Podcasts about port chester

Food truck brings the farm to Philipstown Ruby Koch-Fienberg has always loved farming and food systems - an interest that led her in 2022 to earn a master's degree in food studies from New York University. "I wanted to work with farms, helping them connect more with food pantries," said Koch-Fienberg. "When this job appeared on my radar, it was the perfect fit." The job is serving as ag and food systems coordinator with Cornell Cooperative Extension (CCE) for Putnam County, which is based in Carmel. Koch-Fienberg coordinates the extension's Farm to Truck Program, which provides free produce to Putnam County residents facing food insecurity. CCE contracts with Meals on Main Street, a nonprofit in Port Chester, to deliver food each week. Farm to Truck also drops food at pantries. On Wednesday (April 16), the Meals on Main Street mobile pantry spent 45 minutes parked at the Chestnut Ridge retirement community and the Philipstown Friendship Center for seniors. It served 85 people at the two stops, said Irma Arango, who has worked for Meals on Main Street for 15 years. Another 25 people had picked up food at the Brookside Senior Citizen Coop in Philipstown earlier in the day. The truck also makes weekly stops in Putnam Valley, Putnam Lake, Patterson, Carmel, Kent and Mahopac. "I like engaging with the people," Arango said. "I see their need and I see the smiles on their faces when they see the truck." She said clients sometimes leave thank-you notes. "People are so grateful." A Philipstown woman who picked up food at Chestnut Ridge said she relied on the weekly deliveries. "It's good for so many things, especially fresh vegetables," she said. The mobile pantry that day had milk, onions, potatoes, beets, carrots, kale, radishes, apples, baked goods and frozen salmon. The selection will grow as the season progresses. CCE launched Farm to Truck in May 2024 with a $2 million grant from the U.S. Department of Agriculture. It is operated in partnership with New York Food for New York Families, a division of the state Department of Agriculture and Markets. The program supports regional agriculture by purchasing produce from about 20 farms in Putnam (including Longhaul and Glynwood in Philipstown), Dutchess, Columbia, Orange and Westchester counties. Mobile Pantry Schedule Monday: Putnam Valley 9:45 a.m. Library 11 a.m. Senior Center Wednesday: Philipstown 9 a.m. Brookside 10 a.m. Chestnut Ridge 11:30 a.m. Senior Center "We've spent more than $700,000 [on locally grown products] and expect to spend $1.3 million by the end of August," said Koch-Fienberg. She said Putnam residents made more than 3,000 trips to the food truck in March, which included many repeat customers. Nearly 300,000 pounds of produce, meat, eggs and dairy products have been distributed since the program began a year ago. Koch-Fienberg said it can be hard for people to ask for help, especially in communities considered wealthy. "Pockets of every community experience need," she said. "We absolutely have need in this county." The most recent data compiled by the United Way for its ALICE Project (Asset Limited, Income Constrained, Employed) indicates that 37 percent of households in Putnam are above the poverty level but below the annual income needed for basic survival, including savings for emergencies. Koch-Fienberg said that it's not clear if the federal grant that funded Farm to Truck will be renewed when it ends in August. "People have come become so reliant on the program, she said. "It's incredibly sad for it to have an uncertain future."

If you love your office, show it! WestchesterTalkRadio.com's “I LOVE MY OFFICE!!” promotion gives you the chance to win a live broadcast produced by Sharc Creative, plus amazing gifts from local sponsors. Winners receive floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, delicious chocolate treats from Chocolations of Mamaroneck, tickets to Westchester Soccer Club games at The Stadium at Memorial Field, concert passes to The Capitol Theatre in Port Chester, fun swag from Purple Frog Graphics, and even a catered Happy Hour Party by Caperberry Events at Sam's of Gedney Way or Sharc Headquarters. The latest winner was Cuddy & Feder LLP, a nationally recognized law firm known for solving complex legal challenges. Westchester Talk Radio visited their office, and host Andrew Castellano spoke with Marketing Director Ashley Steinberger about what it's like to be part of the Cuddy & Feder team. Register your office now at westchestertalkradio.com! 

If you love your office, show it! WestchesterTalkRadio.com's “I LOVE MY OFFICE!!” promotion gives you the chance to win a live broadcast produced by Sharc Creative, plus amazing gifts from local sponsors. Winners receive floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, delicious chocolate treats from Chocolations of Mamaroneck, tickets to Westchester Soccer Club games at The Stadium at Memorial Field, concert passes to The Capitol Theatre in Port Chester, fun swag from Purple Frog Graphics, and even a catered Happy Hour Party by Caperberry Events at Sam's of Gedney Way or Sharc Headquarters. The latest winner was Cuddy & Feder LLP, a nationally recognized law firm known for solving complex legal challenges. Westchester Talk Radio visited their office, and host Andrew Castellano spoke with Associate Isabella Pisani about what it's like to be part of the Cuddy & Feder team. Register your office now at westchestertalkradio.com! 

If you love your office, show it! WestchesterTalkRadio.com's “I LOVE MY OFFICE!!” promotion gives you the chance to win a live broadcast produced by Sharc Creative, plus amazing gifts from local sponsors. Winners receive floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, delicious chocolate treats from Chocolations of Mamaroneck, tickets to Westchester Soccer Club games at The Stadium at Memorial Field, concert passes to The Capitol Theatre in Port Chester, fun swag from Purple Frog Graphics, and even a catered Happy Hour Party by Caperberry Events at Sam's of Gedney Way or Sharc Headquarters. The latest winner was Cuddy & Feder LLP, a nationally recognized law firm known for solving complex legal challenges. Westchester Talk Radio visited their office, and host Andrew Castellano spoke with Administrative Assistants Joann Vitiello & Sharon Poole about what it's like to be part of the Cuddy & Feder team. Register your office now at westchestertalkradio.com! 

If you love your office, show it! WestchesterTalkRadio.com's “I LOVE MY OFFICE!!” promotion gives you the chance to win a live broadcast produced by Sharc Creative, plus amazing gifts from local sponsors. Winners receive floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, delicious chocolate treats from Chocolations of Mamaroneck, tickets to Westchester Soccer Club games at The Stadium at Memorial Field, concert passes to The Capitol Theatre in Port Chester, fun swag from Purple Frog Graphics, and even a catered Happy Hour Party by Caperberry Events at Sam's of Gedney Way or Sharc Headquarters. The latest winner was Cuddy & Feder LLP, a nationally recognized law firm known for solving complex legal challenges. Westchester Talk Radio visited their office, and host Andrew Castellano spoke with Partner Joe Carlucci about what it's like to be part of the Cuddy & Feder team. Register your office now at westchestertalkradio.com! 

If you love your office, show it! WestchesterTalkRadio.com's “I LOVE MY OFFICE!!” promotion gives you the chance to win a live broadcast produced by Sharc Creative, plus amazing gifts from local sponsors. Winners receive floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, delicious chocolate treats from Chocolations of Mamaroneck, tickets to Westchester Soccer Club games at The Stadium at Memorial Field, concert passes to The Capitol Theatre in Port Chester, fun swag from Purple Frog Graphics, and even a catered Happy Hour Party by Caperberry Events at Sam's of Gedney Way or Sharc Headquarters. The latest winner was Cuddy & Feder LLP, a nationally recognized law firm known for solving complex legal challenges. Westchester Talk Radio visited their office, and host Andrew Castellano spoke with Associate Seth Pavsner about what it's like to be part of the Cuddy & Feder team. Register your office now at westchestertalkradio.com! 

If you love your office, show it! WestchesterTalkRadio.com's “I LOVE MY OFFICE!!” promotion gives you the chance to win a live broadcast produced by Sharc Creative, plus amazing gifts from local sponsors. Winners receive floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, delicious chocolate treats from Chocolations of Mamaroneck, tickets to Westchester Soccer Club games at The Stadium at Memorial Field, concert passes to The Capitol Theatre in Port Chester, fun swag from Purple Frog Graphics, and even a catered Happy Hour Party by Caperberry Events at Sam's of Gedney Way or Sharc Headquarters. The latest winner was Cuddy & Feder LLP, a nationally recognized law firm known for solving complex legal challenges. Westchester Talk Radio visited their office, and host Andrew Castellano spoke with HR Director Tanika Natal about what it's like to be part of the Cuddy & Feder team. Register your office now at westchestertalkradio.com! 

If you love your office, show it! WestchesterTalkRadio.com's “I LOVE MY OFFICE!!” promotion gives you the chance to win a live broadcast produced by Sharc Creative, plus amazing gifts from local sponsors. Winners receive floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, delicious chocolate treats from Chocolations of Mamaroneck, tickets to Westchester Soccer Club games at The Stadium at Memorial Field, concert passes to The Capitol Theatre in Port Chester, fun swag from Purple Frog Graphics, and even a catered Happy Hour Party by Caperberry Events at Sam's of Gedney Way or Sharc Headquarters. The latest winner was Cuddy & Feder LLP, a nationally recognized law firm known for solving complex legal challenges. Westchester Talk Radio visited their office, and host Andrew Castellano spoke with Managing Partner Tony Gioffre about what it's like to be part of the Cuddy & Feder team. Register your office now at westchestertalkradio.com! 

The John Gioffre Memorial Golf Classic, held in 2024 at the prestigious Westchester Hills Country Club in White Plains, was a poignant and meaningful event, going far beyond just a day of golf. This annual gathering serves as a tribute to John Gioffre, a man who profoundly impacted the lives of those around him. Despite his passing over 25 years ago, John's legacy continues to thrive, particularly through the John Gioffre Memorial Scholarship, which is awarded annually to deserving scholar-athletes at Port Chester High School (PCHS), where John's influence remains deeply felt. The scholarship was established shortly after John's death to honor his dedication to education and athletics, and it helps young students pursue their goals. John's legacy is cherished not just by his immediate family—his sons John Jr. and Zaccary, his daughter-in-law Melissa, his granddaughters Jane and Daria, and daughter-in-law Kat—but by the entire Port Chester community, where he made a lasting impact. The golf tournament has become a critical fundraiser for this scholarship, providing much-needed support to the next generation of student-athletes at PCHS. In addition, the proceeds from the tournament also go toward supporting local causes that John was passionate about, ensuring that his values of giving back and community engagement continue to shape the area. During the event, Westchester Talk Radio's Jim Feldman had the honor of speaking with Dwight "Doc" Gooden, former NY Mets pitcher, about the importance of community, philanthropy, and supporting the next generation of leaders. Gooden, who has seen his own journey from the baseball field to giving back to others, shared his thoughts on the meaningful impact of the John Gioffre Memorial Golf Classic and the role it plays in continuing John's legacy.

The John Gioffre Memorial Golf Classic, held in 2024 at Westchester Hills Country Club in White Plains, was more than just a day on the greens. It was a celebration of a man whose life made a profound and lasting impact on those who knew him. Although it has been over 25 years since his passing, John Gioffre's legacy continues to thrive, particularly through the John Gioffre Memorial Scholarship. Each year, this scholarship is awarded to outstanding scholar-athletes at Port Chester High School (PCHS), where John once had a deep and lasting presence. The scholarship helps deserving students pursue their dreams, just as John did in his own life. John's memory is kept alive not only by his immediate family—his sons John Jr. and Zaccary, his daughter-in-law Melissa, his granddaughters Jane and Daria, and his daughter-in-law Kat—but by the entire community of Port Chester. The annual golf tournament serves as a major fundraiser for the scholarship, providing financial support to the students of PCHS while also benefiting other local causes that John would have wholeheartedly supported. During the event, Westchester Talk Radio's Jim Feldman briefly spoke with Jack Gioffre, John's cousin.

Henry S. Whitehead was born in Elizabeth, New Jersey, on March 5, 1882, and graduated from Harvard University in 1904 (in the same class as Franklin D. Roosevelt).[3] As a young man he led an active and worldly life in the first decade of the 20th century, playing football at Harvard University, editing a Reform democratic newspaper in Port Chester, New York, and serving as commissioner of athletics for the AAU.He later attended Berkeley Divinity School in Middletown, Connecticut, and in 1912 he was ordained a deacon in the Episcopal Church. During 1912-1913 he worked as a clergyman in Torrington, Connecticut. From 1913 to 1917 he served as rector in Christ's Church, Middletown, Connecticut.[2] From 1918 to 1919 he was Pastor of the Children, Church of St. Mary the Virgin, New York City.[2]He served as Archdeacon of the Virgin Islands from 1921 to 1929.[1] While there, living on the island of St. Croix, Whitehead gathered the material he was to use in his tales of the supernatural.[2] A correspondent and friend of H. P. Lovecraft, Whitehead published stories from 1924 onward in Adventure, Black Mask, Strange Tales,[3] and especially Weird Tales. In his introduction to the collection Jumbee, R. H. Barlow would later describe Whitehead as a member of "the serious Weird Tales school".[3] Many of Whitehead's stories are set on the Virgin Islands and draw on the history and folklore of the region. Several of these stories are narrated by Gerald Canevin, a New Englander living on the islands and a fictional stand-in for Whitehead.[2] Whitehead's supernatural fiction was partially modelled on the work of Edward Lucas White and William Hope Hodgson.[3] Whitehead's "The Great Circle" (1932) is a lost-race tale with sword and sorcery elements.[3]In later life, Whitehead lived in Dunedin, Florida, as rector of the Church of the Good Shepherd and a leader of a boys' group there. H. P. Lovecraft was a particular friend as well as a correspondent of Whitehead's, visiting him at his Dunedin home for several weeks in 1931. Lovecraft recorded in his letters that he entertained the boys with readings of his stories such as "The Cats of Ulthar". Lovecraft said of Whitehead: "He has nothing of the musty cleric about him; but dresses in sports clothes, swears like a he-man on occasion, and is an utter stranger to bigotry or priggishness of any sort."Whitehead suffered from a long-term gastric problem, but an account of his death by his assistant suggests he died from a fall or a stroke or both.[1] He died late in 1932, but few of his readers learned about this until an announcement and brief profile, by H. P. Lovecraft, appeared in the March 1933 Weird Tales, issued in Feb 1933. Whitehead was greatly mourned and missed by lovers of weird fiction at his death.[4]R. H. Barlow collected many of Whitehead's letters, planning to publish a volume of them; but this never appeared, although Barlow did contribute the introduction to Whitehead's Jumbee and Other Uncanny Tales (1944).

Show your love for your office by registering to win I LOVE MY OFFICE! - an exciting promotion from Westchester Talk Radio, produced by Sharc Creative. One lucky local workplace from Westchester County and the surrounding area will receive a live broadcast from their business with Westchester Talk Radio, plus amazing gifts! Enjoy floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, chocolate treats from Chocolations in Mamaroneck, tickets to The Westchester Soccer Club at The Stadium at Memorial Field in Mt. Vernon, tickets to The Capitol Theatre in Port Chester, promotional items from Purple Frog Graphics, and a Happy Hour Party catered by Caperberry Events. Register now at westchestertalkradio.com! The first winner, AG Williams Painting Company of Pelham, NY, enjoyed a special visit where host Andrew Castellano interviewed CEO George Williams

Show your love for your office by registering to win I LOVE MY OFFICE! - an exciting promotion from Westchester Talk Radio, produced by Sharc Creative. One lucky local workplace from Westchester County and the surrounding area will receive a live broadcast from their business with Westchester Talk Radio, plus amazing gifts! Enjoy floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, chocolate treats from Chocolations in Mamaroneck, tickets to The Westchester Soccer Club at The Stadium at Memorial Field in Mt. Vernon, tickets to The Capitol Theatre in Port Chester, promotional items from Purple Frog Graphics, and a Happy Hour Party catered by Caperberry Events. Register now at westchestertalkradio.com! The first winner, AG Williams Painting Company of Pelham, NY, enjoyed a special visit where host Andrew Castellano interviewed Marketing Manager PJ Matys.

Show your love for your office by registering to win I LOVE MY OFFICE! - an exciting promotion from Westchester Talk Radio, produced by Sharc Creative. One lucky local workplace from Westchester County and the surrounding area will receive a live broadcast from their business with Westchester Talk Radio, plus amazing gifts! Enjoy floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, chocolate treats from Chocolations in Mamaroneck, tickets to The Westchester Soccer Club at The Stadium at Memorial Field in Mt. Vernon, tickets to The Capitol Theatre in Port Chester, promotional items from Purple Frog Graphics, and a Happy Hour Party catered by Caperberry Events. Register now at westchestertalkradio.com! The first winner, AG Williams Painting Company of Pelham, NY, enjoyed a special visit where host Andrew Castellano interviewed Production Manager Nick Williams.

Show your love for your office by registering to win I LOVE MY OFFICE! - an exciting promotion from Westchester Talk Radio, produced by Sharc Creative. One lucky local workplace from Westchester County and the surrounding area will receive a live broadcast from their business with Westchester Talk Radio, plus amazing gifts! Enjoy floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, chocolate treats from Chocolations in Mamaroneck, tickets to The Westchester Soccer Club at The Stadium at Memorial Field in Mt. Vernon, tickets to The Capitol Theatre in Port Chester, promotional items from Purple Frog Graphics, and a Happy Hour Party catered by Caperberry Events. Register now at westchestertalkradio.com!The first winner, AG Williams Painting Company of Pelham, NY, enjoyed a special visit where host Andrew Castellano interviewed Sales Representative Anthony Conklin. 

Show your love for your office by registering to win I LOVE MY OFFICE! - an exciting promotion from Westchester Talk Radio, produced by Sharc Creative. One lucky local workplace from Westchester County and the surrounding area will receive a live broadcast from their business with Westchester Talk Radio, plus amazing gifts! Enjoy floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, chocolate treats from Chocolations in Mamaroneck, tickets to The Westchester Soccer Club at The Stadium at Memorial Field in Mt. Vernon, tickets to The Capitol Theatre in Port Chester, promotional items from Purple Frog Graphics, and a Happy Hour Party catered by Caperberry Events. Register now at westchestertalkradio.com! The first winner, AG Williams Painting Company of Pelham, NY, enjoyed a special visit where host Andrew Castellano interviewed Commercial Sales Manager Doug Kitchen.

Show your love for your office by registering to win I LOVE MY OFFICE! - an exciting promotion from Westchester Talk Radio, produced by Sharc Creative. One lucky local workplace from Westchester County and the surrounding area will receive a live broadcast from their business with Westchester Talk Radio, plus amazing gifts! Enjoy floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, chocolate treats from Chocolations in Mamaroneck, tickets to The Westchester Soccer Club at The Stadium at Memorial Field in Mt. Vernon, tickets to The Capitol Theatre in Port Chester, promotional items from Purple Frog Graphics, and a Happy Hour Party catered by Caperberry Events. Register now at westchestertalkradio.com! The first winner, AG Williams Painting Company of Pelham, NY, enjoyed a special visit where host Andrew Castellano interviewed Account Manager Derek Vincent

Show your love for your office by registering to win I LOVE MY OFFICE! - an exciting promotion from Westchester Talk Radio, produced by Sharc Creative. One lucky local workplace from Westchester County and the surrounding area will receive a live broadcast from their business with Westchester Talk Radio, plus amazing gifts! Enjoy floral arrangements from Joseph Richard Florals in Armonk and Grayrock Florist in Valhalla, chocolate treats from Chocolations in Mamaroneck, tickets to The Westchester Soccer Club at The Stadium at Memorial Field in Mt. Vernon, tickets to The Capitol Theatre in Port Chester, promotional items from Purple Frog Graphics, and a Happy Hour Party catered by Caperberry Events. Register now at westchestertalkradio.com! TThe first winner, AG Williams Painting Company of Pelham, NY, enjoyed a special visit. Here host Andrew Castellano interviewed one of the I LOVE MY OFFICE! sponsors, Brandon Williams from Westchester Soccer Club.

On this week's show,  we cellebrate the therapeutic nature of out-of-town rock shows with old friends, let there be rock with Drive-By Truckers, wake up to albums we slept on by Tuxedo and Chuck Prophet, and and spin fresh tracks from Parlor Greens, Waxahatchee & The Waterboys. All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours of musical eclectica & other noodle stories. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

The Business Council of Westchester is dedicated to empowering businesses by providing opportunities to market, learn, advocate, and grow within the vibrant Westchester community. On Monday, February 10th, they hosted a dynamic networking reception at The Capitol Theater in Port Chester, bringing together professionals from diverse industries. Host Andrew Castellano's insightful discussion with AJ Chiarella of Yonkers Brewing, highlighting local entrepreneurship and collaboration. 

The Business Council of Westchester is committed to helping businesses thrive by providing valuable resources to market, learn, advocate, and grow. On Monday, February 10th, they hosted an engaging networking reception at The Capitol Theater in Port Chester, creating opportunities for professionals to connect and collaborate. Host Andrew Castellano had a conversation with Jim Booth, Branch Manager at Webster Bank, who shared insights on leadership and fostering community partnerships.

The Business Council of Westchester is dedicated to helping businesses market, learn, advocate, and grow, fostering a thriving professional community in the region. On Monday, February 10th, they hosted a vibrant networking reception at The Capitol Theater in Port Chester, bringing together business leaders and innovators. Host Andrew Castellano spoke with Patty Ferris from Ave Hamilton Green in White Plains, highlighting the role of modern living spaces in supporting Westchester's dynamic growth. 

Tales from the Green Room hits the road with its debut visit to the iconic Capitol Theater in Port Chester, New York, sitting down backstage with Dark Star Orchestra lead guitarist, Jeff Mattson! Recorded in between DSO's first two shows since the passing of Phil Lesh, Jeff reflects on his memorable interactions with Phil and how the band prepared for these memorable performances at one of his favorite venues. The episode continues with Jeff expressing gratitude and sharing memories about being the first person to publicly play Jerry Garcia's famed Alligator Fender Strat, courtesy of Andy Logan and the Grateful Guitars Foundation. Jeff also muses about the intimacy of playing at Phil's Terrapin Crossroads, his jazz and improvisation influences, the difference between West Coast and East Coast audiences and maintaining musical authenticity while honoring the legacy of The Grateful Dead.The conversation covers Mattson's experiences playing at famous venues, his deep connection to the music of the Grateful Dead, and his memorable interactions with Phil Lesh. Additional topics include the differences between East and West Coast Deadheads, the impact of venue intimacy, and Mattson's reflections on maintaining musical authenticity while honoring the legacy of the Grateful Dead.Quotes From The EpisodeI grew up with improvisation, all the time, hearing it, seeing my father do it, and Miles Davis, Coltrane, playing in the house all the time  growing up, so, it just seemed the most natural thing in the world to improvise. - Jeff MatsonThe thing I always heard was that the East Coast audience were a little more vociferous. And, West Coast audience were a little more chill, like  “we don't get carried away.” I mean, wherever you come from, if you're a deadhead, you love the music. -Jeff MatsonListen Now:

Justin Bruce welcomes Ryan Storm and Al W. back to the pod to discuss the band's late November co-headlining run at the Capitol Theatre in Port Chester, New York with Dogs in a Pile. Ryan wrote great reviews of N1 and N2 on his Substack page. This episode utilizes Al's audience recordings. Thank a taper! You can find all of his AUDs on his Archive.org profile page. Al's conversation begins around the 50 minute mark of this episode.Follow Vice or Virtue on InstagramFollow Justin Bruce on MastodonFollow Justin Bruce on BlueskyEmail viceorvirtueaneggypod at gmail dot com Hosted on Acast. See acast.com/privacy for more information.

Phil Lesh: A Tribute to a Musical IconIn this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans.TakeawaysThis episode was recorded on Election Day, November 5th.The Grateful Dead's show on November 4, 1977, is a highlight.The Jones Gang incident showcased the band's playful dynamics.Goose represents the new generation of jam bands.Phil Lesh's influence on music and improvisation is profound.Quincy Jones's legacy in music is celebrated.Dave's Picks Volume 52 features a remarkable concert.The importance of preserving musical history through recordings.Larry reflects on his personal experiences with the Grateful Dead.The episode blends cannabis culture with music appreciation. Music brings joy and relaxation after a long day.The Grateful Dead's legacy continues to inspire new generations.Unique performances can redefine classic songs.Marijuana legalization faces political challenges despite public support.The benefits of marijuana legalization are well-documented.Music and cannabis culture often intersect in meaningful ways.The improvisational nature of the Grateful Dead's music is a hallmark of their performances.Public sentiment can sometimes clash with political decisions.The Grateful Dead's music remains timeless and relevant.Engaging with music and cannabis responsibly enhances the experience.Sound Bites"This is a special episode being taped on Election Day.""It's just a big love fest with all these guys.""Phil has changed my life.""Quincy was the man I won my first Grammy with.""It's a wonderful, wonderful show.""You just don't know what you're missing out on.""It's just cool to hear it.""This is a pretty amazing second set.""It's a very cool segue from one into the other.""It's a must hear.""It's a wonderful part of the show.""It's a very unfortunate thing that this happened.""People in Florida are gonna smoke marijuana anyway.""It's a great way to end this wonderful show."Chapters00:00Introduction and Context of the Episode03:45Exploring the Grateful Dead's November 4, 1977 Show11:34The Jones Gang Incident and Band Dynamics16:49Music News: Goose and Gen 3 Jam Bands20:51Tributes to Phil Lesh and Reflections on Legacy25:30Remembering Quincy Jones: A Musical Legend30:06Dave's Picks Volume 52: A Review36:30Celebrating Music and New Releases38:53Exploring the Grateful Dead's Legacy44:17Marijuana News and Legalization Efforts01:01:01Deep Dive into Grateful Dead Performances01:09:55Closing Thoughts and Reflections LARRY'S NOTES:Grateful Dead November 11, 1977 (47 years ago)Cotterrell GymnasiumColgate UniversityHamilton, NYGrateful Dead Live at Cotterrell Gym, Colgate U on 1977-11-04 : Free Download, Borrow, and Streaming : Internet Archive Dave's Picks #12 This show literally “popped up out of nowhere” during the very famous fall tour of the very famous 1977 year of touring.  On November 1st they played in Detroit's legendary Cobo Hall.  The next night up in Toronto.  They had Nov. 3 set for Utica, NY but the show fell through a few weeks before.  They were still set for Rochester on Nov. 5th (which was released as Dick's Picks #34) and Binghamton on Nov. 7th.  So less than 4 weeks before this show, while already hitting the road, negotiations began for this show which were only finalized the night before.  Cotterrell gym on the Colgate campus is a small venue.  Think large high school gym with pull out bleachers.  There were only 3,000 folks at the show.  But 2300 of them were held for Colgate students so only 700 were sold to the public or really the Deadheads.  A tough ticket as the Heads used to say.  But those who made it in had a ball and saw one of the best shows of the year. One of those shows that lots of Deadheads wished they had seen. This version of the show from Archive, is an audience tape and a great contrast to other episodes where we have featured Dead show clips from audience tapes.  This one was taped by Jerry Moore who was set up directly behind the soundboard.  Go to Archive and check  out the entire show. On a personal note, glad to see that Archive is back up and running after its hacking episode a few weeks ago.  INTRO:                     Dupree's Diamond Blues                                    Track #8                                    2:50 – 4:52 "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree.According to In The Pine: Selected Kentucky Folksongs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others.Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922.The song is the second track on the Grateful Dead's third album, Aoxomoxoa (1969). As with most of the songs on the album, Dead lyricist Robert Hunter wrote the words and Dead frontman Jerry Garcia wrote the music.Well when I get those jelly roll bluesThe term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here. Debuted in January, 1969 and played a total of 17 times that year. Then dropped until Oct 2, 1977 at the Paramount Theater in Portland, OR, played 4 times that year, this version being the last one of the year. Played twice in 1978, then put back on the shelf until Aug. 28, 1982 at the Oregon County Fair in Veneta, OR (home to the famous show from August 27, 1972 to support the Creamery). From '82 to '90 played at least once a year, '85 was the outlier with 16 performances Only played two more times, both in 1994. This is a great version with Jerry's lyrics and playing both very strong. The 8th song of the first set following:  GO TO ARCHIVE LINK A beautiful Bertha opening but I have featured that song so much, and it is such a common opener, that I needed to go with something else today.  I love it from the 1969 Fillmore West shows where two of the nights the second set would start with DuPree's into Mountains of the Moon before jumping into the fabulous Dark Star/St. Stephen/11/Lovelight suite (in my humble opinion, the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music. Played:         82 timesFirst:              January 24, 1969 at Avalon Ballroom, San Francisco, CA, USALast:              October 13, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 1:         Tuning (start of second set, stage banter re Jones Gang)                                    Track #10                                    :15 – End Why did Phil do this?  To kill time, he was dosed, adding a bit of levity to the evening's proceedings.  Or there is this:Two nights before the Dead played in Toronto at Seneca College's Field House.  The night before was at Cobo Hall in Detroit.  So they took the 3d off while traveling from Toronto to Hamilton, NY to play this show.  Apparently, the band could not or did not want to try to take their stash into Canada.  Keith Richards of the Stones had just been busted in Canada for possession and no one wanted to take any chances.  SO . . . . it seems they were “jonesing” from something, weed, acid, or whatever. Many of the Deadhead reports of the show in Archive and at the Dead Setlist Program note that the guys seemed very stoned or, more likely, dosed.  They were wearing sunglasses indoors in the evening. Good friend Henry was a student at Colgate in 1977 and attended the show.  In telling me about it, he basically began with the Jones Gang episode.  So it was cool to finally hear the show and hear Phil do his thing.  A great way to keep everybody entertained while waiting for some technical issues to be resolved.  And something that was sadly missing in their later years when basically none of them said anything while on stage, Bobby sporadically with a comment and Jerry I saw speak from the stage maybe 5 times out of 110 shows.  This is the kind of stuff that normalized them and separated them from the button down rock acts that showed up, played the same set list that they had played all tour and would keep playing  When they spoke it was all pre planned, “Thank you (insert name of city where they are playing). And then launched into a killer Samson (even though it was a Friday).  Just part of another great Dead experience and the kind of thing that makes it easy to remember the show even years later.  Everyone talks about the Jones Gang show, maybe more than they think of it as a Colgate show or Hamilton, NY show.  Sure took Henry back.  MUSIC NEWS:      Music Intro:                                    Cold Rain & Snow                                    Goose                                    10.25.2024                                    LJVM Coliseum                                    Winston-Salem, N.C.                                    Goose - “Cold Rain and Snow” (10/25/24 - LJVM Coliseum - Winston-Salem, NC) (youtube.com)                                    0:10 – 1:05 Another Phil tribute by one of the most promising Gen3 (Gen1 = Dead; Gen2=Phish) jam bands on the scene.  Not the first time they have covered the Dead, but it's a damn good cover of a tune that traces its Dead roots to their very first album and even before that.  Jerry loved it.  Phil made it happen and restarted his singing career on the closing chorus in 1982 at MSG.  And Goose nails it here.  They really bring it every time they play.  The jam band that I figure will outlast me! Mickey and Mike Gordon statements on Phil's passing: Quincy Jones dies: Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024 at 91) was an American record producer, songwriter, composer, arranger, and film and television producer.[1] Over his course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.[2] Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.[3] Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016). Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.[1] "I woke up today to the Terrible news that we lost Quincy Jones.. Genius is a description loosely used but Rarely deserved. Point blank, Quincy was the MAN. I won my 1st Grammy with Quincy and I live with his Wisdom daily," Ice-T on X. Dave's Picks, Volume 52 (The Downs At Santa Fe, Santa Fe, NM • 9/11/83)Time to order Dave's Picks 2025 subscription.  I say it every year.  SHOW No. 2:         Eyes of the World                                    Track #15                                    11:10 – END                                     INTO                                     Estimated Prophet                                    Track #16                                    Start - :20 The unique thing in this segment is that it is the first, and one of the only times, that the band played Eyes into Estimated as it was almost always played as Estimated>Eyes.  This is the end of Eyes jam and segue into Estimated.  Very cool to hear it played “backwards”.  This entire Eyes (all 13 minutes of it), is magnificent and a must hear if you are looking for some great Dead jamming to rock to.  On this night, the boys were apparently in a state of mind that let them do a bit of exploring away from the norm for them, if there even is a “Dead norm”.  It sure worked out well for the rest of us.  SHOW No. 3:         The Other One                                    Track #17                                    :52 – 3:00             We've featured this song so many times, discussed the whole That's It For The Other One suite and all of its subparts. This one is the opposite, a 4 minutes 20 seconds version, with the first 3+ minutes just a hard jam.  They only sing the first verse of the standard Other One and then head straight into Drums.  This clip just features the jam with Jerry leading the way.  So clean and powerful, if 1977 is the best year ever for the band, then this has to be one of its peaks.  Maybe not the best of '77 because Barton Hall, but still way up there for nights when the band was truly smoking hot and holding nothing back.  Some of the best post-1970 psychedelic Dead that you will ever hear.  Everyone in sync and making the magic that kept us all coming back for more until there was no more to come back to.  Just buckle in and enjoy the ride. Played:         550 timesFirst:  October 31, 1967 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago MJ NEWS:    SHOW No. 4:         Playin Reprise                                    Track #21                                    3:00 – 6:34 "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan). During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it".[ It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with 581 performances. In the Grateful Dead's live repertoire, all songs featured musical improvisation and many featured extended instrumental solos; but certain key songs were used as starting points for serious collective musical improvisation—the entire band creating spontaneously all at once. In this regard "Playing in the Band" was of major importance, second only to "Dark Star". During "Playing in the Band" the Grateful Dead would play the planned verses and choruses of the song itself; then they would improvise and explore brand new musical territory, sometimes for twenty minutes or more; and then the chorus would usually be reprised, to bring the song to its end. Sometimes during these extended "jams", the band would even perform other entire songs, before at last coming back around to the final chorus aka the “Reprise”. On some occasions, more early on than later, the band would play the main song, jam for some amount of time and slide back in for the reprise.  Its performance in this style on 21 May 1974 at the Hec Edmundson Pavilion in Seattle has been cited as the longest uninterrupted performance of a single song in the Grateful Dead's history, clocking in at 46 minutes and 32 seconds.[3][4] It was released in 2018 on the boxset Pacific Northwest '73–'74: The Complete Recordings and as its own LP.  Very cool – an entire album just for one song.  Like Phish' Ruby Waves at Alpine Valley in 2019 got its own album. Then later they might add a song or two in between the main portion and the reprise. Then later they might hold it for the encore the same night the main song had been performed. Then later, they might hold it until the night after the main song had been performed and then two nights later and sometimes 3.  Not uncommon for play the main song the first night of a multi-night run and then the reprise the last night.  Usually during the show, but as stated, sometimes in the encore. Then they might forget to ever get back to it, play the main song again and the whole process would repeat as everyone would wait to see if and when they would finally play the reprise. David Dodd:  To me, the unpredictability of a “Playin” jam was always a highlight of a show. It could get incredibly far out there—completely away from anything—and then, just like that, snap back in, quietly and cautiously or slam-bang, or later, after they'd played most of another song, or a whole set, into the “Playin Reprise.” Sometimes the reprise would never occur. While it usually ran 3 or 4 minutes, this show's reprise went almost 7 minutes with an extended jam before they every got to the reprise lyrics. For Phish fans, think Twe-pri.  For non Phish fans that's the song Tweezer and its “reprise” and that band takes all sorts of liberties with it.  Not so unlike the Dead's style as previously discussed but most famously, at least as far as I know as a still neophyte Phish head, during their 13 show Baker's Dozen run at MSG, Phish played Tweezer the very first night on July 21st to open the second set and then the Twi-Pri finally showed up on August 6th as the second song of the encore after On The Road Again to close out the entire 13 night run. Reprises are great! Played:  648 times (no separate breakdown for how may Reprises were played but I'm sure there were times they never got back to a reprise although one year April Fools 1985 at Cumberland County Civic Center in Portland MA – actually March 31st but called it their April Fools joke even though they did play again the next night, April 1, at the same venue - they played the reprise first and then the main song)First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  July 5, 1995 at the Riverport Amphitheater in Maryland Heights (St. Louis), MO  OUTRO                     Johnny B. Goode (Bob – “Happy Homecoming”)                                    Track #22                                    0:12 – 2:08 We've also featured this song quite a bit, a Chuck Berry classic covered by almost every rock n roll band that ever played a set of music and even some that never did.  Its guitar intro is as famous a song opening as any in the genre.  I love this version because of Bobby's greetings to the students wishing them a happy homecoming!  Imagine going to your high school or college homecoming dance and the band is the Grateful Dead.  Now that's a story to tell.  Not sure and I don't think it really matters whether that weekend was or was not Colgate's homecoming.  It just showed that stoned and all, Bobby knew he was on a college campus. Almost always played as an encore or show closer if no encore.  Unlike another Chuck Berry classic covered by the Dead, The Promised Land, which could be played as a show opener, set closer, second set opener, encore, it would pop up just about anywhere. Great way to end a great show.  The boys just blow the walls down on this one.  Or, as commenter RFKROX posted back in 2008 about this version, “Oh, and the Johnny B. Goode is the most incredible rockin' version I've ever heard this band play!! It's the fucking SHIT!!”  I couldn't have said it any better myself! Played:   283 timesFirst:  September 7, 1969 at Family Dog on the Great Highway, San Francisco, CA, USALast:  April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL, USA  - very interesting, not played at all on the final summer tour.  .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

En una encuesta nacional realizada el mes pasado por Marist Poll para National Public Radio y PBS News, el 44 por ciento de los votantes registrados dijo que la inmigración era un factor decisivo para decidir a quién apoyar como presidente. Otro 43 por ciento dijo que era un factor importante. En esta serie, examinamos qué atrae a los inmigrantes latinos a las Highlands, el proceso que siguen para quedarse y el efecto en las escuelas locales. Joseph Biavati cruzó la frontera de Tijuana hacia California hace 32 años escondido en un camión de heno. Dijo que lo hizo porque su familia se estaba muriendo de hambre en un Brasil desgarrado por el conflicto. "Comíamos una sola vez al día ", dijo. "Era medio pollo para mí, mi esposa y mi bebé. Y una botella de agua. Eso era todo". Después de establecerse inicialmente en Port Chester, en 2004 trasladó a su familia a Philipstown por la misma razón por la que muchos otros llegan a las Highlands: las escuelas públicas. Cuando a su hijo David le diagnosticaron autismo, un médico le dijo que Haldane estaba bien equipado para ayudar a niños con necesidades especiales. David, nacido en Estados Unidos, no habló hasta los 4 años y exhibió comportamientos curiosos, como alinear las piezas de su rompecabezas como si fuera un tren. Los terapeutas y maestros de Haldane hicieron grandes avances con David, enseñándole a comunicarse e interactuar con los demás, dijo su padre. "Fueron fantásticos", dijo. David se graduó de Haldane hace tres años como estudiante de cuadro de honor. La historia de Biavati es similar a la de muchos inmigrantes indocumentados que viven en las Highlands, pero no se ajusta a la retórica polémica y a menudo racista de la actual temporada política. Según datos estatales, los inmigrantes recientes de América Central y del Sur no han traído crimen a la región. Más bien, salvo por su estatus legal, son como nuevos residentes que migran de otros condados y estados de Estados Unidos en busca de una vida mejor en los suburbios, viviendas asequibles y escuelas de calidad. La diferencia es que los inmigrantes indocumentados suelen ocupar los puestos peor pagados. Un informe de enero de la Iniciativa de Investigación de Inmigración, un grupo de expertos no partidista, dijo que los trabajos más comunes para los inmigrantes recién llegados son Empleados domésticos, conserjes, camareros, camioneros, cajeros, mensajeros y repartidores . Después de cinco o diez años, los empleos más comunes son los de asistente de salud a domicilio y vendedores minoristas. Se estima que 850.000 inmigrantes indocumentados (es decir, que no tienen permiso de trabajo ni tarjeta verde) viven en el estado de Nueva York, la mayoría en la ciudad de Nueva York, según el Instituto de Política Migratoria de Washington, DC. Se desconoce cuántos han llegado a las Highlands. Pero si los datos de los tribunales de inmigración son indicativos, las cifras han aumentado drásticamente en las últimas dos décadas. Hasta agosto, hubo casi 400 nuevos casos de inmigración citando a residentes del condado de Putnam, según el Transaction Records Access Clearinghouse de la Universidad de Syracuse (TRAC). En 2004, hubo 34 casos presentados durante todo el año. Las cifras de Dutchess son similares. En agosto, había 779 casos de inmigración. En 2004, hubo 33. Alrededor del 75 por ciento de esos casos pertenecen a inmigrantes de América Central y del Sur, según TRAC. ¿Dónde están los solicitantes de asilo? En mayo de 2023, legisladores del condado de Orange y grupos activistas como For the Many y Beacon Climate Action Now encabezaron campañas de donaciones y apoyo para casi 200 inmigrantes transportados en autobús desde la ciudad de Nueva York a dos hoteles en la ciudad de Newburgh y al Red Roof Inn en Route 9 en Poughkeepsie. La ciudad de Nueva York estaba teniendo dificultades para acoger a más de 60.000 nuevos solicitantes de asilo, algunos de los cuales habían sido trasladados en autobús desde Texas por orden del gobernador Greg A...

In a national survey conducted last month by Marist Poll for National Public Radio and PBS News, 44 percent of registered voters said immigration was a deciding factor in whom they support for president. Another 43 percent said it was an important factor. In this series, we examine what draws Latino immigrants to the Highlands, the process they undergo to stay and the effect on local schools. Leer en español. Joseph Biavati crossed the Tijuana border into California 32 years ago hiding in a hay truck. He said he did it because his family was starving in strife-torn Brazil. "We were down to one meal a day," he said. "It was half of a chicken for me, my wife and my baby. And a bottle of water. That was it." After initially settling in Port Chester, he moved his family in 2004 to Philipstown for the same reason so many others come to the Highlands: the public schools. When his son David was diagnosed with autism, a doctor told him that Haldane was well-equipped to help children with special needs. David, born in the U.S., didn't speak until age 4 and exhibited curious behaviors like lining up his puzzle pieces in a row like a train. The therapists and teachers at Haldane made great strides with David, teaching him how to communicate and interact with others, his father said. "They were fantastic," he said. David graduated from Haldane three years ago as an honor roll student. Biavati's journey is similar to many undocumented immigrants who live in the Highlands but doesn't conform to the hot-button and often racist rhetoric of the political season. According to state data, recent immigrants from Central and South America have not brought crime to the region. Rather, except for their legal status, they are like new residents who migrate from other U.S. counties and states seeking a better life in the suburbs, affordable housing and quality schools. The difference is that undocumented immigrants usually fill the lowest-paying jobs. A January report by the Immigration Research Initiative, a nonpartisan think tank, said the most common jobs for newly arrived immigrants are domestic workers, janitors, waiters, truck drivers, cashiers, couriers and messengers. After five or 10 years, the most common jobs are home health aide and retail sales. An estimated 850,000 undocumented immigrants - meaning they do not have work permits or green cards - live in New York state, mostly in New York City, according to the Migration Policy Institute in Washington, D.C. How many have come to the Highlands is unknown. But if immigration court data is indicative, the numbers have risen dramatically over the past two decades. As of August, there were nearly 400 new immigration cases involving Putnam County residents, according to the Transaction Records Access Clearinghouse at Syracuse University (TRAC). In 2004, there were 34 cases filed during the entire year. The numbers for Dutchess are similar. As of August, there were 779 immigration cases. In 2004, there were 33. About 75 percent of those cases involve immigrants from Central and South America, according to TRAC. At the same time, there has been a dramatic rise in the Latino population in Putnam and Dutchess counties. In Dutchess, Hispanics comprised 15 percent of the population in 2022 compared to 4 percent three decades earlier, according to U.S. Census data. Hispanics are 20 percent of the population in Beacon; in 1992 they were 14 percent. In Putnam, the population was 19 percent Hispanic in 2022 compared to 3 percent in 1992. In the U.S., an estimated 13 percent of Latinos are undocumented, while 87 percent are U.S. citizens or legal residents. Immigrants come to the Highlands and the Hudson Valley seeking "the good life," said Allan Wernick, an attorney who founded CUNY Citizenship NOW, the nation's largest university-based legal assistance program. "Undocumented immigrants are looking for the same thing that all of us are looking for, a safe place where the kids can get a good education a...

With fans Randy Bershaw and newcomer to the show, Chris Keszycki! Support the show on Patreon / The Kofi Burbridge Music Matters Fund, Livestreams on YouTube, Main YouTube page, instagram.com/tedeschitruckspodcast, tedeschitruckspodcast.com, adamchoit.com, tedeschitrucksband.com

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

Exploring the Grateful Dead's LegacyIn this episode of the Deadhead Cannabis Show, Larry Mishkin takes listeners on a nostalgic journey through the Grateful Dead's music, focusing on a concert from September 30, 1993, at the Boston Garden. He discusses various songs, including 'Here Comes Sunshine' and 'Spoonful,' while also touching on the band's history and the contributions of key figures like Vince Wellnick and Candace Brightman. The episode also delves into current music news, including a review of Lake Street Dive's performance and updates on marijuana legislation in Ukraine and the U.S.Chapters00:00 Welcome to the Deadhead Cannabis Show03:39 Here Comes Sunshine: A Grateful Dead Classic09:47 Spoonful: The Blues Influence14:00 Music News: Rich Girl and Lake Street Dive24:09 Candace Brightman: The Unsung Hero of Lighting38:01 Broken Arrow: Phil Lesh's Moment to Shine42:19 Lucy in the Sky with Diamonds: A Beatles Classic48:26 Marijuana News: Ukraine's Medical Cannabis Legislation54:32 Bipartisan Support for Clean Slate Act01:00:11 Pennsylvania's Push for Marijuana Legalization01:04:25 CBD as a Natural Insecticide01:10:26 Wave to the Wind: A Phil Lesh Tune01:13:18 The Other One: A Grateful Dead Epic Boston GardenSeptember 30, 1993  (31 years ago)Grateful Dead Live at Boston Garden on 1993-09-30 : Free Borrow & Streaming : Internet ArchiveINTRO:                                 Here Comes Sunshine                                                Track #1                                                0:08 – 1:48 Released on Wake of the Flood, October 15, 1973, the first album on the band's own “Grateful Dead Records” label. The song was first performed by the Grateful Dead in February 1973. It was played about 30 times through to February 1974 and then dropped from the repertoire. The song returned to the repertoire in December 1992, at the instigation of Vince Welnick, and was then played a few times each year until 1995. Played:  66 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA But here's the thing:                         Played 32 times in 1973                        Played 1 time in 1974                        Not played again until December 6, 1992 at Compton Terrace in Chandler, AZ  - 18 years                        Then played a “few” more times in 1993, 94 and 95, never more than 11 times in any one year. I finally caught one in 1993 at the Rosemont Horizon in Chicago with good buddies Marc and Alex. My favorite version is Feb. 15, 1973 at the Dane County Coliseum in Madison, WI SHOW No. 1:                     Spoonful                                                Track #2                                                :50 – 2:35 "Spoonful" is a blues song written by Willie Dixon and first recorded in 1960 by Howlin' Wolf. Released in June, 1960 by Chess Records in Chicago.  Called "a stark and haunting work",[1] it is one of Dixon's best known and most interpreted songs.[2]Etta James and Harvey Fuqua had a pop and R&B record chart hit with their duet cover of "Spoonful" in 1961, and it was popularized in the late 1960s by the British rock group Cream. Dixon's "Spoonful" is loosely based on "A Spoonful Blues", a song recorded in 1929 by Charley Patton.[3] Earlier related songs include "All I Want Is a Spoonful" by Papa Charlie Jackson (1925) and "Cocaine Blues" by Luke Jordan (1927).The lyrics relate men's sometimes violent search to satisfy their cravings, with "a spoonful" used mostly as a metaphor for pleasures, which have been interpreted as sex, love, and drugs. The Rock and Roll Hall of Fame listed Howlin' Wolf's "Spoonful" as one of the "500 Songs that Shaped Rock and Roll".[9] It is ranked number 154 on Rolling Stone magazine's 2021 list of the "500 Greatest Songs of All Time",[10] up from number 221 on its 2004 list. In 2010, the song was inducted into the Blues Foundation Hall of Fame "Classics of Blues Recordings" category.[12] In a statement by the foundation, it was noted that "Otis Rush has stated that Dixon presented 'Spoonful' to him, but the song didn't suit Rush's tastes and so it ended up with Wolf, and soon thereafter with Etta James".[12] James' recording with Harvey Fuqua as "Etta & Harvey" reached number 12 on Billboard magazine's Hot R&B Sides chart and number 78 on its Hot 100 singles chart.[13] However, Wolf's original "was the one that inspired so many blues and rock bands in the years to come". The British rock group Cream recorded "Spoonful" for their 1966 UK debut album, Fresh Cream. They were part of a trend in the mid-1960s by rock artists to record a Willie Dixon song for their debut albums. Sung by Bob Weir, normally followed Truckin' in the second set.  This version is rare because it is the second song of the show and does not have a lead in.  Ended Here Comes Sunshine, stopped, and then went into this.  When it follows Truckin', just flows right into Spoonful. Played:  52 timesFirst:  October 15, 1981 at Melkweg, Amsterdam, NetherlandsLast:  December 8, 1994 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA  MUSIC NEWS:                              Lead In Music                                                Rich Girl                                                Lake Street Dive                                                Lake Street Dive: Rich Girl [4K] 2018-05-09 - College Street Music Hall; New Haven, CT (youtube.com)                                                0:00 – 1:13 "Rich Girl" is a song by Daryl Hall & John Oates. It debuted on the Billboard Top 40 on February 5, 1977, at number 38 and on March 26, 1977, it became their first of six number-one singles on the BillboardHot 100. The single originally appeared on the 1976 album Bigger Than Both of Us. At the end of 1977, Billboard ranked it as the 23rd biggest hit of the year. The song was rumored to be about the then-scandalous newspaper heiress Patty Hearst. In fact, the title character in the song is based on a spoiled heir to a fast-food chain who was an ex-boyfriend of Daryl Hall's girlfriend, Sara Allen. "But you can't write, 'You're a rich boy' in a song, so I changed it to a girl," Hall told Rolling Stone. Hall elaborated on the song in an interview with American Songwriter: "Rich Girl" was written about an old boyfriend of Sara [Allen]'s from college that she was still friends with at the time. His name is Victor Walker. He came to our apartment, and he was acting sort of strange. His father was quite rich. I think he was involved with some kind of a fast-food chain. I said, "This guy is out of his mind, but he doesn't have to worry about it because his father's gonna bail him out of any problems he gets in." So I sat down and wrote that chorus. [Sings] "He can rely on the old man's money/he can rely on the old man's money/he's a rich guy." I thought that didn't sound right, so I changed it to "Rich Girl". He knows the song was written about him.  Lake Street Dive at Salt Shed Lake Street Dive is an American multi-genre band that was formed in 2004 at the New England Conservatory of Music in Boston.[1] The band's founding members are Rachael Price, Mike "McDuck" Olson, Bridget Kearney, and Mike Calabrese. Keyboardist Akie Bermiss joined the band on tour in 2017 and was first credited on their 2018 album Free Yourself Up; guitarist James Cornelison joined in 2021 after Olson left the band. The band is based in Brooklyn and frequently tours in North America, Australia, and Europe. The group was formed in 2004 as a "free country band"; they intended to play country music in an improvised, avant-garde style.[3] This concept was abandoned in favor of something that "actually sounded good", according to Mike Olson.[4] The band's name was inspired by the Bryant Lake Bowl, a frequent hang out in the band's early years, located on Lake Street in Minneapolis. Great show last Thursday night my wife and I went with good friends JT and Marni and Rick and Ben. Sitting in the back near the top of the bleachers with a killer view of the Chicago Sky line looking west to southeast and right along the north branch of the Chicago River.  Beautiful weather and a great night overall.  My first time seeing the band although good buddies Alex, Andy and Mike had seen the at Redrocks in July and all spoke very highly of the band which is a good enough endorsement for me. I don't know any of their songs, but they were very good and one of their encores was Rich Girl which made me smile because that too is a song from my high school and college days, that's basically 40+ years ago.  Combined with Goose's cover of the 1970's hit “Hollywood Nights” by Bob Seger and the Silver Bullet Band it was a trip down memory lane. I would recommend seeing this band to any fan of fun music.  They were all clearly having a great time. Katie Pruitt opened and came out to sing a song with LSD. In 2017, Pruitt was awarded the Buddy Holly Prize from the Songwriters Hall of Fame[4] and signed with Round Hill Records.[5] Her EP, OurVinyl Live Session EP was released in March 2018.[6] She was named by Rolling Stone as one of 10 new country artists you need to know[7] and by NPR as one of the 20 artists to watch, highlighting Pruitt as someone who "possesses a soaring, nuanced and expressive voice, and writes with devastating honesty".[8] On September 13, 2019, Pruitt released "Expectations", the title track from her full-length debut. Additional singles from this project were subsequently released: "Loving Her" on October 21, 2019,[9] and "Out of the Blue" on November 15, 2019.[10] On February 21, 2020, Pruitt's debut album, Expectations, was released by Rounder Records.[11][12] She earned a nomination for Emerging Act of the Year at the 2020 Americana Music Honors & Awards.[13] In the same year, she duetted with Canadian singer-songwriter Donovan Woods on "She Waits for Me to Come Back Down", a track from his album Without People.[14] In 2021 the artist was inter alia part of the Newport Folk Festival in July. Recommend her as well.  2.     Move Me Brightly: Grateful Dead Lighting Director Candace Brightman Candace Brightman (born 1944)[1] is an American lighting engineer, known for her longtime association with the Grateful Dead. She is the sister of author Carol Brightman. Brightman grew up in Illinois and studied set design at St John's College, Annapolis, Maryland.[1] She began working as a lighting technician in the Anderson Theater, New York City, and was recruited by Bill Graham to operate lighting at the Fillmore East.[3] In 1970, she operated the house lights at the Chicago Coliseum with Norol Tretiv.[4] She has also worked for Janis Joplin, Joe Cocker and Van Morrison. After serving as house lighting engineer for several Grateful Dead shows, including their 1971 residency at the Capitol Theatre, Port Chester, she was recruited by the band's Jerry Garcia to work for them full-time.[1] She started working regularly for the Dead on their 1972 tour of Europe (which was recorded and released as Europe 72), and remained their in-house lighting engineer for the remainder of their career.[1] One particular challenge that Brightman faced was having to alter lighting setups immediately in response to the Dead's improvisational style. By the band's final tours in the mid-1990s, she was operating a computer-controlled lighting system and managing a team of technicians.[5] Her work inspired Phish's resident lighting engineer Chris Kuroda, who regularly studied techniques in order to keep up with her standards. Brightman continued working in related spin-off projects until 2005.[1][7] She returned to direct the lighting for the Fare Thee Well concerts in 2015, where she used over 500 fixtures. Now facing significant financial and health related issues. 3.    Neil Young and New Band, The Chrome Hearts, Deliver 13-Minute “Down By The River” on Night One at The Capitol Theatre My buddies and I still can't believe Neil with Crazy Horse did not play their Chicago show back in May this year.  Thank god he's ok and still playing but we are bummed out at missing the shared experience opportunity that only comes along when seeing a rock legend like Neil and there aren't many.   SHOW No. 2:                     Broken Arrow                                                Track #5                                                1:10 – 3:00 Written by Robbie Robertson and released on his album Robbie Robertson released on October 27, 1987.  It reached number 29 on the RPM CanCon charts in 1988.[23]Rod Stewart recorded a version of "Broken Arrow" in 1991 for his album Vagabond Heart.[24] Stewart's version of the song was released as a single on August 26, 1991,[25] with an accompanying music video, reaching number 20 on the US Billboard Hot 100 chart and number two in Canada. This ballad is not to be confused either with Chuck Berry's 1959 single or Buffalo Springfield's 1967 song of the same name, written by Neil Young. "Broken Arrow" was also performed live by the Grateful Dead from 1993 to 1995 with Phil Lesh on vocals.[28] Grateful Dead spinoff groups The Dead, Phil Lesh and Friends, and The Other Ones have also performed the song, each time with Lesh on vocals.[29] Played:  35 timesFirst:  February 23, 1993 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  SHOW No. 3:         Lucy In The Sky With Diamonds                                    Track #9                                    2:46 – 4:13 "Lucy in the Sky with Diamonds" is a song by the English rock band the Beatles from their May, 1967 album Sgt. Pepper's Lonely Hearts Club Band. It was written primarily by John Lennon with assistance from Paul McCartney, and credited to the Lennon–McCartneysongwriting partnership.[2] Lennon's son Julian inspired the song with a nursery school drawing that he called "Lucy – in the sky with diamonds". Shortly before the album's release, speculation arose that the first letter of each of the nouns in the title intentionally spelled "LSD", the initialism commonly used for the hallucinogenic drug lysergic acid diethylamide.[3] Lennon repeatedly denied that he had intended it as a drug song,[3][4] and attributed the song's fantastical imagery to his reading of Lewis Carroll's Alice in Wonderland books.[3] The Beatles recorded "Lucy in the Sky with Diamonds" in March 1967. Adding to the song's ethereal qualities, the musical arrangement includes a Lowrey organ part heavily treated with studio effects, and a drone provided by an Indian tambura. The song has been recognised as a key work in the psychedelic genre. Among its many cover versions, a 1974 recording by Elton John – with a guest appearance by Lennon – was a number 1 hit in the US and Canada. John Lennon said that his inspiration for the song came when his three-year-old son Julian showed him a nursery school drawing that he called "Lucy – in the Sky with Diamonds",[4] depicting his classmate Lucy O'Donnell.[5] Julian later recalled: "I don't know why I called it that or why it stood out from all my other drawings, but I obviously had an affection for Lucy at that age. I used to show Dad everything I'd built or painted at school, and this one sparked off the idea."[5][6][7]Ringo Starr witnessed the moment and said that Julian first uttered the song's title on returning home from nursery school.[4][8][9] Lennon later said, "I thought that's beautiful. I immediately wrote a song about it." According to Lennon, the lyrics were largely derived from the literary style of Lewis Carroll's novel Alice in Wonderland.[3][10] Lennon had read and admired Carroll's works, and the title of Julian's drawing reminded him of the "Which Dreamed It?" chapter of Through the Looking Glass, in which Alice floats in a "boat beneath a sunny sky".[11] Lennon recalled in a 1980 interview: It was Alice in the boat. She is buying an egg and it turns into Humpty-Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that.[3] Paul McCartney remembered of the song's composition, "We did the whole thing like an Alice in Wonderland idea, being in a boat on the river ... Every so often it broke off and you saw Lucy in the sky with diamonds all over the sky. This Lucy was God, the Big Figure, the White Rabbit."[10] He later recalled helping Lennon finish the song at Lennon's Kenwood home, specifically claiming he contributed the "newspaper taxis" and "cellophane flowers" lyrics.[8][12] Lennon's 1968 interview with Rolling Stone magazine confirmed McCartney's contribution.[13] Lucy O'Donnell Vodden, who lived in Surbiton, Surrey, died 28 September 2009 of complications of lupus at the age of 46. Julian had been informed of her illness and renewed their friendship before her death. Rumours of the connection between the title of "Lucy in the Sky with Diamonds" and the initialism "LSD" began circulating shortly after the release of the Sgt. Pepper's Lonely Hearts Club Band LP in June 1967.[24][25] McCartney gave two interviews in June admitting to having taken the drug.[26][27] Lennon later said he was surprised at the idea the title was a hidden reference to LSD,[3] countering that the song "wasn't about that at all,"[4] and it "was purely unconscious that it came out to be LSD. Until someone pointed it out, I never even thought of it. I mean, who would ever bother to look at initials of a title? ... It's not an acid song."[3] McCartney confirmed Lennon's claim on several occasions.[8][12] In 1968 he said: When you write a song and you mean it one way, and someone comes up and says something about it that you didn't think of – you can't deny it. Like "Lucy in the Sky with Diamonds," people came up and said, cunningly, "Right, I get it. L-S-D," and it was when [news]papers were talking about LSD, but we never thought about it.[10] In a 2004 interview with Uncut magazine, McCartney confirmed it was "pretty obvious" drugs did influence some of the group's compositions at that time, including "Lucy in the Sky with Diamonds", though he tempered this statement by adding, "[I]t's easy to overestimate the influence of drugs on the Beatles' music." In 2009 Julian with James Scott Cook and Todd Meagher released "Lucy", a song that is a quasi-follow-up to the Beatles song. The cover of the EP showed four-year-old Julian's original drawing, that now is owned by David Gilmour from Pink Floyd.[59] Lennon's original handwritten lyrics sold at auction in 2011 for $230,000. A lot of fun to see this tune live.  Love that Jerry does the singing even though his voice is very rough and he stumble through some of the lyrics.  It is a Beatles tune, a legendary rock tune, and Jerry sings it like he wrote it at his kitchen table. Phil and Friends with the Quintent cover the tune as well and I believe Warren Haynes does the primary singing on that version.  Warren, Jimmy Herring and Phil really rock that tune like the rock veterans they are. The version is fun because it opens the second set, a place of real prominence even after having played it for six months by this point.  Gotta keep the Deadheads guessing. Played:  19 timesFirst:  March 17, 1993 at Capital Centre, Landover, MD, USALast: June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA  MJ NEWS: Ukrainian Officials Approve List Of Medical Marijuana Qualifying Conditions Under Country's New Legalization Law2.      Federal Marijuana And Drug Convictions Would Be Automatically Sealed Under New Bipartisan Senate Bill3.      Pennsylvania Police Arrest An Average Of 32 People For Marijuana Possession Every Day, New Data Shows As Lawmakers Weigh Legalization4.      CBD-Rich Hemp Extract Is An Effective Natural Insecticide Against Mosquitoes, New Research Shows   SHOW No. 4:         Wave To The Wind                                    Track #10                                    5:00 – 6:40 Hunter/Lesh tune that was never released.  In fact, the Dead archives say that there is no studio recording of the song.  Not a great song.  I have no real memory of it other than it shows up in song lists for a couple of shows I attended.  Even this version of the tune is really kind of flat and uninspiring but there are not a lot of Phil tunes to feature and you can only discuss Box of Rain so many times.  Just something different to talk about. Played:  21 timesFirst:  February 22, 1992 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  December 9, 1993 at Los Angeles Sports Arena, Los Angeles, CA, USA  OUTRO:                   The Other One                                    Track #16                                    2:30 – 4:22 "That's It for the Other One" is a song by American band the Grateful Dead. Released on the band's second studio album Anthem of the Sun (released on July 18, 1968) it is made up of four sections—"Cryptical Envelopment", "Quadlibet for Tenderfeet", "The Faster We Go, the Rounder We Get", 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. 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"). 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"  - one of my favorite Grateful Dead lyrics  - refers to a time Weir was arrested for throwing a water balloon at a cop from the upstairs of 710 Ashbury, the Dead's communal home during the ‘60's and early ‘70's before the band moved its headquarters, and the band members moved, to Marin County just past the Golden Gate Bridge when driving out of the City. In my experience, almost always a second set tune.  Back in the late ‘60's and early ‘70's either a full That's It For The Other One suite or just The Other One, would be jammed out as long as Dark Star and sometimes longer.  During the Europe '72 tour, Dark Star and the full Other One Suite traded off every show as the second set psychedelic rock long jam piece.  Often preceded by a Phil bass bomb to bring the independent noodling into a full and tight jam with an energy all of its own. The Other One got its name because it was being written at the same time as Alligator, one of the Dead's very first tunes.  When discussing the tunes, there was Alligator and this other one. I always loved the Other One and was lucky enough to see the full That's It For The Other One suite twice in 1985 during its too brief comeback to celebrate the Dead's 20th anniversary. Played:  550 timesFirst:  October 31, 1967 at Winterland Arena, San Francisco, CA, USALast:  July 8, 1995 at Soldier Field in Chicago Birthday shout out: Nephew, Jacob Mishkin, star collegiate baseball player, turns 21and all I can say is “no effing way!”  Happy birthday dude! And a Happy and healthy New Year to those celebrating Rosh Hashanah which begins this week. .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

7th in a series of interviews with Spin Doctors drummer Aaron Comess about the band's discography: from their initial 80s demos to their forthcoming 7th studio release. In this episode, we are discussing the 2013 studio release "If The River Was Whiskey" and the accompanying 2015 live album "Songs From The Road". Featured Spin Doctors jam: Spin Doctors into Blues Traveler segue jam live at The Capitol Theater, Port Chester, NY, October 13th, 2012. SpinDoctorsArchive.com is your go-to source for everything Spin Doctors-related, including set lists, discography, song and band details, news, and more. ⁠⁠⁠Listen to the free music compilation "The Best Of The Chris Barron Thirsty Thursday Happy Hour" here⁠⁠⁠⁠. Produced by Daniel Heinze, Leipzig. This is a strictly non-commercial project. All sound / music snippets used by permission.

Send us a Text Message.This week, I'm reviewing the Joe Bonamassa concert at the Capitol Theatre in Port Chester, NY on the August 24th, 2024.  Smokin' Joe is an artist I've been waiting to see since the mid-90's, and it was worth the wait. Wait – you don't know who Joe Bonamassa is? If that's the case, you'll learn about his remarkable rise, the bands that shaped him, and the unparalleled guitar skills that make him one of today's most respected blues musicians – all without any mainstream recognition. And if you do know who Joe Bonamassa is, then you know just how great a player he is.  In this episode, I'll share a rundown of the show and some clips to give you a taste of just how good he and his 10-piece bands sounded. Whether you're a longtime admirer or new to his music, this episode offers an engaging look at Joe Bonamassa's journey and his ongoing mission to keep the blues alive. All this week on the Rock-N-Roll Show Podcast!===========================Connect with us on social media!YouTubeInstagram TikTok Facebook

Barb in Port Chester talked with Mark about DEI. Dave in Chicago talked with Mark about Nora O'Donnell. Mike in Florida talked with Mark about the Democrats saying Trump must be nicer to Kamala on the campaign trail.

Mark talks with Dave in Chicago about Hunter Biden. Arturo in Port Chester told Mark the correct pronunciation of Kamala's name.

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

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

50 years ago, a deadly fire occurred at a nightclub right on the Greenwich line. The 1974 arson fire at Gulliver's in Port Chester, New York claimed the lives of 24 people and injured 32 others, including some firefighters. We looked back at the anniversary of the case with Dennis O'Connell. His brother was one of the patrons who died in the blaze. Sandy Clarkson was a first responder the night of that fire and shares what he remembers about the scene and aftermath.   IMAGE CREDIT: Sandy Clarkson

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

Featured Songs: 00:38 - 02-08-24 - Daniel Donato - Sugar Shack - The Drake, Amherst, MA 14:15 - 03-17-24 - Leftover Salmon - Mr.Charlie - Hopmonk Tavern (Early Show), Sebastopol, CA 18:51 - 04-03-24 - Kitchen Dwellers - Ganja Smuggling - Electric City, Buffalo, NY 24:42 - 04-06-24 - Lotus - Airbag - The Capitol Theatre, Port Chester, NY 32:26 - 04-08-24 - Goose - Hot Tea - The Capitol Theatre, Port Chester, NY  See omnystudio.com/listener for privacy information.

"Grateful Dead's Notable Tracks from 1977 plus a cure for Female Orgasmic Disorder"Larry Mishkin covers the Grateful Dead show from March 18th, 1977, at the Winterland arena in San Francisco, showcasing notable performances of songs like "Sugaree" and "Peggy-O." He delves into the history and significance of these songs within the Grateful Dead repertoire. Additionally, the discussion extends to the cannabis industry, highlighting the financial strategies of marijuana companies to minimize tax obligations under Section 280E of the IRS Code. He also touches on the opening of Nevada's first legal marijuana consumption lounge, signaling a shift in cannabis regulations in the state. Finally, Larry addresses the proposal to add Female Orgasmic Disorder (FOD) as a qualifying condition for medical marijuana use in Illinois, reflecting evolving perspectives on cannabis as a therapeutic option for various health conditions. Grateful DeadMarch 18, 1977 (47 years ago)Winterland, S.F.Grateful Dead Live at Winterland Arena on 1977-03-18 : Free Borrow & Streaming : Internet Archive TITLE:  1977 Winterland:  The Dead Bust Out Fire On The Mountain and Take Their One and Only Attempt At Terrapin Flyer. Just a month after the Swing Auditorium show that we previewed a few weeks ago, Dead went home to Winterland for a string of shows.  This one stands out for a few reasons that we will get to as the show goes on. INTRO:                 Sugaree                                Track #4                                7:25 – 9:05               "Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitaristJerry Garcia.[1] It was written for Jerry Garcia's first solo album Garcia, which was released on January 20, 1972. As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker. Released as a single from the Garcia album, "Sugaree" peaked at #94 on the Billboard Hot 100 in April 1972 and was Garcia's only single ever on that chart.Elizabeth Cotten, a North Carolinafolksinger, wrote and recorded a song called "Shake Sugaree" in 1966.[3] The chorus of Cotten's song is "Oh lordie me/Didn't I shake sugaree?" Hunter was aware of this song when he wrote "Sugaree."The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University, as was the song "Mr. Charlie".  The Dead played it 362 times in concert.  Last played on July 8, 1995 at Soldier Field in Chicago.                 A classic rocking Dead tune, usually a first set number, I've seen it as a show opener, first set closer, and encore.  In this clip they really rock it but it's only a small peak at this 15 minute version of the tune.  Well worth pulling it down on Archive and checking out the entire number.  You won't be sorry.  SHOW No. 1:    Peggy-O                                Track #6                                4:20 – 6:00                          Traditional, credit for the Grateful Dead version generally go to Jerry but some say Bill had a hand in writing it.              This song derives from the earlier Scottish traditional song Bonnie Lass of Fyvie-o. Fyvie is thought to have been a staging post between Aberdeen and Fort George in Scotland. This song does occur with a number of title variations. It is possible that Fennario is a corruption of Fyvie-o.Similar traditional songs also occurred in the UK; Handsome Polly O and Bonny Barbara O, though these are less similar to the modern Peggy-O song.The title Peggy-O is used on Grateful Dead recordings. The version of Peggy-O that is included in the Jerry Garcia box set All Good Things is a previously unreleased studio recordings from Spring 1979 and is given the title Fennario. The Fennario title is also used on concert recordings of The Dead and Phil Lesh & Friends.Although not released on a Dead studio album, the song was included on the remastered recordings of both Terrapin Station and Go To Heaven.The Grateful Dead first performed Peggy-O in December 10, 1973 at the Charlotte Coliseum in N.C.. It was then played in every year through to 1995 usually no more than a dozen times each year though it was played more regularly during the 1977 to 1981 period. Played a total of 265 times. The last performance was on July 5, 1995 at the Riverport Amphitheatre in Maryland Heights, MO (just outside of St. Louis).In this clip, I really enjoy Jerry's strong voice, the solid jamming and some stealth piano contributions from Keith. SHOW No. 2:    Fire On The Mountain                                Track # 9                                1:46 – 3:30                 Hunter/Hart (not Jerry!)                 Released on Shakedown Street on November 8, 1978, last song on first side of album.                 First time ever played – one of the reasons I chose this show over a number of other great shows on this date – others include a smokin “early” Dead show in 1967 at Winterland and 1971 at the Fox Theater in St. Louis coming fast on the heels of the Dead's epic six night Capitol Theater run in Port Chester in late February. This is another of those songs with a long and complicated genesis story, perhaps not worth getting into too much detail about here, but the rough outlines at least are important to note. The lyrics, according to Robert Hunter in Box of Rain, were “Written at Mickey Hart's ranch in heated inspiration as the surrounding hills blazed and the fire approached the recording studio where we were working.”Hart, credited with the music for the song, recorded a proto-rap version of the song for an unreleased album entitled Area Code 415, recorded in 1972 and 1973. It was also included on a Mickey Hart album entitled Fire on the Mountain, recorded in 1973-74. It appeared as an instrumental entitled “Happiness is Drumming” on Hart's 1976 studio album, Diga. And it finally began showing up in the Grateful Dead repertoire, sung by Jerry Garcia, in 1977, undergoing a number of variants of the lyrics until it settled into the form that was eventually recorded and released on Shakedown Street, in November 1978. There's a lot of other detail I haven't mentioned—possibly worthy of some historian taking it apart piece by piece, but you get the rough idea.On March 18, 1977 at Winterland Arena, San Francisco. "Fire" appeared for the first time, closing the first set, following its eternal partner, "Scarlet Begonias." This combination of tunes, which frequently enclosed some wonderful jamming, came to be known as "Scarlet Fire." There were a handful of occasions on which “Fire” appeared without “Scarlet Begonias,” but not many. approx 15 out of the total 253 performances. It remained steadily in the repertoire from then on, and was played for the final time on July 2, 1995, at the Deer Creek Music Center in Noblesville, Indiana.This clip being the song's first live performance and almost a year and half before it's commercial release, there are noticeable differences between this version and the one we al know and love.  But they go there very quickly as only two months later on May 8, 1977 the Dead played the Barton Hall show that many declare to be the best Dead show ever.  While that may or may not be true, what is true is that the version of Scarlet Fire is awesome and certainly befitting a show many do consider to be the finest Dead show of them all.Many more were to follow and the lucky ones who were in Winterland this night got to witness how it all started.   SHOW No. 3:    Terrapin Flyer                                                              Alhambra                                Track # 17                                :53 – end                                 INTO                                 Drums                                Track # 18                                Start – 0:44                 This is another reason I chose this show for today's episode.  This represents the only known instance of the Dead playing the Terrapin Flyer part of the full Terrapin Suite from the Album (released on July 27, 1977) out of the traditional parts.  Although Jerry does not sing the lyrics from this part of the suite, he jams the very distinctive melody.  Interestingly, this is only a few weeks after the debut of Terrapin at the Swing Auditorium on Feb. 26, 1977.  Here, the Dead were trying out this sixth of seven parts of the suite and for whatever reason did not like what they heard or didn't enjoy playing it or, more likely, practicing it, so it was dropped from live performances even though the primary and opening parts of the suite, Lady with a Fan into Terrapin Station, were played a total of 303 times.                 These are the fun little discoveries that even after 40+ years of listening to, following and learning about the band keep it fun, interesting and amazing.                 As for the recording of the entire suite, Keith Olsen was chosen to produce and the band temporarily moved to Los Angeles, as Olsen preferred to work at Sound City, where he had recently achieved success producing Fleetwood Mac's 1975 comeback album.             Olsen had a method for reining in the Dead: "During the cutting of the basic tracks it was pretty hard to get every member of the band in the studio at the same time ... so [Steve] Parish went out to the hardware store and got these giant nails and a great big hammer and as soon as everybody was in, he hammered the door shut from the inside ... we didn't have drifters from the other studios coming in to listen. We didn't have people leaving to go screw around elsewhere. We started getting work done."[18] With Fleetwood Mac, Olsen had a hands-on approach, orchestrating the addition of Lindsey Buckingham and Stevie Nicks and influencing song choice, arrangements and sequencing. He entered the Grateful Dead project with similar expectations, imagining a concept album or song cycle. Olsen said that Davis told him "I need a commercial record out of them."[18] This caused some friction during the sessions as well as with the end results. Kreutzmann said "He'd have us play the same thing over and over again, and we're not really the type of band that can put up with that. ... Our very identity is based on the opposite principle."[                 SHOW No. 4:   Not Fade Away                                Track # 19                                14:00 – 15:40                 Written by Buddy Holly and Norman Petty.  Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, and it was released as a single (B side to “Oh Boy”) on October 27, 1957 on the Brunswick label.  The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa. Jerry Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin played the double bass on this recording. It is likely that the backing vocalists were Holly, Allison, and Niki Sullivan, but this is not known for certain.             First played by the Dead on February 19, 1969 at the Fillmore West in S.F., it was played by the band a total of 561 times and last played on July 5, 1995 at the Riverport Amphitheatre outside of St. Louis.             This is an absolutely ripping version of this tune so much so that I featured only the jam – everyone knows the lyrics, but the jam in this 20 minute version is better than any singing I could have featured. OUTRO:               Around and Around                                Track 21                                4:59 – 6:46                 Very appropriate to end on a Chuck Berry tune given that today is the seventh anniversary of Chuck's death in 2017 at the age of 90.                 "Around and Around" is a 1958 rock song written and first recorded by Chuck Berry. It originally appeared under the name "Around & Around" as the B-side to the single "Johnny B. Goode".  Release on March 31, 1958 on Chicago's own Chess Records checking in at a brisk 2:20. Many bands have covered the song including, most famously, the Rolling Stones and David Bowie, and, of course the Dead who played it 418 times, first on November 8, 1970 at the Capitol Theater in Port Chester, NY and lastly on July 6, 1995 at the Riverport Amphitheatre outside of St. Louis – very appropriate since Chuck was born in St. Louis and died in Wentzville, just outside of the city. This is one of the better version of the tune that I have heard.  It checks in at over 8 minutes and the boys just jam it out, throw in a few false endings and finally wrap it up, followed only by Uncle John's Band before the boys say goodnight to the Winterland crazies and head home for a rare post show night in their own beds. .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

Marty in Florida talked with Mark about the E. Jean Carroll case. Arturo in Port Chester asked Mark about the biased media. Vincent in Brooklyn talked to Mark about testing Biden for drugs.

"Uni Dome Bliss: Jerry's Guitar Magic Illuminating Iowa Nights"Larry Mishkin discusses a Grateful Dead concert from February 5, 1978, held at the Uni Dome at the University of Northern Iowa in Cedar Falls. He emphasizes the exceptional performance, particularly focusing on the Scarlet Begonias and Fire on the Mountain combo, which he compares favorably to the renowned Barton Hall show from May 1977. Larry praises the guitar work of Jerry Garcia and highlights the unique qualities of this less-discussed but outstanding 1978 show. Additionally, he briefly touches on recent music news, including the Dead and Company's residency at The Sphere in Las Vegas and the upcoming Days Between event at Jazz Fest in New Orleans, featuring Government Mule and other legendary musicians. February 5, 1978 (46 years ago)Uni-DomeUniversity of Northern IowaCedar Falls, IowaGrateful Dead Live at Uni Dome, U of Northern Iowa on 1978-02-05 : Free Borrow & Streaming : Internet Archive Show Title:  The Dead Warm Up A Cold Iowa Night in 1978.  Dead & Co scheduled to play the Shere.  Alcohol v. Cannabis v. Tobacco – You already know the answer to this one!  INTRO:              Bertha                           Track #1                           3:24 – 5:13                             Great Jerry solo SHOW No. 1:     Samson & Delilah                           Track # 12                           1:30 – 3:10                            Bobby's mic not working so they have to improvise and keep jamming                            Played 365 times, often on Sunday – “It being Sunday . . . “                           First played June 3, 1976 Paramount Theater in Portland, OR                           Last played July 9, 1995 at Soldier Field, Chicago SHOW No. 2:    Scarlet Begonias                           Track #14                           3:20 – 5:10                            One of the best ever, great jamming SHOW No. 3:    Fire On The Mountain                           Track # 15                           7:15 – 9:02                            Again, one of the best ever (and one of Rob's favorites!).  No lyrics here, just Jerry jamming away SHOW No. 4:   The Other One                           Track # 18                           6:10 – 7:40                            Loud, solid, Phil!!! OUTRO:            Around & Around                           Track #20                           3:58 – 5:35                                                     Not always everyone's favorite, but this is a ripping version, they change the tempo on a dime and rock it out to end the second set.                           "Around and Around" is a 1958 rock song written and first recorded by Chuck Berry. It originally appeared under the name "Around & Around" as the B-side to the single "Johnny B. Goode".                        Covered by:                                   Rolling Stones - The Rolling Stones covered the song on their EP, Five by Five and second U.S. album 12 X 5 in 1964. Besides the band members it featured Ian Stewart on piano. In October 1964, they performed the song as part of their first appearance on The Ed Sullivan Show. They played it on a regular basis on their tours in 1964 and 1965. In 1964 the Stones opened their famed TAMI Show with the song. After more than a decade they performed the song again at the Knebworth Fair on August 21, 1976. It was also included on the 1977 live album Love You Live, from the El Mocambo club gig in Toronto. After that, it has only been performed occasionally, most recently during the band's 2012 U.S. tour at Prudential Center in Newark, New Jersey on December 15                         David Bowie - English musician David Bowie recorded the song in 1971, produced by Ken Scott, under the title "Round and Round". Originally slated for inclusion on his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was ousted by "Starman" at the last minute.[4] Regarding the song, Bowie stated in 1972: "It would have been the kind of number that Ziggy would have done onstage...He jammed it for old times' sake in the studio, and our enthusiasm for it probably waned after we heard it a few times. We replaced it with a thing called 'Starman'. I don't think it's any great loss, really.                         The Animals                        Eric Burden                        Pearl Jam                        Meat Loaf                        .38 Special                        Maureen Tucker (Velvet Underground)                        The Germs (American punk rock band                        Guided By Voices                        And more . . . . . . .                         Dead played it 418 times, very high up in the overall song rankings.                        First played:  Nov. 8, 1970, Capitol Theater, Port Chester, NY                        Last played:  July 6, 1995, Riverport Amphitheatre, Maryland Heights (St. Louis), MO .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

Arturo from Port Chester talked with Mark about Nikki Haley losing staff members because of her nastiness. Vincent from Brooklyn talked with Mark about the crimes being commited by migrants across the country.

Welcome to This Happened Once Before, a conversation between generational Phish fans.  I'm your host Bill and this week I am joined by Powell, a recent convert to the band, his musical perspective and openness to the experience made this a great conversation. We discuss how he got into the band, and what he loves most and then we dive into this week's show on 5/14/92 from the Capitol Theatre in Port Chester, NY. Thank you to Powell for bringing his unique professional perspective on some of the mental aspects of being a fan, openness to the whole experience, and showing how positive it is to find new experiences in life.    Also, I share my thoughts on Reed's recommendation from 9/5/15  at the Dick's Sporting Goods Arena in CO.  Let's get the show on the road.  To be part of an upcoming episode or to recommend a show contact me at happenedoncebefore@gmail.com Phish • 1992-05-14 (02:52:02) • The Capitol Theatre, Port Chester, NY https://relisten.net/phish/1992/05/14?source=163777

"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.

"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin  focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..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   Jerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive  INTRO:               How Sweet It Is To Be Loved By You                           Track No. 2                           0:00 – 1:30 How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!"  Released on Nov. 4, 1964 with Forever on the B-side. Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff. James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart. Long a staple of the JGB's set lists, First played on September 18, 1975 a Sophie's in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB's most played tune (Midnight Moonlight is 2d at 344) Usually a show opener.   There are three Dead shows on Nov. 13 and six JGB shows.  Of those six, none are available on Archivd.org.  So I am dong a JGB show two days later on Nov. 15, 1991 from MSG.  The standard JGB lineup for that time: Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocals Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act. This show was released as Garcia Live Vol. 16 SHOW #1:                        Simple Twist of Fate                                         Track No. 5                                         3:00 – 4:40               In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song's subject, many believe that he wrote it about his former girlfriend, Joan Baez. Bob Dylan's message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world. Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F.  If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show. SHOW #2:                        Lay Down Sally                                         Track No. 6                                         1:40 – 3:15 "Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart.  It was released as a single with Cocaine on the B-side, quite the heavy hitting release.  It was the song of the summer of 1978 and always one of Slow Hand's favorite songs. "Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SF Gets a great crowd reaction and Jerry loves jamming on Clapton tunes. Link to picture of Garcia and Clapton from back in the day:  Jerry Garcia & Eric Clapton Pose | Grateful Dead Clapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A:  “Yeah, it's great.” Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.” A:   “Ropey! That means a drag. I don't think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I'm not sure of that. I'm guessing. If the Grateful Dead are one of the best, they're not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia's synthesis of blues, jazz and country and western, with a little jug band thrown in?A:   “It's very good, and very tight, but it's not really my bag.” SHOW #3:       Deal                        Track No. 9                        2:46 – 4:15 Finally, a Garcia tune!  And one of his best.One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”. It's also worth noting that the classic folk song, “Don't Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune. JGB played it 291 times in concert.  First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the Warfield Grateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant's Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL You had to be trying really hard, or just be really unlucky to never catch this tune during those days.  I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song.  Almost always a first set closer.  SHOW #4:               Ain't No Bread In The Breadbox                                Track No. 14                                1:22 – 3:02 Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic. In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake." By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums. He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993. Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band's 7th performance of the tune.  Jerry really liked it. The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021.                        OUTRO:                  What A Wonderful World                                Track No. 19                                1:55 – 3:37 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races. JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band's 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can't love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria.  A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry.  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law

Mark talks about the issues the UAW strike will have on the country. Mark talks to Arturo from Port Chester about President Trump being re-elected and suing Democrats.

Happy Monday! Sam is BACK from vacation. He and Emma speak with Richard Kahlenberg, education & housing policy consultant and non-resident fellow at Georgetown University, to discuss his recent book Excluded: How Snob Zoning, NIMBYism and Class Bias Build the Walls We Don't See. First, Sam and Emma run through updates on Trump's various legal woes, this weekend's white supremacist mass shooting in Florida, the UAW's tentative agreement with auto companies, the NLRB's massive new ruling to empower unions, and various conservative political operations, like CPAC and No Labels, before looking at the local response in Jacksonville to the racist shooting of four Black people. Richard Kahlenberg then dives right into why the incredibly dry topic of housing zoning inspires rabid reactions and fundamentally shapes so much of our social stratification. Kahlenberg then parses through the relationship between class and race in US public policy, and how they frequently act as proxies for each other, becoming tightly bound in how they must be addressed, as seen in the shift from extreme racial segregation to extreme class segregation coming out of the Civil Rights era, and how this economic stratification so neatly feeds into educational segregation. After walking through his primary case study of Scarsdale and Port Chester, in upstate New York, Sam, Emma, and Richard discuss Reihan Salam's recent response to Kahlenberg's work, as they tackle how deeply tied up in elitist and hyper-individualist culture the vast majority of exclusionary housing policy is. Wrapping up, they tackle Kahlenberg's major policy projects and suggestions to push back against these exclusionary zoning laws (even when the wealthy communities object), and work through the local models for both sides of the zoning debate. And in the Fun Half: Sam and Emma watch Vivek Ramaswamy get absolutely bodied by Chuck Todd and Dana Bash over his comments about anti-racists being more racist than racists, parse through the DeSantis Campaign entering its clearance sale era, and do a deeep dive on Jesse Singal's recent freak out over MR's coverage of his misinformation campaign last week. Wrapping up, the MR Team unpacks Tim Pool's recent endorsement of shaming all women, plus, your calls and IMs! Check out Richard's book here: https://www.hachettebookgroup.com/titles/richard-d-kahlenberg/excluded/9781541701465/?lens=publicaffairs Find out more about Jesse Singal here: https://affordablecareactlitigation.files.wordpress.com/2019/05/state-plaintiffs-sj-reply-5-3-19.pdf https://glaad.org/gap/jesse-singal/ Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Check out today's sponsors: Trust & Will: Gain peace of mind today with Trust and Will. Get 10% off plus free shipping of your estate plan documents by visiting https://trustandwill.com/MAJORITY. That's 10% off and free shipping at https:/trustandwill.com/MAJORITY. Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattBinder @MattLech @BF1nn @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Subscribe to Discourse Blog, a newsletter and website for progressive essays and related fun partly run by AM Quickie writer Jack Crosbie. https://discourseblog.com/ Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

This is the All Local afternoon update for August 3, 2023

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