Sunday, June 25, 2006

Pozo Pix

Click here for my pozo album

Here's some great Pozo's pix Click here

Bob Weir and Ratdog
6/24/2006 Pozo Saloon, Santa Margarita, CA
Jam > Truckin > Brown-Eyed Women > Josephine > Row Jimmy > Maggie's Farm, El Paso@5 > Friend of the Devil@5, Tomorrow Never Knows, Lady with a Fan > Terrapin > Stuff > At a Siding > Terrapin Flyer > Dear Prudence > One More Saturday Night
E: Brokedown Palace
Stuff - Jeff/Jay/Mark/Kenny

When I get back from Phoenix, I'll add my review of the afternoon @ Pozo here. Check back in a few daze!

Thursday, June 22, 2006


An article on Stevie Coyle of The Waybacks!

Paul Liberatore: Waybacks' funny guy
Staff Report

The Waybacks are doing way good. After years of local acclaim, the rootsy acoustic quintet is suddenly attracting national attention with a sparkling new album, "From the Pasture to the Future," and a triumphant performance at a major music festival with the Grateful Dead's Bob Weir.
As a measure of the high regard in which the band is held by upper-echelon Americana musicians, the brilliant folk duo of Gillian Welch and David Rawlings, plus bluegrass mandolin virtuoso Sam Bush, joined the Waybacks and Weir on stage for what was a momentous appearance in late April before a crowd of 7,000 at the prestigious Merlefest, Doc Watson's annual gathering in North Carolina.

Guitarist/singer/songwriter Stevie Coyle, the Marin member of the band, recalls the set with the reverence of someone reliving a mystical experience.

"Something happened there," he says. "The muse descended on us. It was one of those transcendent moments, in no small part due to the fact we had such spectacular guests. It was really a very special event."

With the wind of Merlefest in their sails, the Waybacks play at the 142 Throckmorton Theater in Mill Valley on Wednesday night before embarking on their summer touring season.

Coyle, who lives in an old logger's cabin in Larkspur's Baltimore Canyon, describes himself as "the folky, Celtic guy" in the band, a genre-defying group whose music was once defined as "runaway eclecticism."

A former circus performer, comedian and actor, Coyle is the designated funny guy in the group. He wrote "The Petrified Man," a clever, catchy, crisply produced song that opens the new album.

"Stevie's got a very dry sense of humor," says Larry Carlin, who produces bluegrass and acoustic music shows in Marin and has been a Waybacks fan for years. "He writes the band's newsletter, which I read just for his writing. He's hilarious."

Coyle, who just turned 50, has a self-effacing aw-shucks manner (he actually sprinkles his conversation with "golly") and an engaging stage persona. He's been playing guitar and singing since he got turned on by the classic "Alvin and the Chipmunks Play the Beatles" album when he was 8.

Since then, his performing career has been as diverse as a Waybacks' set list.

Fresh out Santa Clara University, where he studied theater and theology, he joined the satirical political comedy troupe the Royal Lichtenstein Circus. His act involved a trio of house cats that he trained himself in a garage in Santa Barbara.

"That was the best show business training I ever had," he says of his circus experience. "I got sawdust in my shoes."

While touring the United States with the three-man circus, his trained cats in tow, he taught himself to fingerpick, and jammed with various acoustic groups and musicians along the way.

Blessed with a deep radio voice, he went on to emcee killer whale shows at Marine World. He also acted and stage managed at San Jose Rep, sang novelty songs with the Reagan Brothers comedy duo at the Improv and Comedy Store in Los Angeles and appeared in national TV commercials for Mars candy bars, McDonald's and Chi Chi Salsa.

In the '90s, he did some picking in local clubs with the acoustic groups the Foremen and the Frontmen. In 1998, the Waybacks emerged from

a loose jam scene at the Plough and the Stars, a traditional Irish music pub in San Francisco.

"It all sort of happened there," Coyle recalls. "We'd never get together and rehearse. We'd just show up and play."

In coming up with a band name, the musicians realized that Waybacks has a number of pop cultural connotations. The Wayback Machine on the "Rocky & Friends" cartoon show comes to mind. But there are others.

"In film, the waybacks are those extras who are way out there on the horizon," Coyle says. "You can't even tell who they are, but they're getting their $62 a day. The assistant director yells, 'Action, principals! Action, atmosphere!,' which are the medium range extras. And then, 'Action waybacks!'"

The Waybacks' first three albums, "Way Live," "Devolver" and "Burger After Church," were self-produced efforts.

The new CD, "From the Pasture to the Future," on the Nashville-based indie label Compass Records, was produced by Grammy-winner Lloyd Maines, father of the Dixie Chicks' controversial singer Natalie Maines.

Maines, who produced the Dixie Chicks' album "Home," added some (gasp) tasteful electric guitar work and a bit of studio polish to the Waybacks sound on several original songs as well as covers of tunes by the likes of Chick Corea and the Kinks' Ray Davies.

"Lloyd told us, 'This is a chance for you guys to break out and do something with more depth, to do some multitracking, to take advantage of what a studio can do,'" Coyle says.

Coyle has been in the band from the beginning, but the group has gone through various personnel changes over the years. He is joined in the current lineup by lead guitarist/mandolin player James Nash, Joe Kyle Jr. on standup bass, drummer/percussionist Chuck Hamilton and the recently added 23-year-old Austin fiddle sensation Warren Hood.

The Waybacks play some 165 dates a year, but their career is accelerating with the new album and with the new jam band following that comes with playing with Bob Weir.

Coyle, who's footloose and single, has always spent a good deal of his life on the road, but he feels more at home in Marin than he's ever felt anywhere.

"What a life," he sighs. "I wake up in the morning and walk through the redwoods for a mile to have the best damn coffee in the world at Emporio Rulli. I watch the cafe society for a while, then stroll back through the redwoods to go home and play guitar. I'm just a very lucky guy."

If You Go

Who: The Waybacks with Marley's Ghost opening

When: 8 p.m. Wednesday

Where: 142 Throckmorton Theatre, downtown Mill Valley

Tickets: $20 to $30

Information: 383-9600 or go to

Paul Liberatore can be reached at
Bonnoroo 2004 will be shown on the Sundance Channel on Monday! The Dead were part of that show, so be sure to watch it!
Does this link to the Don Jackson Harmony fest pix work yet?
And here this This other Harmony pix link may work now too!

It's not just a concert-it's history, Baby!
Here's Pozo's Saloon!!
We'll (Kemmie & I) be going down (South of here) sometime tomorrow!
It's been a while since I've seen Ratdog in play in sun light.
Sausalito Arts & wine fest perhaps?
I'm afraid there is going to be an abundance of that sun light too- Reports have Pozo's temperature expected to be between 90 and over 100 degrees!
The things we do for love!
and you know, I do love that Ratdog.
Off to pack- sealed water, sunscreen, gauzy mu-mu like caftan?
Did I leave my Tevas on the cruise ship?
yeeesh! and it's gonna be how HOT in Phoenix on Wednesday??

SCI talks about the upcoming tour with today's SLO Tribune.

Wednesday, June 21, 2006

Okay if you can believe it, someone has actually made a list of 61 reasons to "hate" the Grateful Dead!
How silly is that?!

Hippies and students of the 60's,You may enjoy a visit to this Woodstock Presevation website!

Ever hear about the time the GD crashed a Bar Mitzvah!?.

Tuesday, June 20, 2006

Finally my internet connection seems solid!
It hasnt been quite right in about a year.
First the difficulty was not having the Mac connected correctly to the modem. How was I suppose to know that Mac's only use ethernet cables to modems? Then, the weak signals have been interfering with connections. Today's cable guy decided that the cable for the TV was in the modem and the cable for the modem has been in the TV...Confused? Yup me too!

I poked around on Technorati and found nice reading/ browsing material from other people's blogs.
First is a nice review of a Ratdog show
and the other is a blog for a drum company that had a visit from Jay a little while back.
I still don't know which of my Links are working. Guess will see if that one did?

Monday, June 19, 2006

The Gazette:

The '60s are over, but some still dig the music, ideals and tie-dye
The Gazette
He's an old hippie and he don't know what to do

Should he hang on to the old

Should he grab on to the new

He's an old hippie ... his new life is just a bust

He ain't trying to change nobody

He's just trying real hard to adjust

_Bellamy Brothers, "Old Hippie"


Peace, love and flowers ... forever. It's been 40 years since the Grateful Dead became the house band at acid tests in Golden Gate Park, since the word "hippie" assaulted the ears of confused "straights," since music and culture began a period of wild, careening change.

But it's not the anniversary that's remarkable. It's the fact that hippie culture never went away. Disco is dead. New Wave is nuked. "Leave it to Beaver" is a distant dream. The '60s, though, are still groovy, for young and old alike.

"It's totally true," said Samantha Sloan, 25.

"Right, because the '80s aren't cool. But the '60s ..."

Wear a poodle skirt or a leisure suit and people will ask you if it's Halloween. Wear tie-dye, long hair and granny glasses and people won't look twice as your VW microbus rumbles by.

"Jerry Garcia is bigger now than he was when he was young," said Bud Ford, 61, former mayor of Manitou Springs, Colo., and owner of The Dulcimer Shop on the town's main drag. "I didn't affect the Jerry Garcia hair and beard until I was retired from my profession."

Janis, Jimi, Jim and Jerry have ascended into the pantheon of rock music immortals. The Dead's jam-based rock has mushroomed into an entire genre and festivals like Bonnaroo look an awful lot like Woodstock.

The peace sign is still cool. The devil horns, not so much.

Sure, part of the reason is those pushy baby boomers throwing their weight around, insisting that their formative years were the most exciting in the history of the nation.

But it's an easy sell.

"It was an innovative generation. They actually did (stuff) - civil rights, women's rights - while we just live on our parents' couches until we get kicked out," said Sarah LaPlante, 22. "Everybody wants to go back."

LaPlante works at The Poppy Seed in Manitou Springs, Colo., a "one stop hippie shop" stuffed full of flowing skirts, scarves, incense and glass pipes. Essentially, it sells '60s nostalgia and ideals, and it does well.

"This entire town is run by hippies," LaPlante said. "We have a lot of regulars. A lot of positive vibes flow in this place. And the music ... they don't make music like that anymore."

LaPlante said the people she went to college with idolized the 1960s to such a degree that it has become a Golden Age in the minds of dreamers. At the same time, young people feel like they can't live up to what their elders did.

Of course, there are slightly more cynical explanations for the eternal appeal of the hippie.

"Marijuana," said Bard Griffin, 19. "Also, the fact that the ideas of free love and communal living are very appealing. It's naturally appealing to teenagers. It's appealing to me."

Marijuana may sound like a flip answer, but it goes to the core of '60s appeal: When someone brings up that decade, it's the counterculture that springs to mind - teenage rebellion, war protests and drug culture.

We see "the `60s" through a cloud of smoke.

The 1960s was also the decade of "The Sound of Music" and Jackie's pillbox hat, the Cuban Missile Crisis and color TV. Yet we think of Wavy Gravy rather than Willie Mays, Haight-Ashbury instead of the Heartland.

"From January 1960 to December 1969, everything changed, seemingly at a faster pace than in any American decade since," Stuart Shea wrote in "The 1960s Most Wanted." "Life in America went from black and white to color, not just on the nation's TV screens but in fashion, racial matters, and popular culture."

Griffin put his finger on why people his age idolize the '60s: "There's always a resurgence in anything that had to do with teenage rebellion."

Journalist Alan Bisbort - who cut his teeth writing for underground hippie publications in the '60s and is author of the counterculture flashback books "Rhino's Psychedelic Trip" and "The White Rabbit and Other Delights" - defined hippie culture as "the possibly naive belief that a better world is possible."

That belief is eternally inviting to the young and the optimistic.

And as another unpopular war rages overseas, it's not surprising that people look back to the Vietnam era, even if they aren't staging massive protests.

"See, I can't believe there's not more anti-war demonstrations," said tourist Dennis Rowse, 61, during a visit to The Dulcimer Shop. "It's got to be coming from our youth."

Rowse is a retired school principal visiting from Arizona; he is not an anarchist radical and he has no interest in protests himself. Yet, the activist spirit of the '60s leaves him looking askance at young people today who aren't taking to the streets.

Tie-dye, long hair and Grateful Dead bootlegs are fine, but baby boomers like Rowse are frustrated that people want to buy the 1960s rather than live the ideas.

Griffin and LaPlante agree with him, indicting their generation as lazy do-nothings.

Some boomers, however, hold out hope for younger generations.

"I think it's much more of a lifestyle affectation than a way of life right now," Bisbort said. "But if the military draft goes through, you will see a dramatic change in that equation. If they're not pissed off about that, then I don't know what would piss them off. I think there's an underlying potential for great rage that may become a potential for great optimism."

With Bisbort's big-tent definition of "hippie," it's not about tie-dye or even the '60s but the desire for progressive social change.

"I think it's a fight that predates these terms," Bisbort said. "Jesus Christ was the first hippie. Gandhi, Thoreau, Eugene Debs. Anybody who was any good was a hippie. If you're not a hippie, I feel sorry for you."

Others feel sorry for burned-out hippies. Between The Dulcimer Shop and The Poppy Seed is a newspaper box stocked with copies of "HippieCrit," a publication from the Twelve Tribes religious group that reaches out to disillusioned survivors of the '60s:

"We thought we were flying high, man ... But as the smoke cleared and we looked out the window, there we were, still on the ground ... a little grayer, a lot sadder, and airsick on top of it all."

Idealism makes for hard landings, man.

Maybe today's young cynics are smart - or at least safe - to adopt the poppies without the protests, the love beads without the love.
It's time to sign up for Fantasy Ratdog setlist!
The link at the right ->
Should take you to the org homepage which is where you can click into Fantasy Dog!
My modem is having issues so my online activities are kinda spotty til the cable guy gets here.
Still I managed to get myself set up with tix and flights and all that stuff for my journey to get to the Phoenix Ratdog show!
This travel stuff is nearly as addictive as listening to Ratdog. I'll be getting some Ratdog in San Luis Obispo this week too!
I've been slowly moving the photos on my Mac Homepages over to my "i Site", which is another Mac product. I have barely enough patience to figure it out. Today Ive added some stills from Ratdog in Canterbury 2003 over there. I'll be adding more of the UK tour there soon.
The link for that is also on the right side- the "i pages"

Sunday, June 18, 2006

Hippy Father's Day!

This was Scott's dad with our Noah and cousin Sammie.
Inevitably, there would be a Grateful Dead concert somewhere local right before Father's day.
Art always looked good in tie dyes!

And here is my Dad!
Taken just this afternoon-

Friday, June 16, 2006

Friday!! FRIDAY!! FRIDAY!!

I'm dazed by the heat but happy.
At last some hope for our nephew. A week ago, we almost lost him to Leukemia but he hung in there and continues to battle on. Finally, he's doing a bit better!
Help on the way indeed.
We are very thankful to everyone who has sent vibes.
Last day of teaching was Wednesday. I'm gonna miss my 30 little best pals but it's interesting to have an entire Summer ahead. Not sure what to do with all the upcoming free time? Still gotta run a ton of errands and make sure the kids are all set for camps and Summer school.
I received my hearty stipend from the teaching fellowship I was involved with this year.
Will I spend it to go to see Ratdog in Phoenix is the question?
I found an intriguing and helpful website called TUNETRIPS! or go to:
I enjoy doing my own planning and scheming but must admit the flights feature on that site was quick and good place to start- I keyed in Phoenix to do a quick price check. You find the band you wanna go see and fill in the blanks and Tune Trips pulls up the info.
I'm waiting excitedly for the Harmony Ratdog set to be available to download from Munckmusic and Disc Logic!
While waiting on that, here are 2 sites with pictures from the Harmony gig! Enjoy!
HarmonyDog pix here
Harmony Dog pix coming very soon to this website
Don't know why the links are working here? But, there are the url addies for the pix.

Thursday, June 15, 2006

There might be an item you want , need or would perhaps like to gift me with over at The Mimi Fishman Foundation auction.
Go check it out!

Couldnt remember and too lazy to check whether I ever posted this interview?

Published March 2006:
On the Record
Bob Weir: The Greatful Dead's Blues for Allah
By Jeff Maisey
Tuesday, Mar. 14, 2006

o explore separate musical projects. With two of their greatest albums released in 1970 —Workingman’s Dead ("Casey Jones" and "Uncle John’s Band") and American Beauty ("Truckin’" and "Friend of the Devil") — the Dead set up camp at guitarist/singer Bob Weir’s newly completed home studio to record what would become known as Blues for Allah.
Following is my interview with Weir on the making of this truly unique album from the Grateful Dead.

What were the circumstances with the Grateful Dead as you prepared to record Blues for Allah in the early part of 1975? The band had taken a break before recording the album, correct?

Yeah. We had taken a year or so off. Everybody was out doing their own thing. So when we reconvened to do Blues for Allah, to begin with we had no real intention of hitting the road again real quick. We just went into the studio with the idea of making a record. That was about as far as we took it. We didn’t want to hit the road because we didn’t want to restart that huge juggernaut machine that had just driven us into the ground. The touring machine was too cumbersome. The return on the investment both in terms of money and effort was not worth it. So we just thought we’d go into the studio. I had a studio that I was just finishing constructing, so we went up to my place.
Having been off on our own, all the individuals for a year, we reconvened with everybody having a new bag of tricks. And that was the fun of Blues for Allah. Usually, before and after that album, if somebody had learned something it was incorporated immediately. For instance, if Jerry had noticed something on a record or learned something in a jam, the next day he was showing it to me and everybody else. It just hit right away. Whereas over that year, if I learned a new trick or a new scale, I had the rest of that year to work on it and develop it. So I had several new things going when we came back together for Blues for Allah, and so did everybody else.

So unlike a lot of material on previous Grateful Dead albums, none of the songs were "road tested" before recording Blues for Allah.

No they weren’t.
You know a lot of our songs, like on Workingman’s Dead and American Beauty, those tunes weren’t all that road tested either. Unlike "Touch of Grey" and those on In the Dark; that stuff we’d been playing for years. On Blues for Allah, everything was either written in the studio or at least new to everybody in the band. If I brought in a tune that was fully written it was still new to the rest of the band.

What was the recording process like then if everyone is hearing these for the first time? Were the songs complete when they were presented?

No. By no means.

Which songs were actually composed in the studio?

Let’s see. Do you have the songs there?
Yes. The first is "Help on the Way/Slipknot."
That was pretty much written in the studio.
"Franklin’s Tower"
"Franklin’s Tower": I think Jerry just came in with it. There were just three chord changes. It took us most of a minute and a half to learn it.

What about "King Solomon’s Marbles, Parts 1 & 2"?

That one was pretty much written in the studio and changed in the studio. It changed again and again in the studio.

"The Music Never Stopped"

That was half-written when I brought it to the band. It was finished in the studio.

When you say half-written, Bob, did you have the chord progression and melodies down? Which parts were half-written?

It had chord progressions and stuff like that, but it didn’t have the lyrics yet. Actually, I wrote the lyrics to that over the phone with John Barlow.

The next song is "Crazy Fingers."

As I recall, Jerry pretty much had that one written when he came in. That said, we still had to arrange it in the studio. Everybody had to learn it.

"Sage & Spirit"

"Sage & Spirit" I had been working on for awhile. I finished it up in the studio. My guitar part was fully-written, but the orchestration was not.

I’ve heard people say that your guitar work on "Sage & Spirit" is the best you’ve ever done. Would you agree with that? Or disagree?

Well I wrote that one basically as an etude. I started it as an etude just to, and I still use it as such, as something to warm up on; to stretch my hands because it is spectacularly difficult to play. And that’s what I wrote it to be; just for me. I didn’t write it as a challenge for anybody else, or to show off. I wrote it just to get me thinking musically and to get my hands and head loose. It wasn’t even my idea to record it on the record.

Whose idea was it?

I don’t remember. I wasn’t sure that I could play it all the way through. But I got a good take, and then we started piling stuff on it.

And it was a keeper.


The grand finale is the "Blues for Allah/Sand Castles & Glass Camels" piece. And can you also explain why the album was titled Blues for Allah?

That was a team effort written in the studio. As we went into the studio King Faifal (of Saudi Arabia), died. It was the big thing in the news.
We were starting to talk at that time about maybe going to Egypt. And given all that, we decided to do "Blues for Allah." Basically that piece is a modern classical approach edging towards avant-garde but not quite. The whole thing probably came out on the avant-garde side because there’s more room for interpretation than the classical genre likes to look at. But we were using 12-tone serial music.
Like I say, King Faifal had just died and we were also talking about getting it together and doing something interesting. If we were going to go back on the road were we going to do the same Cleveland, Pittsburg, Detroit? Or were we going to do something new? And if interesting, where would we want to play? Well how about the Pyramids? That’d be great; I’d get back on the road for that. It was going to take a little while to get that together. So we were talking about this in ‘75 when we were making the record, so we wrote Blues for Allah and it took up half the record. So we just named the record Blues for Allah.
Blues for Allah was the first and only Grateful Dead album recorded in your home. But I understand you had a little problem with power supply at the beginning.
That was quickly overcome. The more difficulty we had was the neighbors. It was kind of cranked up at all hours of the day and they were a little bit miffed after awhile. They were happy when we were done with the record. I’ve since gone through great lengths to further soundproof the whole architecture of the studio so that it’s a little more neighbor-friendly.

How long did it take to complete Blues for Allah?

Way longer than it should have. As Jerry said, we spent a whole lot of time arguing over what kind of mix that we wanted and just jamming around, and not buckling down and making the record. As usual for almost all of our records, there was a big crunch up at the end. The only way we ever seemed to get out a record is if somebody imposed a deadline on us; a very real deadline, like we don’t get paid. Then we get to work and actually do the record.

There are a number of jazz influences on Blues for Allah. Is jazz something the individual members were listening to at the time?

You know we have been fairly eclectic in our musical tastes all along. I think it was Phil who turned me onto John Coltrane when I was seventeen, and I was mind blown. I had heard Miles Davis but I had not heard the Coltrane Quartet yet. And I loved Miles Davis. When I heard John Coltrane at the age of seventeen that was either the beginning or the end of my childhood; I haven’t figured out yet which.

Blues for Allah was the third studio album released on Grateful Dead Records. How involved was the band with running the label as a business?

Well more than we wanted to; probably too much. We were basically in the business of hippy parachute packing.
Let me back up a minute. We got tired of the record business as it was, and pretty much still is, which is really one shade this side of professional wrestling. There’s a lot of backstabbing and just awful business practices. You know, we’re musicians, we’re artists; we don’t pride ourselves in our ability to take advantage of other people and squeeze them for all they’re worth, or to lie to people and get them to believe it; all the stuff that’s common practice in business. So we took it upon ourselves to change all that and we probably could have done at better job of it had we spent more time attending to the business, but that’s not what we do and that’s not where our passions drew us. We made a fairly brave attempt. The record industry is just old and established and they can just brush us off. Don’t even bother was their approach. We laughed at that longer than I think anyone expected us to. We were fairly tenacious about it. •


June 6, Immortal Bauhaus
May 23, Rock of Ages
May 23, Echo Past and Now
May 23, Pat Benatar: Last Woman Standing
March 14, Buzzard Flies Again

Wednesday, June 14, 2006

Great Vince Welnick Tribute show tonight.
Wonderful memories, beautiful tunes, lots of thoughts...
Guests included TC, Bobby, Robin Sylvester, Steve Kimock & Jerry Lawson to name a few.
Check the KPFA Archives to listen.
Here's KPFA

From David Gans ala Deadnet:

"Larry Kelp has graciously given up his show "Sing Out" tomorrow night so I can go til midnight with the Vince tribute. I've got a lot of Vince's friends and colleagues lined up to call in: Prairie Prince, Todd Rundgren, Michele Rundgren, Bob Weir, Steve Kimock, Robin Sylvester, and maybe a surprise or two. I've got several interviews and tons of music.

The show will be broadcast on KPFA 94.1 in Northern California, and webcast on,, and

Wednesday, June 14, 8pm to midnight PDT."
Links can be found on the gdlog blog which is among my listed links-> over there->

Tuesday, June 13, 2006

Meet & Greet

An Evening to Benefit the Rex Foundation

Friday, July 14, 2006
Meet & Greet
with Bob Weir & Rat Dog
and The String Cheese Incident

5:00p.m to 7:00 p.m.

Roxy Suite, Radio City Music Hall
1275 Avenue of The Americas, New York City
Tel: (212) 247-4777

Premium Concert Seating

Bob Weir and Rat Dog 7:00 p.m.
The String Cheese Incident 9:30p.m.

Ticket Cost: $300.00 (All but $100 is tax deductible)

Includes pre-concert reception with the artists in the intimate, elegant Roxy Suite, light appetizers and beverages, and premium concert seating

TO ORDER TICKETS call the Rex Foundation at 415-561-3135
or use the order form

Tickets for the concert will be at the Meet & Greet

Thank you for your support! We look forward to this special opportunity to connect, enjoy great music and work together for the greater good.
Wow! look at all the fun Grateful Dead stuff to read at Rocks back pages!!

Leah Garchik cracks me up- This was in this morning's SF Chronicle :

"In other cultural developments, Mary Moore and her Bohemian Grove Action Network intended to picket last night's Bob Weir and Ratdog show at the Health and Harmony Fair in Sonoma. Their charge is that Bohemians Weir and Mickey Hart have joined the "Evil Empire'' and sold out. (What, no G.O.P. demonstrators about Donald Rumsfeld and George Shultz hanging around with the likes of Weir and Hart?) ".

Monday, June 12, 2006

Another message board to browse on. It's The Hip Forum!
Oh please, blessed Taper people, please upload Fridaze show online or strem it or something!!
Listen to Ace lately?
An article on the NorBay Awards Clicky here
From The Bohemian (which I think is a Santa Rosa/Sonoma newspaper blog?) New Bobby article Here. FWIW, I didnt see a single protester.
June 7-13, 2006

Giving back: Musician Bob Weir has always operated on the principle that giving to community is everything.
Weir Science

NORBAY lifetime achievement honoree Bob Weir's culture of community
By Greg Cahill

Bob Weir is a back-slid hippie. At least that's what a handful of west Sonoma County progressives are saying. They're rankled that Weir--whose credentials include 30 years as a guitarist and singer with the Grateful Dead--is a bona fide member of the Bohemian Club, the elite men's organization that stages secretive retreats each year at a sprawling Occidental camp called the Bohemian Grove.

George Bush is a member. So is Donald Rumsfeld.

As part of the annual entertainment, Weir, 58, and his longtime band mate Grateful Dead drummer Mickey Hart have signed on to sleep with the enemy--literally, as summer-camp bunk buddies--to influence policy makers who have been accused of all kinds scheming and conniving at the Grove. The decision to drop the A-bomb was allegedly made there. World domination ranks high on the list of summer activities at the Grove.

This year, West County progressives will reportedly be picketing Weir as he and his band RatDog appear June 9 at the Harmony Festival, a counterculture lifestyle and music festival that draws some 25,000 revelers each year to the Sonoma County Fairgrounds. Weir will not only perform but will be given a lifetime achievement award for his artistry at the North Bay Music Awards (NORBAYs), a co-production of this paper and the Harmony Fest.

And he is taking it all in stride.

Weir remains committed to the beliefs that made him a counterculture icon, despite what critics on the barricades and Internet chat rooms are saying. "I have never abandoned those principles," he says during a phone interview from his Marin County home. "I believe in community everything! I practice that in my life. In a given year, probably 20 percent of the gigs I play are benefits, though this year the proportion has been closer to a third.

"I walk the talk. I work for the community, and the community works for me. It's been that way for 40-some years now, and it hasn't let me down. I think that what we discovered [in the 1960s] is that community culture is a really good working paradigm."

While onetime Grateful Dead collaborator and protest singer Bob Dylan shies away from his role as spokesman for his generation, Weir actively supports political, social and environmental causes. He even co-authored, with his sister Wendy, a 1991 children's book, Panther Dreams, that helped raise awareness about endangered rainforest species.

"It's everybody's duty to stay informed and to participate in the culture," he says when asked about his motives. "What I'm doing is no different from what a lot of other people are doing, I'm just out there doing it, that's all. This is my country, and if I don't make it work, then who is going to make it work? And that goes for you and everyone else, too.

"If you want to stand back and allow everyone who wants wealth and power to run the show, then that's what we'll get."

The difference between you, me and Weir is that he gets to remind corporate CEOs of that fact as they cavort under the redwoods at the Bohemian Grove while clad in women's clothing and lipstick (cross-dressing being all the rage there).

And if Weir remains committed to the principles that helped make him a counterculture icon, he's also committed to the freewheeling improvisational path blazed by the Dead.

"It's the old Grateful Dead mode of operation," he says of RatDog's forte. "You state a theme and then take it for a little walk in the woods. Along the way, there's going to be a lot of interaction, and people are going to reinterpret stuff on a nightly basis."

RatDog, which started as a duo with Mill Valley bassist Rob Wasserman, marked their first gig as a full band on Aug. 8, 1995, just one day before the death of Dead guitarist Jerry Garcia. With the dissolution of the Dead, RatDog took center stage in Weir's professional career. Since then the band members have undergone a few personnel changes, but--like the Grateful Dead--they've also amassed a large repertoire, so they may revisit a song only two or three times on each tour.

"You know that when a song comes up in rotation, this is your last crack at it for a while, so you really invest yourself in that evening's interpretation of that song," he says. "It works out real well for us. We don't get bored; we love each song each time it comes around, and if that's formulaic, then it's a real good working formula."

As for the Dead, Weir has little desire to relive the past and had no involvement in the spate of recent Dead CD reissues on the Rhino label. "I enjoy listening occasionally to what we were up to 20 years ago," he says, "but for the most part, my whole concern is what I'm going to be doing tomorrow and next week and next month."

The Bohemian, in conjunction with the Harmony Festival, honor Bob Weir and Bruce Cohn with Lifetime Achievement Awards at the second annual North Bay Music Awards (NORBAYs) on Friday, June 9, at the Sonoma County Fairgrounds. 1350 Bennett Valley Road, Santa Rosa. The NORBAYs begin at 5pm; the awards will be given at roughly 8pm. Free with NORBAY admission. For details, go to

This looks interesting-

Classic Rock Festival Returns To OJAI - Proceeds From This Popular Event Benefit The RageJax Foundation

Ojai, CA (Howard Freiberg Presents) - Eleven of the top classic rock acts in history will be paid tribute to at the Ojai Classic Rock Festival III to be held at downtown Ojai's Libbey Bowl on Saturday July 15 and Sunday July 16. This popular event is the third installment in a series of six festivals scheduled this year to benefit the RageJax Foundation, an organization that brings music and art programs to under-privileged children.
Headlining Saturday July 15 will be a tribute to the Jerry Garcia Band by JGB, featuring Jerry's original keyboardist Melvin Seals. Also on for that day are tributes to Janis Joplin by Mama Pearl, Jimi Hendrix by Stone Free Experience, The Who by The Who Show, Grateful Dead by Cubensis, and Lynyrd Skynyrd by Nuthin' Fancy.

Also of interest are two "after- show parties" on Saturday evening featuring an all-girl tribute to Led Zeppelin by Moby Chick, and a spirited tribute to Bob Marley by Willie Venant at neighboring sponsors - The Hub Lounge and Antonio's Mexican Restaurant just steps away from Libbey Bowl.

Sunday July 16 will feature a line-up of the rockers of classic rock, with tributes to KISS by Gods of Thunder, Aerosmith by Pump, Led Zeppelin by Led Zepplica, AC/DC by Bonfire, and a very special tribute to early Van Halen by national touring tribute band The Atomic Punks.

Gates will open at 11:00 A.M. Show starts at 12:00 NOON. Both days.
Camping available at nearby Lake Casitas Recreation Area, Call Lake Casitas for more information at (805) 649-2233.

A vendor's faire featuring food and beverage, tie-dye's of every type imaginable, curios from around the world, coconut shell jewelry, and concert rock art is just a small sample of what can be found browsing through over 40 vendors in the "Vendors Village" at the Ojai Classic Rock Festival III.

Master of Ceremonies for this two-day event will be Grateful Grooves radio host Ardas from KOCP 95.9 The Octopus. Tickets are $25.00 for one day, or $45.00 for a two-day pass, and can be purchased through Ticketmaster or the following local locations: Ventura - Salzers Records & Wild Planet, Santa Barbara - Bags Plus, Ojai - Attitude Adjustment Shop & Ojai Creates.

Formed after the tragic loss of her daughters, Ms. Carol Houck organized the RageJax Foundation to help third-world children enjoy music and arts they would normally never have the opportunity to be exposed to. Check out this terrific organization at

Promoting concerts since 1992, Howard Freiberg offered his services to his co-worker and friend, Carol Houck, when the RageJax Foundation needed help in raising funds. Find out what other shows are being presented by Howard Freiberg Presents at

Sunday, June 11, 2006

Here's another "New to irenie" website!
It's a place to send your Dead related stories (Hey, I might have one or two to tell?) They're working on compiling a book of these tales. Click on the story of the week when you get there for a sample of what they want.
It's about time someone looked into this:

Neuroscientist Looks at Music's Heady Experience

DAVIS, Calif., June 8 (AScribe Newswire) -- Petr Janata, neuroscientist and devoted Deadhead, wants to know why one of life's most transcendent experiences -- being in "the musical groove" -- is such a heady experience.

Using nearly $1 million from the Metanexus Institute, Janata, a UC Davis assistant professor of psychology and a faculty member in the Center for Mind and Brain, will have the opportunity to figure it out.

He will spend the next three years leading a study of music, spirituality, religion and the human brain, thanks to the John Templeton Foundation, which is funding the Metanexus Institute as part of its mission to advance religion and science.

Janata and his co-investigator, religious studies researcher Robin Sylvan of the nonprofit Sacred Center in Oakland, will study states of consciousness among six groups that represent a broad spectrum of religious and spiritual experiences.

"It's just become clear in the past six years that you can't talk about a single part of the brain interpreting music," Janata says. "There are so many different ways to engage in musical behavior from the detached listener to the active performer, and then there are those in between."

And that is just who he will be studying: the listeners "in between" who become performers when they are rocking out to Creedence Clearwater Revival or swaying and clapping to "Rock of Ages" in church.

"This research is the most closely relevant to what humans care about and is as great an opportunity to do fun and relevant research as I can imagine," he says.

The first step in the research is for Janata's partner, Sylvan, to identify the aspects of music and musical experiences that create or shape spiritual experiences among four religious groups and two nonreligious groups.

The religious groups include a Pentecostal congregation, a Jewish synagogue, a Hindu temple and a Yoruba/West African temple. Subjects from two nonreligious but spiritual musical communities will come from the rave/electronic dance music scene and the jam-band scene (such as fans of the Grateful Dead -- Deadheads).

Next, Janata and Sylvan will examine, through psychological experiments, factors believed to play a role in the spiritual experiences related to music. The researchers want to find the connection between memories, thoughts and emotions triggered when a person listens to both favorite music and music that has no particular emotional resonance.

Then Janata will focus on the neuroscience: Volunteers from among the research subjects will have electrodes attached to their heads for electroencephalograms (EEGs), wear special gloves that measure movements such as finger-tapping and, in some cases, be given full-body scans for functional magnetic resonance imaging (fMRI).

To interpret brain activity, Janata is looking for physiological measures such as autonomic nervous system responses, brain waves and signals dependent on blood-oxygen levels.

Using these tools, Janata has spent much of his career studying how, as people listen to music, the musical structure is mapped out in the brain while the brain is on the lookout for violations. Before joining UC Davis two years ago, he made national news while at Dartmouth College with research that showed how the brain tracks music's movement through "tonal space."

This new project will allow him to expand his research into how body movement, meaning and emotion connect to music in the brain.

He will be particularly focused on the front part of the brain, right behind the forehead, called the medial prefrontal cortex.

"That is where the brain integrates cognition, emotion, the sense of self, autobiographical experiences and regulates socially appropriate behavior," Janata explains.

In addition, Janata plans to measure how perception and action are interconnected in the brain when we are engaged in listening to meaningful music -- especially music that makes us want to move.

"We will be asking, 'What sorts of interactions with music are the most pleasurable, such as situations when people are dancing and moving with the music,'" Janata says.

He has found his own groove with this particular project, considering his own passion for folk and rock music and a lifetime of amateur piano playing. Janata, who is also married to a singer-songwriter, has formed a hypothesis about the transcendental musical experience.

"This part of the brain tracks music moving through space. I think that when music bonds with the autobiographical information (memories), it connects with emotions," he says.

"I suspect that spiritual experience -- be it Deadheads at concerts or people singing in church -- has everybody on the same page as far as embodiment of the experience in the brain."

CONTACT: Petr Janata, Center for Mind and Brain, 530-297-4471,
Susanne Rockwell, UC Davis News Service, 530-752-9841,

Okay, so who here misses the 70's?
Apparently there's an exhibit in the East Bay of 70's gear including Eight track tapes!

Still feeling nostalgic the Monterey Pop festival is out on dvd. No GD though. ..wah!

"GD's success an abonomination against nature"?????

Saturday, June 10, 2006

When in doubt, Go to the show.

I'll be adding to this as the memories come seeping back.

When we first heard of Ratdog playing at the Harmony faire, it seemed really unlikely that we could work out going. Santa Rosa is a few hours away and you have to creep through one of the most congested commuter traffic zones to get there. And we'd be going after work, on a Friday. Then, there was a concern about getting home so late- Scott works Saturdays. He is one person who really has to have his 8 -10 hours of sleep. But, somewhere along Wednesday night, Scotto and I decided screw everything, it's been a rough couple of weeks here in our offline world.
We were going!
I boarded the 4:38 train from my town to go to SF. Fun to be onboard with a big group of Giants fans. The Ball Park (SBC? Pac BEll? I forget what the current name of SF'S lovely ballpark is).
Scotto met me at the station and we sped across SF to cross the great Golden Gate bridge. Didnt hit the bumper to bumper til we got to San Rafael. We were able to hear 2/3 of the 4/7/06 Beacon show on our way. Took about 2 1/2 hrs to reach the fairgrounds from SF.
Immediately in the will call line, we found ((Kemmie, Rose & Sid)))! The line took forever. Then we had to trek around the block to go in through the entry.
Once in the gate, we could tell it was a cool looking fair- lots of stuff, though I went directly in search of Grace Pavillion, while Scotto went to find something to eat.
There was a bit of a line to get in the pavillion (resembled a small airport hanger- though, clean and cool). while moving through there, I was able to say hi to (((((Mazz, Woz,Beth R, Lee, Christine))). It was a coincidence that the guy in line in front of me was Kya! I knew his face but wasnt sure from where til he reminded me we were in line (for like an hour or so) together back in December! Yeah, he was in front of me there too. :o)
I couldnt believe that by the time I got inside that there would be any room upclose but lo and behold! One last good little spot on the rail. Ahaha- by the guys with the dvd recorders, yet again! My rail neighbor was a tall fellow name Josh. It's been a few shows since Ive been at the rail. It was great to be there along the Bobby sightlines again. Not that we really think he knows who is in the shadows there while he's singing, but it feels personal when he looks around. Especially at a show like last night's when I'm there to forget everything but the moment I'm having.
The joy of it all!
I was situated early enough to enjoy the spirited set by Hot Buttered Rum! Scotto found me by the time their set ended. Which was followed by a 10 minute tribute to Chet Helms. During which((((AJ, Bill, Vadim,Charux))) were hard at work getting the Ratdog gear set up.
Tim & Linda came by to tell us about the award dinner. Can't believe I didnt know the award was happening there and not at the show! Tim and Linda were gonna watch the show from some sort of VIP seating backstage. It's been a long time since we've seen them. Glad they seem to be doing real well.
We cheered loudly as the band walked on stage and immediately we were drawn into the music. What a show!
I'll go find a complete setlist though for once, I can recall every song I heard-

From dot org:
6/9/2006 Sonoma County Fairgrounds, Santa Rosa, CA
Jam > Help on the Way > Slipknot! > She Says > Liberty, Jack Straw > Book of Rules > Dark Star, Big Iron@, Victim or the Crime@, Way to Go Home* > Eyes of the World > Stuff+ > Come Together > Two Djinn > Slipknot! > Franklin's Tower
E: Ripple
*-w/ a Flying Other Brother; +-w/ DJ Logic
First "Big Iron"; First "Book of Rules"; First "Way to Go Home"

Wavy Gravy was on stage and chatting away as Bobby looked on . After a bit, Wavy introduced Bobby who murmured something about waiting to see how long WG could talk for. Cute, funny.
Later, was excited when DJ Logic joined in on a jam. As he sauntered toward his ???instrument??? The various members of the band looked happy to have him there.
I'm sorry not to have been able to stay through the weekend to see DJ as well as so mANY OTHER BANDS AND MUSICIANS PLAY.
The guys all looked good and sounded terrific. All had their own moments of greatness. Robin had a wonderful solo, Bobby just stood watching and grooving to him. Robin's smile beaming back at Bobby was priceless!
That was splendid to see! Just saw now that last night was Robin's 200th show!! YAY !! Robin!!!!!!!

S & I had a great show! The guys are tops in their singing (harmonies) and soloing and altogether everything.
It was an endorphinfest from start to finish for us both.
Before playing 'a long way to go home', Bobby said it was "For a fallen friend"

I was astonished and excited to hear "Book of Rules" It's been forevvvver!
And a Ratdog 'Big Iron'!!!

Aw look another video!
Click here! BOR!
Ended too soon for me but there was no time to hang around afterwards. Hadda get Scotto home as he's got a long day at work which will be followed by an evening to be spent at the hospital trying to be of some use to his sister and her family as our nephew struggles along.
Our only disappointment in the evening was not being able to be there to cheer on as Bobby received his award.

Ja>.Help video click here
I see someone has posted a video of Long Way to go home-
Let me find that link-
Here we go-click here!
And Big Iron Here!

Friday, June 09, 2006

From Marin Independent Journal:
Grateful Dead survivors keep keeping on despite sorrows
Paul Liberatore

Bob Weir and the Grateful Dead family have had their share of sorrow lately.
They lost their beloved head roadie, Ram Rod Shurtliff, to cancer a few weeks ago. Then, last Friday, Vince Welnick, the band's last keyboard player, was found dead in Sonoma County after taking his own life.

"It's nothing but sad," Weir says from his Mill Valley home.

"I wish I were qualified to have been of more help to him, but I'm not. All I could be was his friend."

Welnick never could accept the disbanding of the Grateful Dead after Jerry Garcia's death in 1995. He played with his own group, the now eerily named Missing Man Formation, and for a while with Weir's band, RatDog, until severe depression forced him to quit.

"All the rest of the guys are doing other things, and we're all happy doing what we're
doing," Weir says. "But I guess Vince wasn't."

After the tragedies of recent weeks, a change of scenery would probably do Weir some good. So RatDog's summer concert tour is starting at a propitious time.

He and the band play tonight at the Harmony Festival in Sonoma County. After that, the 58-year-old singer/guitarist packs up his family, wife Natascha and daughters Shala, and Chloe, and heads off for a series of festivals and shows across the country on double bills with String Cheese Incident.

For the Weirs, it's kind of a rock 'n' roll version of a family vacation.

"We live on a bus," he said. "There's a new swimming pool every day."

In recent weeks he's written a clutch of new songs to add to the RatDog repertoire, which includes the band's renditions of Grateful Dead classics like "Playing in the Band," "The Other One," "Cassidy" and "Sugar Magnolia."

"It's a legacy," he says of the Grateful Dead's music, "and I still work within that framework. I think I've got something to say within that framework. I've still got work to do there, in my own legacy and in RatDog's legacy as well."

As a founder of the Grateful Dead, the inspirtation for the new generation of jam bands, Weir is treated with a certain reverence that he's not all that comfortable with.

"I prefer not to be seen as an elder statesman, as a godfather, I prefer to be seen as a game pup ready to let her rip," he says.

"I'm real good at brushing that aside."

Asked to look into the future, he sees himself taking some time off after being on the road for more than 40 years.

"RatDog is really spitting fire these days, and I want to see where that goes," he says.

"But I have never taken a sabbatical, and, at some point, I'm going to have to. There's a two-chords to the bar classic jazz style of rhythm guitar, and I want to learn that. I want to get that in my bones. So I'm going to need to take six months or a year and learn to do that."

Since Garcia's death, Weir and the three other surviving Grateful Dead bandmates - bassist Phil Lesh and drummers Mickey Hart and Bill Kreutzmann - have played together sporadically, first as The Other Ones and more recently as the Dead. Both bands featured a host of other musicians.

The Dead hasn't performed in some time, and Deadheads were disappointed when the band didn't reunite last year to celebrate the Grateful Dead's 40th anniversary.

But that date doesn't have the same significance for Weir as it does for them. He counts the band's anniversary from New Year's Eve 1963, 43 years ago.

"That was the night I met Jerry in the back room of Dana Morgan music shop in Palo Alto," he recalls.

"We played all night, and thought it was too much fun to walk away from. So we started a band that week."

If the Grateful Dead survivors do reunite, Weir would like to see them reform with just the four of them, no one else, as a stripped down rock quartet.

"That would be the most meaningful way for us to go back into the heart of our music, to rediscover what it is that we have," he says.

"I would love to take the Dead out as a quartet. I'm totally up for that."


What: Bob Weir and RatDog perform at the Harmony Festival

When: 8:30 tonight. The festival continues through Sunday.

Where: Sonoma County Fairgrounds, 1350 Bennett Valley Road, Santa Rosa

Tickets: $10 to $35 per day

Information: 707-861-2035 or go to

Paul Liberatore can be reached at

Thursday, June 08, 2006

New link to the TOOBOARD is:

Wednesday, June 07, 2006

Coming Up!

From the Pop Beat section of Sunday's pinkie:

"Bob Weir of the Grateful Dead will receive a lifetime achievement award Friday at the North Bay Music Awards, the North Bay's answer to the Bammies. The Norbays are part of the opening-day festivities at this year's Harmony Festival, which takes place Friday through Sunday at the Sonoma County Fairgrounds in Santa Rosa. Weir's current band, RatDog, will perform at the festival on Friday night. Cake is headlining the main stage Saturday. Michael Franti is headlining on Sunday. Go to to see the complete lineup."

Well I went back and forth over going. The daughter's last day of school, all the stuff I NEED to do/finish before my school year ends. The fact that Scott works Saturday and Sonoma is a couple hours North of home..then there would be a bunch of traffic from SF thru San Rafael thru Santa Rosa.....Scotto kept bringing home stuff about the fest from his musician friends...but still, I want sure.
Then the realization that it would be okay to go hit me. Scott is more than willing to deal with traffic and the impending exhaustion he will suffer from early Saturday when he has to return to SF. So it's settled. We will be there!!!!!!!!!!
Can't wait!!!


Tuesday, June 06, 2006

If you havent done it yet, go out and VOTE!

Clicky here for a short interview with Les Claypool

From the Terrapin Flyer Website:
Vince & Friends tour is going on as scheduled next week and will feature Grateful Dead keyboardist Tom Constanten. Please let people know

Press Release:

With the passing of Grateful Dead keyboardist Vince Welnick on 6/2/06, the hearts of fans from around the globe have been broken. His untimely end came at a time when they had been mourning several other recent deaths of long term Grateful Dead iconic figures such as their roadie Lawrence “Ramrod” Shurtliff and Egyptian music legend and friend Hamza El Din.

In the spirit of healing and renewal, the decision has been made to continue the Vince Welnick & Friends upcoming tour scheduled to kick off on June 15th at the House of Blues in Chicago with another alumni of the legendary keyboard spot of the Grateful Dead, Tom Constanten.

Constanten, keyboardist of the Grateful Dead in the late 60’s and early 70’s, agreed to fill in for the tour because he felt that a tribute to Welnick was the right thing to do. Recently the two of them have been performing together in a band called the Psychedelic Keyboard Trio which also featured Grateful Dead sound engineer Bob Bralove. Welnick and Constanten became fast friends.

When asked why he agreed to do this tour he replied: “I didn’t hesitate. Vince was a great gentlemen and a soldier of music. For that very reason, I miss him in a way that I can’t explain. I will honor his memory forever. Let’s make this a wonderful experience and let’s make Vince proud.”

The tour will feature other friends of Welnick and travel throughout the Midwest through June 20th.

6/15 HOB; Chicago
6/16 Rock Island; St Louis, MO
6/17 & 18; The Venue; Tulsa, OK
6/19 The Gaslight Tavern; Lawrence, KS
6/20 The Mill; Iowa City, IA

Monday, June 05, 2006


I like that this Grateful Dead related art gallery is viewable online.
Fenario Gallery . Too bad for me that it's out of state!

And yes, I'm trying out comments...I think anyone can post but I'll be moderating what pops up.
Only kind vibes here, please.

Saturday, June 03, 2006

"Stay Cool!"

If you missed hearing Bobby on Air America- There's a clip from that interview right

Friday, June 02, 2006

RIP Vince Welnick

Chronicle Obituary for VW

From 's Home page


Another loss to our family

June 2, 2006

The Wheel is turning almightily fast. Life is loss, but our times have turned sorrowful indeed. It is with very heavy hearts that we must tell you that Vince Welnick passed away today, June 2, 2006. His service to and love for the Grateful Dead were heart-felt and essential. He had a loving soul and a joy in music that we were lucky to share. We grieve especially for his widow Lori, his sister Nancy, and the rest of his family.

I remember VW from when he was in The Tubes. They were one of my very favorite groups when I was in High School. I wasnt from the flower power generation so I always took some of the Hippy values with a grain of salt. The Tubes though, were born in the cynical 70's and at the time they were outrageous, hilarious and songs like "White Punks on Dope" and "What do you want from life?" spoke to me and my circle of friends. We were upper middle class kids, we were given everything by our overly permissive parents. Most of my gang had parents going through divorces and were left to fill in the blanks with sex and drugs. Experimentation with sex and drugs during that small gap of time were considered normal- even our parents were exploring.
Only a lucky few knew from the start what we wanted from life. The rest of us either struggled with following through on our parents expectations or experimented and explored the alternatives.
Thirty years later, we are almost all still around. Almost all landing on our feet and looking at turning 50.

{{{{ Vince}}}}

What Do You Want From Life?

What do you want from life
To kidnap an heiress
or threaten her with a knife
What do you want from life
To get cable TV
and watch it every night

There you sit
a lump in your chair
Where do you sleep
and what do you wear
when you're sleeping

What do you want from life
An Indian guru
to show you the inner light
What do you want from life
a meaningless love affair
with a girl that you met tonight

How can you tell when you're doin' alright
Does your bank account swell
While you're dreaming at night
How do know when you're really in love
Do violins play when you're touching the one
That you're loving

What do you want from life
Someone to love
and somebody that you can trust
What do you want from life
To try and be happy
while you do the nasty things you must

Well, you can't have that, but if you're an American citizen you are entitled to:
a heated kidney shaped pool,
a microwave oven--don't watch the food cook,
a Dyna-Gym--I'll personally demonstrate it in the privacy of your own home,
a king-size Titanic unsinkable Molly Brown waterbed with polybendum,
a foolproof plan and an airtight alibi,
real simulated Indian jewelry,
a Gucci shoetree,
a year's supply of antibiotics,
a personally autographed picture of Randy Mantooth
and Bob Dylan's new unlisted phone number,
a beautifully restored 3rd Reich swizzle stick,
Rosemary's baby,
a dream date in kneepads with Paul Williams,
a new Matador, a new mastodon,
a Maverick, a Mustang, a Montego,
a Merc Montclair, a Mark IV, a meteor,
a Mercedes, an MG, or a Malibu,
a Mort Moriarty, a Maserati, a Mac truck,
a Mazda, a new Monza, or a moped,
a Winnebago--Hell, a herd of Winnebago's we're giving 'em away,
or how about a McCulloch chainsaw,
a Las Vegas wedding,
a Mexican divorce,
a solid gold Kama Sutra coffee pot,
or a baby's arm holding an apple?


Thursday, June 01, 2006

Thanks Rich at dot org for this head's up:

Here is the link to the stream for tonites interview.

Click on this

Bob Weir to Discuss HeadCount's Midterms Matter Tour on Air America 2006-06-01
At 10:30 PST/1:30 EST today, Bob Weir will discuss the importance of voting and the upcoming HeadCount "Midterms Matter Tour" on Air America 11:50 AM Los Angeles. As previously reported, HeadCount will register voters at 30 major concerts and festivals across the country, including Bonnaroo, Wakarusa and several dates on Phil Lesh├»¿½s tour with Trey Anastasio and Mike Gordon. Weir is a member of the organization's board of directors, and has been outspoken on the issue of voter participation for several years. His statement in 2003 that "If every Deadhead in Florida had voted the world would be a very different place" served as a wakeup call among his fans. Then in the summer of 2004 he broke with tradition and spoke from the stage during every Dead show, imploring fans to vote and directing them to HeadCount voter registration tables. The radio interview will focus on the importance of midterm elections and HeadCount' grassroots organizing activity. To listen please click here.