Podcasts about kezar stadium

In Part 2, we pick up where we left off in Part 1. The siblings use which school they were going to estimate the date of the family's move to Valencia Street to live above Puerto Alegre. Just one example: When Amparo was set to attend Mission High, they moved the school to Poly out near Kezar Stadium while Mission was retrofitted.   Then we turn to noteworthy things that have happened at Puerto Alegre in the 50-plus years that it's been open. Amparo shares how their dad, Ildefonso Vigil, brought pinball machines and a pool table into the restaurant. At one point, because Willy, Lorenzo, and one of their cousins got into fish, a 55-gallon tank went up in the front window. Their dad was also known to rescue dying plants he found around the neighborhood.   Amparo got married when she was 16 and had a kid the next year. By 19, she had divorced and moved back in with her family. She got a day job at an insurance company, which gave her access to a typewriter. With that, she was able to create the first typed menu for the restaurant. Prior to that, the menu had been written by hand.   The brothers being boys and all, they started to get into cars. They built cars and did some (probably illegal) racing. Other siblings would go watch, but at least one always stayed behind to help out at the restaurant.   Over the years, the menu evolved. The neighborhood was changing. The clientele in the restaurant needed to pivot. Their parents introduced fried chicken and milkshakes at one point, a carryover from the Mexico Lindo days.   Their mom, Maria Refugio Vigil, also made fresh flour tortillas. Willy and Lorenzo were big, big fans of those. They'd grab them as soon as they were ready, slap some refried beans on them, roll 'em up, and eat away.   At this point, Amparo tells the story of El Faro taqueria. Going back to the Mexico Lindo days, El Faro was just down the block. Kitty-corner to that was a place called Johnny's. The owner of El Faro would ask the siblings, "What'd ya get over there?" Johnny's eventually made poboy sandwiches, and the Vigils ate those up, literally. Those poboys inspired the owner of El Faro to create burritos. This story is, quite possibly, the burrito origin story.   Getting back to the topic of other immigrants from Ayutla in San Francisco, Amparo tells us about a club in the Mission where folks from that small town in Mexico would get together. The wife of the owner of La Rondalla (RIP) was from Ayutla. The owners of Don Ramon's and Taqueria La Cumbre were from there, as well.   Back to Puerto over the years, Amparo talks about how their dad always wanted a liquor license. He'd served beer and wine since they opened, but he wanted to expand. The owner of Vic's next-door (where Blondie's is today) was retiring and selling his license, and Ildefonso bought it. That changed everything.   Willy tells us about the learning curve to running a bar. This was around 1982 or so. Their liquor sales rep helped teach them how to set up a bar. Most importantly—he taught them how to make margaritas. Willy says he brought friends in to help "test" his new concoctions. It didn't take him long to get it down ... with ample feedback, of course.   One casualty of the liquor license, unfortunately, was the fishtank. Next was the pool table. A familiar site around The City today, but rarer back then, they started to experience folks lining up for a table or a seat at the bar.   We spend some time talking about a specific host from Puerto's past—Tirso, who has been beloved by me and my friends for decades now. We all talk about how much we love Debbie Horn (former server at Puerto, current co-owner of Royal Cuckoo Organ Lounge).   Amparo tells us about the art on the walls inside Puerto Alegre. It's not just for decoration. Rather, the restaurant serves as a community art gallery. What began as mostly neon beer company signs adorning the space turned into regular art shows and events that add to the magic that is Puerto Alegre.   Over the years, Amparo started collecting posters and art of various aspects of Mexican history. Figures like Zapata and Pancho Villa went up as framed posters. That turned into Carnaval-related art. A friend who was a regular patron of the place and a photographer himself helped with that. This was roughly 20 years ago.   When Carnaval season was over that first year, they wanted a new show. Another regular customer and artist, Bird Levy, suggested a show to honor Frida Kahlo on her birthday in July. That has become an annual show every July.   The Vigils connected with Mission artist Calixto Robles to do a show at Puerto Alegre. They've done shows with Calixto's wife, Alejandra, as well. They've done art shows on women during March (Women's History Month). There've been shows on resistance, climate, and Day of the Dead. And just as a true gallery would, they throw art-opening parties.   Willy shares what the restaurant has meant to him and his life. He met his wife there. She worked for a time at Puerto Alegre. They have three kids together. Lorenzo and Pattye follow their brother, talking about the role that the restaurant fulfills in their lives.   Pattye shares the story of how their dad, after Puerto was established, bought a second building in the Mission—Puerto Alegre II on 25th Street. Idelfonso moved over to run that place while Maria and all the siblings stayed at the Valencia Street location.   Amparo again stresses the importance of work, and how from a young age, their parents instilled strong work ethics in them all. Of all his siblings and cousins, Ildefonso was the only one to stay in the restaurant business all the way to the end.

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

In a very special bonus episode of Help on the Way, Knob is joined by legendary audio engineer Betty Cantor-Jackson. The two discuss Betty's storied history working for the Grateful Dead and Jerry Garcia Band. Along the way, they talk about Grateful Dead Cover Bands, the making of Europe '72, and a little bit about 5/26/73 at Kezar Stadium.

Hey, Lit Listeners, prepare for an epic journey into the heart of rock history with a living legend behind the lens—Neal Preston. In this exclusive Rock is Lit episode, we step into Neal's unparalleled career spanning five decades. We talk about his background in NY and how he developed a love of music and photography, his unique style and philosophy as a photojournalist, his experiences working with Led Zeppelin in the hedonistic 1970s, his 50-year friendship with Cameron Crowe, and the stories-behind-the-story of ‘Almost Famous'. Also, get ready for a deep dive into Neal's iconic photograph of Jimmy Page at Kezar Stadium in 1973, which plays a major role in my rock novel, ‘Searching for Jimmy Page'. And, of course, Neal shares captivating tales from his 2017 book, ‘Exhilarated and Exhausted'. *You can also view this episode on YouTube: https://www.youtube.com/watch?v=HvNwNXH8jTE ALL MUSIC IN THE EPISODE IS ROYALTY-FREE FROM YOUTUBE LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Neal Preston's website: https://www.prestonpictures.com/ Neal Preston on Instagram: @nealprestonphoto Neal Preston on Facebook: @NealPrestonPhotography Neal's digital Led Zeppelin book, ‘Led Zeppelin: Sound and Fury' on Apple iBookstore: https://books.apple.com/us/book/led-zeppelin-sound-and-fury/id624738803 Danny Goldberg on Season 1 Episode 7 of Rock is Lit: https://www.christyalexanderhallberg.com/rockislitpodcast/christyalexanderhallberg/margaretbauer/randallmartoccia/lizawieland/dannygoldberg Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey, Lit Listeners, prepare for an epic journey into the heart of rock history with a living legend behind the lens—Neal Preston. In this exclusive Rock is Lit episode, we step into Neal's unparalleled career spanning five decades. We talk about his background in NY and how he developed a love of music and photography, his unique style and philosophy as a photojournalist, his experiences working with Led Zeppelin in the hedonistic 1970s, his 50-year friendship with Cameron Crowe, and the stories-behind-the-story of ‘Almost Famous'. Also, get ready for a deep dive into Neal's iconic photograph of Jimmy Page at Kezar Stadium in 1973, which plays a major role in my rock novel, ‘Searching for Jimmy Page'. And, of course, Neal shares captivating tales from his 2017 book, ‘Exhilarated and Exhausted'. *You can also view this episode on YouTube: https://www.youtube.com/watch?v=HvNwNXH8jTE ALL MUSIC IN THE EPISODE IS ROYALTY-FREE FROM YOUTUBE  LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Neal Preston's website: https://www.prestonpictures.com/ Neal Preston on Instagram: @nealprestonphoto Neal Preston on Facebook: @NealPrestonPhotography Neal's digital Led Zeppelin book, ‘Led Zeppelin: Sound and Fury' on Apple iBookstore: https://books.apple.com/us/book/led-zeppelin-sound-and-fury/id624738803 Danny Goldberg on Season 1 Episode 7 of Rock is Lit: https://www.christyalexanderhallberg.com/rockislitpodcast/christyalexanderhallberg/margaretbauer/randallmartoccia/lizawieland/dannygoldberg Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the WCAL Season Opener for the Serra Padres tonight against the Sacred Heart Cathedral Irish. Today's Game Day Podcast analyzes the Padres' league competition and discusses football culture and how it is more than just a team sport. Catch the game tonight at 7p.m. at Kezar Stadium in San Francisco. Go Padres!

There's serious mission drift in this episode. Kezar Stadium. The completion of my raw run of 1950s 49ers cards. A 1952 Bowman Large Pat O'Donague SP. Along the way, I share what I learned about myself as a collector and why vintage football cards are a fun collectible but won't be skyrocketing in value. Not now. Not ever.

The Deadcast visits one of the Dead's most legendary hometown shows with the band, crew, & Bay Area Dead freaks, featuring 3 sets in the Golden Gate Park sunshine, technological innovations, & an important paper by the Haight Street Free Medical Clinic.Guests: Donna Jean Godchaux-MacKay, Dave Smith, Bob Barsotti, Ron Wickersham, Jerry Pompili, Steve Brown, Sally Mann Romano, Mike Dolgushkin, David Gans, Strider Brown, Bob Student, Mike Crater, David Lemieux, Nicholas MeriwetherSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

With the weather improving after a frigid winter, Total SF hosts Peter Hartlaub and Heather Knight pick eight fun things to do this spring. Outdoorsy adventures include a super bloom flower tour, walk from Oracle Park to North Beach, SF City FC soccer game at Kezar Stadium and fun on the Treasure Island ferry. Also in this episode, an important announcement about Heather's Bay Area Hip-Hop Mixtape. Produced by Peter Hartlaub. Music from the Sunset Shipwrecks off their album "Community," Castro Theatre organist David Hegarty and cable car bell-ringing by 8-time champion Byron Cobb. Follow Total SF adventures at www.sfchronicle.com/totalsf  Learn more about your ad choices. Visit megaphone.fm/adchoices

Our recording software stopped working again. APRIL FOOLS! We recorded a new episode of BAY AREA WEEKEND! Hosted weekly by Oakland's REID SHERMAN and San Francisco's DAVID GUINEA. Last weekend we went to an amateur MMA fight at Kezar Stadium in San Francisco. Amateur MMA is absolutely insane, you're going to love this one. Rear naked choke, ground and pound, and flying knee your way into this episode of BAY AREA WEEKEND!

We celebrate the 50th anniversary of the SNACK concert at Kezar Stadium. SNACK, or Students Need Athletics, Culture and Kicks was conceived by rock music impresario, Bill Graham, to raise money for San Francisco school sports and arts programs. The event featured a who's who of the SF music scene and celebrity speakers. For concert photos visit: https://bit.ly/OpenSFHistorySNACK

This week we discuss short-careered running backs, a kicker from Wales, the end of Kezar, Wayne Walker's chasedown, a man  named Gayle, and the Statue of Liberty play. Quote of the week: "I must have missed this game, either doing my homework, or listening to Bobby Sherman records." 

Join us for our tenth Serra Pregame Podcast where we discuss tomorrow night's match up against Sacred Heart Cathedral at San Francisco's famed Kezar Stadium. We also prep our fans for November 6, our senior day and Polynesian Day, where our community comes together as one to watch one of the most anticipated games in Northern California against the St. Francis Lancers. Go Padres!

In this episode, we talk about Dickie Post, cold temps in late September, and what we think of refs.This week's quote: "Who is Karl Kremser?"

We listen to the legendary June 2, 1973 gig at Kezar Stadium, San Francisco. The vibes are real. We hear Heartbreaker, WLL, Communication Breakdown, & The Ocean from this awesome show.

In 1996 Tawni Gomes weighed 295 pounds and was working for a Fortune 500 company climbing the corporate ladder, working her way up to the top. But, she was severely depressed, on antidepressants, and wasn't working out. But, then she was inspired by the Oprah Show. One day she was watching it and they were launching Bob Greene's book, Make the Connection. (Bob Greene is Oprah's trainer). So she bought the book and a treadmill. She was living in a tiny apartment in San Francisco at the time and barely fit. But, she would come home from work and watch Oprah. And at first she would walk on the treadmill during the first commercial of the show and get tired and sit down. Then she'd walk the second commercial, and so on. After a while she could walk during the whole show! Then she started walking outside but got hit by a car. That was December of 1996, and she was in a wheelchair. Tawni spent the next six months in rehab and physical therapy. When she was able to walk again I set the goal of doing a 5K. Tawni signed up for one that was part of the San Francisco Marathon. It finished at Kezar Stadium, where the 49ers used to play. It was a powerful moment. Tawni didn't know how long a marathon was and actually thought she had done the marathon! That's how little she knew about running. So, then Tawni thought that if I did 3 miles with a little training, I should be able to do 26 miles! Too bad you can't walk a marathon, Tawni said to herself And right then, a lady passed by with a flier saying, "Learn how to walk or run a marathon. The flier was for Team in Training. So Tawni, signed up, and in December of 1997 she walked her first marathon in Honolulu! Since then, Tawni has run over 100 marathons!

For a few blissful moments shortly after midnight on June 5, 1968, young campaign staffer Michael Zagaris believed Bobby Kennedy would become President. The Senator had just won the California primary, but moments after his victory speech at the Ambassador Hotel in Los Angeles, he was assassinated--as Zagaris and others looked on in horror. In Part 1 of our wide-ranging look at his legendary career, Zagaris recounts RFK’s shooting and the impact it had on his psyche and aspirations. Ultimately, advice from guitar god Eric Clapton--after the two had shared several bowls of hashish in a Sausalito hotel room--would compel Zagaris to become a photographer, one who would make a massive impact in the rock n’ roll and sports worlds. We learn about his Baptism By Vomit (courtesy of drunken Doors frontman Jim Morrison) and much, much more.

Episodes appear on Patreon 4 days early.Episode 13 is here. I don't think there is any swearing in this one.Recorded live whilst working on a Fine Line Stadium drawing of Kezar Stadium, home to San Francisco City FC.This week we discuss:Venus Fly TrapsGlasgow Garden FestivalEdinburgh Butterfly FarmThe Bog of Eternal Stench(Not) meeting ChewbaccaAs mentioned in the podcast these aren't really about football, they aren't really about anything. They are more of personal outlet where I can talk to people. Admittedly, It's a bit of a one way conversation but at least it's 50% of a conversation and from my point of view that is better than nothing. And definitely better than me just talking to myself in the kitchen. I love working from home and being my own boss but lockdown has really highlighted how little I talk during the week.If you have a spare £1 and you'd like to be entered into a monthly draw to win a page from one of my Football Stadium Prints sketchbooks (and help support the site) you would be doing me a massive favour if you signed up to my Patreon Page. Hosted on Acast. See acast.com/privacy for more information.

Joining me in the Huddle this week is Michele Tafoya. Since 2011, she has been a reporter for NBC Sports, primarily as a sideline reporter for NBC Sunday Night Football. We find out that her love for sports came from the passion her dad had for sports, a die-hard San Francisco 49ers fan. Her father Orlando Tafoya grew up in San Francisco and attended many games at Kezar Stadium. Michele describes her parents as compassionate and inspiring role models; she gives them much credit for her success.  By the time Michele was 27, she had earned her Bachelors in Mass Communications from the University of California, Berkeley, and a Masters Degree in Business Administration from the University of Southern California. During her time at graduate school, she really thought about exactly what it was she wanted to do. What she knew was, she loves sports and she loves journalism. She thought if she could marry the two together she would never work a day in her life. There was no shortage of inspiration for her dreams. She admired the works of Lesley Visser and Robin Roberts and felt confident that she could do what they do. She landed her first gig in her professional broadcasting career; she moved to Minneapolis, Minnesota, and started covering games not only for the NFL Vikings but the University of Minnesota women’s basketball team as well. From there she accepted an offer in Charlotte, North Carolina. She was a color analyst for the men’s basketball team for the University of North Carolina; in 1993 she was the first woman to hold that position. As Michele became more recognized she also became more sought after. From 1994 to 1999 she co-hosted "CBS Sports Spectacular". In 1996 she positioned herself as the first woman to call television play-by-play of an NCAA Tournament game. Michele quite frequently works several jobs at a time. She is of course humbly proud of her accomplishments, but she credits hard work and dedication for her success. In the new millennium, Michele spent the next decade with ABC and ESPN, in 2004 she was allowed to report side by side with Al Michaels and John Madden for ABC’s Monday Night Football. By 2011 Michele had earned so much respect she was offered a position of sideline reporter for the most-watched weekly game. She was back with Al Michaels for NBC’s Sunday Night Football. With her outstanding sports personality, she won two Emmys; one in her first year with Sunday Night Football and the second in 2013. And in 2014 Michele won her second Gracie Award for her work on Lifetime again, but with the Sunday Night Football syndicate.

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"Rock Medicine" Bill had this amazing ability to pick people. As long as I knew him he always chose people for specific things they were able to do. He would always say, "don't ever think we're in show business. We're not in show business, we're in the business of public assembly. We put asses into seats, and we do it better than anybody." I was really good at dealing with people, especially crowds. I also had this ability to anticipate problems before they arose. I had a good "shit hit the fan"' mentality too. We were doing a whole bunch of shows in the 70's at Winterland which held a little over 5,000 people. We always had problems at the shows with drugs and alcohol. It was a finite number of problems and depended on the kind of show you had. The heavier the show the more problems you tended to have. Every once and awhile we would do a show at The Cow Palace. The Cow Palace was three times the size of Winterland, but the funny think I noticed almost from the start, was that we didn't have three times the number of problems. We had nine times the number of problems. It became a geometric progression with medical type problems. Bill booked this show at Kezar Stadium with Led Zeppelin in 1973. This capacity was 50,000. I'm running the numbers in my head and I'm thinking, "oh shit, this could be a really big problem." I went into Bill's office. Usually when I went into Bill with an idea the first thing he would say is "how much will it cost," unless it involved the safety of the audience. I went into him and gave him all these numbers and said, "what can we do?" He picked up the phone and called Dave Smith at The Haight Ashbury Medical Clinic and says, "I'm going to send my guy over to you to explain what we need." He never asked me how much it would cost. David Smith asked two of his doctors, Skip Gay and Darryl Inaba, and they put together the whole "rock medicine thing." Setting up places to handle medical type problems that arise at shows, people freaking out, nodding out, or overdosing or drunk and throwing up. Prior to rock medicine, when there was a situation, it was either call an ambulance or call the cops. If it was just someone freaking out, take three or four of the staff and just sit on him. I'm just the guy who came up with the idea, that's the anticipation thing." --- Support this podcast: https://anchor.fm/jake-feinberg/support

It's three yards and a cloud of pixie dust with LOVE ON THE SIDELINES (2016) and: Dr. Moreau wasn't wrong about the climate ... THEME ... The lines are open ... Hunter St. James ... Football or graftass ... One of the good ones! ... Joe Theismann picks interesting Hallmark movies ... Snowcoming nostalgia ... The Cremation of the Care ... Any Given Regretful Sunday ... Al Pacino reverie ... Hallmark Sports Channel ... JD and the Straight Shot ... The Expositional Challenge ... Plot cleanup: Ava and the backup; poor and hungry; incompetent Mustang owner; scant Theismann ... BREAK ... Spot the Angel: Patty, Supernatural Roommate ... The manifesto that proves the rule ... On to Cleveland ... Jeb's 19th century lawncare machines ... Eat Your Heart Out: Totino's Pizza Rolls promo; into you, Moby; Emily Kinney, spritely and elfin; a B-Dubs STACK of bread; Krishna dinner; 5 slices, 4 sliders and piles of Fritos; ecstasy of starch; clearly BBQ wings; We. Stan. Buffalo; the wattle must grow; scything a Showtime guy; pot of homemade chili; elegy for the Lost Kangaroo; bar hot dogs for dinner; "that's all casing"; the NFL diet of guacamole and cookies ... BREAK ... The Hallmark Expanded Universe: Crossover sports universe of the San Francisco Miners and Bookstore Boss Goes Bonkers; San Francisco, less beautiful than St. Petersburg; Full House; Kelly Rutherford and McKenzie Vega stuck in traffic returning to McBanjo; Kezar Stadium ... Overdetermined: The Danny/Ron/Ava Dumb Misunderstanding vs. Football-Metaphor Roasts and Joe Theismann's Eponymous Line ... Jared Lorenzen shout-out ... BREAK ... Crossover: A celebration of Any Given Sunday; Pacino in the Hallmark universe; The staggering aftermath of Last Boy Scouting it ... Billy Blanks, thanks for joining the Patreon; get my ass swole ... The Hallmark Bechdel Test: No, ass-backwards gender politics, but it still works? ... Jeb's Mom, Oakland Raiders season ticket holder ... An infinite number of peaceably coexisting dirtbag communities: The America we want to live in ... Partner Chat: Danny is a pud; otherwise enjoyable; Conviction-era Emily Kinney fan ... Rating: 3.5; perfect execution of Hallmark middle-tier ... BREAK ... The Leftovers: Danny Holland career comps: better than Tom Brady's first 7 seasons ... Arena-league player scale ... You named your dog after Newt Gingrich ... Fantastic Dane ... Theismann's method approach to lower-body injury ... Theismann to DeLuise: Touchdown! ... "Hey, you DO know something about football" ... Background football 24/7 ... (Brief) Hayley Sales Appreciation Station ... 16 episodes of Crown Bench ... Kevin Tighe Emergency! ... Ron Silver tendrils ... Idiot Elliot's patriarchal privilege ... Ocean's 12 with a 30lb. bag of dog food ... Terry Ingram and Harold and Kumar Go to White Castle ... Mike Kafka Appreciation Station ... Losing a roommate, gaining dental care ... MVP: Emily Kinney ... Dave's lustrous coat ... Merry Christmas ... • MUSIC: "Fuck You If You Don't Like Christmas," from Crudbump, by Drew Fairweather • "Not As Much As Football," by Mojo Nixon • "All Kinds of Time," by Fountains of Wayne • "Thé à la Menthe (Instrumental)," by La Caution • All other music by Chris Collingwood of Look Park and Fountains of Wayne, except: "Orchestral Sports Theme" by Chris Collingwood and Rick Murnane and "Orchestral Sports Theme (Lighter)," by Chris Collingwood and Rick Murnane

Don't listen to podcast episode #1! This is a better look at Kezar Stadium in Golden Gate Park.

As the L.A. Rams come down the home stretch in their return season to SoCal, we look at attendance numbers with Turf Show Times' Joe McAtee. Joe also talks about the on-going feud between Eric Dickerson and coach Jeff Fisher and what it means for the team going forward. Later- prior to their move to Candlestick Park, the 49ers home was Kezar Stadium. Niners historian Martin Jacobs grew up just a block from Kezar and recounts selling programs at the venue and watching the likes of Hugh McElhenny and Y.A. Tittle. And- the science of home field advantage with University of Rochester professor Jeremy Jamieson.

Brian compares Kezar Stadium practice notes with Chris Biderman of NinersWire and USA Today. Can the 49ers offense find some fight against the Texans in preseason opener Sunday?

As we turn the corner this weekend into the unofficial start of summer, we have a smokin' hot set of Dead music to serve as the soundtrack. This is set 3 of the band's performance on May 26th, 1973 at Kezar Stadium in San Francisco. The boys open with a straight ahead rockin' version of 'Mississippi Half Step'.. some beautiful Garcia licks there in the closing.. then 'Me & My Uncle', then we get into the heart of the matter.. a nice, stretched out 'He's Gone'.. including some great Phil bass and baritone vocals.. then we go into a wonderful stretch of music, one of the best of a very good year as the band dissolves He's Gone into Truckin'.. then we go into a great Other One intro and jam, then a beautiful Eyes of the World->China Doll.. what a day! Keith is on the money here and Billy is as always, outstanding.  As I sit back and enjoy this I marvel at the band's energy here after already having played two smoking' sets. Is it one of the best of that very good year? prehaps.. but it is not worth the argument, it is a pleasure to behold..    Kezar Stadium, San Francisco, CA (5/26/73)   set 3 Mississippi Half-Step Me and My Uncle He's Gone Truckin' The Other One Eyes of the World China Doll Sugar Magnolia Casey Jones   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod052215.mp3     Have a safe and fun-filled Memorial Day weekend.. take a moment to reflect on the men and women who lost their lives in service to the country.. and work for peace..   thanks for your support.  

This week's Deadpod featu res a great set of music, from the second of three sets that took place back on May 26th, 1973 at the old Kezar Stadium in San Francisco CA. As I understand it this was an  unusually warm and sunny day in San Francisco and the band's performance matched the weather. The Here Comes Sunshine that opens this second set is in my opinion, one of the better ones the band every played. El Paso follows, then a Loser that is notable for the wonderful interplay between Jerry and Bob.. Beat It on Down the Line is always a crowd pleaser, then Donna Jean sings 'You Ain't Woman Enough....'.. I always get a kick out of that.. Phil follows with a nice Box of Rain, then the highlight of this set, the China->Rider. Not to denigrate either song, but catch the really kewl transition between these two.. its unique and not the ordinary way the band blends these two together..  You'd think that would be enough, but not on this day.. the boys follow with Big River, and excellent Bertha and an Around and Around to keep the crowd dancin'.. then they'll be back for set THREE next week here on the Deadpod..    Kezar Stadium, San Francisco, CA (5/26/73)   set 2 Here Comes Sunshine El Paso Loser Beat it on Down the Line You Ain't Woman Enough Box of Rain China Cat Sunflower I Know You Rider Big River Bertha Around and Around   you can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod051515.mp3   THANK YOU - to those of you who have kindly supported the Deadpod..   I very much appreciate it!  

This week's Deadpod comes as a result of a request from a longtime supporter of the 'pod.. an excellent choice from 1973.. this is quite a famous show and there have been great tapes around but I'm quite certain you'll enjoy it, and don't believe I've ever featured it on the Deadpod .. This is from Kezar Stadium in San Francisco CA back on May 26th, 1973. The gig featured both Waylon Jennings and the New Riders of the Purple Sage as opening acts and from all reports they both put on fine sets so the crowd was well warmed up by the time the Dead took the stage around 2 in the afternoon. We will hear the first set this week which consists for the most part, of well played classic first set Dead tunes. While most of the surprises and jamming will come in what follows, I think you'll enjoy this fine recording.. I know I find myself dreaming of sitting out in the sunshine when I heard the opening notes of 'Jack Straw'.. I hope you'll forgive me for consecutive weeks that include 'The Race Is On' but it's always fun to hear... They Love Each Other is one of the bounciest versions ever! It's hard not to imagine Garcia smiling on this one.. The Playin' in the Band that closes the set is tight and jazzy and gives a hint as to the what is to come..   Kezar Stadium, San Francisco, CA (5/26/73)   set 1 Promised Land Deal Jack Straw Tennessee Jed The Race Is On Sugaree Mexicali Blues Row Jimmy Looks Like Rain They Love Each Other Playing in the Band         You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod050815.mp3       As always my thanks to those of you who have been able to contribute to support the Deadpod..  I am fortunate to have such great listeners..........  

(Listen to Episode #224 instead!) Woody and David discuss the old Kezar Stadium in Golden Gate Park