Candyman and Cultural Contradictions: Grateful Dead’s Egypt Adventure In 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
Candyman and Cultural Contradictions: Grateful Dead’s Egypt Adventure
In 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 Dead
September 16, 1978 (46 years ago)
Son Et Lumiere Theater (aka Sphinx Theatre)
Giza, Egypt
Grateful 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 Fitzgerald
The 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. Benson
I see you're doin' well
If I had me a shotgun
I'd blow you straight to Hell
This 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: 273
First: April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USA
Last: 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:
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.
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.[
SHOW No. 4: Sunrise
Track #16
2:08 – 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).
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 times
First: May 1, 1977 at The Palladium, New York, NY, USA
Last: 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 times
First: August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USA
Last: 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.
Larry (01:16.961)
Hello everyone, welcome to another episode of the Deadhead Cannabis Show. I'm Larry Mishkin of Mishkin Law in Chicago, and today's a very special show here, a special episode, for a couple of reasons. The first one is we have one of my all -time favorite Grateful Dead shows that we're gonna feature. And the second is that I saw a couple of amazing goose shows over the, well, not over the weekend, last week, Thursday and Friday, and I can't wait to talk about those because those were totally excellent.
some more great marijuana news. And when I say great marijuana news, I mean just more articles out there just explaining to all of these prohibitionists why marijuana actually has medicinal value. hopefully they'll finally shut up talking about that, because it annoys all of us when they do. But we're going to dive right into our Grateful Dead show today, 46 years ago today on September 16, 1978.
If you were in a Grateful Dead show, were on the other side of the world because they were in Giza, Egypt, playing at the Sun et Lumiere Theater, also known as the Sphinx Theater, or as the dead called it, the Sound and Light Show Theater, right at the base of the pyramids and the Sphinx. And they set up stage and played three nights there. And this is the third of the three nights. I think it's the best of the three. The Grateful Dead have released it in a CD format and I'm sure download.
a while back and it's worth checking out. But here's the way the show gets going and actually this isn't the opening song because we've been playing Bertha quite a lot lately. But this is in fact the second song played or the third song played of the night so let's dive into this.
Larry (04:59.873)
Candyman, one of my favorite Jerry Garcia Robert Hunter tunes and paraphrasing from song facts, 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 that 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's anything but. Dead lyricist Hunter said he certainly didn't resonate with the character's penchant for violence. The Random House Dictionary of America 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 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 killing trial says 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 wanted the dead to do something like California Country Western, where they focused more on the singing than on the instrumentation. So they sang Hunter's lyrics, good morning Mr. Benson, I see you're doing well. If I had me a shotgun, I'd blow you straight to hell. This is an oddly violent line for a song by the Grateful Dead, who sought to embody the 1960s peace and love ethos about as sincerely and stubbornly as any act to come out of the era.
Larry (07:14.529)
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 Going Down the Road by Blair Jackson on page 119 for those of you keeping score at home. He brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentioned 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 Hunter himself. He stresses the same separation between himself and the womanizer in Jack's draw. 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 when they were playing them back in the day. This version features this awesome Garcia solo that we were listening to. Maybe he was inspired by the pyramids or whatever magical spirits might have come from within to see this American band, the Grateful Dead, jam at their resting place. Hopefully it made the spirits grateful themselves.
this song was played by the dead two hundred seventy three times was first played on april third nineteen seventy at the armory field house in cincinnati ohio it was last played on june thirtieth nineteen ninety five at three rivers stadium in pittsburgh pennsylvania always loved candyman a great first set jerry ballot tune and just something that was always special and especially when his voice was good and clear and he was really jammin like
He's doing here in 1978, many would say an overlooked year for the dead. But they certainly came and played well here. Now, being in Egypt really gave the dead some interesting opportunities. And one was the opportunity to play with Hamsa El -Din. He was an Egyptian Nubian composer and Oud player, a tar player, and a vocalist.
Larry (09:27.765)
He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egyptian -Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan, and the United States. Eldin collaborated with a wide variety of musical performers, including Sandy Bull, the Krosnos Quartet, and the Grateful Dead. His performances attracted the attention of the dead Joan Baez and Bob Dylan in the 1960s, which led to a recording contract
and to his eventual emigration to the United States. 1963, Eldon 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 in 1964 -65. His 1971 recording, Ecstasy the Waterwheel, published by Nonsunch 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. He also performed with the Grateful Dead most famously during their Egyptian concerts of 1978. During these three shows, Al Dinn performed as a guest and played his composition, Olen Araigid. He was backed by the students of his Abu Simbal School and accompanied by the dead. After Egypt, Hamza Al Dinn played with the dead in the United States. On October 21st,
in 1978, the Grateful Dead were in the midst of wrapping up a fiery five -night run at San Francisco's Winterland Ballroom. The string of shows was particularly special for the band as they marked the first shows played by the Dead following the performances in Egypt just a month early. In an effort to bring their experiences in northern Africa home with them to share with their fans, the Dead's 1978 Winterland Run saw sit -ins by Egyptian percussionist, singer, and oud player, Eldin.
on october twenty first held in open the show solo offering his divine percussion before the dead slowly emerged to join him for an ecstatic rendition of all in our aid a number based off a newbie in wedding tune before embarking on a soaring half acoustic half electric jam that we will get to on the other side of the music news so let's start tune in now and let's listen to hams held in this is not all in our gear to sfo first song that he plays when he takes the stage
Larry (11:51.049)
of forty six years ago today
Larry (13:25.601)
so this is Hamzah El Din opening the second set of our show that we're featuring today and he played a little mini set of 21 minutes which included this tune that we just were listening to and then as we'll hear in a few minutes he makes his way over into a big jam of Olen Araged with the dead coming on and playing with him and we will get to that shortly just a couple other things I wanted to say about these whole Egypt shows because
you really just a fascinating thing in terms of the fact that they played their how it all came about and is the fact that they decided to play in giza giza expelled a whole bunch of different ways g i z a h g i z e h g i z a there's air big pronunciations here but i'm not even going to it's the third largest city in egypt by area after kairo and alexandria the fourth fourth largest city in africa by population after kinshasa lagos and kairo
is the capital of giza governorate with a total population of four million eight hundred seventy two thousand four hundred forty eight as of the twenty seventeen census is located on the west bank of the dial opposite central cairo and as part of the greater cairo metropolis giza lies less than thirty kilometers north of memphis which was the capital city of the unified egyptian state during the reign of pharaoh narma roughly thirty one hundred bc quite a long time ago
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, as we said, the ancient pharaonic capital of the Old Kingdom.
The Sun et Lumiere, French for Sound and Light, a sound and light show theater, is a form of nighttime entertainment that usually is presented in an outdoor venue of historic significance. Special lighting effects are projected onto the facade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place. The invention of the concept is credited to Paul Robert Oudin.
Larry (15:55.169)
who was the curator of the Chateau des Chambars in France, which hosted the world's first Sonnet Lumiere in 1952. Another was established in early 1960s here in Giza at the site of the Great Pyramids. 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 the light show at Giza takes place every night for 55 minutes by the great Sphinx or King Kefren. It is a laser show with a history narration in your own language. Now we're going to read a review of this particular show, the dead in general in Egypt in this show, written by Kyle Fitzgerald from The 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 show theater in Giza in September 1978. His hair and pigtails, that's right, pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olenaga Read into an extended opening of Fire on the Mountain. There were Bedouins out in the desert dancing. It was amazing. It was really amazing, Garcia said in a 1979 radio interview. The September 14th to 16th 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 center of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. As for the Grateful Dead, 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 to 1981. When we left the stage on that last show, everyone was high on acid. And the first news that came on, they signed the Camp David Agreement.
Larry (18:11.585)
Sadat, Bagan, and Carter signed the agreement in Camp David. This happened during those three days. Lauren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Ballen, 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. Lauren recalled riding a camel around the pyramid site during the three -week visit in 1975 to his right where 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 need to play in Egypt, he said. Lauren, associate Alan Trist, and dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with the 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 for their own expenses and offered to donate all the proceeds Half would be note would be donated to the Faith and Hope Society the Sadat's favorite charity and the other half to the Egypt to Egypt's Department of Antiquities It was a sales pitch by the three of us Alan Richard and Phil Lauren said
A telegram was sent on March 21st, 1978 confirming the Grateful Dead would perform two open air shows at the Sound and Light Theater in front of the Great Pyramid of the Sphinx. They would go on to play three shows. Describing the planning, Les 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, 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. Rather than ship all the required sound reinforcement equipment to the United States, the PA and a 24 -track mobile studio recording trucks were borrowed from The Who in the UK. The dead 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 15th and 16th, are excerpted in the album. The band referred to their stage setup as the Giza Sound and Light.
Larry (20:32.777)
theater. The final night's performance, the one we're listening to, also just happened to coincide with a toner lunar eclipse. Coincidence? Drummer Bill Kreutzman 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 speaker and microphone in a failed attempt to live mix acoustical echo. Less recalled, throughout the shows he observed an increasing number of shadowy figures gathering
just at the edge of the illuminated area surrounding the stage and the audience, not locals, as they all seemed to be wearing the same garment, a dark hooded robe. These, turns out, are the Bedouin, the nomadic horsemen of the desert drawn in by the music and lights. Each night they remained to dance and sway rhythmically for the duration of the show. Kreutzman recalls, Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire 30 years as a band. It was priceless, perfect, and at half a million dollars, a bargain in the end.
albeit a very expensive bargain. The concerts weren't expected to be profitable. Proceeds were donated, as we said, to the Department of Actiquities and to one of Mrs. Sadat's favorite charities. Costs were to be offset by the production of a triple live album. However, the performances did not turn out quite as proficient as planned musically, and technical problems plagued the recordings. The results were shelved as the band focused instead on a new studio album, Shakedown Street. But Rock in the Nile is the
live recording that was finally released by the dead was recordings from the second and the third nights and you get most of the entirety of this third night and again it's just as you'll hear as we get back into it in a few minutes absolutely exceptional but now we're to go into our music news and we're going to lead that off with some music that this week i actually picked based on some music i saw last week
Larry (23:37.857)
So this is Goose covering Bob Seeger in the Silver Bullet Band song, Hollywood Night. The version we're listening here is from earlier this year at Fiddler's Green on June 8 of 24. But Goose did play it this past Friday night in Chicago at the Salt Sheds Festival stage outside along the Chicago River with the skyline in the background. Very impressive venue. And this was just, I can't even tell you how excited this made me.
Hollywood nights is a song written and recorded by American rock artist Bob Seeger It was released in 1978 as the second single from his album stranger in town Seeger 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 teagues on the cover I said let's write a song about a guy from the Midwest who runs into something like this and gets caught up in the whole bizarre thing
Seeger said that the Hollywood nights was the closest he has ever 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 Seeger was born on May 6, 1945. He's a retired American singer -songwriter and musician. As a locally successful Detroit area artist, he performed and recorded with the groups Bob Seeger and The Last Heard and Bob Seeger.
system throughout the nineteen sixties in nineteen seventy three he put together the silver bullet band with the group of detroit area musicians with whom he'd become most successful on the national level with the album live bullet nineteen seventy six recorded live with the silver bullet band in nineteen seventy five a cobalt in detroit michigan a legendary venue for rock and roll events in the detroit area itself a legendary of town for rock and roll in nineteen seventy six 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 Seeger's best -selling singles and albums. A roots rock musician with a classic raspy powerful voice, Seeger 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, Main Street, Still the Same, Hollywood Nights, Against the Wind, You'll Accompany Me,
Larry (25:57.973)
shame on the moon roll me away like a rock and shakedown the last of which was written for the nineteen eighty seven film Beverly Hills cop part two and top the billboard hot one hundred charts 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 two thousand one so this all comes together as we go into music news because i love bob seger that that's that goes back to high school for me at the beginning of high school and
and through my high school years and early college years and i was going to school in an arbor so we were right up there with the whole michigan rock and roll thing and could get enough of bob seager at the time he was just amazing but what's amazing here is that goose is covering this song right i mean the guys in goose are so young most of them probably were even born with this song came out not that that should matter but you get caught up in all the stuff and and we're we're going to talk about goose because they did play three nights in chicago last week
Wednesday, Thursday, Friday night. was lucky enough to catch the Thursday and Friday night show. On Thursday, I went with my wife Judy and hung out with some good friends, John and Marnie, her brothers Rick and Joel, their good buddy Stefan, and many others. Friday, I was here with my son Daniel and my good buddy Kevin, who got us Rockstar parking, and even more impressively, some killer seats dead center at the bottom of the grandstand in the back of the floor, just a few feet off the floor, and right on so we could hear everything, see everything.
and have a place to sit and rest for a few minutes when needed. On Thursday night, we were with John and Marty and the gang up at the top of the Grandstand, which was equally nice because it was beautiful up there. There was a lovely breeze. You had a better view of the skyline and the river and all the boats going up and down the river trying to check out what was going on in the musical stage. It's just a great outdoor venue. But if you ever get to Chicago, summer or winter, it's winter indoors in the Salt Shed is nice, but being outside of that festival area.
is just absolutely amazing and well worth it though i have to say i've seen goose now about five or six times each time i see my enjoy the more and more they've got great musical jams great like shows lots of good energy from a band of the fans rick minaretando the first -class guitarist and singer he's played with with phil lash and friends he's played with bob we're he's played with
Larry (28:15.627)
dead and co he's played with just about everybody that peter is back is on keyboard and guitar and vocals very very talented musician jeff are followed is the percussionist trevor weeks on base and and trill week's is great he looks like he came right out of the movie spinal tap for those of you old enough to know about the movie spinal tap the younger ones check it out anyway cuz it's kind of fun and hip and after the number of years since it's come out it's probably become a cult classic or something
but he looks like a bass player who came right out of you know that are you know your standard bass player of the nineteen eighties kind of with almost a mullet cut so that sunglasses on all night long barely moves and just sends out great vibes all nice all night newcomer cotter ellis on drums replacing the band's original drummer band asking earlier this year we talked about it on the pad podcast back when it happened now goose began playing in twenty fourteen in wilton connecticut so this is their
ten years pretty much their ten year anniversary and they're just getting stronger they really love what they do and it shows their live performances and some great set lists in chicago and let's just roll over a little bit for a minute here now on wednesday night as i say i wasn't there but they opened with flow down then they played butterflies which is a cover of the band great blue and here's what i say generally about goose they do a fair amount of covers
but what i like about it is they not only cover songs that i don't know they cover bands that i don't know and then i learned more about these bands so great blue they covered them they then played another cover my mind has been consumed by media that's a song by swimmer california magic butter run please forgive me a david gray cover and closed out the set with s .o .s. the second set opened with echo of a rose into wisteria lane one of the
few who songs with which i have some familiarity of course they played on the night i wasn't into jive one followed by jive to and followed up by jive lee to close out the second set and the on core was madhoven againist one of the tunes that i know and unfortunately for me i missed it but came back strong the second night this past thursday night
Larry (30:35.903)
and they open with Mr. Action which my friend Marnie and I immediately confused for misdirection until we were corrected and learned what was happening. Into Draconian Meter Maid, another swimmers cover, Indian River, A Western Sun, and Turned Clouds. Now the last two songs of the first set they were joined on stage by Julian Lage, a jazz composer and guitarist and
who'd been playing in chicago they had seen him play and just a natural fit he very improvisational fit right in with these guys and really added a little bit of extra off on the guitar which made those last song you saw even nicer he he just really had a great melody to them for the second set they came out and played yeti a great blue cover pumped up kicks by foster the people which i'm gonna confess i didn't recognize but when my son daniel
saw the setlist when i got home thursday night so it was a false to the people saw he was totally pumped so pumped for pumped up the kid for pumped up kicks which may have been enough to convince him to go with me on friday night they then played thatch into redbird factory fiction a the pseudo cover the encore was slow ready and you know for me this is like what i first saw fish early on and
Widespread panic early on you know you just don't know the song so you know I don't get too high or too low By what song they're playing I don't go with a lot of big expectations And they just blow me away with their jamming and this whole second set on Thursday night Was really just incredible, and I thought just absolutely So much so that I was all set to go back on Friday night and got an extra ticket Tom Judy did not want to go unfortunately
but it was all good because we i got to take a little long and daniel has now kind of become one of my concert by she went with me to fish show in st louis and he and i've been having some fun fun around some great great music to some where he was also with me for the miracle in munda line a couple weeks ago with his buddy a j and we had a great time then and then we get to friday night show and i'm there with with daniel and kevin
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who is a a big concert dude and the he's just got this great musical karma not like i'm unlike good buddy alex he was in devor with his family during decks and he'd already been to so many shows but he finagled his way to the to the sunday night show the final show of course so he was there when they'd played the beastie boy sabotage for the encore which may have been the highlight of the the four -night run according to people who were there certainly a high moment
and a lot of fun for everyone so here on friday night they came out with hot love of the lazy poet another venuto cover another venuto cover so you know now i'm i'm checking out venuto one in one out was the next one then they played born then silver rising atlas dog and big modern to close out the first set now the last three songs i thought really is where the show took off the first three songs were kinda nice but compared to what it had been the night before
they weren't didn't work quite weren't sounding quite as Quite a sharp, but then with silver rising and through Atlas dogs and big modern They really just came out and and played that played it so great at the at the end of Atlas dogs Kevin's line was More please and of course they immediately did with big big Moderna
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Oops.
Larry (34:33.249)
Just lost my place there for a minute. So here we were after the end of that set Good buddies Rick and Ben came down for the VIP to chat and visit visit with me for a while Which was always nice to see them I'd been with Rick on Thursday night as well Ben wasn't able to make it but he he did show up for Friday I love it when Ben makes it to the shows. He's always a lot of fun and So we're all set for this second set. We've got these amazing seats everything is well kicked in by this point and
the three of us, me, Daniel, and Kevin, getting ready. They came out, and they opened with Zalt, a tune I don't know. Then they play state of the art AEIOU, a Jim James cover, which I did recognize, so I give myself credit for that. They then played Dripfield, another one of their tunes that I know, followed by Satellite. And by this point, I these guys were just tearing up the place.
it's almost like a fish formula right where they come out the beginning of each song and they kind of get going with some lyrics to really get the song going and then just as they really hit a high note they can put the lyrics off to the side and boy do they dive in and just jam the hell out of these tunes these were great shows starting right around six thirty each night and then playing until about nine forty five nine fifty nine fifty five the last night
because this is our side there's a very very strict ten o 'clock curfew with some residences popping up in these more industrial areas but you know the loft space that kind of stuff that all the young hipsters like but you would think they would my loud music all night but apparently some of them do but we were still getting from six thirty to ten with about twenty twenty five minute on course they were just play their little hearts out so satellite and other people they're going on there just jamming
and I'm sitting there and you know we're listening and it's not like I'm trying to figure out what the next song is because I have no idea what the next song is going to be typically right it I don't really know all of their tunes very well and most of the covers that they've been playing quite honestly at the time they were playing them I couldn't even told you they were covers I only discovered it when I saw the set list FM set lists after the shows and they list cover tunes when they're played
Larry (36:47.551)
and all the sudden hearing this beat in the back of my mind i'm seeing a lot with it because i'd recognize this be this beat that's very familiar to me it's a beat that you know that i grew up on a note of course i'm having one of the senior moments were like wait i know this i know this i know this event he opened his mouth and even before he could sing one note one word the retina i'm seeing the song and my son daniel turns to me and
and
music of my high school years, my buddies and I, would just jam out on Bob Seeger albums and saw him once in St. Louis and just a great show. We just couldn't believe it as he played hit after hit after hit. And know, any time you have an artist rock and roll or whatever genre of music they might play, where they have so many good hits that over the course of the night, the overwhelming majority of the songs that are played wind up being hit, songs that you know.
so for me was just really really special to get to see that and to get to hear that they absolutely killed it unfortunately wasn't available yet on youtube or anywhere else for purposes of this podcast so that's why i have the one from fiddler's green on there that i think works out very very nicely so after that they closed out the second set with give it time and by this point you know we don't know what else they could bring we were just
We were feeling it. was just amazing. then they came out and they did their encore was Arcadia, which is another one of the songs that I kind of vaguely know because I've heard it a few times now when I see them. So three just amazing nights of Goose. Two for me. Friends John and Marty made it to all three because they do that kind of stuff. And I think it's great that they do. And I was just happy to get to go down there one night with my wife, one night with my son, and with good buddy Kevin, and get to see all my other good buddies down there.
Larry (39:07.749)
And it just makes for a fun time. Chicago's beautiful this time of year. Couldn't have asked for better weather, not too hot, not too cold. Lovely weather to kind of just hang out in, watch the river, see the boats come up and down. The boats aren't allowed to dock on the river. So they have to keep moving, but they go very slowly so they can catch as much of the music as they can. And sometimes they go around and turn around and come right back up just a few minutes later. So it always is.
just a little bit humorous there. Turning back to our good buddies, Fish, they just recently announced a three -night run in Albany, New York on October 25th through the 27th to benefit the Divided Sky Foundation. That's a residential program for people recovering from drug and alcohol abuse. It's a 46 -bed, nonprofit recovery center spearheaded by Fishfront Mantra Anastasio. And it's an abstinence -based, non -medical residence, one of the first of its kind in Vermont and really almost to the country.
The Divided Sky Foundation is a charitable nonprofit founded by Anastasio. It purchased the Ludlow location to create a substance abuse, to create a substance use disorder treatment center back in 2021. Anastasio, Fish'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 a drug court in Washington County, New York in the mid 2000s. There he met Guide, who worked in the court system at the time.
and the two have stayed friends since. not guide Guld and Anastasio, use their personal experience with treatment facilities to implement a vision for the Ludlow space. Very cool organization. It really deserves everyone's support. Trey really turned it around in his life, which was just amazing and wonderful, which is now he's five years older than Jerry was when Jerry died in 1995. And Trey and Fish are just getting stronger and stronger, whereas we've talked about really
for most of ninety five and even dating back a little to the tail end of ninety four jerry just sounded old he sounded like a guy who had been through the ringer and you you'd nobody really knew how much he had left in at that point and i give credit because he always went out there night after night and and played and gave it his best in some nights he hit it in some nights he didn't but as sad as it was and surprising in the sense that now he's here now he's not when he died it wasn't
Larry (41:35.169)
totally unexpected he just didn't look good he was a big man and not in very good shape and you would kind of get pasty and sweaty when it was hot when he was sweaty and it was kind of sad to see on a certain level and a lot of people were coming out to see him more as a curiosity than you know out of a love of music all this is our chance to relive the sixties the counterculture you know and that wasn't the majority of the fans but there was enough of them that
you know it forced them to have to play in much larger venues where i have to say if you know for a band who started their career playing in small theaters and clubs you know when the time required them to do so and the the demand was there they they they transitioned into becoming a stadium band very very well and i really have to give him a lot of credit their shows from giant stadium in new jersey are fantastic shows over the years and
there's a a box out of their shows from giant stadium in east rutherford just because how inspired they seem to be with a plate of that just to get a clear structure but i saw that if you big stadiums and soldier field for sure a number of times and you know if they were on they were on if they weren't they weren't and it's just the way it was but it's very inspiring for me to go see
fish and to see so many shows right now and to see just how well and how strong they're playing and how much fun they're having and how much energy they have on stage and it's just wonderful and i really urge all of my compatriots out there contemporaries to take advantage to see this band as often as you can because you just never know when anything might happen and while i'm an optimist and glass half full guy and
I like to believe that I'll be able to go and see Train the Boys for quite some time and Tab and Original Tab and all that great stuff. I recognize how quickly you can lose it and then it just becomes a memory and everything else that's played in the spirit of it is played and sometimes it's played very well but it's really kind of like playing a memory.
Larry (43:51.067)
and fishes not a memory right now they're the real deal they're really going at it and that's the abuses who's this to fish like fish was to the dead really almost kind of in terms of timing in between and you know with widespread thrown in there and string cheese and know few other bands of that kind they're all great wonderful jam bands that we love to listen to but it it's just it's really really special to see you soon to know that you know
even as Trey and the boys get a little bit older, they're still coming along very, very strongly. And that's just wonderful. Now, one other story we're going to touch on in two different directions. And this is content we're getting from Rolling Stone magazine. So thank you to them. This is in the have to see it. You have to hear it to believe it. Not that I'm necessarily surprised by the participants, but yeah.
reunited james addiction concert in boston recently ended prematurely brilliance past friday after singer jerry farrell punch guitarist gave the violence set on stage in mid song as a video of the show revealed during the performance of ocean -size phil became agitated for an unclear reason walked over to the borrow rammed his shoulder into the guitars back and aggressive and still angry he then continued yet to strike out in the borrow and
just kinda crazy. People were kind of shocked and taken back a little bit I think for a moment. The other guys on stage were you know looking at it trying to figure out what was happening and they all kind of cleared off the stage and that was the end of the show. They never came back out. You know and at the time I don't think anybody really knew or could truly understand what was happening here.
why this was going on i mean they're all a little bit it's little bit eccentric in the span of not gonna lie in perry farrell man he's out there and he he covers a lot of different ground a lot of different territory with his creativity and his talents and maybe some of his craziness and whatever else he's got swimming around in that head of his but he's also the frontman for lala pelusa it has been for a while
Larry (46:13.119)
you know in terms of getting it organized every year and kind of always being a centerpiece of it and you know like a guy who really seems to understand and get it but apparently Friday night in Boston he didn't now what makes it interesting is that afterwards the next day they canceled their next stop in Bridgeport Connecticut refunds were being made available on that but they basically came out and apologized
and said we want to extend a heartfelt apology for the events that unfolded last night. As a result, we will be cancelling the rest of this tour. they added that there will be refund information coming out and that they're really very sorry that this all happened. And they hope to be back to it at some point in the near future, whenever they can, to be able to play to their fans again.
But this is almost kind of like the Gallagher brothers in Oasis getting in a fight on stage. mean, this is just crazy stuff when you've been band members for so long. And it's not unusual, I guess, in the annals of musical history for band members, partners, stuff like that, to eventually have fallings out. It's happened with many of them along the way. And these guys, again, are eccentric enough and do have personalities enough to maybe do that. But it's just absolutely amazing to me that something like that could happen.
with acts that are so well known and a guy like perry ferrell who i mean really is you know just a mainstay in in the rock and alternative music genres and all of that and it's just absolutely well very very interesting i guess is the only way to say it and it certainly makes for something interesting to talk about
but seriously I hope that you know these guys can work things out on whatever level is needed you know even if they can't get back together and find a way to get themselves back on stage they have such a long history it would be a shame for it all to now you know kind of get thrown away over whatever it was that led to this although who knows maybe it's whatever it was that led to this which is why they need to do what they need to do I I don't know but I imagine that before long there'll be more news about it and if I see anything
Larry (48:31.841)
I will be sure to pass it on. So now we head back to 46 years ago today to Giza, Egypt, the Sound and Light Theater. And Hamza al -Din, following his mini set, now dives into this excellent version of Olan Ara Gid. And he gets joined by the band. And let's listen to this for a minute, because it's just excellent.
Larry (50:24.449)
So this is Olen Aragid, O -L -L -I -N -A -R -A -G -E -E -D. That's at least the American English transliteration of the name of the song. It's a musical composition. It was written by Hamz El -Din. and members of the Abu Simbal School of Luxor, a choir, we said, opened the shows in Egypt the first two nights with his composition of Olen Aragid. And then on the
third night they opened the second set with it. As I say they were eventually joined on stage by the band for it. It was fun, it was different, maybe a shout out to the locals but you know not unexpected at a dead show especially in Egypt of course but ultimately of course anywhere else too. As you can see by the fact that they brought him back to the States and said play with us here for a while now at certain select shows and let
some of the dead heads over here be lucky enough to stumble into an arena on a night when you're be playing with us and have a chance to see it but what it really does is you know for the dead heads as a whole it opens up a whole nother genre of music and one thing dead heads are i think that i've found over the years is purveyors of excellent music whether it be jam band or any other type of genre or any other any other type of roots or wherever it might come from
and certainly to be able to hear this type of music on a regular basis i think there's people who really kind of fell in love with it after a while these recordings by hams eldin and other musicians who practiced in the same areas of the same genres and came from the same parts of the world a part of the world is heated but it was just you know one of those things you know you don't go to
more traditional band concert, know, a Rolling Stones concert necessarily, and expect to see a guy like Hamsa El -Din come out and play a song like Olenar Raghid, and that's not to slam on the Rolling Stones. I love the Rolling Stones, and we talked about how I saw them this summer, and what a great time I had, and wonderful to be there at another Stones show. But the dad were flexible enough, and they were able to do this, and they were able to incorporate a guy like him, and certainly with Mickey Hart being
Larry (52:46.721)
so fundamentally based in his drumming and percussion and that whole part of the musical scene, this was just a natural for him. And he and Hamzal Din certainly became contemporaries, colleagues, if you will, in the musical scene and contributed to one another's works for many years.
a very very fun way I think to be able to see to be in Mexico, jeez listen to me, to be in Egypt I'm thinking of all those shows that all these bands do in Mexico these days but screw that man this was way before that this was the original sand people were dancing on 46 years ago so that's that's the amazing stuff and then they went they played this song into Fire on the Mountain
But this next clip that we're about to play right now is the transition out of fire in the mountain and into one of my All -time favorite grateful dead shows and perhaps into my all -time favorite version of one of my favorites grateful dead songs So Dan, let's play this
Larry (56:29.813)
This transition from Fire on the Mountain into Iko Iko is one of my all -time grateful dead favorites, certainly in the top two or three ever. They come out of a standalone fire, right? No Scarlet Leden. In fact, it was Olan Aragid Leden. So instead of a Scarlet Fire, you had an Olan Fire. But out of a standalone fire into a sublime and absolutely spacey Iko Iko.
just imagine on this perfect combination for the pyramids the faithless finks full lunar eclipse just everything going on that would have been a night to have been dosed i think because just all of this coming together in such a it's almost like the planet isn't it but they didn't i don't think you know i i've never read the story to see that they actually do those can be a lunar eclipse that's why they chose those three days i like to think of it as that's just the
whole Grateful Dead aura and power and what comes from them, right? If they're going to go someplace unique, let's make it a cool night to be in someplace unique. just absolutely perfect. This combination right here is reason enough to just go and listen to the entire show from start to finish, because eventually you will make your way to this point very early on in the second set.
And if you're not already high and dancing in your living room, this will get you to that point. So just make sure that the kids are asleep and you're dancing in your socks on the carpet, and everyone will have a great time. Now we're going to move over into marijuana news. And as we do that, we've got a lead in. And again, I picked this one this week. I can't let Dan have all the fun.
Larry (58:56.545)
still blazin by whiz kalifa featuring alborosi now we talked about whiz kalifa on last week's episode after i saw him headline the miracle in mundaline a week ago but we didn't really have a chance to feature any of his tunes last week and this one of course you can tell is a natural for our show this song is from kush and orange juice stylized as kush and oj the eighth mixtape by american rapper whiz kalifa it was released on april fourteenth twenty ten by taylor gang records
and rostrum records. and orange juice gained notoriety after its official release by making it the number one trending topic on both Google and Twitter. On the same day, a link to the mixtape was posted for download on Wiz's Twitter. The hashtag, hashtag Kush and orange juice became the number six trending topic on the micro blogging surface after its release and remained on the top trending items of Twitter for three days. So
a great way to lead us into our talk on marijuana that we're going to get to right now and whiz kalifa thanks again to my son daniel and his buddy AJ for turning me on to him appropriately when we were out there last week and you giving me just enough background and scoops so i could talk very stupidly on the subject but talk on it nonetheless which is always nice to be able to do and as we get older we stop thinking that we sound as stupid as we do so that makes it good for us just causes cringe in the kids but
my boys are very nice about that self here we go marijuana now this could be a great story because just for a little recap for those who joined late the big it one of the issues we've been talking about his biden's proposed rescheduling of marijuana from schedule one to schedule three and how my position the position of a lot of people at least some people in the weed industry is why bother yes there's the advantage of you take two eighty and get rid of that but it's still illegal to raise a host of other issues including who is it is not
authorized to dispense any schedule three, two, one substances. And how can you get access to them when most of them typically require a doctor's prescription and marijuana, even medical marijuana, does not require a prescription. So being a schedule one is real pain in the ass. Schedule three is kind of like kissing your sister. It gets you there a little bit, but not really all the way to where you want to be going in this, all the way where you want to be going with this.
Larry (01:01:22.227)
is for them to de -schedule it. But the reason why it's hard to de -schedule is because to go all the way from schedule one all the way down to nothing is almost impossible. And why is it at schedule one again? Why is this drug listed with heroin and with LSD and with others which they claim has no known medical use or medical value? So therefore, it's not worth studying. It's not worth anything. It's just you can't touch it. And it got there because Richard Nixon
whose administration helped pass the Controlled Substances Act was also instrumental in having marijuana listed as a Schedule I substance on his new schedule. People say because he didn't like John Lennon, didn't like the hippies, he didn't like what happened at the 1968 convention in Chicago, the Democratic convention in Chicago, and I think he decided that he would save the world and make marijuana so illegal that nobody would ever want to touch it.
OK, so that must mean the tricky dick had a pretty negative opinion of this thing. And so we would expect that anything we would find about him would be consistent and support that. So imagine my surprise when I saw an article in Marijuana Moment. Thank you again for great marijuana content that we use on our podcast. Former President Richard Nixon, despite declaring the war on drugs and rejecting a federal commission's recommendation
to decriminalize marijuana admitted in a newly unearthed recording that he knew cannabis is not particularly dangerous. Let me say I know nothing about marijuana, Nixon said in March 1973 White House meeting. Probably taped it with all of his other stuff. I know that it's not particularly dangerous in other words, and most of the kids are for legalizing it. But on the other hand, it's the wrong signal at this time. The penalty should be commensurate with the crime, Nixon said.
arguing that a 30 -year sentence in cannabis Casey recently heard about was ridiculous. have no problem if there should be an evaluation of penalties on it, and there should not be penalties, you know, like in Texas that get people 10 years for marijuana. That's wrong, the president said. The comments first reported by the New York Times come as the federal government is reconsidering marijuana status as a Schedule I drug. The Department of Health and Human Services, after conducting a review initiated by Joe Biden,
Larry (01:03:40.361)
recommended last year the cannabis should be moved to schedule three the Department of Justice agreed publishing a proposed schedule ruling in the Federal Register in May. The DEA however, Drug Enforcement Administration has expressed hesitation about enacting the reform and has scheduled a public hearing on the cannabis rescheduling matter for December 2nd after the upcoming presidential election. Nixon's admission in the newly revealed tape that marijuana is not particularly dangerous runs in contrast
to his image as a drug warrior and undermines his and subsequent administrations to classify it on schedule one of the Controlled Substances Act, which is supposed to be reserved for substances with a high potential for abuse and no accepted medical value. On June 17, 1971, Nixon declared at a press conference that drug misuse was public enemy number one, saying, in order to fight and defeat this enemy, it is necessary to wage a new all -out offensive.
In 1972, Nixon rejected the recommendation of a federal commission that recommended decriminalizing cannabis. When Nixon appointed the so -called Schaeffer Commission to research and issue a report on federal marijuana laws, most people expected it to bolster the administration's position that cannabis was a dangerous drug that ought to be criminalized. But that's not what members concluded in their report. The panel, which was formally titled the National Commission on Marijuana and Drug Abuse, that's marijuana with an H.
found that while marijuana use might pose some health risks, the policy of criminalization is excessive and unnecessary. The report from the 14 -member commission, which had been appointed by Nixon himself and congressional leaders, recommended decriminalization. However, Nixon ignored the findings, but then the next year made the newly discovered comment about marijuana not being particularly dangerous. So that takes us back to
lobbyist Curtis Hannah from Minnesota who says President Nixon, the man who signed the bill into law to put marijuana in schedule one, who kept it in schedule one after the Schaeffer Commission report and who created the Drug Enforcement Administration through administrative action, didn't believe that marijuana is addictive or dangerous, Hannah told Marijuana Moment. Jack Herrera declared in 1973 the emperor wears no clothes in his book by the same name, Hannah said. Through the release of the audio I found
Larry (01:05:59.881)
We now have definitive proof of the emperor himself admitting in private that he knew that he was naked. Although Nixon can be heard on the tapes admitting that he felt marijuana penalties were too harsh, he also made clear he didn't support fully legalizing it. But we are not for legalization. I don't want to encourage the drug thing he said in one recording. We're starting to win the fight against drugs. This is not a time to let down the bars and encourage basically people to break open the discussion on the drug culture. Nixon's domestic policy advisor, John Ehrlichman,
later conceded that the president's insistent on criminalizing people over drugs was part of a political ploy to undermine the anti -war left and black people. knew we couldn't make it illegal to be either against the war or black, but by getting the public to associate hippies with marijuana and blacks with heroin and then criminalizing both heavily, we could disrupt those communities, Ehrlichman said in a 1994 interview that was published by Harper's in 2016.
We could arrest their leaders, raid their homes, and break up their meetings and vilify them night after night on the evening news. Did we know we were lying about the drugs? Of course we did. So that's really where all the hypocrisy for modern -day drug policy in this country comes from. Our good friend Tricky Dick playing games with all of us and ruining people's lives for no good reason as admitted to by himself.
But I guess that's why we call him Tricky Dick, and that's why he resigned, and that's why he's always going to have a black mark next to his name, and he could just crawl back under whatever rock he came from. And we will move forward with the truth about marijuana. And here we go. If it's another week of this show, you know there's another week of good reports. And this time, according to our friends at Marijuana Moment, a new study supported by AARP
shows that marijuana use by older people in the US has nearly doubled in the last three years, with most saying they use cannabis to relieve pain, help with sleep, improve mental health, and achieve other benefits. More than one in five Americans age 15 and now say they've used marijuana at least once in the past year, according to the survey conducted by the University of Michigan, while more than one in 10 consume cannabis at least monthly. Researchers say they expect use rates among older adults to continue to increase as more states
Larry (01:08:16.449)
legalized among respondents who did use cannabis within the past year 81 percent said it was to relax sixty eight percent reported using the drug is a sleep aid and sixty four percent said it was simply to enjoy marijuana's effects and feel good another sixty three percent of the use cannabis for pain relief while fifty three percent said they used it to promote mental health aarp which supported the study noted that the twenty one percent of americans over fifty who now report using marijuana in the past year
represents an increase in use among older adults nationally, nearly double the 12 % who said in the prior edition of the poll in 2021 that they consumed cannabis in the past 12 months. In the latest survey, 12 % said they used cannabis at least once a month, and 9 % of people nationally said they consumed marijuana on a weekly basis, while 5 % said they were daily users. According to the new survey, the younger segment of older adults ages 50 to 64 are more likely to use it on a monthly basis.
basis, as were people in fair or poor health and low income households. In Michigan, which opened adult use cannabis sales in December of 2019, use rates were notably higher, with 27 % reporting past year use, 14 % reporting weekly use, and 9 % using cannabis daily or almost daily. The data from the Michigan Poll on healthy aging asked 1 ,079 older adults in Michigan
and 3 ,112 non -Michigan adults about their cannabis habits focusing on THC -containing products in particular. Authors of the new report say their findings underscore the need for further cannabis education. Our findings in Michigan and nationally show the need for more education and awareness, especially among those who choose to use cannabis more frequently. Erin E. Bonar, a researcher and addiction psychologist, said in a statement, with some form of cannabis used now legalized in 38 states,
and on the ballot this November and several others, and the federal rescheduling process underway, cannabis use is likely to grow, added. But as this poll shows, it's not risk free, and more attention is needed to identify and reduce those risks. So what we're seeing here is people who using cannabis as it's legalized. There's just not enough information to know are there safe ways of using or the recommended guidelines.
Larry (01:10:34.945)
So we're seeing the number creep up like that in the absence of really good scientific data to help people's decisions with this. That's a little bit concerning. Jeff Colgrin, internal medicine professor at the University of Michigan and a doctor at the Veterans Affairs Ann Arbor Health Care System directed the newly released poll. In a statement, he underscored the importance of people talking to health care providers about their cannabis use, which can help identify possible risky drug interactions as well as signs.
of problem use. Even if your doctor, nurse practitioner, or pharmacist doesn't ask if you're using cannabis products, it's important to offer this information no matter whether you're using it to address physical or mental health concern or simply for pleasure," said Cullagran, a primary care physician at the V .A. Ann Arbor Health Care Systems and associate professor of internal medicine at U of Many prescription medications and over -the -counter drugs as well as alcohol can interact with cannabis and cause unexpected or unwanted effects.
And there are only a few conditions where we have good evidence of medical benefit from cannabis, though this could change with time. The University of Michigan also noted in the description of findings that federal rescheduling of cannabis to schedule three under the Controlled Substances Act may free more researchers to do study of cannabis -derived products in clinical trials, including involving human volunteers. Right now, it adds, such research is very limited because of the schedule one restriction. So positive, positive benefits.
for older people they're reporting it gives them benefits they're reporting it they use it so you know whether you're tricky dick playing a game of misdirection whether you're Ron DeSantis being a fool whether you're Bill Barr being a bigger fool any of these guys who out there the governor of Kansas whose name we've already forgotten because why bother or maybe it was a representative from the state of Kansas I don't want to be smirch the governor if I'm getting that wrong
who told us that people don't really know what they're talking about when they say that they approve of legal marijuana they have misconceptions about it if they really understood they might not feel the same way which is what people say when they're otherwise losing the battle for public approval and public acceptance so you know they're gonna have to figure all that out and kind of get with it because otherwise they're gonna have a problem and here's another reason why they're gonna have a problem because who likes to say no to older people and once again
Larry (01:12:56.913)
marijuana moment tells us in a story they ran last week new research on the use of medical marijuana among people with rheumatic conditions such as arthritis finds that more than six in ten patients who use medical cannabis reported substituting it for other medications including NSAIDs, opioids, sleep aids, and muscle relaxants. Most patients further said that the use of marijuana allow them to reduce or stop using those medications entirely.
Primary reasons for substitution were fewer adverse effects, better symptoms management, and concerns about withdrawal symptoms, says the study published this month by American College of Rheumatology. Substitution was associated with THC use and significantly higher symptoms improvements, use in significant, was associated with THC use and significantly higher symptom improvements, including pain, sleep, anxiety, and joint stiffness than non -substitutions.
The findings, say authors at the University of Michigan Medical School, McGill University, and the University of Buffalo, suggested an appreciable number of people with rheumatic disease substitute medications with medical cannabis for symptom management. Data from the study came from an online anonymous survey of adult residents of the United States and Canada, which was advertised on social media and through email contact lists of the Arthritis Foundation and Arthritis Society Canada.
of 1 ,727 completed surveys, 763 respondents said they currently use cannabis, while 655 said they'd never used marijuana, and 268 said they used it but since discontinued. Researchers analyzed responses of only those who said they were current cannabis users. Among 763 participants, 62 .5 % reported substituting marijuana products for medications, including
non -steroidal anti -inflammatory drugs, 54 .7%, opioids, 48 .6%, sleep aids, 29 .6%, and muscle relaxants, 25 .2%. The report says, among cannabis users, about 2 thirds reported a diagnosis of an inflammatory rheumatic disease, and a similar number reported concomitment conditions such as fibromyalgia, osteoarthritis, and mechanical spinal pain.
Larry (01:15:17.737)
Researchers noted that among respondents who used marijuana, inhalation was the most common method of administration with all the attendant risks of respiratory disease and aggravation of inflammatory condition. However, given the immediate pharmacokinetic effect of inhaled marijuana products, this administration method may be most satisfactory for people seeking rapid relief, especially for pain. They also noted that THC -containing products were the most commonly used, saying,
that it's plausible that some individuals may require cannabis products containing at least some THC for effective pain management, a point that should be explored in future studies. Another finding was that more than half of the participants in this study were using medical cannabis at least daily, with those substituting more likely to be using regularly. This pattern of use, the authors wrote, supports the notion of daily continuous symptoms that need continuous management. The study notes that so far only a handful of observational studies
have investigated marijuana use among people with rheumatic conditions, group that may have unique challenges owing to age, substantial use of current commitment medications, and higher symptoms burdens. Nevertheless, more more research suggests that some patients with a variety of conditions use medical marijuana as a substitute for other medications. A recent study in the Journal of Nurse Practitioners, for example, found that medical marijuana was associated with reduced prescription drug use.
and improved well -being and symptom intensity among adults with anxiety, depression, insomnia, and chronic pain. A separate study of more than 500 military veterans published last year found that more than 90 % who use medical marijuana said it improved their quality of life. Many also reported used, reportedly used cannabis as an alternative to over -the -counter and prescription medications. So more studies, more and more studies.
The people who are objecting to what's going on with marijuana don't know how to use Google. But let's go on to talk about the financial side of this, and not just any financial side of it, but a financial side of it that has really kind of exploded on the scene. And this will be our final cannabis -related story today. Thank you to marijuana moment again. American marijuana consumers have spent more than $4 .1 billion on
Larry (01:17:39.777)
Pre -rolled joints over the past year and a half according to a new industry report with the products now making up about 15 .9 percent of the cannabis market Among the latest trends in the report reprieve role market It adds is the continued growth of specialty infused pre -rolls which are sold as premium product and typically contain marijuana concentrate These products which command higher price points than standard pre -rolls accounted for almost half
44 % of the pre -roll market dating to the first half of 2024. The findings were compiled by product manufacturer Custom Cones USA using data from the cannabis intelligence firm Headset, which collects point of sale data in a dozen US states. It's Custom Cones third year releasing a white paper on the current state of the pre -roll market. Every year we like to hunker down and look at the story the data is telling us. Harrison Bard, the company's co -founder and CEO, set in a press release.
Thanks to the help of our partners at Headset, we can now see even more clearly that pre -rolls are continuing to dominate the market on an upper trajectory that confirms our belief that pre -rolls remain a potent and profitable symbol of cannabis industry as a whole. The data put pre -rolls in third place in terms of product form factors at marijuana retailers following raw flour and vape pens. The report notes that in June 2024, sales revenue from pre -rolls was almost 12 times that of infused beverages.
From January 2023 to June 2024, pre -roll saw a meteoric increase in market share, Custom Cone said, rising from 13 .2 % to 15 .9 % over that 18 -month time period. The rise of pre -roll market is even more impressive when looking back even further, the company noted. Pre -roll market share has increased every year since 2020 when it stood at just 9 .8%.
The increase in sales revenue in the last five years is nothing short of remarkable. Annual pre -roll sales revenue went from $469 million in 2019 to $2 .7 billion in 2023. That's nearly a six -fold increase in annual revenue. Prices on pre -rolls have also been dropping from $7 .80 per unit in January 2023 to $6 .50 per unit in June 2024, a reduction of about 16 .7%.
Larry (01:20:02.337)
But the overall size of the market is growing thanks to greater sales volume. Although average item prices on decline, a total pre -roll items sold are skyrocketing, going from 15 .9 million items sold in January 2023 to 26 million items sold in June 2024, the report says. Headset data from the report came from Arizona, California, Colorado, Illinois, Massachusetts, Maryland, Michigan, Missouri, Nevada, New York, Oregon, and Washington.
The information was combined with other findings, such as a custom cones USA sample from about 1 ,000 pre -roll customers. Both consumers and businesses, the report says, choose pre -rolls predominantly based on the price point and THC potency. Other factors include the strain of cannabis, paper type, packaging, and brand loyalty. The shift towards what customer cones calls the connoisseur -infused pre -roll segment has been happening for years with producers marketing more
high -end indulgent products. Since 2019, the segment has maintained an average 34 .4 % of the pre -roll category across the 12 -track markets, says the company's press release. So this is really pretty amazing that pre -rolls are making such a strong comeback and really getting ready to run right to the head of the entire cannabis market.
and you know it could be for lot of reasons i think they've touched on some of them here but it's the ease of buying them every i think that well there's a lot of people who like to smoke joints i think that there's something about smoking a joint that is very symbolic for people who smoke marijuana the idea that you're twisted it up you know it role it like everybody in the good old days before all the glass came out all the rigs and all the list of all that twenty five thousand different types of pipes and
vaporizers and just really everything in the joint is just it's cool it's a cool thing and my good buddy blake can who we still more the passing of that very long ago was nothing if not a connoisseur joint roller we would spend many a night at his condominium downtown in the west southwest part of the loop smoking many a pre -roll before we made our way out to first chicago stadium and then the united center
Larry (01:22:23.873)
to see the joy that was Michael Jordan the amazing greatness of him in the Chicago Bulls during that period of time and almost every night we went to a game out there we were nicely buffed up thanks to Blake's special stuff and all the other goodies he would bring to the table for us that really made an evening at the Bulls with Blake quite the experience but I think this is great about pre -rolls you know you can go out you can buy them they're easy to carry around they're easy to take into places
you know if you're with a group of people smoking cigarettes you can fit right in with that. The little mini pre -rolls, the limes out of California and the Stizzy's out of Michigan have become big favorites of mine and I will confess that I do fall into that connoisseur category and I typically don't just go buy regular pre -rolls. I like to buy those ones because they are stronger. They do have extract and other infused product in them. They're usually, the cones are
coated in some type of hash oil and with keaf sprinkled on it. So even with the little mini ones, they're more than sufficient for one person to get a good buzz on and probably get two or three people baked nicely with one of them and two for sure. The connoisseur joints are kind of hard to smoke by yourself, even for a guy like me, because they really do pack a wallop.
and really bring it when it can but that's just a great thing to see that you know the marijuana market is doing so well it's great to know that flower is still one of the top selling products that pre -rolled joints you know are bringing back people back in that direction and you know the market is growing stronger than ever out of the miracle in mondaland there was many a joint being smoked
other joints being handed out there were giant joints being reflected everywhere and it's just kind of a natural symbol for the whole thing the joint with the burnt glowing amber as bill graham so famously put it new york's even winterland in nineteen seventy eight and yet she's trying to see if all these guys walking around people passing joints around everybody taking their head off of it and you know it's a great thing when you're sitting around with a group of people passing a joint or three or four sure with blake so
Larry (01:24:36.161)
If you haven't smoked a joint in a while, go out and try a pre -roller. Buy some cones and pack your own pre -roller with your stuff, grind it up, and pour it in there. And then you can look like a joint rolling genius as well. And it's great until somebody figures out what you're really doing. Then you better be able to back it up, because otherwise you look kind of silly. So marijuana news, generally good stuff. We find out that Dick is lying to us. It's too bad. But it got us to the point where we are. But luckily, the states are bringing it back around.
people seeing medical benefits from marijuana all over the place businesses booming and will go to schedule three and take that as a launching pad to get the scheduled and just put all this federal illegalness behind us once and for all but now as we hop on our magic carpet and go back forty six years to the egyptian town of giza at the base of the pyramids and the snakes we dive back into more from our show
the third night of a three -night run at the pyramids.
Larry (01:26:50.027)
So that was sunrise.
It's still sunrise, I'll wait a minute.
Larry (01:27:05.697)
That was Sunrise, a Grateful Dead song written both the music and the lyrics by Donagene Gaucho. was re -used on the Dead's album, Terribin Station, on July 27th, 1977. There are two accounts of the origin of this song, both of which may be true. One is that 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 Native American medicine man named Rolling Thunder who spent a lot of time with the dead. Sunrise is about the sunrise services we attended and what Rolling Thunder would do, Gao Qiao said on the song's Song Facts podcast. It's very literal, actually. Rolling Thunder would conduct a sunrise service, so that's how it came about. Donna Jean wrote this song on piano after 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 you can hear what you hear on the end is the real deal gaucho told song facts it was like a sanctuary in that studio when he was playing that it was very very heavy it was played regularly by the dead in 77 and 78 dana left the band in early nineteen seventy nine this version here is actually the last time
it was ever played by the band in Egypt in 1978 at the foot of the pyramids so Donnagene got that amazing opportunity to perform a song she wrote in one of the most amazing venues ever thought of for live music let alone jam band rock and roll this is the last time it was ever played in total the band played it 30 times it was first played on May 1st 1977 at the Palladium in New York and it was last played on here the show September 16th 1978
in Giza. So we're getting towards the end of our show here. We've got one last song that will play on our way out the door. I think that this is Shakedown Street that we're gonna play which I think makes for little bit better sending off than Saturday night which was the encore which I guess is kinda cool for Bobby to be sitting there yowlin' and howlin' at the moon and the pyramids and all of those asleep beneath all those rocks and whatever secrets
Larry (01:29:26.733)
unknown magical and mysticism is is hiding way out there but i do want to first give out a quick birthday shout out coming up this week with a birthday for karen schmerling now karen is elena's mother elena is my daughter -in -law that makes karen my son's mother -in -law but more importantly what it makes karen and her husband ricky and me and my wife judy we are beautiful baby rubies grandparents so from one ruby grandparent to another happy birthday karen schmerling
I hope you have a good week. Karen is also a dancer and choreographer for the women's dance team that performs at the Atlanta Dream WNBA games in Atlanta. And we have had the pleasure of going out there and seeing her. And even in her very, very young age, which I will not give out over the year, she does the splits at the end and draws a big cheer from the crowd when she does. Everybody loves it. Ruby is going to be very excited when she can see her grandmother out there really getting a crowd going.
as the w n b a really comes to life sir caitlin carcass a lot to do with it but i think people are waking up and realizing the girls can play this game to it sometimes they played better than the men sometimes it's certainly more interesting i found myself watching some of their games from time to time so hats off to karen hope you have a great birthday and we look forward to seeing you soon although i am very excited because two days from now i will be having the pleasure of driving out to the airport here in chicago and picking up my son matthew his wife elena
and my absolutely beautiful delicious granddaughter Ruby. She's coming to town to visit. can't wait to see her and her parents put on a little Grateful Dead and dance around the living room. And next week, I will come back and report on all that is going on. So we take you out on Shakedown Street, which is, of course, the title track from the Shakedown Street album released on November 8, 1978. I think this is one of Jerry's best numbers. It's a great tune that can open a show, open the second set, occasionally played as an encore, not here.
on this side it's actually dropped into the middle of the second set is to lead into drums and just as importantly this is only the second time this song was ever played by the band it's an over 15 minute version most of the versions I think probably tended a little bit closer towards 10 minutes but they really really stretch it out here once again inspired by the pyramids I'm sure and and really crank it out I was played a total of 164 times by the band
Larry (01:31:48.225)
first played on August 31st 1978 at the Red Rocks Amphitheater in Morrison Colorado and it was last played on July 9th 1995 at Soldier Field and you can look at it this way it opened the second set which ultimately became the final set of music ever performed by the band because of course after that show a month later Jerry was dead and that was the end of the Grateful Dead as we all knew and loved them at that time
so yeah the final set ever played by the dead and this is the tune that jerry taps to open it up with and it's just a wonderful tune i love it i can't hear it enough and so as i say goodbye to you thanks for listening this week we hope that you will come back and join us again next week when we will have another great dead show to feature more wonderful news about marijuana surely some more studies proving how wrong all of the prohibitionists are and how wonderful the substance it really is
And we can all move towards a day when we can all use it openly, freely, normal. And people just don't care any more than they care if you pick up a cold Bud Light and crack that. So everyone have a great week. Enjoy these last week or so of summer. Hopefully you're having good weather where you are. Be safe. And as always, enjoy your cannabis responsibly. Thanks, everyone.