace at Auburn Hills, MI (Detroit)  SHOW No. 1:                    Day Job                                                Track #8                                                1:00 – 2:39 Garcia/Hunter “new tune” Never released on any studio recording, appears on Dick's Picks #6, Hartford Civic Center Oct. 14, 1983 in case you've never heard it.  It's claim to fame, per Robert Hunter himself, is that “this song was dropped from the Grateful Dead repertoire at the request of the fans.  Seriously.” I heard it a few times.  Not my favorite, but good when Jerry was sharp and rocking like this version. Really one of the best. Played:  133First:  August 28, 1982 at Oregon Country Fair Site, Veneta, OR, USALast:  April 4, 1986 at Hartford Civic Center, Hartford, CT, USA  SHOW No. 2:                    I Just Want To Make Love To You                                                Track #11                                                1:27 – 3:10 "I Just Want to Make Love to You" is a blues song written by Willie Dixon. In 1954, it was recorded by Muddy Waters,[2] and released as a single with the title "Just Make Love to Me". The song reached number four on Billboard magazine's R&B Best Sellers chart.[3]Backing Waters on vocals are Little Walter on harmonica, Jimmy Rogers on guitar, Otis Spann on piano, Willie Dixon on bass, and Fred Below on drums.[1] Waters recorded the song again for the album Electric Mud (1968).The Rolling Stones covered the song on their 1964 debut album The Rolling Stones. In 1972, British blues rock group Foghat recorded a studio version for their self-titled debut album in 1972. The song was also released as a single and it became their first single to reach the charts, appearing at No. 83 on the Billboard Hot 100[9] and No. 31 in Australia.[10] An eight-minute version from a 1977 concert performance is included on Foghat Live. It was edited down to 3:56 release as a single, which reached number 33 on the Billboard Hot 100[9] and No. 28 on the RPM Top Singles chart in Canada.  I heard this on Foghat Live and thought it was a Foghat song.  Could not believe when I heard the Dead had played it! Dead played it 4 times:  Pig in ‘66                                                Brent in ‘84                                                Jerry in ‘95 Times:  4First:  November 29, 1966 at The Matrix, San Francisco, CA, USALast: February 21, 1995 at Delta Center, Salt Lake City, UT, USA  SHOW No. 3:                    Drums                                                Track #14                                                7;00 – end                                                 INTO                                                 Space                                                Track #15                                                0:00 - :36                                                 SHOW No. 4:                    Space                                                Track #15                                                10:59 – end                                                 INTO                                                 Morning Dew                                                Track #16                                                0:00 – 1:28   Birthdays:                 Benny                John Gross                OUTRO:                               Midnight Hour                                                Track #19                                                1:42 – 3:27 .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's Deadpod features a massive show from the summer of 1972. This show is so big that I'm splitting it into three Deadpods - this week we will hear most of set 1..  This features some fine renditions of some of their standards - highlights include a great Sugaree, a mid--set China>Rider and a raucous Tennesee Jed.    This one goes out to Steve - happy Birthday!   Grateful Dead Paramount Theater Portland, OR 7/26/1972 - Wednesday One     Cold Rain And Snow [527] Black Throated Wind [5:59] Mississippi Half-Step Uptown Toodeloo [6:59] Mexicali Blues [3:29] Sugaree [7:14] (1) El Paso [4:20] China Cat Sunflower [6:44] > I Know You Rider [4:51] (2) Jack Straw [4:54] Tennessee Jed [7:35]      (1) Lesh: Who What When Who When Where Who What Oh sorry. Could you repeat that please? (2) China Cat Sunflower [3:22] > Jam [3:22]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod071924.mp3  Hope you are having a fabulous summer!  thanks so much for your kind support

Jack Straw resident artist Vibhuti Kavishwar‘s album Shraddhanjali is now available to listen to on YouTube. The album is a tribute to the  compositions of Vibhuti’s father, Pandit Lakshman Chausalkar. The post Vibhuti Kavishwar – Prabhu More Avagun Chit Na Dharo appeared first on Jack Straw Cultural Center.

Somehow, it took 8 months and 23 episodes of Grateful Dad & Friends before I was succesful in securing an interview with a Canterbury prep school friend.  In Season 2, Episode 10, I have the pleasure of sitting down with the first friend I met at Canterbury back in the fall of 1983, lifelong Deadhead and all around amazing human being, Mr Geoff “Shafe” Shaffer.  Me having entered Canterbury in my sophomore year and Shafe having entered a year earlier in his freshman year, he was not the newbie that I was, and he quickly connected me to a group of friends from across the country that would soon become, and remain to this day, some of my closest wingmen & women.  Shafe and I recall the early days of our adventures at boarding school, when we both got on the bus, and where we're at today in our now 40+ year friendship.  The interview takes place in the heart of Las Vegas during Dead & Company's run at Sphere where we're about to reunite with a dozen fellow Canterbury “Saints” for our collective first experience inside this new mindblowing visual dome.  Join us, and let's see where the energy takes us! #IFEBertha & Jack Straw - https://youtu.be/1IsenzJJBxs?si=tIOh5oOKhgyXPOlzTangled Up In Blue -  https://youtu.be/LpPegTcd3l4?si=rOF104nbgyDY17jJ 

 I think we have a good one to send you off on your Memorial Day weekend - this comes to us from May 30, 1980 at the Milwaukee Auditorium in Milwaukee Wisconsin.  The first set starts with a fine 'Jack Straw' - the first minute forty is supplied by an audience tape but hold on because the rest is a fine soundboard. The transition jams from Jack Straw to Franklin's Tower are off the chart.. Jerry is in fine form here.. as evidenced by the hot Uncle and Big River that follow...  They include a 'Passenger' here, without Donna of course, but still smokin'... then Brent does an early 'Easy to Love You'. They bring down the house with a set closing 'Music Never Stopped'.   Grateful Dead Milwaukee Auditorium Milwaukee, WI 5/30/1980 - Friday One     Jack Straw [5:29] > Franklin's Tower [11:15] Me And My Uncle [3:06] > Big River [6:11] Friend Of The Devil [8:36] Passenger [5:10] Easy To Love You [3:29] Althea [8:31] The Music Never Stopped [7:45]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod052424.mp3  I hope you have a safe and enjoyable Memorial Day.. take a moment to pause and remember what the holiday is for.. 

I never thought I'd have a live event, and I certainly never thought I'd have to cancel one. My sincerest apologies. And I couldn't figure out how else to spread the word except like this. I'm not a fan of Eventbrite events where you RSVP but the RSVP doesn't really get you anything, so I didn't do one. Now I wish I did. You can't upload a podcast episode without audio, so please enjoy my favorite Jack Straw ever: 7/24/87 JS only got longer, more fun, dirtier, and-- I'd argue-- better as time went on (up until 1990, of course). If you disagree with this take please email me (info@guesstheyear.net) because I wanna hear the counter. And again, my apologies.  

Brent Midland's First Show 45 Years Ago Today  RIP: Dickey Betts, A True BrotherLarry Mishkin  begins with a discussion about the significance of April 20th (420 Day) and reminisces about a Grateful Dead concert from 45 years ago on April 22nd, 1979, which marked Brent Midland's first show with the band. He delves into Brent Midland's impact on the band and his musical contributions. He also touches on recent concerts by Phish and the Sam Grisman Project.Later, there's a surprising revelation that Tucker Carlson is a Grateful Dead fan, and it reflects on the diverse fanbase of the band. Larry also mourns the passing of Dicky Betts, a founding member of the Allman Brothers Band, highlighting his musical legacy and contributions to Southern Rock. Additionally, he mentions Betts' collaborations with the Grateful Dead and concludes with a tribute to him.Vangst Jobs 2024 Jobs Report  - https://www.vangst.com/2024-jobs-report Grateful DeadSpartan StadiumSan Jose CAApril 22, 1979 (45 years ago)Grateful Dead Live at Spartan Stadium, San Jose State U on 1979-04-22 : Free Borrow & Streaming : Internet Archive Brent Mydland's first show INTRO:                                Jack Straw                                                Track #1                                                0:07 – 1:41                 Brent in on the harmonizing from the first song  SHOW No. 1:                    Minglewood Blues                                                Track #6                                                2:14 – 3:57                 Brent's first solo! Music News: PhishSam GrismanDickey Betts                                                 SHOW No. 2:                    Promised Land                                                Grateful Dead w.Dickey Betts and Butch Trucks                                                June 10, 1973                                                RFK Stadium                                                Track No. 26                                                2:28 - end                                                Grateful Dead Live at Robert F. Kennedy Stadium on 1973-06-10 : Free Borrow & Streaming : Internet Archive  SHOW No. 3:                    Passenger         (Back to April 22, 1979 show)                                                Track #10                                                Start – 1:34                 Brent joining in on the vocals                 There are several original songs in the Grateful Dead repertoire with a one-time-only lyricist. In the case of “Passenger,” the added quirk is thrown in of someone other than the composer singing the song. So we have a song written by Peter Monk, with music by Phil Lesh, and sung by Bob Weir and Donna Jean Godcheaux on Terrapin Station.Lesh wrote the song, admittedly based on Fleetwood Mac's riff for their song “Station Man.” Lesh said, in an interview in Dupree's Diamond News, “What's weird about that song is I sort of did it as a joke. It's a take on a Fleetwood Mac tune called ‘Station Man.' I just sort of sped it up and put some different chord changes in there..."Monk's lyrics for the song have been the source of quite a bit of debate. There are quite a few alternate hearings, especially around the line: “Terrible, the only game in town,” which many, including myself, hear as “Parable, the only game in town.”“Passenger” was first performed on May 15, 1977, at the St. Louis Arena in St. Louis (released on the May 1977 box set). It was performed regularly through1981, with its final performance on December 27, 1981, at the Oakland Auditorium.Terrapin Station, which included the studio version of the song, was released on July 27, 1977. “Passenger” was released as a single, with “Terrapin Station” on the B side.Great tune.  I'm sorry I never got to hear it live.Bootleg album:  Live at Moe's Place – open with it, used to listen to it at good friends' Dinie and Janet's place in Ann Arbor.  Really jams.                 Played 99 times                First:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USA            Last:  December 27, 1981 at Oakland Civic Auditorium, Oakland, CA  MJ News SHOW No. 4:                    Shakedown Street                                                Track #24                                                5:00 – 6:41                 Brent with music fills and vocals  ENCORE:                          Blue Sky                                                Eat A Peach                                                Blue Sky (youtube.com)                                                3:00 – end College acquaintance and fellow Deadhead used to say that whenever she listened to this album, she would play Blue Sky twice and THEN play the album all the way through picking up a third Blue Sky.  I tried it and discovered she was right on about that. .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 the Deadpod goes back 51 years to February 15, 1973 when the Grateful Dead played a massive show in Madison Wisconsin. this first set clocks in at about 100 minute... it starts with a song they debuted about a week earlier 'Loose Lucy'. They are still warming up when they then 'Beat It On Down The Line'. Several favorites follow, but things really get rolling with a fine, up tempo 'Row Jimmy'. The highlights of the set follow, with a wonderful 'China Cat >I Know You Rider' and a jamming 'Playing In The Band'. Bobby really steps it up in the last third of this first set..      Grateful Dead Dane County Coliseum Madison, WI 2/15/1973 passes & laminates One - 1:40:00     Loose Lucy [6:34][0:46] Beat It On Down The Line [3:27][0:08]%[0:27] Brown Eyed Women [4:56][0:05]%[0:06] Mexicali Blues [3:27][0:09]%[0:06] Tennessee Jed [7:53][0:07]%[0:12] Looks Like Rain [6:30] Box Of Rain [4:50] Row Jimmy [7:49] Jack Straw [4:45] China Cat Sunflower [5:58] > I Know You Rider [5:35] Me And My Uncle [2:46] Bertha [5:18] Playing In The Band [15:36] Casey Jones [6:41]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod021624.mp3  I hope you enjoy this week's Deadpod.. thanks for listening and your support.. 

"Changing Beats: Goose's Drummer Departure and New Musical Ventures"Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news. Grateful DeadFebruary 12, 1986 (38 years ago)Henry J. Kaiser Convention CenterOakland, CAGrateful Dead Live at Henry J. Kaiser Convention Center on 1986-02-12 : Free Download, Borrow, and Streaming : Internet Archive Show Title:  Dead and the Neville Brothers Rock Oakland Celebrating Mardi Gras A short Dead show by Nevilles played a set after turning it into a marathon evening of great music  INTRO:              Sugaree                           Track #3                           Start – 1:35                            Jerry comes out smoking on this crowd favorite to get things rocking (second song after Hell in a Bucket).  Released on the Jerry's first solo album, Garcia, in January, 1972.                            Played 362 times                           1st at on July 31, 1971 at the Yale Bowl in New Haven, CN six months before its release                           Last played on July 8, 1995 at Soldier Field in Chicago Kaiser Convention Center is a historic, publicly owned multi-purpose building located in Oakland, California. The facility includes a 5,492-seat arena, a large theater, and a large ballroom.[2] The building is #27 on the list of Oakland Historic Landmarks.,[3] and was listed on the National Register of Historic Places in 2021.[4]The building is located at 10 10th Street, in the Civic Center district of the city. It is next to the Oakland Museum, Laney College, Lake Merritt, and near the Lake MerrittBARTstation.he Beaux-Arts style landmark was built in 1914; the architect was John J. Donovan.[3] The structural engineer was Maurice Couchot.[5] Originally known as the Oakland Civic Auditorium, it was renamed in honor of Henry J. Kaiser after a 1984 renovation.The city closed the facility in 2006 and its future was uncertain for a decade.[1] In 2006, Oakland voters defeated a ballot proposition advocating a library space in the building.The facility was owned by the City of Oakland until 2011, when it was sold to the local redevelopment agency for $28 million.[6] However, the redevelopment agency was dissolved by the State of California in 2012,[7] so ownership reverted to the city of Oakland.In 2015 the city chose a local developer, Orton Development, Inc. to renovate the facility. The plans are to turn it into a commercial space, with the Calvin Simmons Theater being renovated as a performing arts venue. The building is also supposed to be registered as a national historic landmark.In the 1950s and 1960s the Roller Derby played there hundreds of times. Elvis Presley performed at the convention center on June 3, 1956, and again on October 27, 1957. On December 28, 1962, Martin Luther King Jr. spoke to an audience of 7,000 at the auditorium to mark the 100th anniversary of the Emancipation Proclamation.[13]Ike & Tina Turner performed at the Oakland Auditorium on January 13, 1967.From 1967 through 1989, the Grateful Dead, an American rock band, performed at the convention center 57 times. Their first 23 concerts at the convention center were billed at "Oakland Auditorium", and later, starting in 1985, the venue changed to "Henry J. Kaiser Convention Center". In the 80's the band started performing "runs" of shows over the course of three to seven days.[                    SHOW No. 1:    Tons of Steel                           Track # 4                           1:07 – 2:40               A “new” Brent song, released on In The Dark in 1987.  Love the harmonizing with Phil – “She wasn't built to travel at the speed a rumor flies, these wheels are bound to jump the tracks, before they burn the ties.”  Crowd loves it too – any excuse to hear Phil sing – this is just about a month before the Hampton show where Phil broke out Box of Rain, Deadheads couldn't get enough of him. David Dodd:Brent wrote the words and music for “Tons of Steel.” It was first performed on December 28, 1984, at the Civic Auditorium in San Francisco (now Bill Graham Civic). The other first in the show was "Day Tripper." I was there! It sounded like a hit to me. But then, I was completely disconnected from whatever it was that passed for hit-making in the 1980s.It was performed fairly regularly throughout 1985 through September 1987, making its last appearance on September 23 at The Spectrum in Philadelphia. That seems odd to me, because it was dropped from rotation just a little more than two months after it was released on In the Dark, in July. Any thoughts?So, it's a song about a train. One of the prime motifs in Grateful Dead lyrics. Quick—name five Grateful Dead songs with trains! No peeking!What do trains evoke in Dead lyrics? Everything from danger (“Caution,” “Casey Jones”) to adventure (“Jack Straw”) to love (“They Love Each Other”) to farewell (“He's Gone”) to whatever that thing is that we feel when Garcia sings about wishing he was a headlight... (and take a look at the back cover of Reflections sometime).                           Played 29 times                           First played December 28, 1984 S.F. Civic Auditorium (NYE run)                           Last played September 23, 1987 at the Spectrum, Philly  SHOW No. 2:    Cassidy                           Track #6                           2:20 – 4:09 "Cassidy" is a song written by John Barlow and Bob Weir[1] and performed by the Grateful Dead, Ratdog, and Phil Lesh & Friends.[2] The song appeared on Bob Weir's Ace, and the Grateful Dead's Reckoning and Without a Net albums.[3]The song was named after Cassidy Law, who was born in 1970 and was the daughter of Grateful Dead crew member Rex Jackson and Weir's former housemate Eileen Law.[1] The lyrics also allude to Neal Cassady, who was associated with the Beats in the 1950s[4] and the Acid Test scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of Barlow's father.[5]The song was quoted in the admiring and admirable obituary of Barlow in The Economist.One of my favorite songs, a great sing a long.I really like this version because it gets nice and trippy.  Always good for a helping define the mood of the show, usually about mid to late first set.  A very fun tune.                           Played 339 times                           1st:  March 23, 1974 at the Cow Palace in Daley City, just outside S.F.                           Last:  July 6, 1995 Riverport Amphitheatre, Maryland Heights, MO outside of St. Louis   SHOW No. 3:    Willie and the Hand Jive                           Track # 14                           1:23 – 3;05 Played with the Neville Bros. but without Phil who left the stage for this one song. Willie and the Hand Jive" is a song written by Johnny Otis and originally released as a single in 1958 by Otis, reaching #9 on the Billboard Hot 100 chart and #5 on the Billboard R&B chart.[1][2] The song has a Bo Diddley beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation,[2]though Otis always denied it.[3] It has since been covered by numerous artists, including The Crickets, The Strangeloves, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood, The Bunch, and in live performances by The Grateful Dead.[4][5] Clapton's 1974 version was released as a single and reached the Billboard Hot 100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the BillboardRock Tracks chart. The lyrics tell of a man named Willie who became famous for doing a hand jive dance.[1][2] In a sense, the story is similar to that of Chuck Berry's "Johnny B. Goode", which tells of someone who became famous for playing the guitar and was released two months before "Willie and the Hand Jive".[1] The origin of the song came when one of Otis' managers, Hal Ziegler, found out that rock'n'roll concert venues in England did not permit the teenagers to stand up and dance in the aisles, so they instead danced with their hands while remaining in their seats.[2][5] At Otis' concerts, performers would demonstrate Willie's "hand jive" dance to the audience, so the audience could dance along.[2] The dance consisted of clapping two fists together one on top of the other, followed by rolling the arms around each other.[2] Otis' label, Capitol Records, also provided diagrams showing how to do the hand jive dance. Eric Clapton recorded "Willie and the Hand Jive" for his 1974 album 461 Ocean Boulevard. Clapton slowed down the tempo for his version.[12] Author Chris Welch believes that the song benefits from this "slow burn".[12]Billboard described it as a "monster powerful cut" that retains elements from Clapton's previous single "I Shot the Sheriff."[13]Record World said that "Clapton slowly boogies [the song] into laid-back magnificence. George Thorogood recorded a version of "Willie and the Hand Jive" for his 1985 album with the Destroyers Maverick.[27] His single version charted on the Hot Mainstream Rock Tracks chart, peaking at #25, and reached #63 on the Billboard Hot 100 chart.[1][28]Allmusic critic James Christopher Monger called the song one of Thorogood's "high points. Other artists who covered the song include: Johnny Rivers, New Riders of the Purple Sage, The Flying Burrito Brothers, Sandy Nelson, The Tremeloes, Amos Garrett, Ducks Deluxe and Levon Helm.[4]Lee Michaels released a version of the song on his 1971 album, 5th                            To my surprise, played 6 times by the band, all in '86 and once in ‘87                           This is the fist time they ever played it                           Last:  April 4, 1987 at the Centrum in Worcester, MA                SHOW No. 4:   In the Midnight Hour                           Track # 16                           2:20 – 4:01                            Played with the Nevilles, Phil back on stage                           Again, Jerry's playing really stands out.  "In the Midnight Hour" is a song originally performed by Wilson Pickett in 1965 and released on his 1965 album of the same name, also appearing on the 1966 album The Exciting Wilson Pickett. The song was composed by Pickett and Steve Cropper at the historic Lorraine Motel in Memphis, later (April 1968) the site of the assassination of Martin Luther King Jr. Pickett's first hit on Atlantic Records,[1] it reached number one on the R&B charts and peaked at number 21 on the pop charts. Wilson Pickett recorded "In the Midnight Hour" at Stax Studios, Memphis, May 12, 1965. The song's co-writer Steve Cropper recalls: "[Atlantic Records president] Jerry Wexler said he was going to bring down this great singer Wilson Pickett" to record at Stax Studio where Cropper was a session guitarist" and I didn't know what groups he'd been in or whatever. But I used to work in [a] record shop, and I found some gospel songs that Wilson Pickett had sung on. On a couple [at] the end, he goes: 'I'll see my Jesus in the midnight hour! Oh, in the midnight hour. I'll see my Jesus in the midnight hour.'" and Cropper got the idea of using the phrase "in the midnight hour" as the basis for an R&B song.[3] More likely, Cropper was remembering The Falcons' 1962 song "I Found a Love," on which Pickett sings lead and says "And sometimes I call in the midnight hour!" The only gospel record Pickett had appeared on before this was the Violinaires' "Sign of the Judgement," which includes no such phrase.[4]Besides Cropper, the band on "In the Midnight Hour" featured Stax session regulars Al Jackson (drums) and Donald "Duck" Dunn (bass). According to Cropper, "Wexler was responsible for the track's innovative delayed backbeat", as Cropper revamped his planned groove for "In the Midnight Hour" based on a dance step called the Jerk, which Wexler demonstrated in the studio. According to Cropper, "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[5]Pickett re-recorded the song for his 1987 album American Soul Man."In the Midnight Hour" t has become an iconic R&B track,[citation needed] placing at number 134 on Rolling Stone's list of the 500 Greatest Songs of All Time,[citation needed] Wilson Pickett's first of two entries on the list (the other being "Mustang Sally" at number 434).[citation needed] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll,[citation needed] Pickett's only such entry. In 2017, the song was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant."[7] In 1999, "In the Midnight Hour" recorded in 1965 on Atlantic Records by Wilson Pickett was inducted into the Grammy Hall of Fame. Covers:·        The Grateful Dead regularly performed the song in concert from 1967 onwards, most notably with extended improv vocals by frontman Ron "Pigpen" McKernan.  It was occasionally the Dead's “midnight song” at their NYE shows – I saw them do it in 1985 at midnight on the 31st. Fun way to start the new year although I was always partial to Sugar Mag at NYE midnight.                            57 times played                           1st: December 10, 1965 at the Fillmore in S. F.                           Last:  October 17, 1994 at MSG, NYC OUTRO:            Johnny B. Goode                           Track #17                          Start – 1:40               We just featured this song from a different show, but this version demands recognition.  Played with the Nevilles – great mash up of musicians, singers, the whole thing is just great. Interestingly, not the encore, but the last song of the second set (US. Blues was the encore, a ripping version, but no Neville Bros so I went with JBG instead to hear them one more time). Chuck Berry tune                                                                            Dead played it 283 times                        First played: September 7, 1969 at The Family Dog at the Great Highway, S.F.                        Last played:  April 5, 1995 at the Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Join us for a conversation between former Town Hall Seattle Writer-in-Residence Sarah Salcedo and Washington State Poet Laureate Arianne True. Together, they will discuss how they negotiate the intersections of neurodivergence, art, and artistic careers. After a discussion, there will be a reading of Arianne's poems and a section from the in-progress novel that Sarah began during her Town Hall residency in 2022, which has also been funded by 4Culture. Arianne True (Choctaw, Chickasaw) is a queer poet and teaching artist from Seattle, and has spent most of her work time working with youth. She's received fellowships and residencies from Jack Straw, the Hugo House, Artist Trust, and the Seattle Repertory Theater, and is a proud alum of Hedgebrook and of the MFA program at the Institute of American Indian Arts. She lives near the Salish Sea with her cat. Arianne is the 2023-2025 Washington State Poet Laureate. Sarah Salcedo is an award-winning filmmaker, illustrator, and author. She was the Spring 2022 Writer-in-Residence for Town Hall Seattle and attended both the 2022 Tin House Winter and Summer Workshop for fiction. Her first film, Promised Land, debuted in festivals in 2016. She is currently at work on her next two documentaries with her partner and collaborator, Vasant Salcedo. She has received multiple grants from 4Culture and Artist Trust for her fiction and film work. To learn more about our speakers, or read their work prior to the event, please visit their websites and social media below: Arianne True: Website | Instagram Sarah Salcedo: Website | Instagram

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

"The Sphere in Vegas: U2's Sonic Odyssey and the Future of Concert Venues"Larry Mishkin  is joined by great friend of the show, Alex Wellins to catch up and talk about a Grateful Dead concert held at Poly Pavilion on November 20th, 1971. Larry talks about the significance of the show, including the band's transition in music style, notable songs played, and the presence of famous basketball player Bill Walton in the audience. Later, Alex discusses recent concerts they attended, highlighting U2's performance at The Sphere in Las Vegas, known for its immersive audiovisual experience, and another show at the historic Castro Theater in San Francisco featuring the band St. Paul and the Broken Bones. Both Larry and Alex express enthusiasm about these diverse musical experiences..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast  Grateful DeadNovember 20, 1971Pauley Pavillion – UCLAL.A.Grateful Dead Live at Pauley Pavilion - University of California on 1971-11-20 : Free Borrow & Streaming : Internet Archive By late 1971 Dead's transformation from Primal Dead to Americana Dead was well on it's way.  This concert is a great snapshot of that time, this show being more in the Americana camp with the a killer 25 minute jammed out Other One (including its Bill Kreutzman drum solo lead in) really being the only true nod to the Primal era . Also, the band was in transition as Pigpen missed the show as part of his descent into alcohol related illnesses that eventually took him in March 1973.  Keith had been playing with the band since February but Mickey began his “leave” in February after night one of the Capitol Theater run.  So this night is just five of them up on stage playing their hearts out for the fine students of UCLA and other Deadheads ( then a very brand new “thing” having just been recognized by the band in the liner message inside the Grateful Dead album stating:  “DEAD FREAKS UNITE!  WHO ARE YOU?  WHERE ARE YOU?  HOW ARE YOU? Send us your name and address and we'll keep you informed”) One fact that should be obvious given the venue and the time – an unknown UCLA student and want-a-be college basketball player, Bill Walton was in attendance along with some of his Bruins teammates for this first ever Dead show at Pauley Pavilion, famed home court for the UCLA Bruins, a team that following the amazing successes of Lew Alcindor (Kareem) and Sidney Wicks, now was being led for the first time by Bill and his teammates Jamaal Wilkes and Greg Lee (spoiler alert:  Bill has some success at UCLA too).  Bill, of course, went on to be an NBA All-Star and a regular attendee of Dead shows and, as Alex can attest, not unusual to see him at a West Coast dead show right up until the end – kind of hard to miss a 7 foot deadhead with his red hair and tie dye apparel.  Rumor has it when they knew he was going to be at a show the band would set up a basketball hoop backstage and that Bruce Hornsby was a hooper too. INTRO:               Bertha                           Track No. 1                           3:30 – 4:37 Great traditional opener although it was known to pop up in different spots during shows from time to time.  At this point, it is still “new” having been debuted earlier that year, on February 18th at the Capitol Theater in Port Chester.  Never released on a studio album, but it is the opening tune on the Dead's live album, “Grateful Dead” a/k/a Skull and Roses (or Phil's preferred name, “Skull Fuck” which was promptly rejected by their label, Warner Bros) on September 24, 1971.  From shows in NYC at the Fillmore East and the Hammerstein Ballroom in the Manhattan Center (plus Johnny B. Goode from Winterland – couldn't completely ignore the west coast). SHOW #1:          Tennessee Jed                           Track No. 5                           0:45 – 1:46 This is one of the “new” ones played in this show.  Along with Mexicali Blues, One More Saturday Night, Ramble On Rose and Jack Straw had all just been played for the first ever just two months earlier on October 19, 1971 at the Northrop Auditorium in Minneapolis – also Keith's first show.  A tune that more than most really captures the change in the band's direction as you have Garcia previously of Dark Star, St. Stephen and Eleven fame twanging away, musically and vocally, on a song with a feel that is a cross between country, western and a dash of rock n roll.  Deadheads of Alex's and my era will note how much quicker the tempo is in this early version and Garcia's noticeable energy evident from his strong vocal performance. Played 436 times in concert, putting it at No. 15 of the list of the Dead's most played tunes.1st (again) on Oct. 19, 1971 in MPLSLast on July 8, 1995 at Soldier Field, Chicago A great sing along tune that the Deadheads always enjoyed, normally found in the first set, towards the middle. SHOW #2:          Jack Straw                           Track No. 10                           :12 – 1:20 As just mentioned, this another “new” one just two months old.  Everyone loves Jack Straw, even the Band which is why it checks in at No. on list of most tunes played by the Band with 476 performances (last one on July 8, 1995 at Soldier Field).  But in this early version, there is a little bit of a change from the version we all know and love.  First, thing to know it is a tune by Hunter and Weir.  Garcia did not write it although he sang it with Weir in a “trading off of verses” style.  Second, in these early versions, before the Europe '72 tour, Weir sang all the verses like we just heard, “I just jumped the watchman, right outside the fence” was always sung by Jerry, but here, Weir sings it. Not sure of the reason for the change, but I like it a lot better with Jerry singing his verses (the other being “Gotta go to Tulsa, first train we can ride”).  First time with Jerry on vocals was May 3, 1972 at the Olympia Theater in Paris, that also just happens to be the version of the song that wound up on the Europe '72 album.  Although in its earlier years the song would appear in either first or second set, after their 1975 hiatus it became an almost exclusive first set song. And after Brent joined the band, almost always a show opener.  Home to the more than occasional Phil base bomb, it was one of the Band's most popular tunes and a great way to open any show (especially if they had just opened with Bertha the night before so you got to catch them both!). SHOW #3:          Ramble On Rose                           Track No. 18                           0:00 – 1:28 Last of the “new” ones that we will feature today.  Just like Tennessee Jed, upbeat, good energy, Jerry and the boys are having fun, like with any new creation.  Still working out all the details, the james, keeping track of the lyrics and Jerry has not yet developed his signature growl on “goodbye mamma and poppa, goodbye jack and jill”.  What I really like about this version and why I chose a clip from the beginning of the tune is to hear Keith's piano accompaniment that works so well with this song and adds another layer of creativity to the mix.  Garcia always seemed to get energy and inspiration from the band's keyboard players and Keith, even this early in his career, is no exception. After its introduction on Oct. 19, 1971 in Minny, played a total of 319 times, good for 39th place on the all time list, just behind US Blues and just ahead of Don't Ease Me In (really?).  Last played on June 27, 1995 at the Palace of Auburn Hills, MI. SHOW #4:          You Win Again                           Track No. 20                           1:12 – 2:21 "You Win Again" is a 1952 song by Hank Williams. In style, the song is a blues ballad and deals with the singer's despair with his partner. The song has been widely covered, including versions by Ray Charles, Jerry Lee Lewis, Roy Orbison, the Grateful Dead, Charley Pride, Bob Dylan, and the Rolling Stones. Hank Williams recorded "You Win Again" on July 11, 1952—one day after his divorce from Audrey Williams was finalized. Like "Cold, Cold Heart," the song was likely inspired by his tumultuous relationship with his ex-wife, "You Win Again" was released as the B-side to "Settin' the Woods on Fire", primarily because up-tempo, danceable numbers were preferable as A-sides for radio play and for the valuable jukebox trade. Nonetheless, "You Win Again" peaked at number ten on the Most Played in C&W Juke Boxes chart, where it remained for a single week. Over a time period of less than one year, the Dead played You Win Again 24 times in concert, the first on November 11, 1971 at the Municipal Auditorium in Austin, TX (this show in L.A. was only the third time it had been played) and the last on September 16, 1972 at The Music Hall in Boston.  A version of the song was released on the Europe '72 album (second album side), from their show on May 24, 1972 at The Strand Lyceum in London, one of the final shows on that tour. JGB recorded a version of the song in 1976 during the Reflections album sessions but not played live again.  It was briefly revived by The Dead with Dylan in 2003.  OUTRO:          Going Down The Road Feeling Bad                        Track No. 23                        3:45 – 5:12 "Going Down The Road Feeling Bad" (also known as the "Lonesome Road Blues") is a traditional American folk song, "a white blues of universal appeal and uncertain origin" The song was recorded by many artists through the years. The first known recording is from 1923 by Henry Whitter, an Appalachian singer,[2][3]as "Lonesome Road Blues". The earliest versions of the lyrics are from the perspective of an inmate in prison with the refrain, "I'm down in that jail on my knees" and a reference to eating "corn bread and beans."[4] The song has been recorded by many artists such as Woody Guthrie, Bob Dylan, Skeeter Davis, Elizabeth Cotten, and the Grateful Dead, and the song is featured in To Bonnie from Delaney, "Mountain Jam", Born and Raised World Tour, The Grapes of Wrath, and Lucky Stars.Others who recorded it include Cliff Carlisle (also as "Down in the Jail on My Knees"), Woody Guthrie (also as "Blowin' Down This Road" or "I Ain't Gonna Be Treated This Way"), Bill Monroe, Earl Scruggs, Roy Hall, Elizabeth Cotten and the Grateful Dead, Delaney and Bonnie, Canned Heat and Dillard Chandler. Dead played it 302 times (No. 46 on the most played tunes list just behind a tie between Mama Tried and Terrapin and just ahead of Birdsong).  1st time on October 10, 1970 at Colden Auditorium, part of Queens College in Queens, NY.Last played on July 5, 1985 at the Riverport Amphitheater in Maryland Heights, MO. During the time period of this show it was almost always paired with Not Fade Away (as made famous at the end of the Grateful Dead album).  In later years, when Alex and I were regulars on tour, it would show up as a second set tune, usually, but not always after Drums/Space.  A very upbeat tune that the band obviously loved playing the crowd loved hearing. For our purposes, a great way to end the show and say goodbye and HAPPY THANKSGIVING.

This show features the hottest Althea, and sensational versions of Jack Straw, Feel Like a Stranger, and most of the first set. In addition to dissecting this show, Howard reviews Grateful Dead history in The Spectrum.

Take a ride with hosts Dennis Strazulo, Tami Larson, and “Augie” on their  journey visiting with Jerry's Middle Finger, the masterful band recreating the music of The Jerry Garcia Band. Broken up into three parts, the episode features band members talking about the origin of JMF, experiences playing at the famed Sweetwater Music Hall in Mill Valley, CA, and their joyful and love-filled road to gaining notoriety, uplifted by the endorsement of NBA legend Bill Walton after the band's appearance at the Skull & Roses music festival.  Interviews were recorded at The Mystic Theater in Petaluma, CA and Sweetwater, and all reference the wonderful Andy Logan and Grateful Guitars Foundation for generously donating guitars contributing to the magic of JMF. This episode is dedicated to co-host Agustin “Augie” Oropeza who sadly passed before its release. RIP Augie!Episode Linkshttps://jerrysmiddlefinger.com/https://sweetwatermusichall.com/https://mystictheatre.com/https://www.facebook.com/p/G-Deloian-Band-100070913872268/https://www.sonvosongs.com/https://gratefulguitars.org/https://skullandroses.com/https://billwalton.com/https://podcasts.apple.com/us/podcast/bill-walton-and-the-latin-dead-recorded-live-at/id1262809028?i=1000621134440https://mttammedia.com/podcast-2/https://stefaniejstudio.com/Episode CreditsInternet Archive: Jerry's Middle Finger Live at Venice West on 2023-06-23 - "Promontory Rider"https://archive.org/details/jmf2023-06-23.JerrysMiddleFinger2023-06-23.flac16/JMF2023-06-23d2T09.flacInternet Archive: Jerry's Middle Finger Live at Venice West on 2023-06-23 - "Waiting For A Miracle"https://archive.org/details/jmf2023-06-23.JerrysMiddleFinger2023-06-23.flac16/JMF2023-06-23d1T04.flacInternet Archive: Grateful Dead Live at St. Louis Arena on 1977-0515 - “St. Stephen”https://archive.org/details/gd1977-05-15.sbd.bertha.31605.sbeok.flac24/gd77-05-15d3t02.flacInternet Archive: Grateful Dead Live at Greek Theater - University of California on 1983-05-15 -“New Minglewood Blues”https://archive.org/details/gd1983-05-15.fob.sonyecm220t.keshavan.miller.fix.94516.sbeok.flac16/gd83-05-15d1t02.flacInternet Archive: Grateful Dead Live at Oxford Plains Speedway on 1988-07-02 - “Jack Straw”https://archive.org/details/gd88-07-02.sbd-matrix.dan.21211.sbeok.shnf/gd88-07-02d1t02.shnInternet Archive: Grateful Dead Live at Manhattan Center on 1971-04-06 - “Oh Boy”https://archive.org/details/gd1971-04-06.sbd.lai.118.sbefail.shnf/gd71-04-06d1t106.shn The Dan LeBatard Show with Stugotz - June 6, 2023https://youtu.be/5iGQVDFcNq8?si=S_YwhMJG5od_sy7Z

"Ruby's Groovy Journey: Cannabis, Music, and the Deadhead Show"Larry Mishkin  shares his excitement about the birth of his granddaughter, Ruby. He discusses how the song "Ruby Waves" by the band Phish may have inspired her name and how the family is already introducing her to great music. Larry also dives into Grateful Dead, sharing details about a 1979 concert from the Spectrum in Philadelphia and highlighting the song "Jack Straw."Larry then talks about recent Grateful Dead releases and encourages listeners to consider subscribing to annual releases for access to exclusive content. He provides insights into the song "Jack Straw," its lyrics, and the band's performance of it throughout the years. The episode also features the Jerry Garcia Band's song "Rubin and Cherise" and its connection to the love story of Ruby..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  INTRO:                  Ruby Waves                                Phish                                July 14, 2019                                Alpine Valley, East Troy, WI                                Phish - 7/14/2019 - Ruby Waves - YouTube                                0:09 – 1:35                 Part of today's show is in honor of my first grandchild, Ruby, born late last month in Georgia.  My son Matt  is a huge Phish fan and his wife Elena enjoys them too if not quite to the same degree.  But they both love this song which may or may not have been the inspiration for their daughter's name.  Regardless, Ruby is wonderful and her father is already playing this clip by her bassinet – she lays there and smiles! Phish first played the song on June 18, 2019 at the Budweiser Stage in Toronto.  Of the 164 Phish shows since that debut, the band has only performed it a total of 27 times (less than 2% of the Phish shows played since its debut), most recently October 11, 2023 at the Erwin Nutter Center on the campus of Wright State University in Dayton, OH.  So not only was seeing this song a rarity, but this version is particularly well known as it is from a legendary show at Alpine Valley a few years ago. This particular version of Ruby Waves runs an incredible 38 minutes and was only one of the many highlights from that show (which featured a huge Olivia's Pool breakout among other big moments).  Check out the clip, check out the show, and when you hear Ruby Waves think of little Ruby making her appearance into the world. DeadAlso featuring the Dead from The Spectrum in Philly 44 years ago today.  A year of big transition, Jim Marty's first Dead show, and some almost under the radar amazing shows, including this one.  An eleven song first set followed up by a four song second set (plus drums and space;  who do these guys think they are, Phish?) and strong encore.  Here is how it all started SHOW #1:                           Alabama Getaway                                                Track No. 1                                                0:10 – 1:35                 This is only the second time the Dead played this song in concert, the first being two nights earlier on Nov. 4th at the Providence Civic Center in Rhode Island.  Song would first be released six months later (4.28.1980) on Dead's album, Go To Heaven.  Ultimately played by the Dead 143 times, with an almost five year gap from 1990 – 1994, Jerry brought it back to the stage for a handful of performances in 1995, including the last one on June 2, 1995 at Shoreline Amphitheatre in Mountain View, CA.                  Great cultural references to Alabama's complicated legacy, Bill Bojangles, the Twenty Third Psalm from the Bible and more. Great up-tempo tune usually played as a show opener, although it was known to move around from time to time.                 Extended this clip to catch the Brent breakout during the jam.  Still new to the group Brent was not shy and made his presence known with authority even in the first year.  SHOW #2:                         Jack Straw                                          Track No. 10                                           3:16 – 4:47                 One of the highlights of this show, fantastic version of this crowd pleaser and great jamming tune.  Brent again jumping into the mix with his backing vocals and his strong keyboard work filling in the gaps.                 Written by Bobby and Robert Hunter, was never released on a studio album but was released on Europe '72 album.                Originally, Bobby sang all the vocals, but at a show in Paris on May 3, 1972, Bobby and Jerry began trading off vocals on different verses and it stayed that way until the end.  The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse. Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.                 Long a staple of live Dead shows, the song was first heard live on October 19, 1971 at Northrop Auditorium in Minneapolis (another legendary show due to it being Keith Godchaux's first show with the band AND the large number of breakout tunes including Tennessee Jed, Mexicali Blues, Comes  A Time, One More Saturday Night, and Ramble On Rose – continuation and new wrinkles to their Americana style that began a year earlier with the releases of American Beauty and Workingman's Dead and now reflected Keith's newly introduced input from the grand piano).                 Ultimately played by the Dead a total of 476 times putting it very high up on the list of most played Dead tunes.                Last played on July 8, 1995 at Soldier Field in Chicago.  Time for more Ruby SHOW #3:                        Ruben and Cerise                                         Grateful Dead                                         March 17, 1991                                         Cap Center, Landover, MD                                         Grateful Dead Live at Capitol Centre on 1991-03-17 : Free Borrow & Streaming : Internet Archive                                         2:05 – 2:29               Sweet Ruby dressed in Red is one of the main characters in this Garcia/Hunter song that was first released in April as the opening tune on the JBG's only studio album, Cats Under The Stars (Run For The Roses is considered a “studio album”). Although played with some frequency by the Jerry Garcia Band (76 times), the Grateful Dead only played it four times in concert, this clip being their breakout.  Last played on June 19, 1991 at Buckeye Lake Music Theater in Thornville, OH.  A classic tale of love found and lost set in the Carnival season in New Orleans.  Beautiful lyrics for a sad and cautionary tale.  Sorry to say I never saw it live by the Dead or JGB.  I have seen it since by Phil, JRAD and others. Nice but not close to the same.  Back to the Dead SHOW #4:                        Terrapin Station                                         Track No. 12                                         8:00 – 9:31               Beautiful Hunter/Garcia epic mulit-part suite with Hunter composing the lyrics during a single sitting one night during a rare Bay Area lightning storm.On the same day, driving across the Richmond–San Rafael Bridge, lead guitarist Jerry Garcia was struck by the idea for a singular melodic line. He turned his car around and hurried home to set it down in notation before it escaped him. Hunter said "When we met the next day, I showed him the words and he said, 'I've got the music.' They dovetailed perfectly and Terrapin edged into this dimension."[10] Hunter based the lyrics for the "Lady with a Fan" section on a traditional English folk song known variously as "The Lady of Carlisle", "The Bold Lieutenant" and "The Lion's Den". The ballad is No. 396 on the Roud Folk Song Index. It is also O 25 on the Laws list, which synopsizes "The lady decides to choose between two brothers who love her by determining which is braver. She tosses her fan into a lion's den and asks them to retrieve it."[11] Hunter, who was also influenced by Sir Walter Scott, had composed "Terrapin Station" in two parts, the second never recorded or performed by the Grateful Dead.Drummer Bill Kreutzmann ironed out the arrangement, explaining "We sat down and mapped it out. I said, 'This is how the song goes.' I showed [Mickey] all the parts that I felt worked really well, he added a couple, and that's what the song is today. We went back into the studio the next night and got it right. With the drum parts worked out, everything else snapped together like puzzle pieces.            As the opener of a four song second set, this is a strong version, jammed out, but not too much is a show highlight.  Barely two years old (Terrapin Station album released on July 27, 1977, first performed a few months earlier on Feb. 26, 1977 at the Swing Auditorium in San Bernardino, CA) at this point, you can still hear Garcia playing around with the timing of the lyrics. Ultimately played in concert by the Dead 303 times with the last rendition on July 8, 1995 in Chicago.         An song for fans of fun tales of all ages, I suspect young Ruby will become quite familiar with this tune over time!  OUTRO:                      Goodbye Ruby Tuesday                                    Rolling Stones                                    Live – 1991                                    The Rolling Stones - Ruby Tuesday (Live) - Official 1991 - YouTube                                         1:52 – 3:12

A massive second set of classic Grateful Dead for your listening pleasure this week on the Deadpod. We present the second set from September 9, 1972 at the Hollywood Palladium.  There is a whole lot of beautiful music here, starting with a fine China>Rider with a great transition. The 'Friend of the Devil' is nicely done, and its nice to hear the faster original tempo. I also welcome hearing the fine contribution here and thorughout from Keith whose keyboards meld so well. The first of many melting moments happens in the fine 'He's Gone' into 'Truckin' transition. while there is a cut here this is an wonderful version. What is completely off the hook though is 'The Other One'. This is about a 34 minute excursion into the far reaches of space, with Lesh and Garcia leading the way to previously unknown plateaus.  I think you'll love this.. and it goes into a very sweet 'Stella Blue'.  Be sure and check out the announcements after the 'Stars and Stripes Forever' for a good laugh...      Grateful Dead Hollywood Palladium Hollywood, CA 9/9/1972 - Saturday      Two     China Cat Sunflower [7:57] > I Know You Rider [5:23] Friend Of The Devil [3:58] Jack Straw [4:41] He's Gone [11:18] > Truckin' [14:#17] > Drums [2:#43] > The Other One [35:06] Stella Blue [6:28#] El Paso [4:40] Casey Jones [6:40] Sugar Magnolia [8:09] Encore     One More Saturday Night Stars and Strips Forever  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod091523.mp3  my thanks for listening and your kind support. 

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

We're stepping it up this week.. yes! believe it or not, this week's Deadpod is probably even hotter than last week's show from 1973! This one comes from May 25, 1974 at Santa Barbra California. A beautiful afternoon show that must have seemed to go on forever...  The first set starts with a U.S. Blues.. a great way to start a show and start this 13 song first set! The entire set is smoking hot, and it has a pedigree - as it comes from Dick Latvala's cassette, so the sound is great.  Some of the highlights include a wonderful 'Jack Straw', a stand alone 'Scarlet', Weir 'takes a bottle, cracks him in the jaw' on 'Me & My Uncle', but the true highlight of the set and probably the show is the mind-bending 'China Cat>I Know Your Rider' , in particular the great jamming in the transition - not to be missed. Billy K is on it..      Grateful Dead Campus Stadium - University Of California Santa Barbara, CA 5/25/1974 - Saturday     One     U.S. Blues [5:30] Mexicali Blues [3:22] Deal [4:14] Jack Straw [4:43] Scarlet Begonias [4:34] Beat It On Down The Line [3:02] Brown Eyed Women [4:29] Me And My Uncle [2:45] Sugaree [6:34] El Paso [4:03] China Cat Sunflower [8:20] > I Know You Rider [4:19] Around And Around [4:36]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod051923.mp3  Thank you for your kind support - I couldn't publish the Deadpod without your help! 

Happy Cinco de Mayo! As we roll into the first weekend in May, I wanted to bring out the customary tribute to the Kentucky Derby with a fine 'The Race Is On'. This show does that as well as pays homage to the new, fat,  'Here Comes Sunshine' release from Grateful Dead Productions (Here Comes Sunshine from Dead.net). This show does both, although it takes place in early spring of 1973, rather than in May.  This is a huge show - the first set alone has 17 songs that take over one hour and forty minutes of  prime Dead. There are too many highlights to mention. As most of you know I love the sound of the band during this period. I invite you to pay attention to Bill's work here - it really sparkles!   Of course there is 'The Race Is On', and a nice 'Here Comes Sunshine'. But I enjoy Donna on 'You Ain't Woman Enough', and just when you think that they must need a break after a fine 'China>Rider' they roll into a 15 minute 'Playin' In The Band' to close the set..    Grateful Dead Utica Memorial Auditorium Utica, NY 3/21/1973 - Wednesday One     [1:39:37] Bertha [5:32] Me And My Uncle [2:57] Wave That Flag [5:30] Looks Like Rain [7:35] Tennessee Jed [7:34] Box Of Rain [4:46] You Ain't Woman Enough [2:59] Jack Straw [4:37] Row Jimmy [7:38] Beat It On Down The Line [2:58] Here Comes Sunshine [8:05] The Race Is On [2:44] Loser [6:33] El Paso [4:09] China Cat Sunflower [7:18] > I Know You Rider [4:31] Playing In The Band [15:11] You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod050523.mp3  We'll enjoy set 2 next week...  " "Well hop in the hack turn on the key Pop in the clutch let the wheels roll free Come on honey, let me sing them away Come on honey, let me sing them away Oh, honey, let me sing your blues away"  

This week's Deadpod features another fabulous show from 1973. This week's show comes shortly after the death of Ron 'Pigpen' McKernan on the 8th of February 1973, and is the 2nd night of a three night run at the Nassau Coliseum in Uniondale NY, on March 16, 1973.  Folks this is a massive 14 song first set, and the come out of the gate flying with a high energy 'China>Rider', complete with a great, perhaps the first, 'feelin' groovy' jam in the transition. The new 'Wave That Flag' follows with some nice keyboard work from Keith. A fine version of 'Looks Like Rain' follows, introduced with a nice intro from Phil. There are highlights throughout the rest of this set, including an early version of 'They Love Each Other' but the closing 'Playin' In the Band' is sure to bring some smiles....      Grateful Dead Nassau Veterans Memorial Coliseum Uniondale, NY 3/16/1973 - Friday One China Cat Sunflower [6:09] > Jam [1:51] > I Know You Rider [4:33] Jack Straw [4:32] Wave That Flag [5:35] Looks Like Rain [7:01] Ramble On Rose [6:23] Box Of Rain [4:43] Beat It On Down The Line [3:17] They Love Each Other [5:28] El Paso [4:34] Row Jimmy [7:58] Mexicali Blues [3:23] Bird Song Playing In The Band  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod030323.mp3  Keep on rollin' just a mile to go...