Podcasts about winterland

No better cure for the summertime blues than a quick trip to Winterland. This week, our host Knob is heading to San Francisco. It's March 24th, 1971 and the Grateful Dead are playing the Winterland Arena. Along the way, discussions abound about Pigpen's strengths as player and singer, how songs evolved in ‘71, and how Knob's voice was shredded at karaoke.  Greatest Story Ever Told > Johnny B. Goode Next Time You See Me Loser Truckin > Drums > The Other One Bertha Sugar Magnolia I'm a King Bee Beat It On Down the Line Casey Jones Hard to Handle Playin' in the Band Not Fade Away > Goin Down the Road Feelin Bad > Not Fade Away Uncle John's Band

Enjoying the Ride: On TourThe Deadcast season finale hits shows at 3 legendary venues, exploring Dick Latvala's transformative experience at Red Rocks ‘79, Hollie Rose's tour journal, the wonders of the Alpine Valley parking lot, & when Shakedown Street got its name.Guests: David Lemieux, Jay Kerley, Hollie Rose, Rebecca Adams, Bill Lemke, Phil Garfinkel, Jim Jonze, Tom Ryan, Art Moss, Lisa Hitchcock, David Van Divier, Scott Bauer, Julie Dock, Mobile SteeleSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast cruises down the eastern seaboard, including stops in Hartford, Hampton, Philadelphia, and Landover, featuring touring tips, another police chase, & a visit to the White House.Guests: David Lemieux, Sam Cutler, Dennis Alpert, Tyler Roy-Hart, David Leopold, John Leopold, Rebecca Adams, Brian Schiff, Gary Lambert, Chris Goodspace, Winslow Colwell, Scott Jones, Chad EylerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast makes a beeline for the northeast, focusing on shows from legendary venues in the Manhattan and Boston areas included on the new Enjoying the Ride box, including ESP experiments, weed smuggling, free jazz titans, multiple police chases, and more.Guests: David Lemieux, Ron Rakow, Sam Cutler, Richie Pechner, Allan Arkush, Ned Lagin, Gary Lambert, Blair Jackson, Stanley Krippner, Rebecca Adams, Johnny Dwork, John Scher, Michael Simmons, Tyler Roy-Hart, Henry K, Howie Levine, Kenny Schiff, Debbie RondeauSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast's tour of Enjoying the Ride trucks all the way to the East Bay, exploring beloved venues including the Greek Theater & Kaiser Auditorium, with tales of the Hog Farm's Skeleton Crew & vintage field recordings from Oakland Coliseum Arena's parking lot. Guests: David Lemieux, Ron Rakow, Kevin Schmevin, Mark Pinkus, Blair Jackson, Steve Silberman, Rebecca Adams, David Gans, Johnny Dwork, Tyler Roy-Hart, Steven Bernstein, Robert Nyberg, Chad KroegerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast begins our virtual tour of the new Enjoying the Ride box, visiting the cradle of the Dead in Palo Alto/Menlo Park (with a detour to visit the Warlocks' earliest shows) before heading to San Francisco with stops at the Fillmore West and Winterland.Guests: Connie Bonner Mosley, Ron Rakow, Ned Lagin, Ron Pietrowski, Tyler Roy-Hart, Les Earnest, Doug Oade, Eric Schwartz, Blair Jackson, Michael Parrish, Dominic Stefano, David LemieuxSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

For the 50th anniversary reissue of Tiger Rose, we explore the lost story of Robert Hunter & Jerry Garcia's only full-length studio collaboration, the Dead lyricist's 2nd solo album, produced by Garcia & performed by an all-star cast including Garcia, Mickey Hart, & Donna Jean Godchaux.Guests: Kathy Veda Vaughan Bogert, Mickey Hart, Barry Melton, Ron Rakow, Howie LevineSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the 2nd part of the Deadcast's Phil Lesh tribute, we get deep into his singular bass playing with Phil's son & bandmate Grahame, Phish's Mike Gordon, & musicologist Rob Collier, while touring Phil's high adventures with Ned Lagin, radio co-host Gary Lambert, & other friends.Guests: Grahame Lesh, Mike Gordon, Ned Lagin, David Crosby, David Lemieux, Gary Lambert, Rob CollierSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Who at two very different stages of their career is presented not only visually (this book has over 500 pictures!) but also with an engaging narrative. Teenage Wasteland: The Who at Winterland, 1968 and 1976 is an innovative approach. One that succeeds because it found a way of delivering all these pictures with comprehensive coverage of The Who during a pivotal time in the bands career. *Want to win a free copy of Mike Campbell's memoir Heartbreaker?  It's easy, just send me an email to sign up. You can find a link to my email address below. *Reminder this is for US citizens only**Want to stay on top of the world of Rock N Roll Book and Documentaries? That's also easy. Sign up for the Monthly BLAST!! the newsletter that comes out on the last Friday of the month that features book buzz and doc news, recently released titles, top 5 lists, and more. Just shoot me over an email at the address below and say Big Rick, send me that Blast!!Support the showemail Big Rick at:info@rocktalkstudio.com

Today we have a Bay Area legend on the show Mr Chris Hayes, former Guitarist and Songwriter for Huey Lewis and the News.   Chris and I dive way deep into his long amazing career including, Growing up in the Richmond District in San Francisco, Hanging out at Winterland, Joining Huey Lewis and The News and the explosion of the Sports record.   We also get into his life these days and what music equipment he still has around. It was an honor to talk to Chris and I think you guys will really dig it.   My up coming tour dates can be found here - https://www.deandelray.com/tourdates  Join my Patreon for over 170 bonus episodes https://www.deandelray.com/patreon    Thank you so much for tuning in and look out for my new Comedy Special "5836" coming out April 17th 2025 on my youtube channel www.youtube.com/@deandelray    THANK YOU DDR

The Deadcast begins its 11th season with a celebration of the Grateful Dead's Phil Lesh, drawing on archival interviews to explore his unusual trajectory from jazz trumpet to avant-garde composition to rock and roll bass, and welcoming special guest Mike Gordon of Phish.Guests: Mike Gordon, Oteil Burbridge, Sam Cutler, David Lemieux, Gary LambertSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Allman Brothers Band Whipping Post 15:01 Winterland, San Francisco 09/26/73 The Allman Brothers Band Ain't Wasting Time No More 8:37 The Beacon NYC 03/20/2009 The Allman Brothers Band Mountain Jam 10:05 The Beacon NYC 03/20/2009 The Allman Brothers Band Early Morning Blues 9:19 Brothers And Sisters deluxe, 1973 The Allman Brothers Band Les Brers […]

References Guerra, DJ. 2025. Biochemistry Lectures. Int J Mol Sci. 2023 May 16;24(10):8811. Front Endocrinol (Lausanne). 2020 Dec.3; 11:587189 Berry, Chuck. 1958. "Johnny B Goode". Dead. Winterland 71' https://youtu.be/dWvdY-j0_Kw?si=HhKedcHgHhMOY3Di Brahms, J. 1878. Violin Concerto. D Major. Op 77 https://youtu.be/9L6a-JJCCzw?si=mh8Q_4dKuPWvEfwB

   On this first Friday of 2025, we continue with the conclusion of the Grateful Dead's New Year's Eve concert from December 31, 1971 at Winterland in San Francisco.  A long, fun if somewhat sloppy at times show, the enjoyment the band was having is evident throughout.. After a Bill Graham intro they go into Truckin' then Billy really goes off as they go into a Other One jam, then quite interestingly enough into Me & My Uncle before going back into The Other One.. Some other highlights here include the first ever version of Big River, and the last Pigpen version of 'The Same Thing' which the band would not bring back for 20 years... There is some great high energy jamming in the 2nd half of the set, which apparently went on until 3:45 AM.   Grateful Dead Winterland Arena San Francisco, CA 12/31/1971 - Friday Two      Truckin' [8:45] > Drums [3:07] > The Other One Jam [6:01] > Me And My Uncle [2:50] > The Other One [10:19] Space [1:53] > Black Peter [8:38] Big River [3:32] The Same Thing [7:22] Ramble On Rose [5:45] Sugar Magnolia [6:42] Not Fade Away [6:09] > Goin' Down The Road Feeling Bad [7:08] > Not Fade Away [3:00] Encore      Casey Jones [5:24]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod010325.mp3  My sincere thanks for your kind support of the Deadpod!  Here's to a healthy and happy 2025!

5:40a The crew talk about all the fun they had at Alice in Winterland and we find out if the tornado that hit Scotts Valley affected Vinnie.

An epic adventure to save Christmas with SEX!By cb summers. Listen to the Podcast at Steamy Stories. Scene 1THE MEETING“Hi. My name is Kris, and I'm a sex addict.”“Hi, Kris,” replied the other sex addicts. I was too dumbfounded to speak.Of all the people in all the world that could have walked into the Anchorage Sex Addict's Anonymous Support Group, it would have to be him.Kris Kringle.I don't think anyone else recognized him, but the dark sunglasses didn't fool me. I'd known who he was the second he'd walked into the room and purchased a hot chocolate from the drink machine. He didn't look exactly as I'd pictured him. For one thing, he was taller than I expected. About a foot taller than me, which would make him almost six feet. And he wasn't as fat as he usually looked on Christmas card illustrations. Artistic license I guess… or maybe he'd been working out. And he wasn't an old man, which was surprising. If not for the snowy white hair and beard, he'd have passed for thirty-five, tops. But it was him. I knew it. I felt it in my heart and in my head. Call it woman's intuition. He had the beard, the long eyebrows, the handlebar moustache, the rosy cheeks and the cherry nose.But he didn't look very jolly. In fact, he seemed downright depressed. Prior to speaking, he'd sat quietly in his fold up chair, looking around the room. He was probably trying to figure out who was naughty and who was nice. But he needn't have bothered. Other than the facilitator, we were all quite naughty.Kris was wearing Bermuda shorts and a T-shirt with a silly slogan on it: “Reindeers Rule”. Probably something one of the elves gave him for Christmas. It was an odd outfit to choose. It was December in Alaska. It was ten below zero outside! He was obviously trying to go incognito. It's called Sex Addicts ANONYMOUS, after all. But I guess it's hard to be anonymous when you're Santa Claus.Kris took a sip of cocoa and started talking in a deep, sonorous voice that made my heart melt. He said he was the foreman of a large manufacturing facility. A year ago he'd started having sexual relations with some of his employees. Soon it became an obsession. He didn't want to get into the details, but the situation got so bad that his wife left him. And now his business was in danger. He had a big delivery coming up soon, but his employees were in full revolt as a result of his actions. If he missed the delivery deadline, he'd be ruined.The others took his story at face value, but not me. I could read between the lines. He'd done something inappropriate with the elves, pissing off Mrs. Claus… and if that weren't bad enough, Christmas was in danger of not happening at all!A shiver went down my spine. Christmas was everything to me… hell, it was my reason for living! My first job was as a department store elf, and later I worked at the Christmas store. Nowadays, I sold and traded Christmas tchotchke online. If there was no Christmas this year… well, it was too horrible to contemplate!I had to do something about it. I had to help Santa. I had to save Christmas!After he finished talking, Kris listened politely as the rest of the sex addicts spilled their guts, trying to figure out how their lives had gotten so f' up. When it was my turn to share, I passed. I didn't want him to know about me… not yet anyway.When the meeting adjourned, I went up to Kris.“Excuse me, uh, Kris, is it?”“Yes. It's nice to meet you, Virginia.”“Wait… how do you know my name?” But even as I said it, I already knew how he knew. Santa knows the name of everyone in the world!“Sam said your name when he asked you if you'd like to talk.”I didn't remember my name being mentioned, but if he wanted to play it that way, so be it, “Oh… right. Well, you're a good listener.”There were tiny little twinkles in his tired eyes as he said, “Sometimes, Virginia. I try to be.”His expression changed for a moment. He looked me up and down, eyes narrowing. I knew that look. I'd seen it on plenty of sex addicts. He was checking me out, but trying desperately not to think about fucking me. I was a pretty little thing. Though I was 29, I usually passed for younger because of my youthful, adorable face. I was skinny, so my c-cups looked nice and round under my thick, white sweater. My black hair was cut short. It curled around the sides, forming points near my cheeks separated by straight bangs cut straight, just above my dark blue eyes. My facial features have been described as cute or even ‘elfin'. I inherited my features from my grandparents, who'd emigrated from Iceland. I had their high cheekbones, pale white skin and slanty blue eyes. I kind of look like Bjork, but even cuter, in my opinion.“Well,” I said nervously, “Do you have a sponsor yet?”He sighed. It was obvious that he wasn't all that interested in the whole twelve-step process. He'd probably come to the group out of desperation, rather than an earnest commitment to change, “No, not yet. I suppose you're offering to play that role?”“Sure. I mean, it's up to you. But I'm not sponsoring anyone else right now. We all have sponsors. It's sort of… how it works.”He nodded, glancing impatiently at the door, hoping to escape as soon as possible, I suppose. He mumbled, “I'm not really sure what a sponsor does.”“Well… I guess I'd be someone you could call if you needed to talk about anything. Hey, we all know why we're here. We have urges to… do things that aren't good for us. Sometimes the best way to resist an urge is to talk to someone who understands… who's been there herself. Someone who can talk you down and refocus you on your priorities.”He nodded. “Okay… well, that sounds lovely. But I don't need help…”I laughed, “Oh, everybody needs help, Kris. These meetings are only once a week. But temptations pop up every day. Every hour of every day, if you're lucky.” I laughed.He smiled and shrugged, and we exchanged phone numbers. It surprised me that Santa had a cell phone. I didn't think they had cellular service at the North Pole. We shook hands and he walked off into the snowstorm, head down, and hands in his pockets, his sandals crunching through the snow. It was freezing out, but he didn't so much as shiver.“Virginia,” said a voice behind me. I turned to see Sam, the facilitator. He had a suspicious look on his face. “Were you talking to Kris just now?”“Kris?” I said, playing dumb. “Oh, you mean the guy with the shorts? Sure. We were chatting.”“Virginia,” he said knowingly. “He's not Santa Claus.”I laughed gaily, “Of course not! You thought I…? No, no. He's not Santa Claus. That's obvious! Too skinny for one thing.”Sam's eyes narrowed. “And… Santa Claus doesn't exist. Right?”I felt my hackles rising, but I stifled the urge to slap his smug face.“Well, that goes without saying. He can't be Santa because there is no Santa. Everybody knows that. I was just trying to be funny.”Sam nodded, still suspicious of my intentions, “You didn't speak today. Is it because you didn't want him to know about your… Santa issues?”I thought up another lie, but decided to sprinkle a bit of truth in it. “You might be right. I don't know. When he came in, well… the beard, the white hair… it sort of threw me for a loop. That's why I was talking with him just now. I wanted to feel him out. You know, assure myself that he's not… you know who. And he's not! Definitely not. I mean, how could he be? There is no Santa, duh. But even if there were a Santa, which there isn't, it wouldn't be that fella!”Sam was no dummy. He knew that I had this thing for guys with long white beards and bellies that jiggled like bowls full of jelly. He said, “Still, you should try to keep your distance from Kris. You've been celibate for almost a year now. You've got to avoid temptation. One slip and you're back to zero.”“I don't know what you're worrying about Sam. Alaska is full of guys that look like Kris. Sure, I feel urges… but I know now how stupid and pointless it is.”Sam nodded and said, “You can't sleep with them all.”“I agree,” I said nodding. It was true. I couldn't sleep with them all, and Saint Nick knows I'd tried! “But maybe it's a good thing that he's in the group. I need to get used to being around guys like him without feeling the urge to… you know.” I blushed. I may have banged over a hundred would-be Santa's in my day, but I was still basically a blushing little girl down deep.Sam nodded and patted me on the shoulder and went on to harass someone else. I didn't tell him that I was Kris' sponsor. He'd find out eventually, but keeping it a secret might buy me time to figure out my next move.After all, I had to save Christmas!Over the next few days I resisted several urges to dial Kris' phone number. I'd decided to tell him that I knew his true identity, but I figured it would be best to wait until the next meeting to spring that on him. If I played that card too fast, he might bolt and I'd lose him forever.But he didn't come to the meeting. Sam said he hadn't heard from Kris. I knew something was wrong. So after the meeting I tried calling Kris. But there was no answer, it just went to voice mail.“Hi, you've reached Kris Johansson's voice mail. Please leave a message, and I'll get back to you a.s.a.p.”I left a message, but he didn't return my call. I left a few more messages that week. Telling him that he could call me, any day, any time, it didn't matter. I was there for him if he needed meBut Christmas was coming soon, and I figured he was busy preparing for the 'big delivery', so I wasn't all that surprised he didn't call me back, just disappointed.I'd almost given up on hearing from him. Then about 11 p.m. the night before Christmas Eve, I was awoken by the clatter of jingling bells. At first, groggy with sleep, I thought Santa's sleigh was landing on my roof. I thought, that's weird, he's a day early, But then I remembered that I'd assigned a jingle-bell ring tone to Kris's number. I jumped out bed and scrambled for my phone; afraid I wouldn't get to it in time.“Hello?”My heart sang, when I heard Kris' deep, melodious voice saying my name, “Virginia. I need… Something is… I need help.”There was music in the background. It sounded like electronic club music, but with bells jingling to the beat. There were also occasional high-pitched whoops that could be heard over the music.I spoke in a clear, serious voice; just as my sponsor talked whenever I called her in the midst of a crisis, “Tell me what's happening. Are you safe?”“Yes. I'm fine. I just…” his voice choked up with emotion, “I don't know what I'm doing. I'm ruining everything.”“Where are you?”“In the el… at a club, I guess.”“A sex club?”“I don't know… I guess… sort of.”“Are you having sex?”“Yes,” he replied, his deep voice thick with shame.“Right now?”He started sobbing, “Oh… what's wrong with me?”I could barely contain my excitement. Santa Claus was having sex somewhere, and I was on the phone with him! How great is that?!“You need to walk out of there. Just stop whatever you're doing and leave.”He sniffed a few times then weakly said, “Okay.”“I mean it. Don't hang up. Stay on the line until you are out of there.”“Okay. Okay. Sorry guys. No. No, I gotta go.” There were high-pitched voices in the background, almost like someone was complaining in some weird language. Sounded Scandinavian.Elves. Had to be.I heard fumbling sounds, probably him holding his phone while pulling up his pants. Then there was the clicking sound of his belt being buckled, followed by heavy breathing and rustling. The music started getting softer, until it was cut off with the sound of a slamming door. I heard his feet crunching through the snow.“Okay, I'm out of there. But I want to go back in.”“Don't! Listen to my voice. Don't go back in there. Get on your sleigh… I mean, in your car, and… where are you?”“The… uh, near my factory.”“Where is that… never mind. Just… can you meet me?”“Where?”“How about… Moose Café?”“The diner next to the motel?”“Yeah, that's the one. How fast can you get there?”“I don't know… maybe ten minutes.” Wow, Santa's sleigh really is fast!“Okay, see you at the diner in ten minutes. Fly safe!”“What? Didn't catch that…”“Drive safe, Kris. See you in ten.”I hung up. My heart was thumping in my chest like twelve drummers drumming. He needed my help! Santa needed my help!SCENE 2YES VIRGINIA, THERE IS A SANTA CLAUSAll my adult life, people have been telling me that there is no Santa. But my parents have always said I just need to ignore the naysayers and hold onto my beliefs. “Santa is as real as you and I,” my mother says whenever I start to lose faith. I live, eat and breathe Christmas. And I've always tried to be nice, not naughty. And every Christmas Eve I religiously leave Santa milk and cookies on the table near the fireplace. And as a reward, up until I was 26, Santa left presents under my tree every single Christmas! Not just any old presents, but the presents I asked for in the letters I sent to him at the North Pole. But, Santa's got a funny sense of humor. I once asked him for a new house… I got that idea from an old movie. In response, he sent me a little dollhouse! It was tiny, but beautifully made, and looked almost exactly like what I'd pictured in my mind. That Santa, what a joker! I loved that dollhouse (I can see it right now from where I'm writing, the centerpiece of my enormous holiday display).Three years ago my mean younger sister, Stephanie, called me on Christmas Eve and told me something that ruined everything. She said my parents had been flying across the country every Christmas eve, ever since I left home, picking the lock of my tiny little New York apartment, sneaking in, eating the cookies and drinking the milk and leaving presents in my stocking and under my tree addressed, “To: Virginia. From: Santa.” Can you imagine my sister telling such a heinous lie? But sadly, I believed her for one hot minute. That sounded exactly like the kind of thing my parents would do. They were crazy for Christmas. I should have called them but I didn't. I bawled like a baby and threw out my Christmas tree. Literally, I just opened the window and pushed it out into the street below. I didn't make any cookies either. Later on, I decided that's probably what pissed Santa off the most. He loved my cookies!When I woke up Christmas morning, I had a shock in store. There was a lump of coal sitting on the floor where my tree had been. Just sitting there, mocking me. I knew, right then, right there, that my sister was a liar. But it was too late. I'd rejected Santa!I was naughty!That was pretty much the worst day of my life. I fell into such a deep funk over the next few months that I got fired from my job at the Christmas store. When that happened, I had a bit of a… I guess you'd call it a nervous breakdown. I don't have any memory of what I did, but I woke up one day in a… facility. The doctors said I'd been ranting about Santa for days and days, opening windows and shouting out into the snowy air that I was a fool and begging for Santa's forgiveness. The doctors wouldn't let me go until I pretended that Santa wasn't real. But I got out in February, totally cured, and began my long search for Santa.Okay… maybe I wasn't totally cured. I sort of went through a slightly confused time after that. One day I saw a stranger on the street that looked just like Santa. He was a fat fifty-something with a big white beard. He had this jolly look in his eye, even though he was obviously homeless. He even smoked from a little pipe, just like in that poem about him. I became convinced that he was the actual, real Santa. Why was he homeless? Well, it was spring, I reasoned. The elves were making toys, and Santa was taking a break. It made sense to me at the time, but that just tells you how discombobulated I was back then. I struck up a conversation with him, and of course he denied being Santa. But that's just what the real Santa would do. He was stinky and hungry, so I invited him over to my apartment to bathe while I baked him some cookies.He had no idea why a pretty 27-year-old girl would invite him into her home, but he didn't object. I made his favorite chocolate cookies while humming 'jingle bells' and listening to him splashing around in the tub. He stayed in there a long time, enjoying the hot water, which I guess was a bit of a luxury for him. My first batch of cookies came out of the oven. I was so eager to give him a taste, that I took a plateful into the bathroom without even knocking.He was beautiful sitting there in the tub. So fat, so jolly… he had a big pile of suds on top of his head, and I laughed in spite of myself. He looked at me, shocked that I'd walked in on him like that, but he greedily gobbled up my cookies. Then he said, grumpily, “Well, if you're not gonna wash my back, get out.”I took that as an invitation to wash his back. I sat on the edge of the tub and soaped up his back, which was covered with curly white hair. I ran my fingers through it, feeling something… unexpected, stirring between my legs. And no, it wasn't a flea. At least… I don't think so.When I was done with his back, I decided to shampoo his hair, because he hadn't done a very thorough job. I kicked off my shoes, moved behind him and put my feet in the water. I could feel his hairy thighs against my ankles. He leaned back against me as I scrubbed his hair. It was so snaggled with twigs, it took forever to clean it all out. He must have enjoyed my attentions, because after a while, I saw the tip of his penis break through the bubbly surface of the water. He didn't try to cover it up, so I figured, if he's not embarrassed, why should I be?By this time the water was rank, so I emptied the tub and refilled it. I got a good look at his naked body then. Santa had a big belly… and a big penis. Big enough, anyway, to still look big in spite of all the fat around his abdomen. I hadn't seen many penises up to then. I'd always been pretty shy around men. The two guys I'd actually had sex with were fellow elves who'd worked at Santa's Winterland with me when I was 19. They weren't little people, just in case you're wondering. They were just regular guys, trying to earn a buck wearing pointy plastic ears and red shoes with bells. Neither of them were good lovers, but it turned out that making love with me made them realize they were gay. Can you imagine? This happened two weeks apart. My luck, I'm telling you. But I was a nice girl, so I played matchmaker for them, and soon they were fooling around in Santa's house after closing time, with each other, not me.Anyway, the point is, homeless Santa was the first man I'd seen naked in years and years and years. I found his body intriguing. So after refilling the tub, I kneeled on the floor to wash his legs. They were still pretty crusty. Then I just kept working up higher, and his eyes grew wider and wider. He didn't tell me to stop, so I didn't. I cleaned his balls, his cock, and his ass. I was happy to do it. And he enjoyed me doing it too. He had such a smile on his jolly old face. He particularly liked me cleaning his hard penis, stroking it up and down with my hand on one side and a sponge on the other. He kept telling me, “Yeah, don't stop. Just like that. Don't stop.” So I didn't stop. He was Santa. Why would I stop?I was as surprised as anything when a fountain of semen shot out of his penis and all over my hands. I paused for a second but he grunted, “No, don't stop!” So I kept cleaning, and he squirted a few more times, letting out a long croaking groan. Then he slumped back in the tub and unceremoniously fell asleep. I smiled. I was happy that I could give Santa pleasure like that. Maybe now he'd forgive me for doubting him. I looked at his sticky cum on my hands. I sniffed it, thinking it might smell Christmassy somehow, you know, cinnamon and spice, but it didn't. I licked it off my fingers. It was kind of salty.As Santa snored, I washed him some more, making sure to clean the crusty dried food out of his beard. I even cleaned out his ears, which were almost stopped closed with hair and gunk. Then I waited for him to wake up, making sure to keep the water nice and warm. I played with his balls, because it made him hum in his sleep. His cock got hard, then soft again, in response to my touch. That was kind of fun! I made a bit of a game out of it, seeing how many ball tickles it took before he was stiff again. He woke up an hour later. He seemed a little embarrassed and at a loss for words. He just mumbled, “Thanks, girlie”.I helped him get out of the tub. He was kind of creaky and old. I started to wonder how a man this weak could possibly control a sleigh or climb down chimneys or do any of the other strenuous activities required of Santa on Christmas Eve. I watched him dry off, and now that he was clean… well, he just didn't look as Santa-ish as before. He asked if I had any gin. I offered him eggnog instead. When he drank it I knew I'd made a mistake. He spit it out! Can you imagine? Santa Claus… spitting out eggnog? This old bum was probably expecting it to be spiked with some sort of alcohol, like my aunt used to do. But I preferred it right out of the carton, just like Santa.Well, that was a sore disappointment, I can tell you! But he was my guest, so I made dinner for fake homeless Santa. He ate it all up, but when it was over he grabbed my bottom and asked if I'd like to give him another bath. How rude! I told him, in no uncertain terms, that he shouldn't look a gift reindeer in the mouth and ushered him out of my apartment.I suppose I should have learned my lesson. You know the one about not judging a book by its cover. But I didn't.I tried to put my life back together. I got a job outside of the Christmas industry, and I tried not to think about Santa. But every time I spotted a white bearded fat man on the street, or in the subway, my heart would soar, and my gray world would grow brighter. I'd usually follow him for a while before deciding he probably wasn't Santa. If he looked particularly jolly… well, I found myself getting turned on. Sexually turned on. It was disquieting. I'd never had those kinds of feelings for Santa before. Later that spring I started having erotic dreams in which I was Mrs. Claus. These dreams would usually end with Santa and I making love in a pile of snow, under the aurora borealis. I would wake up turned on but terrified. So I stopped Santa hunting and concentrated on my job all through the summer.After Halloween, the Christmas decorations started going up all over town, and boom, just like that my obsession was back. I started wandering the streets, chasing anything in a beard. Now when I woke up after one of those vivid Santa dreams, I'd lay in bed, sometimes for hours, masturbating. I began to reconcile myself with the fact that I had the hots for Saint Nick. After all, I wasn't a child anymore. I was a 27-year-old woman. What's so terrible about being attracted to a vital, handsome, generous, jolly old elf?One day I saw a street corner Santa ringing a bell next to a donation pot. He had a real beard, not one of those fake ones. And his Santa suit was beautiful! Real leather boots and everything. And the way he said “Ho, Ho, Ho!” Well… I knew the moment I saw him, that this was Santa! The real Santa! Oh, yeah, it was definitely him! No doubt about it! And he was so sexy, the way his belly bounced when he swung his bell. I started wondering if he was a good kisser… if his penis was as big as homeless Santa's had been… if it would feel just as hard and meaty in my hand… if it would spurt just the same? I got so turned on I could barely breathe.I watched Santa until he was done for the night, then I followed him through the dark streets. I half expected that he'd go around a corner and hop on a waiting sleigh pulled by eight tiny reindeer, so I stayed close, treading softly so he wouldn't hear me. But he walked up to an apartment building and opened the door with a key. Before he could close it behind him, I ran up and pushed my way inside.“Santa,” I said, “I…” but I couldn't think of anything to say.He looked at me with a perplexed expression and said, “What?”I stared at him and tried like mad to think of something, but my mind was a blank.“Well, spit it out, girl. I ain't got all night!”I wanted to thank him for all the toys and presents he'd given me over the years, even that last one, the lump of coal, because it had taught me a valuable lesson about holding on to your faith in a world full of cynics.But instead, I kissed him.Yeah, that's what I said. I threw my arms around him and kissed Santa Claus right on the mouth. I couldn't believe I was doing it, but there I was doing it anyway. And he was stunned… shocked into immobility. My kiss was close mouthed at first. But… well, I don't know what came over me… maybe it was the smell of cinnamon in his beard… but I stuck my tongue in Santa's mouth. And doing that made me go mad with desire, I was panting desperately and hugging him tightly, making him stumble backwards into the foyer. I pushed him until he fell onto his back on the staircase, and I clambered on top of him, my little body rubbing like mad all over his big fat belly.After a while he began kissing me too, sticking his tongue in my mouth and rubbing his gloved hands all over my back and squeezing my ass. I was wearing a plaid skirt that night, and his hands reached right under it, and he started rubbing my crotch through my panties! His magical fingers found the nub of my clitoris, and soon he was fingering me to heaven. Oh, Saint Nick, it felt great!Anybody could have seen us from the street or the stairwell, but we didn't care, we just made out like two desperate snow bunnies. He yanked his glove off his right hand with his teeth, his eyes crazy with need, then reached down around my ass, and I felt Santa's naked fingers slip under my panties and into my pussy!“Oh, Santa!” I moaned into his mouth. I felt his hardening penis poking up into my crotch, and I rubbed myself against him so hard, if we were made out of wood, we would have burst into flame. All the while his fingers delved ever deeper into me. I reached under his fat belly, desperately searching for his zipper, but his fly had buttons, and I couldn't figure out how to undo them. He took his fingers out of my vagina long enough to unbutton himself, and before I knew it, his hard, huge cock was inside me!“Oh, Santa!” I shrieked in joy.His cock wasn't nearly as big as fake homeless Santa's, but it didn't matter. I hadn't had sex in almost eight years, so he felt huge inside me! And he was so hard! I grabbed the stairway banister with one hand and his beard with the other. I began to thrust myself forward and back, banging my trim little belly into his huge flabby belly, driving his North Pole deep into my nearly virgin vagina!“Oh, Santa! Santa! Oh, you feel so good inside me!!”“Ow! Ow! Ow!” he said, because I was pulling his beard with every thrust. But he didn't tell me to stop. Maybe he knew that his beard was turning me on… probably more than any other part of him. I didn't take my eyes off him the whole time we fucked. I just ate him up with my eyes, amazed and astonished that this was really happening. His suit was so red and fuzzy, his face so jolly and sexy! He was Santa Claus! I was fucking Santa Claus!I started shrieking, feeling the first orgasm of my life ripping through me.“Oh… God! Santa!! Santa!”He put his hand over my mouth to muffle my cries. If anyone had opened their doors, they'd have seen quite a sight! Well… for all I know people might have seen us. I wouldn't have noticed. I was blinded by the Christmas spirit.Soon after my orgasm, Santa grunted and grabbed my ass to stop my gyrations and held me down, as if I might fly away. Then I felt him cumming inside me. The feeling of it, so intensely intimate… it drove me wild!“Oh, Santa!!” I yelled, my eyes popping out of my head, “You're cumming inside me!!!!!” I shrieked loud enough to wake everyone in the building, if I hadn't already. After he was done with his spasms and his arms went limp, I just sat there, feeling his cock softening inside me. I looked down into his dazed, sweaty, amazed face… my heart filled with love. I petted his curly white beard with my hand and leaned over to sprinkle his face with little kisses.“I'm sorry about the cookies, Santa.” I said softly. Hoping he'd forgive me.“Wha… what? Cookies?” He said breathlessly. “Fuck, I'm burning up in this suit!” He was sweating profusely and reached up to take off his Santa hat.He was bald!Oh, no! I did it again! Santa isn't bald! But this guy, whoever he was, was as bald as a cue ball! I didn't say a thing. I just stood up and walked right out of there, leaving him lying on his back on the stairs, wondering what the hell had just happened. As I walked quickly down the street, overcome with disappointment, I could feel his cum oozing out of me and down my leg. It didn't disgust me… actually, I kind of enjoyed the sensation… but it wasn't Santa's cum. That's what I really wanted. I wanted to make love to Santa, not some random geriatric in an expensive Santa suit!Thank goodness for the morning after pill. The last thing I needed was to get pregnant… at least not with some fake Santa's baby.But a few days later I started to wonder if maybe I'd been wrong to judge that man based on having no hair.To be continued..By cb summers for Literotica

5:45a Sarah, Vinnie, and Matty are ready for tonight's big show.

Alice in Winterland was a blast! Drones are flying over New Jersey and no one knows what the hell they were from. Jamie Foxx has a special coming to Netflix tomorrow where he talks about his health scare.

Alice in Winterland with Dasha, The Fray, and Benson Boone was a huge success and a sold out show! We recap the night - including Erin getting one of the best compliments that she's ever gotten...and T. Hack feeling insulted.

Full show - FrYiday | Drunk or kid | News or Nope - McRibs and the Popemobile | Feel Good Friday | Let's learn! | Cursing Kelce | Alice in Winterland with Dasha, The Fray, and Benson Boone @theslackershow @thackiswack @radioerin

The Deadcast concludes its dive into Robert Hunter's 1962 book, The Silver Snarling Trumpet (and its 10th season), exploring teenage Jerry Garcia's adventures with his friends Alan Trist and Brigid Meier in Palo Alto, and how this early scene gave way to the Grateful Dead.Guests: Alan Trist, Brigid Meier, Dennis McNallySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

To celebrate the Deadcast's 100th episode, we begin a 2-part special joined by the co-stars of Robert Hunter's newly-published 1962 book, the Silver Snarling Trumpet, a startling in-the-moment account of his and Jerry Garcia's formative years in Palo Alto.Guests: Alan Trist, Brigid Meier, Dennis McNallySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

The Deadcast uncovers the long-lost tape of the Dead & San Francisco's Sufi Choir at Winterland in 1971, telling its untold story with composer Allaudin Mathieu, finding hidden connections to big band jazz, longform improv comedy, & spirituality, plus an appearance by Wavy Gravy.Guests: Allaudin Mathieu, Wavy Gravy, Michael Parrish, John “Tex” Coate, Erik Davis, Christopher CoffmanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week we look into David Ferrie's actions during the weekend immediately following the assassination. Was he really at Carlos Marcello's hearing? Did he go geese hunting? Did he go ice skating? What was the purpose of this badly timed trip to Texas really? All this and more, join us...won't you?Lancer 2024 - https://assassinationconference.com Use our code gunman10 to save 10% off any ticket package!Merch Store - https://the-lone-gunman-podcast.myspreadshop.comSilk City Hot Sauce - http://www.silkcityhotsauce.com Use code GUNMAN to save 20% off entire order at checkout!Music By - Lee Henry OswaldA Loose Moose ProductionBBB & JOEBBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-lone-gunman-podcast-jfk-assassination--1181353/support.

The Deadcast crosses the Blue Ridge Mountains for the Dead's only show in Huntington, West Virginia, including close looks at the innovative fashion and LSD scenes then emerging in Dead parking lots, and the conclusion of a rare 1978 interview with Jerry Garcia.Guests: Kathy Sublette, Rob Bleetstein, Bob Wagner, Bob Minkin, Jay Blakesberg, David Lemieux, Steve Silberman, Erik Davis, Annabelle WalshSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast cruises into two April ‘78 shows on Virginia college campuses alongside a pair of chartered buses from New York filled with seething Dead freaks and gets into Jerry Garcia's favorite music and guitar tips from rare interviews.Guests: Sanjay Mishra, Kathy Sublette, Rob Bleetstein, Bob Minkin, Del Ward, Bob Wagner, Nick Morgan, Jon Lerner, John Wehrle, Scott White, David Lemieux, Steve SilbermanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Alice in Winterland announcement and Taylor Swift is the richest female musician. People ask if their Google searches are weird and more heat. 

Winterland is coming and Sarah's Pokeman addiction. 

Hour 3 - Benson Boone will be headlining Alice in Winterland this year! Dasha will also be performing, along with one other act we can't announce yet. Jamie has a brilliant idea. A Halloween decoration service. 

Benson Boone will be headlining Alice in Winterland this year! Dasha will also be performing, along with one other act we can't announce yet.

BJ went out to visit one of his sons in California over the weekend. You won't believe how much two meals cost him. Helene tour through the south and it seems like no one paid any attention to it. Law enforcement officials are saying there is a huge road rage problem this year with leaf peepers. Everyone around them gets mad because they are stopping where they shouldn't or going slow through congested areas. Over the weekend Jamie watched the new documentary on Netflix called Will and Harper. It follows along Will Ferrell and his friend Harper, who is transitioning into life as a woman, as they go on a road trip across America. Jamie felt like Will Ferrell was trying to be funny, but sometimes it was awkward. A lawyer representing a woman who has allegations against P Diddy says they she was contacted by someone trying to sell one of his tapes. Benson Boone will be headlining Alice in Winterland this year! Dasha will also be performing, along with one other act we can't announce yet. Jamie has a brilliant idea. A Halloween decoration service. 

This is one of the canonical 'best of' shows for Led Zeppelin. April 26, 1969 at the Winterland in San Francisco is a high water mark for a band with very... high water. Robert Plant is beyond belief and the rest of the band meets that level, just run with it. I have covered this show in the long long ago, but I have not repeated any songs, so we have fresh tunes to enjoy. I play Communication Breakdown (the show opener), a How Many More Times that can't get any better, and a psychedelic cacophony which is As Long As I Have You. This is among the best of the telecaster days. You'll like it.

The Deadcast tells the story of the legendary Duke ‘78 show, the unexplored history of the Dead in North Carolina, the first campout at Cameron Indoor Stadium, the mysterious guest percussionist, & the student-run cable station that filmed it.Guests: Peter Coyle, Fred Goldring, Nick Morgan, Joe DiMona, Bob Wagner, Jim Enright, Steve Maizner, Charly Mann, Eric Mlyn, David Lemieux, Steve SilbermanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast