Starring: Daffy Duck
Directed By: Chuck Jones
Release Date: 56 years ago today...
February 28, 1953
It's time for me to complain again. Or not. I really, really, really don't want to. But our GREAT nation keeps heading nowhere except toward socialist financial ruin. To ignore that would irresponsible. All our damn president wants to do is grow the government to preposterous proportions. In order to help everyone, he's launched an attack on those who make more money: they should be responsible for paying for most of America -- Raise Their Taxes. Where does this idea even come from??!!
"Hello. May I help you?"
"We're the government. According to our records, you make more money than your neighbors."
"Yes, I've been fortunate and I've been able to be successful."
"Since you make more, we're forcing you to give more of what you earned back to us so we can use it to help others."
It's not fair, it's blatantly wrong, and most importantly, it's going to do so much damage to the economy. And then you've got fools who say it's not really raising taxes. Going from 35% to 39.6%, "that's just letting tax breaks expire and it's not really raising them." What?!?! 35 to almost 40 IS going UP.
WAKE UP!!!!!!!! This idiotic dooshbag and his stooge Congress are doing so much harm. We're so screwed.
|Friday Afternoon Run: 25 minutes 39 sec||+11 seconds|
Friday's Running Playlist
included most of this album...
Favourite Worst Nightmare
D Is For Dangerous
Only Ones Who Know
Do Me A Favour
This House Is A Circus
If You Were There, Beware
The Bad Thing
Old Yellow Bricks
The Deadhead's Taping Compendium, Volume III:
An In-Depth Guide To The Music
of the Grateful Dead on Tape, 1986-1995
[out of print]
The first set in the suburbs of Chicago features a hot "Greatest Story Ever Told" and a pretty "Queen Jane." The "Bird Song" jam is free jazz, with beautiful open interplay between all the band members. Phil lays the foundation for Jer's curiosity. Brent is very on, providing great color. The summery, breezy jam turns spacey for a moment, and then back to a confident stomp toward the coda: "Don't cry now . . ." An upbeat "Scarlet" kicks off the second set. Jerry cruises through the "Scarlet" jam on high-octane rhythm provided by Phil and the drummers. The transition into "Fire" is OK, and "Fire" itself is not all that exciting. Jer plugs away looking for a groove, but the magic does not fully show itself. "Playing" is a surprise after the one played just two nights before at Deer Creek. This is an eclectic "Playing" without a main idea driving it, a group exploration highlighted by lightning runs from Jer and bizarre counterpoint from Bob, Brent, and Bill follow Jer further out, only to be reeled back into reality by "He's Gone." Phil is all over the raucous, rock 'n' roll "Miracle" that stomps out of "Space." "Crazy Fingers" mixes up the usual routine, and the Spanish theme that follows is very nice with nimble crazy fingering from Phil. "Playing" is briefly touched upon before diving into a methodical "Mr. Fantasy." Jerry gives this tune a great bluesy jam, and the drummers and Brent weigh in with some very strong playing. "Playing reprise" > "Saturday Night," then the "Quinn" encore brings it all back home. This was probably a better live show than it seems on tape. The interweaving of "Playing" throughout the set and the post-"Space" "Crazy Fingers" are nice, unusual touches. Knowing the setlist in advance probably spoils the surprise and immediacy of how the set came off live.
|7/21/90 Tinley Park @ Archive.org: the SBD for Listening Only|
|Source/Lineage: Soundboard> DAT Master> FLAC (shnid=95809)|
Download The Show
Oi. Back on the 13th, on the day after the plane crash near Buffalo, New York, I said about another crash happening -- "somewhere in the world there'll be another within another week or two."
Well, it's been less than two weeks and it happened again, this time in The Netherlands. Eerie.
Also eerie is the fact that stock market goes down nearly every single day. Last night the President addressed a joint session of Congress and it was supposed to reassure Americans that we're gonna be okay. Are we really?
Less than 24 hours later: the Dow Jones closed 80 points down.
I realize the new President was not in office during the last 3 months of 2008, but he was the President-elect for essentially 2 of those months and during that 4th quarter of the year, I lost 10 (more) percent of the money that I have tied up in Wall Street. That's on top of the 10% lost during the 3rd quarter and 10% lost during the 2nd quarter.
When is it going to turn around? Why is the new President not instilling any confidence in Wall Street investors? Saying "Let's give him time" is a load of crap. I've said this before and here it is again -- the success of Wall Street weighs so heavily on the decisions that are made NOW by the President and those minions under his command. So far NOTHING positive has been done to give people any confidence in the President's ability to turn America's economy around... and the stock market continues to flounder and regular workers continue to lose money that they worked very hard to earn, money that they will be relying on for retirement. Even if this doesn't affect you because you don't have money tied up in Wall Street, if we have compassion for our neighbors then this should really concern everyone. The president is failing miserably to deliver on promises to revitalize this nation. For the first quarter of 2009, I will almost certainly be down yet another 10%. Is that what I'm supposed to look forward to every 3 months? Another loss?! The EXACT OPPOSITE is supposed to be happening. The EXACT DAMN OPPOSITE. Or, at this point, I don't care about making money back, screw earning a single cent back, I just don't want to lose what I have left. Unfortunately, the only feeling I get is it is all slowly dwindling away.
By the time we can elect someone else who can attempt to fix what's only being made worse by the day, it'll be too late. Damn this miserable gloom and doom. It's pathetic and it's making me sick. Electing the President that Americans now have to put up with -- what a mistake. What a damn mistake.
At least there's good music to listen to.
I was hoping to get some deliciously sweet Dead tunes up this afternoon (7/21/90 Tinley Park... here's the 1st Set for ya's) but I had a choice to make -- get a needed run in or post a show. Sorry, kids, I had to exercise; that's always got to be the top priority. But stay tuned, the whole show will get posted within a day, plus something from '77, and more early '70's comin' soon. Always more great music on the horizon!
|Wednesday Afternoon Run: 25 min 28 sec||+16 seconds|
Wednesday's Running Playlist
included most of this album...
Good Thing Going
In Harm's Way
3rd Gear & 17
I'm A Memory
Except For Jessie
Blame It On Me
All American Country Girl
True Love Ways
Nobody's Crying But The Baby
|Source: Master Audience DAT|
(mics & taper unknown)>
CDR> SHN (shnid=11365)
|Jerry Garcia Band 6/12/90|
as of Feb 24, 2009, there's
still NO Garcia at The Archive.
I am utterly confused and my head hurts. I started graduate school and one of my classes is a computer programming class that meets online and this evening we talked about binary numbers. I do not understand binary. Not at all. Part of me just looks at it and starts to panic. My brain does NOT want to work that way and I am not sure I can make it. Seriously. I can not do it. I thought I was doing ok in this class but now I am not. This is not what I bargained for.
I am a library student. When I talked to my advisor she told me to take this class, she said, "You'll learn Python and it will make you so employable, it'll be great." I am getting the Python but this binary stuff is killing me. How does it fit in to the other material for the course? Fuck if I know. Maybe if I understood it I could tell you. My class is meeting in groups and the other two people in the group are discussing adding and subtracting in binary and I have no freakin' clue what they are talking about. What makes it really suck is that during the break to meet in groups the instructor is playing Phil and Friends. That's right. Phil and Friends. How the fuck am I supposed to learn this thing that hurts my head when I just want to get up and dance to Loose Lucy? Ouch. I would turn it off but I need to listen for when the instructor starts talking again.
Lately I've had this song that I like a lot by Carrie Newcomer stuck in my head. Wanna hear it? Just click...
"Right Brain Born (in a Left Brain World") by Carrie Newcomer
I love Carrie Newcomer. If my life had a soundtrack it would be mostly Grateful Dead, Jammin' Jerome, and Carrie Newcomer. Her music makes me smile and sometimes it touches my soul.
Ok. This is the part where I take a deep breath, talk to Zoooma on the phone for a little while, get a good night's sleep, and wake up in the morning ready to understand binary. I will do it because I have to. The truth is that I'm not that smart but I am pretty good a faking it. If you can read the binary clock up there at the top, you are smarter than me.
|Monday Early Morning Run: 25 min 12 sec||+11 seconds|
Monday's Running Playlist
included most of this album...
|Handle With Care|
Not Alone Any More
Heading For The Light
Tweeter And The Monkey Man
End Of The Line
The Deadhead's Taping Compendium, Volume 1:
An In-Depth Guide to the Music of the Grateful Dead
on Tape, 1959-1974 by Michael Getz and John Dwork
[out of print]
A very washed-out version of this soundboard emerged in the early nineties batch of 1968 and 1969 soundboards. In 1994, a significant upgrade began circulating. This is not one of the greats from 1969. Still, it's an interesting show. The band is clearly warming up for the recording of Live Dead. Many of the arrangements we've come to know and love are being hammered into place. The show also gives us a glimpse at the remarkable transformations the band was working on "Dark Star." We still hear many traces from 1968. T.C. echoes Pigpen's organ part at the start. Jerry's opening leads could have come straight from the Hartbeats. Although "Space" doesn't find a place in this jam, the band does introduce the "revolving jam" to "Dark Star" just before the second verse, which moves smoothly into a terrific "Saint Stephen." This one is hot, every bit the wild romp of Live Dead. "The Eleven" and "Turn On Your Lovelight" are fine, very close to their Live Dead arrangements. "Turn On Your Lovelight" suffers from an internal chop. The band loosens up considerably in the second set. An elegant "Morning Dew" gives birth to a powerful jam. Then comes a potent and freewheeling "That's It for the Other One." This is what I listen to this show for. After Bob muffs the "Spanish Lady" entrance, the band builds a wide-ranging jam between the verses. The "Cryptical" reprise jam opens with Jerry's guitar singing sweetly, then roars after the vocals end. Jerry, Phil, and T.C. build to a climax, then they quiet and slow to "Death Don't Have No Mercy." This is fairly sleepy until Jerry's fiery solo.
by HUGH BARROLL
It seems unlikely that the show ended with Death Don't. DeadBase IX's list concludes with Alligator> Caution, and this may be correct, but the tape of Alligator> Caution> And We Bid You Good Night in circulation mislabeled "2/14/69" actually belongs to Fillmore West 8/22/68.
|2/14/69 Electric Factory @ Archive.org: SBD for Listening Only|
The Deadhead's Taping Compendium, Volume II:
An In-Depth Guide To The Music of the
Grateful Dead on Tape, 1975-1985
[out of print]
This benefit concert, the latter half of a two-night Warfield Theatre run, has a comfortable, loose feeling--the Dead as the local house band, playing in a familiar setting before a hometown crowd--and features jams that creatively evoke the imagery of the songs in which they are played. For example, the highlight of the first set is a 9:20 "Bird Song" whose jam calls to mind the back-and-forth of birds in flight, or, more specifically, "All I know is she came a little while and then flew off." This set also includes a fairly unusual "Women Smarter" closer.
Set 2 begins with the more familiar "Scarlet" > "Fire" introduction, featuring an interesting, exploratory transition and Jerry's strong riffs on "Fire." The couplet sets the stage for a mostly smooth series. "Estimated Prophet" lopes its way toward that burning shore; "Drums" reflects the era's frenzied use of conventional drum kits (Mickey's and Billy's voices are faintly audible); then a passable "Wheel," followed by a vigorous but somewhat misplaced "Not Fade Away"--pretty good so far. Yet as Jerry, Bob, and Brent harmonize on the "Wharf Rat" bridge, Brent digs down deep and pushes the song to a higher intensity. His playing inspires a romping, joyous "Sugar Magnolia," with everyone positively blasting through to the end of the set. The "Satisfaction" encore is an appropriate coda to a fine show: classic rock 'n' roll, with Bob and Brent sharing the vocals and the crowd invited to sing along. They undoubtedly did.
JOHN M. GLEN
|2/17/82 SF @ Archive.org: AUD for downloading ♦ SBD for Listening Only|
|Audio Quality: AUD♦ SBD|