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Next Generation Cloud Servers migration considerations and options
If you're moving your application from our First Generation Cloud Servers platform to Next Generation Cloud Servers, keep the features of the new platform and your migration options in mind when you migrate.
Note that our First Generation Cloud Servers platform will be retired, and all First Generation servers are being migrated to Next Generation Cloud Servers. We will send communications with migration information for eligible servers. Migration effects and options are detailed in the "Migrating to Next Generation" section.
Feature changes
Our Next Generation Cloud Servers platform includes several changes compared to the first generation.
API: The OpenStack API used by Next Generation Cloud Servers is responsive and flexible, with room to grow. New features include management of server metadata and API control of rescue mode.
IPv6: Next Generation Cloud Servers assign IPv6 addresses, although each server can have only one assigned IPv6 address.
Region choice: In our Next Generation Cloud environment, you can choose the region where your created cloud servers will reside.
Regional control helps you manage back-end availability between your servers and connectivity to services such as Cloud Databases and Cloud Load Balancers. You can also ensure that you have copies of your application in multiple regions to aid with disaster recovery.
Disk management: Disk management is more flexible and with it you can repartition your cloud server's virtual disk and switch file systems if necessary.
Open architecture: The Next Generation Cloud's OpenStack base provides the potential for interoperability with OpenStack-based tools like python-novaclient, as well as compatibility with private and third-party clouds running OpenStack.
General Purpose and optimized servers: Our Next Generation platform includes multipurpose (General Purpose) server flavors and server flavors optimized for computing power, memory, and network and disk throughput. These server flavors offer dramatic improvements over First Generation and Standard servers in disk and network speed. For more information, see New features in General Purpose and optimized Cloud Servers.
Resizing: While Standard server flavors can be resized, General Purpose and work-optimized servers cannot. General Purpose and work-optimized server types must be migrated to a new server to change CPU and memory allocation. They can add a Cloud Block Storage volume to increase available disk space.
Images: Images can be made from Standard servers, similar to First Generation servers.
General Purpose and work-optimized server images include only the local system disk, not attached data disks.
Compute, Memory, and General Purpose servers that use Cloud Block Storage volumes as system disks cannot be imaged because they do not have local system disks. Servers with Cloud Block Storage volumes as system disks can have a snapshot taken of the system volume using the Block Storage Volumes interface in the Cloud Control Panel or the Cloud Block Storage API..
No shared IP address groups: Unlike First Generation Cloud Servers, our Next Generation environment does not offer the ability to create shared IP address groups via the API.
No 256 MB instances: Instances with 256 MB of memory are not available for Next Generation Cloud Servers. Server sizes start at 512 MB RAM.
Virtual CPU allocation: Our Next Generation servers are more strict about allocating CPU time on the host to instances than our First Generation servers. If your application relies on frequent CPU bursts, you might see a reduction in performance on a Next Generation server. Conversely, if you rely on consistent CPU power (without being affected by bursts from other instances on the host), Next Generation servers are more reliable.
In some cases, our cloud server packages can offer more virtual CPUs than our First Generation platform. Further, our Compute server flavors offer the ability to emphasize CPU power in your server configuration. For more information about cloud server vCPU allocation,see the [Cloud Servers pricing page][http://www.rackspace.com/cloud/servers].
Migrating to Next Generation
First Generation Cloud Servers will be retired, so it is necessary to migrate data from First Generation Cloud Servers to another Cloud Servers option. We will send migration window information as each server becomes eligible for self-service and assisted migration.
During the migration window, a self-service migration option will be available for your server in the Cloud Control Panel. Your server will also have a designated date when it will be eligible for an assisted migration. We will send notifications to accounts with active First Generation servers starting in January, 2015 with migration window information and instructions. If servers are not migrated before the end of the migration window, they will be migrated automatically.
Note: A server's public and private IP addresses will be preserved if you perform a self-service or assisted migration. Shared IP addresses will also be preserved.
A Linux server migrated to Next Generation Cloud Servers will use the same server flavor as the original server, including RAM and virtual CPU allocation. A Windows server will be migrated to the Next Generation flavor closest in size to the original server.
In many cases a migration can be performed while preserving application and server states. Availability of this feature depends on the server's operating system. Some operating systems and distributions will need to be halted for the migration.
See the First Generation to Next Generation cloud server migration FAQ and the migration thread in our community forums for more answers about self-service and assisted migrations.
Self-service migration
To perform a self-service migration, you can perform a soft reboot of your server through the Cloud Control Panel during your migration window. Rebooting your server from the command line or using the hard reboot option in the control panel will not initiate a migration.
Assisted migration
You will be notified by email and in the Cloud Control Panel of a date when your server will be eligible for assisted migration. If you opt for an assisted migration, we'll perform the server migration for you during the specified time window. Every effort will be made to minimize downtime and preserve application states for the transition.
Migrating outside the migration window
If you don't want to wait for your migration window to move your data from First Generation Cloud Servers to Next Generation Cloud Servers, you can choose image-based migration or manual migration. When planning this kind of migration consider the size of the original server, as well as the region of connected Cloud Database instances, Cloud Load Balancers, and Cloud Block Storage volumes.
Note: Unlike self-service and assisted migrations, the image-based and manual migration options described in this section result in a new server with a different IP address than the original instance. A server's IP address can only be preserved if it is migrated using a self-service or assisted migration as described in the previous section.
Image-based migration
The Cloud Control Panel provides the ability to create a special image of a First Generation Cloud Server that is automatically converted to a Next Generation image. You can use the new image to create a Next Generation server.
Note: Using an image to migrate to Next Generation Cloud Servers can be a simpler and quicker process than migrating your data with rsync, but it will not work with all instances. Support for image-based migration is determined by the base image that was originally used to create the instance.
Manual migration is available as an alternative for unsupported instances and is described in the next section.
To create a Next Generation image from a First Generation server
Log in to the Cloud Control Panel.
Click the gear icon next to the server you want to duplicate, and select Create Image.
If the server is compatible with the conversion process, you are given a choice between making a First Generation or Next Generation image.
Note: If you don't see an option to create a Next Generation image, your instance is not supported by the conversion process. In that case, use one of the manual migration approaches described later in this section.
To create a converted image, specify a name for the image, select Next Generation Cloud Server Image, and then click Create Image.
When the image is ready, it will be listed as an image choice when you are creating a new cloud server. Note that image storage pricing on Cloud Files applies.
If you have trouble creating the image, contact Support.
Note: The IP address of an instance created from an image will be different from the IP address of the server used to create that image. Depending on your application, issues might occur if both the original server and the new server are active simultaneously.
Manually migrating Linux servers
For advice on taking the system disks and data disks on General Purpose and I/O optimized servers into account when migrating, see Migrating to a General Purpose or I/O Server.
Manually migrating Windows 2012 servers
To migrate IIS and Microsoft SQL Server data on Windows 2012, you can use the Microsoft Web Deploy tool per the instructions in the Rackspace Community.
Post-migration considerations
After migrating to a new cloud server, make any necessary changes to DNS information or load balancers for your application.
Older First Generation images can't be used to create Next Generation servers, so be sure to make back-up arrangements for the new server after the migration is complete.
If you have questions about your migration and post-migration options, see the migration thread in our community forums for more information.
Continue the conversation in the Rackspace Community.
©2016 Rackspace US, Inc.
Except where otherwise noted, content on this site is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License


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Revenue Management of Consumer Options for Sporting Events
The IdeaBoost revenues — and profits — from sporting event ticket sales by offering options for seats at playoff games.
The Research
When playoff season approaches, sports fans who love the game itself can buy playoff tickets assured that they'll get what they paid for — a great match. Fans who only want tickets if their favorite team makes it to the final have a more difficult decision to make: if they wait to see if their team makes the cut, they risk missing out on playoff tickets — which are often sold months in advance or snatched up very quickly. If they buy early, they may be stuck with a ticket for a playoff game that they are not interested in attending. What's a loyal fan to do?
One answer may be to buy options. If a college football team is a Rose Bowl contender, for example, fans can buy an option that guarantees the chance to buy a ticket if their team makes the bowl, effectively reserving a seat for a price. If the team doesn't make it, fans have only paid for the option rather than the full cost of a seat at the game. Professor Robert L. Phillips, doctoral candidates Santiago Balseiro and Caner Gocmen, and Guillermo Gallego of Columbia University analyze ways of offering options to maximize revenue in sports tournaments where the final two teams are unknown. They show how tournament organizers can increase profits while giving fans the benefit of a guaranteed seat should their team make it to the final.
Practical Applications
Event organizers, promoters
You can use this research to set ticket prices and availability for advance tickets and ticket options for tournament-style sporting events. By carefully optimizing prices using a technique called dynamic programming in conjunction with offering options, organizers can increase their profits. The researchers show that this method can increase revenues up to 20 percent at no additional cost to the organizers.
The researchers show that options are particularly effective when potential demand is greater than the capacity of the stadium — as is often the case in important final games such as the Superbowl or the World Cup final. They also show that options are most effective when most fans are highly loyal to their own team. In playoffs in which group or bracket winners are pitted against each other in a final — such as the World Series or the Superbowl, the ability to sell multiple options for the same seat is a powerful potential source of revenue.
Under an options scheme, event organizers offer both advance tickets — most likely snatched up by fans of the game itself who do not care which teams are playing in the final — and options for all playoff contender teams, effectively segmenting customers among fans of the game and fans of particular teams. Since only two teams go to the final, most of the options will not be exercised, avoiding the danger of overbooking — and fans rest assured that if their team is a final contender, they've got a seat at the game.
Robert L. Phillips is Professor of Professional Practice in the Decision, Risk, and Operations Division at Columbia Business School and director of the Center for Pricing and Revenue Management, a partnership between Columbia Business School and the Fu Foundation School of Engineering and Applied Science at Columbia University.
Robert Phillips
Robert Phillips was a Columbia Business School faculty member from 2009 to 2016.
Read the Research
Robert Phillips, Santiago Balseiro, Guillermo Gallego, Caner Gocmen
"Revenue Management of Consumer Options for Sporting Events"

subset: commoncrawl


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BMW charged boldly into the realm of electric vehicles Monday morning with the official unveiling of its fully electric i3 compact car.
The all-new hatchback is the first built under BMW's i sub-brand of electric or hybrid-electric vehicles, which will be among the first mass-produced vehicles in the world to use lightweight carbon-fiber bodies.
"This is a true BMW that takes the brand to a new level," Ludwig Willisch, president of BMW North America, said in an interview last week previewing Monday's announcement. "It takes us to a new level of modern mobility."
The i3 will start at $42,275 and will go on sale in the U.S. next spring. The car's electric motor will have a "real world" range of 80 to 100 miles, BMW said. Customers looking to double the i3's range have the option of a small gas-powered generator for an additional $3,850.
The 22-kWh lithium-ion battery will charge in about three hours using a 220-volt outlet, and a fast-charging station can add 80% of the charge in 20 minutes or 100% in 30 minutes, BMW said.
Despite being an all-new product, this isn't the first time the i3's drivetrain has been on the road. For several years BMW used two pilot leasing programs with an all-electric Mini Cooper and BMW 1-Series to get real-world data from customers on their driving habits in electric vehicles.
Willisch said this testing was crucial to bringing the i3 to market.
"We learned lot of technical stuff that you only learn when you put the cars into real life and real consumers' hands," Willisch said. "Then you really see how much power a windshield wiper or headlight will use."
The drivetrain on the 1-Series ActivE is identical to that in this new BMW i3. The electric motor makes 170 horsepower and 184 pound-feet of torque. A single-speed transmission directs power to the rear wheels.
BMW said the i3 will do zero-60 mph in about 7 seconds and will have a top speed of 93 mph. Helping that acceleration is a low curb weight of around 2,700 pounds -- about 500 pounds less than Nissan's all-electric Leaf.
These weight savings -- which also make the car more efficient -- are the result of using lightweight materials for the car's construction. The entire passenger cell is made from carbon fiber, which BMW said is as strong as steel but 50% lighter.
Though carbon fiber construction is typically only seen on high-end (and pricey) exotic cars, BMW said that it's been working since 2007 to reduce the time -- and therefore cost -- associated with building this i3's cell.
In addition to using this material on the i3, BMW will also use it on the i8 hybrid-electric sports car due out in 2014.
"It's still quite an endeavor," said Willisch. "We're really stepping into uncharted territory. We had to build thousands of them to get processes right."
Despite potentially heavy R&D expenses this project incurred, BMW said the development costs have already been paid for. The automaker was confident the production costs of this car will be easy to cover.
"We're closer to making money on this car than people think we are," said company spokesman Ken Sparks.
The automaker declined to say how many i3 vehicles it hoped to sell. A price tag of around $42,000 puts it above many all-electric competitors like the aforementioned Leaf, the Honda Fit EV, or the Ford Focus EV, yet arguably offers a more contemporary design and premium construction.
The i3 comes with items like alloy wheels and BMW's iDrive navigation system. The upright design of the hatchback gives the interior an open, airy feel. Simple controls and a pair of LCD screens keep the cabin uncluttered. The car seats four, and the smaller rear seats are accessible through a rear-hinged door on either side of the car.
Sales of the car in California will certainly be closely watched by BMW. The California Air Resources Board has mandated that zero-emissions vehicles must account for 15% of all new vehicle sales by 2025, up from less than 1% now.
This has led to a price war among electric-only models, with many now offering lease deals of around $199 a month. BMW said it had no plans to get involved in such a pricing strategy, and that it would reduce production before it started cutting the i3's price.
In addition to the car's unique construction, the i3 is also a radical departure for a company that hangs its hat on the driving dynamics of its vehicles. BMW is clearly eager to position the i3 as the spirited alternative in a segment it says lacks a fun-to-drive car.
"The i3 is highly emotional, and so much fun to drive," Willisch said. "It will be a benchmark for driving pleasure."
When asked whether he felt other all-electric cars that i3 will compete with were lacking this element, Willisch was unequivocal: "Yes," he said flatly.


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CORPUS CHRISTI – Assistant coaches Lauren Molinaro and Samantha Larson of the Texas A&M-Corpus Christi women's soccer team have been selected as instructors at EXACT Soccer Camps in the state later this year. These camps are college soccer camps that are open to all high school players interested in competing at the next level.
"We feel that we have two of the top assistant coaches in the area, and we're thrilled that Sam and Money have been selected to instruct at the Exact Camps," head coach Shanna Caldwell said. "Some of the best soccer players in the state take part in these camps, and having Texas A&M-Corpus Christi soccer with a presence there is big for our program."
Larson will take part in the Dallas camp, scheduled for Dec. 22, while Molinaro is an instructor at the Houston camp, slated for Jan. 12.
These unique college soccer camps provide players with the opportunity to not only showcase individual field skills, but also their mental readiness. The Islanders' coaches will also join other top instructors from NCAA programs such as Sam Houston State, Northwood, Hardin-Simmons, Schriener, St. Mary's, Abilene Christian, Texas State, Texas Women's, Ranger, Richland, Midwestern State, and the University of Dallas.
During the camps, instructors will conduct small group clinic activity, observe players in showcasing their development potential, and lead one-on-one review sessions with each player.
Combined with the elite instruction of experience NCAA coaches, EXACT Sports also provides the mental training used across professional and college sports.
For more information regarding EXACT Sports, please visit http://exactsports.com/soccer/ or call 888-853-8877.


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Bioinformatics services
We maintain the world's most comprehensive range of freely available and up-to-date molecular databases. Developed in collaboration with our colleagues worldwide, our services let you share data, perform complex queries and analyse the results in different ways. You can work locally by downloading our data and software, or use our web services to access our resources programmatically. You can read more about our services in the journal Nucleic Acids Research.
genes, genomes & variation
Gene expression
RNA, protein & metabolite expression
sequences, families & motifs
Molecular & cellular structures
reactions, interactions & pathways
Chemical biology
chemogenomics & metabolomics
taxonomies & controlled vocabularies
Scientific publications & patents
Cross domain
cross-domain tools & resources
Programmatic access
EMBL-EBI web services allow you to query our large biological databases programmatically, so that you can develop data analysis pipelines or integrate public data with your own applications. The Web Services technology we use are built on open standards to ensure client and server software from various sources will work well together.
Embassy Cloud
The Embassy Cloud provides EMBL-EBI's collaborators with direct access to their datasets hosted at EMBL-EBI, and to the institute's powerful computing resources. This shared, high-performance workspace allows project partners in many locations to analyse their data alongside public offerings, using their own approaches. Access to the Embassy Cloud is available to collaborators working on projects with EMBL-EBI. The service has been successfully piloted with Europe PubMed Central (partners in Manchester, London and EMBL-EBI) and Tara Oceans (EMBL and global collaborators), and is now more widely available.
To access Embassy Cloud, contact your collaborators at EMBL-EBI and they will help you get started. If you are not sure whether you can use this service, please contact email@example.com.
Principles of service provision
- Open - Our data and tools are freely available, without restriction. The only exception is potentially identifiable human genetic information, for which access depends on research consent agreements.
- Compatible - EMBL-EBI is a world leader in the development of global bioinformatics standards, which are key to data sharing.
- Comprehensive - Thanks to our many data-sharing agreements, EMBL-EBI resources are comprehensive and up to date. We work with publishers to ensure that biological data must be placed in a public repository and cross-referenced in the relevant publication.
- Portable - All of our data and many of our software systems can be downloaded and installed locally.
- High quality - Our databases are enhanced through annotation: highly qualified biologists add value to databases by incorporating features of genes or proteins from other sources, and automated annotation is subjected to rigorous quality control.


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AppFresh helps you to keep all applications, widgets, preference panes and application plugins installed on your Mac up to date. All from one place, easy to use and fully integrated into Mac OS X. It provides a central place to control the software updates available to your Mac, integrating most popular and most common update checking technologies such as Apple Software Update, Sparkle, Microsoft AutoUpdate and osx.iusethis.com. We want you to spend your time using your applications, not keeping them up to date!
AppFresh not only gets update information from iusethis.com. If you have an user profile at iusethis.com you can manage it from within AppFresh and control which applicationsit contains, even automatically. Using your iusethis profile also enables you to install applications you don't have on your computer. This comes in handy when you need to reinstall your computer and want your basic set of applications installed. Using AppFresh and an up to date iusethis profile makes this an easy task.
Required OS: not specified
Tags: update , applications , software , system , management , sparkle , updates , downloads
158 Opinions
Why does it delete my ENTIRE desktop when it's done installing?
Please update to AppFresh 0.6.2 or download it from http://metaquark.de/download/appfresh - if you ran âdefaults write de.metaquark.appfresh IUEnableMicrosoftAutoUpdate FALSEâ please now run âdefaults delete de.metaquark.appfresh IUEnableMicrosoftAutoUpdateâ once to restore default behaviour - it doesnât crash anymore.
Currently, there is an issue related to Microsoft AutoUpdate 2 (shipped wit MS Office 2008) that, if installed, keeps AppFresh from working properly. If you have that installed and AppFresh keeps crashing, please try âdefaults write de.metaquark.appfresh IUEnableMicrosoftAutoUpdate FALSEâ in your console and start AppFresh. A fix will be released soon.
Great job on the 0.6 update - the performance and stability both took a major step forward with this new release! I've been using AppFresh for about six months now and find it to be an indispensable tool for keeping track of the 180 (and growing) applications in my Mac arsenal. Many thanks!
@geotaylor : We're not aware of any occasion where AppFresh would crash the whole system. Could you please email us at [email protected] and describe what was going on in more detail? If you have a crash log or anything else that's more precise than BOOM CRASH REBOOT, please also attach it.
System fault BOOM CRASH REBOOT on the last version. First time in a very, very long time that I had to reboot for something other than updating system files.
zxspectrum: We're aware of that. That's why we're calling it a development preview and only let you opt-in on automatically replacing software. Software naming, packaging and version numbering is something where only very few common practices exist and correctly dealing with everything that floats around is not an easy task.
simonjm: Arne already correctly stated the relationship between AppFresh and iusethis. It's true that we let users register AppFresh as used with their iusethis account as soon as they enter their account information (an optional step). This doesn't lead to wrong data, since the user is obviously using AppFresh, but it puts AppFresh in a position where you can't compare its use count to other apps' use counts. Also, we have great interest in up-to-date version information on iusethis too, and we're working with Arne and Marcus to improve the situation. For example, you can use the version reporter tool in AppFresh to report a more recent version (which is not directly inserted, though, to prevent fraudulent submissions).
Hi Simonjm, AppFresh is not an application made by Marcus or me, but by the people at Metaquark. AppFresh just use iusethis data to track app updates. It also let users manage their iusethis account, meaning that almost all AppFresh users registers AppFresh as an app that they use. In relations to all mac-users, AppFresh's user numbers are artificially high, but for the mac-users that use iusethis, I would say that it is quite accurate.
On how we handle versions; it is one of our greatest challenges, and something that we will find a better solution to.
I'm highly skeptical that the number of users of this software is as stated! Would iusethis.com really artificially inflate the popularity of its own product so it appears more popular??? At any rate, I really enjoy the iusethis website for what it is but the currency of its version numbers is not one of its strengths!
what a mess!!! definitely Alpha.
replaced my 1PasswdIM.bundle with 1Password app!!! changed Comic Life-Deluxe to Comic Life...doesn't respect Beta versions and just wrong 50% of the times. use it on your own risk.
P.S: crashing non stop.
Page 9 of 16. 158 entries.


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5 Tricks to Jumpstart Your Fitness Regimen
So 2013 is the year. You're getting off the couch and back into fighting shape. We've got your new rules to live by if you want results that last
If you're not into racing, then set another goal that works with your fitness level. Maybe you want to move up to the advanced yoga class by spring or even just make the most of your newly acquired gym membership. Whatever it is, make your goal something that gets you excited to work out, but isn't so ambitious that you're setting yourself up for failure. "Remember to push yourself, but not to the point of feeling ill or injury," says Angeles Burke, Celsius.com Fitness Ambassador. "In order to see the changes you want, you must challenge yourself in a way you never have before."
SEE NEXT PAGE: Make it a habit
Older comments
Thanks! I was maintaining a continual regimen until a foot injury made me have to stop. I'm ready to go again now!
by GigiSD Tuesday, April 23, 2013 at 04:44PM Report as inappropriate
Nice tips! I love changing up my routine as I get bored quickly.
by RoleModel Tuesday, April 23, 2013 at 04:03PM Report as inappropriate
gotta maintain those resolutions ladies!!!
by LittleBunny Monday, April 1, 2013 at 05:57PM Report as inappropriate
for me it's all about doing something that you enjoy (at least a bit) - so you can go back for more or better. i love dancing and choreographed classes, so i do more of those than body toning. not ideal (theoretically) but i'd rather do things that i love than nothing at all
by AstridB Wednesday, March 20, 2013 at 11:34AM Report as inappropriate
Some nice tips here.
by NillaButterfly Saturday, March 16, 2013 at 02:11PM Report as inappropriate
I really need to start something
by Alana_Danes Tuesday, March 5, 2013 at 07:12AM Report as inappropriate
great tips
by Nicole2814 Thursday, February 7, 2013 at 08:23AM Report as inappropriate
Wish I learned something new....
by Chris213 Thursday, February 7, 2013 at 07:01AM Report as inappropriate
I've definitely been super-slacking on my physical fitness this week :( ...I never stretch before working out. I do some light cardio and get right to it!
by MizzPink Thursday, February 7, 2013 at 04:55AM Report as inappropriate
Great tips....but I don't agree with not stretching before.
by Mommy_of_Ethan Wednesday, February 6, 2013 at 05:31PM Report as inappropriate
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Prosecutor Chucks Book at Groundhog
Cold weather may have landed Pennsylvania's most famous rodent in legal hot water.
Punxsutawney Phil, immortalized in the movie "Groundhog Day," is known worldwide for his ability to predict an early arrival of spring.
This year, Phil was dead wrong, and an Ohio prosecutor who's tired of cold weather thinks Phil should die for his mistakes.
Michael T. Gmoser, the prosecutor for the town of Butler County, Ohio, has filed a criminal document (sent to local media outlets instead of the county clerk's office), charging Phil with "Misrepresentation of Early Spring," and because of "aggravating circumstances," has recommended the death penalty.
"He's already serving a life sentence," said Mr. Gmoser told Law Blog, referring to his underground residence in Pennsylvania. "The only thing left was the death penalty," he said.
The court document says that Phil misled the public "with prior calculation and design" into believing that spring would come early.
The Punxsutawney Groundhog Club, which oversees Phil's activities, did not immediately respond to a request for comment.
Bill Deeley, president of the club, told the Washington Post that Phil had retained a lawyer and would fight extradition to Ohio. Mr. Deeley believes that even if Phil is found guilty, a sentence of death is "very harsh."
Groundhog Day is celebrated every February 2, and if Phil emerges from his burrow and sees his own shadow, it is a sign that winter will continue for six more weeks. If Phil does not see his shadow, he is indicating that spring will come early. Last month, Phil did not see his shadow.
Phil's fame may work against him. Although Phil has never traveled to Butler, Ohio, his prediction was televised there, giving the prosecutor a jurisdictional hook.
Mr. Gmoser may have a difficult time proving that Phil had criminal intent, however. He will have to look for emails or text messages that show Phil intentionally did not look toward his shadow to throw off the public. In addition, it may be difficult to show that Phil, who subsists mostly on vegetation and the occasional grasshopper, had anything to gain from misleading the public.
The prosecutor might have a better chance charging Phil with obstruction of justice if he can show he gnawed sensitive documents into shreds or tried to hide incriminating emails deep in his underground burrow.
Phil's attorney could point to studies that suggest he is accurate less than half the time or play the global warming card and suggest that Phil made an honest mistake due to erratic weather patterns in recent years.
Mr. Gmoser, however, revealed to Law Blog that he has a star witness: Buckeye Chuck, another weather-predicting groundhog who lives in Marion, Ohio. Chuck has been granted immunity and plans to testify against Phil, Mr. Gmoser said. After testifying, Chuck plans to go underground.


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THIS WAS never going to be an easy decision.
It required jurors to reach into the mind of former BART Officer Johannes Mehserle the morning of Jan. 1, 2009, when he fired that fatal shot into the back of Oscar Grant III. It required them to try to figure out what Mehserle was thinking with all the chaos around him on the platform of the Fruitvale station. It required them to second-guess whether the transit-system cop intended to reach for his gun or his Taser.
Apparently the jurors didn't believe that Mehserle acted without regard for Grant's life — a requirement for second-degree murder. Nor did they believe that he was provoked and acted in the heat of passion — voluntary manslaughter. Instead, they found that he acted negligently, but without malice. They found him guilty of involuntary manslaughter.
It was a quick verdict. The case was given to the jury on Friday. Monday was a holiday. A juror was sick Tuesday. And then on Wednesday, one juror was replaced because of a previously scheduled vacation, forcing the jury to restart deliberations with a new member. Talks that day were cut short because of another juror's medical appointment. So Thursday was the first time jurors had the opportunity to deliberate for a full day. But by midafternoon, they had reached a verdict.
It's a verdict that will be second-guessed for years to come. It's a verdict that will haunt the Bay Area. We all saw the video of the shooting, over and over again. And most of us had an opinion. No matter what the jurors concluded, the verdict was sure to meet with disapproval from some of us. No matter the outcome, some would be disappointed.
But there's an important point to remember here: Reasonable minds could have looked at the evidence from the three-week trial and come to different conclusions. This was never a clear-cut case.
And so it's incumbent on all of us to respect the legal process and respect the jurors' verdict. Their decision might not be perfect in the minds of many, but it was a rational outcome. And a reasoned process.
Judge Robert Perry didn't allow the courtroom to become a circus. He kept a lid on the proceedings.
It's now up to us to keep a lid on it. As we move forward, we should feel free to express our opinions about the verdict — but we must do so peacefully. Destroying property and injuring others will not bring back Oscar Grant.
But Grant's death must not be forgotten. We all must learn from this.
Police agencies must review their procedures to make sure that such a tragedy never happens again. And all of us must keep in mind that horrible things can happen when chaos breaks out. Police can make mistakes. After the fact, we can try to determine whether an action was premeditated, without regard for life, in the heat of passion or merely negligent. But, after the fact, it's too late. It's better to de-escalate before violence breaks out.
That was a message that would have helped on Jan. 1, 2009. That's a message for all of us in the days, weeks, months and years ahead as we reflect upon, and react to, the verdict. As a tribute to Grant, let's not forget it.


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UPDATE: "The Flash" Hasn't Cast Savitar, Says Berlanti
TV, Comic Books
I took last week off and almost thought I was going to take this week off – you might notice I haven't posted here in over a week, because I've just been uninspired recently, even though I'm in the middle of my latest Comics You Should Own, which are usually fun to write. But then I decided to get going, mainly because of the two big stories in the comics world this week, so let's check out some links, shall we?
Continue Reading »
Comics Should Be Good accepts review copies. Anything sent to us will (for better or for worse) end up reviewed on the blog. See where to send the review copies.


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Hard Drive Size Options:
The D8WDS3TB from Speco is a 8 channel DS wall mount digital video recorder with 960H real-time recording, 3TB.
- Video Out: 1 HDMI, 1 VGA, 1 BNC, 1 Spot
- A patented DVR solution that easily mounts in equipment closets or electrical rooms for covert installations
- Networkable DVR with free Speco DDNS server
- Easy and simple graphical user interface
- Digital Deterrent for triggering audio message via motion detection or sensor
- 2-way audio communication
- Programmable recording on motion detection, sensor, schedule, continuous and manual
- Real-time recording rate at 240FPS (8 Ch.) at 960H/D1
- Supports wireless access point for viewing and configuration
- Built-in S.M.A.R.T. Technology (Self-Monitoring, Analysis and Reporting Technology for HDD)
- 8 channel audio recording
- Switch between low and high quality stream during simultaneous Continuous + Motion or Continuous + Sensor recording modes for storage optimization
- Covert camera operation provides enhanced security and administrator control
- Password to secure installation authorization
- Easy firmware upgrade by USB port or network
- User Access: up to 4 concurrent users
- Remote monitoring / recording / playback / configuration / software upgrades and PTZ control via internet
- PC and MAC compatible
- Supports multiple PC based browsers such as Internet Explorer, Google Chrome, Firefox and Safari
- Network accessible via SpecoTech Multi-Client Software, SecureGuard CMS, Internet Explorer Web-Viewer and
- Speco Player Mobile Viewer
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Hey guys! I am so excited to find some great things and hear what others have to say about them. I am a student in New England and I love originality, but I have my own defined taste. I am looking for cool things that are fun. I love to run, to read anything that has spirit and direction, and music makes me loose control.
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LA CROSSE,Wis (WEAU)- With so much sun in the forecast, there's an effort underway so that it doesn't go to waste.
A UW-La Crosse physics professor is aiming at making solar power more affordable.
Assistant Professor Seth King is trying to create a new material that would make solar panels cheaper.
Solar panels are not cheap, costing an average of 200 dollars for a 75-100 watt panel said King, but he hopes to change that.
"We are coming up with materials that make solar panels ultimately cheaper. We're not trying to solve an efficiency problem, but a cost problem," said King.
King and his research team are using a machine called "Sputter Deposition," to slam chemical particles together to create a whole new material.
They are trying to create a zinc, copper, or magnesium based material to replace the expensive layer of indium that is common in solar panels.
"We've had some success in the last couple years with a few materials that show promise," said King.
So far, the only replacements found for indium have been toxic said King.
Student researcher Beth Tennyson is working on the latest material made.
"Right now I'm working on a scan. I'm doing reflectivity on a material we just made figuring out what's in it, and how much of certain elements are in what" said Tennyson.
Soon some of the materials made in the lab will be tested on solar panels.
"Within the next year or so we will be sending off some of our materials to a company that specializes in making solar panels to see if our material is feasible," said King


text:
Monday, November 26, 2012
Any question whether Nate Teymer's been worth the hire at Augusta State? The women's basketball coach inherited a one-win team with a losing attitude and he's threatening to turn them into a winner in year three.
The Lady Jags are off to a 4-0 start for the second time in his three seasons, but don't expect this one to finish like the first.
That year, ASU won just four games the rest of the way. Now, the tools are there, and it's time for the ladies to get the job done.
Guard Jemimah Ashby said, "You can't get happy with just a couple wins because you can look back at the year, and a couple wins means nothing. So, even though this feels good right now, we're just focused on the Peach Belt because that's when the competition really starts. That's when it really matters."
Teymer added, "Hopefully with our six seniors they can go with experience and they understand that these teams are talented, but it's still Peach Belt Conference. It's night in and night out, and I think if they can just taste a little bit of success I think they can built off it. Right now I think they've got a little taste of it, so hopefully they want to keep doing it and keep improving."
Augusta State gets a tougher match Wednesday night when they host Benedict. The Lady Tigers are usually one of the best in the SIAC.


text:
Yahoo is expanding its push into video content with two new comedy shows.
The series of 30-minute episodes will be available on its website and through mobile applications, the company said in a statement Monday. One program, called "Other Space," will be developed by Paul Feig, who is known for "Freaks and Geeks" and "Bridesmaids." Mike Tollin, who is behind "One Tree Hill" and "Varsity Blues," will create a show called "Sin City Saints," about managers of a professional basketball team.
Video is a key part of Yahoo Chief Executive Officer Marissa Mayer's effort to turn around the struggling Web portal. The new shows come as the company attracts more video viewers, with the number of visitors climbing 11 percent in the U.S. during March, according to ComScore. Yahoo ranks fourth, trailing Google, Facebook and AOL.
Yahoo is also announcing new programming from Katie Couric, the television journalist, that will begin this summer. The Web portal also is rolling out new advertising features, including promotions that use video.
The new shows were introduced at NewFront, an event Yahoo is hosting in New York to promote its video content.


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If you're an actor looking for a role in a film with a young, female protagonist with action hero leanings who's fighting the power in a futuristic dystopian society, you're in luck -- studios are hiring.
"Divergent" opens today and likely will dominate the box office this weekend -- and perhaps a few weekends after that. Stop me if you've heard this before: The film, based on a best-selling novel aimed at teens, chronicles a society recovering from an unspecified calamity by seriously restructuring itself and, in the process, giving rise to a sadistic streak that those in power feel is necessary to keep order.
No, actually, it's not the next "Hunger Games" installment. Though you wouldn't know it from the imagery on the book sleeve.
There are a lot of parallels. Both movies feature characters played by people named Kravitz (Lenny in "Hunger Games" and his daughter Zoë in "Divergent"). One has already made truckloads of money, while the other is about to, because filmgoers of all ages currently love movies based on books featuring strong female leads with hearts of gold, fighting oppression in future post-apocalyptic societies.
The trend isn't surprising to Robert Thompson, the founding director of Syracuse University's Bleier Center for Television and Popular Culture.
"The assumption is, 'OK, we've gone through this hundreds and hundreds of years with men being in power, and now it's time for the women'," he says. "It's something different. White men in charge would look completely out of step with contemporary times."
Thompson says conditions are perfect for films such as "Hunger Games" and "Divergent" to flourish. Women such as Hillary Clinton are breaking through glass ceilings of America's power structure, and while films concerning futuristic, dystopian societies have fascinated us since "Metropolis" in 1927, the difference is the quality of special effects that allow stories to come alive like never before.
It's also a new way for Hollywood to exploit an old method of attracting men to films with female leads. "It's also a more politically correct way of featuring beautiful women in movies," Thompson says. "It's not like women are suddenly taking over Hollywood."
The world of "Divergent" consists of five "factions," or groupings of people, based on shared philosophical beliefs in what best serves humankind. Sixteen-year-olds undergo a ritual designed to determine where they fit best in society (if you're catching a whiff of a certain "sorting" scene from "Harry Potter," you aren't alone). The hero of "Divergent" is 16-year-old Beatrice "Tris" Prior (played by Shailene Woodley). Although Tris switches from her childhood faction of selflessness to a more reckless faction, she's actually "Divergent," meaning she possesses elements of multiple factions and special abilities. That makes her dangerous to those in power.
"Divergent" author Veronica Roth chose a dystopian society on purpose, as she explains in a Q & A that accompanies her book. "I love that the majority of the characters in dystopian and post-apocalyptic literature have a lot of agency -- they take charge of their lives in environments that make it hard for them to do so," Roth says. "And I love reading about strong characters like that."
She's obviously not the only one. Like other blockbuster film franchises derived from best-selling books written by women -- "The Hunger Games," "Harry Potter" and even "Twilight Saga: Breaking Dawn" -- the team of heroic protagonists are mixed-gender with burgeoning romance afoot, which Thompson calls key.
"It's cliche," he says, "but the ones who do so well with young females ... it's not so much whether it's a male or female protagonist. There are elements of deep romance."
If the public's thirst for these adaptations isn't sated by "The Hunger Games" and "Divergent," others could be on the way. Though Fox decided late in the game not to pick up the pilot (starring Emma Roberts), fans are still hopeful for a TV or film adaptation of Lauren Oliver's "Delirium" books. And CBS reportedly optioned Marie Lu's "Legend" series for the big screen.
"I suspect we're going to see more of them," Thompson says.
I suspect he might be right.
Contact Tony Hicks at firstname.lastname@example.com, Facebook.com/BayAreaNewsGroup.TonyHicks or Twitter.com/insertfoot.


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NEW: For a prettier blog interface, see the Wordpress version!
Headlines for Thursday:
|@1245-1345 Usability test with Pierre?
|Sort out usability arrangements
|Print out usability doc
|Usability test with Stephen
|Backup recordings
|Revise usability test
|Quick prep for interest interview with training
|Interest interview
|J's concert
|Print author form
|Michael Olson's birthday
1. The end is near!: 22:19
I did my first two usability tests today. Yay! The end is in sight! Thanks to Stephen and Pierre for being my two friendly guinea pigs.
Stephen spoke well of my prototype when he passed by Pierre's computer. Apparently he thought that I had either built a terrific tool or a terrific test. Someone once said that any sufficently advanced technology is indistinguishable from a rigged demo. My prototype is neither advanced nor rigged. I kept expecting it to crash, and every scenario that passed without catastrophic failure was a minor success already.
I am conscious of the fact that I had chosen the tasks to fit the tool, and I built the tool to fit the tasks. I'm probably even biasing the usability test results by my presence. Still, if the study explores something new, then maybe I'm not an imposter after all. (Oh, to silence that small voice in my head!)
Recruiting more friendlies for usability tests next week. I will however have to steel myself and test with new people as well...
Random Emacs symbol: eshell-skip-prompt-function - Variable: *A function called from beginning of line to skip the prompt.
2. Songs within us: 22:55
W seemed surprised when I readily agreed to go to the summer concert at J's elementary school. After all, I had been restless these past few days, thinking of giving up my krav maga fitness and self defense classes just so that I can have more time to write. But I had to go, you know. These are the things that give me things to write about.
It was *wonderful* watching some kids sing with such light inside them. You could power the city with some of those kids. One little boy kept dropping his triangle in excitement. How difficult it must be to hang on to a smooth piece of metal that you're hitting with such glee!
But you could see the other kids slumped over their glockenspiels. Perhaps they had been learning how to be teenagers: sullen and withdrawn. Where was the life in their music? For me, it felt like just a collection of notes.
I want to learn how to reawaken spirits. I too have been old. I have gone through the motions before, and there will still be times when I am not fully present and fully alive. But maybe I can share with people this vibrant world where even the exquisite pain of too much tenderness is a beautiful thing, where the gray clouds are only hiding the clearest blue, and where there are songs in all of us just bursting to get out.
- E-mail to Renante Yson
- E-mail to Frank S. Adamo
- E-mail to Michael Olson
Inbox items: 2 as of 22:47
I'd love to hear about any questions, comments, suggestions or links that you might have. Your comments will not be posted on this website immediately, but will be e-mailed to me first. You can use this form to get in touch with me, or e-mail me at [email protected] .


text:
It seems like it's been almost half a year since I wrote TFME4: Tools of the Trade in which I explored the serious options for 3D CAD on GNU/Linux, and didn't think we had much. I advocated building something on top of Blender, which may still be a decent idea.
But I'm starting to think I gave really short shrift to the US Army Research Lab's BRL-CAD, which has recently released a new version (7.8.0) with support for Windows and a number of user interface and modeling tool improvements.
BRL-CAD's design is based on the idea of "Constructive Solid Geometry" (CSG), a CAD representation model which has become less stylish in recent years. The more popular system these days is called "Boundary Representation" (BREP) which is what you see in Blender, for example. This is at least partly because BRL-CAD traces its origins back to 1979 at the US Army Research Laboratory. The program has been under continuous development during all that time, although it was only a few years ago that it was released under a free license.
Given these facts, I was quick to dismiss BRL-CAD as incapable of representing a large amount of modern CAD data, and therefore somewhat questionable as a common interchange tool. However, the notes in the BRL-CAD Overview make a pretty strong case for why I should love CSG (and I have to admit that CSG seems more intuitive to me):
Why CSG Modeling?. Although BRL-CAD has been used for a wide variety of engineering and graphics applications, the package's primary purpose continues to be the support of (1) ballistic and (2) electromagnetic analyses. Accordingly, developers have found CSG modeling to be the best approach in terms of model accuracy, storage efficiency, precision, and speed of computational analysis. . While polygonal and boundary representation (B-rep) modeling often focuses on just the surfaces of objects, CSG modeling focuses on the entire volume and content of objects. This gives BRL-CAD the capability to be "more than skin deep" and build objects with real-world materials, densities, and thicknesses so that analysts can study physical phenomena such as ballistic penetration and thermal, radiative, neutron, and other types of transport..
Wow. I hadn't thought of that, but it's obviously true. If you want to model the solid body properties of a system, then you need a model that defines the interior composition. As a system for space development (the main focus of my TFME series), I'm starting to think I should've written a more in-depth analysis of how to use BRL-CAD, and I suppose I will have to do that now.
BRL-CAD 7.8.0 is available as a source distribution from Sourceforge, along with pre-compiled binaries for Linux, BSD, Solaris, Irix, OS X, and Windows. I'm downloading a binary now to try out—maybe I'll actually write a review after I've had a chance to play with it. I haven't fully figured out if this was the tool I was looking for all along, but I am starting to wonder. I'd love to hear from anyone advocating BREP as to whether CSG is really a problem, as well as on the subject of integrating BRL-CAD models with other types of CAD and 3D models (Nurbana looks like an interesting lead, though there isn't much written about it).
Animation tool, too?
It looks very interesting. Could it be adapted to use as a 3-D animation tool?
lastangelman in dallas tx
I wouldn't recommend it
While I'm sure it's possible, that sort of thing is what Blender is specifically designed to do, and by all accounts it is much better equipped.
Despite the complaints about the interface, the program is really very powerful, and once you get used to it, even the interface is not so bad (I'd compare it to using some of the venerable old programmer's editors like vi and emacs -- lots of hotkeys to learn).
In general, I don't learn programs by carefully following tutorials, but Blender is an exception -- I really recommend that you do start by following some of the available tutorials, as it is otherwise easy to get in over your head.
However, I did produce some nice renderings and animations using it awhile back (unfortunately I then proceeded to forget quite a bit of it, so I'll have some re-learning to do next time I try it out).
However, Blender is not so good for technical applications which is what BRL-CAD is good for. I'm not really sure what the status is, but I have even heard some discussions of compatibility tools to get information from one into the other (although they use quite different internal models, so this isn't trivial to do). I hope to look into that further.
(Both are free-licensed, of course).
Reprint Notice
My blog entries at Free Software Magazine may be reprinted with this notice:
Copyright (C)2004-2006 Terry Hancock / License CC-By-SA 2.5+
Originally at http://www.FreeSoftwareMagazine.com
About Nurbana
It looks like the Blender folk were able to incorporate much of the Nurbana code.
-Sebastien Bailard
reprap.org - self-reproducing 3D printer project
Terry Hancock,
Am I allowed to translate this blog entry to the dutch language for our www.cad4linux.nl portal. I will put your Copyricht notice under the translated text:
Copyright (C)2004-2006 Terry Hancock / License CC-By-SA 2.5+
Originally at http://www.FreeSoftwareMagazine.com
Thanks in advance,
Emiel van Rossum
Yes absolutely, that's one of the main reasons I like to use the By-SA.
I do appreciate being told, because everybody likes props, but it's not actually required by the license.
7.8.0 Import features.
Greets all, just wanted to give you some detailed info as I work with BRL-CAD daily and am very involved with the development team.
The windows distro of BRL-CAD is nowhere near completely ported. BRL-CAD has its roots in the *nix systems and the distros of those platforms are very very complete. As it stands, BRL-CAD for windows 7.8.0 has the ability to convert ASCII, FASTGEN-4, STL and IGES to BRL-CAD native format (.g). 7.8.0 for Irix, for instance, can convert ASCII, AutoCad DXF, Elysium Neutral Facetted, ELUCID, FASTGEN-4, IGES, Jack, NASTRAN, Pro/E, STL, TANKILL, Unigraphics and Viewpoint to BRL-CAD native format. Details on this reside on the brlcad.org website at: http://ftp.brlcad.org/VolumeIV-Converting_Geometry.pdf
The most refined of the converters is the AutoCad DXF and since most commercial CAD packages, both CSG and BREP, will export to DXF. There is currently efforts in motion to port more of the converters over tothe windows version. Work is also underway to implement NURB support natively in BRL-CAD and allow for conversion of STEP file format to BRL-CAD native format... but its still a year or so away.
As BRL-CAD is an open sourced project, community contributions are always welcomed... including gripes and complaints. The dev team spends a substantial amount of time creating custom scripts and functionality for job specific tasks, so if there is something that doesn't exist and you need it to, just ask!
Need to use libraries to convert from IGES format to BRL CAD
I'm looking for open source C++ libraries that convert iges files to another format which enables easier comparison of 2 models. I was wondering if the BRL format might be good option. Also, can the open source C++ libraries included in the BRL-CAD package be used in VC++ on Windows XP.
I need libraries (open source) that I can use - just the converting software won't suffice for my work.
Any help will be greatly appreciated !
Thanks a bunch,


text:
John Dudley: Explosion look good, but need a longer measuring stick
It was tough to get a read on just how good the Erie Explosion were in Sunday's home opener at Erie Insurance Arena, because the Kane County Dawgs were just that bad.
The good news is the Explosion played a turnover-free game, dominated both ways up front and punished Kane County the way a contending team should punish one that is, well, not a contending team.
And, yes, I'm being nice here.
Kane County is your typical first-year, working-the-kinks, helmets-don't-match, can't-quite- get-the-snap-right outfit.
The Dawgs had to forfeit their home opener last week because the used turf they acquired didn't fit their arena. Sunday's effort was slightly above forfeit grade.
"I think we intimidated them right away with the way we came out and hit them," Explosion coach Shawn Liotta said in the understatement of the afternoon.
Explosion defensive lineman Zach Williams, formerly of Cathedral Prep and Kent State, spent so much time in Kane County's backfield he probably could have called the Dawgs' plays. Maybe he did, judging from the way things went.
Williams had four of the Explosion's eight sacks of Dawgs quarterback Haven Mosely and recovered a fumble on the Kane County 1-yard-line in what eventually became a 69-13 blowout.
"We were rotating guys on them," said Williams, who, along with Bob Hammer and Andre Portis, who had three sacks, blew up pretty much everything Mosely and the Dawgs tried to do. "I think we just have a different style of rush, and they couldn't get used to what we were doing."
Kane County, located near Chicago, was never in the game, and the Dawgs left Erie for a long ride back to Illinois probably feeling like they had just absorbed a pounding from one of the Continental Indoor Football League's elite teams.
And maybe they did.
But whether or not the Explosion (3-0) are a title contender remains to be seen. They have a home date this Sunday with Marion, which they edged 42-40 on the road in their season opener.
And they have yet to play Saginaw, which improved to 4-0 Sunday with a 63-49 win over Detroit. The Explosion visit the Sting on March 29.
By most accounts, this was your standard, well-coached Liotta team and your standard, mostly smooth but with a wart or two indoor game.
There were a few inexplicable delays between snaps. Music played over the referee's mike a few times. A dance team from Edinboro was supposed to perform at halftime but reportedly went home when they couldn't find parking around the arena.
But the promotions were crisp and cute, and the crowd was enthusiastic. And the football was, well, very one-sided. Which was good for the home team.
It was interesting to see Liotta, a relentless devotee of the passing game, employ read option thanks to run-friendly CIFL rules that keep linebackers five yards off the ball.
One beneficiary of that is former Mercyhurst University standout Richard Stokes, who rushed for 71 yards and four touchdowns Sunday. It was the sort of workload Stokes used to get with the Lakers, but not the typical day by an indoor football back.
"It was a lot of fun," said Stokes, who thinks the Explosion have more than they showed Sunday. "I think we can be a championship contender. Right now I don't think we're playing up to our level of talent, but I think we're going to get there."
We'll have a better idea when the competition improves.
JOHN DUDLEY can be reached at 870-1677 or email@example.com. Follow him on Twitter at twitter.com/ETNdudley.


text:
Weekly Country Pictures - October 11, 2013
Trace Adkins was honored on his 10th anniversary as a member of the Grand Ole Opry by Opry general manager Pete Fisher.
photo by Chris Hollo/Grand Ole Opry
More Photo Galleries
More News
New ink promotes new world tour.
The Gambler's Last Deal begins May 13 in Mahnomen, Minn.
Video features his Wife Alex and Dog Writer as the main characters.
Sam Hunt leads the field with nods in three categories.
New single, "Outskirts of Heaven," has youngsters thinking.
The faith-fueled tune is part of Blake's new album, "If I'm Honest."


text:
Wednesday, 08/13/1997
Star Lake Amphitheatre, Burgettstown, PA
Soundcheck: Funky Bitch, Poor Heart > Jam
Set 1: Amoreena[1] > Poor Heart, Stash, Water in the Sky, Gumbo -> HorseThe Horse > SilentSilent in the Morning, Beauty of My Dreams, C&PCrosseyed and Painless > Wilson, Sweet Adeline
Set 2: Runaway Jim, Ghost -> Izabella, Sleeping Monkey > McGruppMcGrupp and the Watchful Hosemasters > SampleSample in a Jar > 2001Also Sprach Zarathustra > GolgiGolgi Apparatus > Frankenstein
Encore: ThemeTheme From the Bottom
[1] Phish debut.
· The Little Drummer Boy tease in Wilson
· Super Bad tease in Also Sprach Zarathustra
Noteworthy Jams: Gumbo (highly recommended), Crosseyed and Painless, Also Sprach Zarathustra
Average Song Gap: 13.3
Performers: Trey Anastasio, Page McConnell, Jon Fishman, Mike Gordon
Notes: This show featured the Phish debut of Amoreena. The end of Wilson included a Little Drummer Boy tease. 2001 contained a Super Bad tease from Trey.
Song Distribution:
3 Stash
2 The Story of the Ghost
2 Rift
2 A Picture of Nectar
1 Billy Breathes
1 Hoist
1 Junta
1 The Man Who Stepped into Yesterday
Songs by Debut Year:
This show was part of the "1997 Summer U.S. Tour."
As we pulled into the Star Lake Amphitheater parking lot, each pulsing beat of "Crosseyed and Painless" from the legendary 11/2/96 West Palm Beach show raised our excitement level higher and higher. This was the first of a four-night run that would lead us to the Great Went. We were all well aware of the magic ensuing on the '97 Summer Tour and couldn't wait to plug back in to the source. The three of us (Mike, Molly and myself) had been lucky enough to attend the 11/2/96 show together and therefore remain forever linked by the "Crosseyed Bond."
After pulling into our space, we hopped out of the car and frantically started making a sign. We are not the sign-making type of fans, so there had to be some unique inspiration for such an action. The simple message read "STILL WAITING." To our disappointment, we were not allowed to bring the sign into the show.
Molly rolled it up and hid it in the bushes just outside the gate. We soon forgot about it as we motored towards the seats focused only on getting the best spot possible. Phish opened the show with one of the most beautiful, unexpected "one-timers" they've ever played, Elton John's "Amorina." Page's voice was heavenly as he sang us the song full of lush imagery like "she dreams of crystal streams, days gone by, you and me...." After a "Poor Heart" , the show really began with "Stash." This is my favorite "Stash" of all time. As the jam started to unfold, Trey quickly reminds us that "this is Summer '97" and nothing is taken for granted. Big Red unleashed his noodling voodoo, the signature sound-tapestry-weaving technique that separated '97's magic moments from all others, taking this Stash into an ominous, yet not overly dark realm. The tension swelled through the burning lights surpassing the breaking point a few times over before setting us free with the climactic refrain.
As much as this set was about big songs, it was also about very appropriately chosen interlude songs. The next would be the old, slow version of "Water in the Sky." Six years later I am still vibrating as I prepare to mention the "Gumbo" that followed. The fifteen or so minutes of this "Gumbo" contain some of the best, most creative jamming of Phish's career. It is so representative of everything that makes '97 such a special year. The band is playing together in such a balanced way, everybody drawing from a seemingly endless source of brilliant ideas. Trey and Page have a field day, manifesting the sonic equivalent of skipping through a meadow of wildflowers while holding hands. Trey lays down some licks that end up opening huge passageways to the most uplifting melodies. He even delves into a cool variation on the "Franklin's Tower" groove, integrating yet another thematic flight in a very tasteful way. At some point when we are pretty sure this can't get any better, Page decides to load the audience into his cosmic pinball machine, boinging us from bumper to bumper with his over the top barrage of funk effects. Still only in the middle of the first set, we're a pretty happy audience at this point.
The boys can do no wrong as they segue right into the always blissful "Horse>Silent." Next was a lot of people's least favorite song, "Beauty of My Dreams." Since then I have held a place in my heart for "Beauty" because I will always associate it with being the predecessor of a truly miraculous moment. It was that silent time right before a song is about to begin. Everybody is holding their breath wondering if this could be a life-changing song or a good excuse to go to the bathroom. In the blink of an eye, we were suddenly immersed into the reality of "Crosseyed and Painless." They were playing "Crosseyed and Painless! This was the ultimate moment of "I can't believe this is happening!" Molly and I turned and looked at each other with bug eyes and jaws on the floor. Sadly we had been separated from our partner in crime, Mike, but we would pick that part of the celebration up at set break.
The phenomenon of Phish choosing to play "Crosseyed and Painless" at Starlake on that fateful evening in '97 remains one of the wonders of my world. The fact that we made the sign, didn't get it in and they still played it leaves me shaking my head to this day. We were clearly communicating on some deeper level. I've heard people knock this version of "Crosseyed" but I don't think they've really listened. The pace is slowed down, which works well. Fishman sounds good and Trey pulls some heat out of his bag of tricks. There is one particular line during his dominant solo that kills me every time I listen to it. Continuing the dark theme, "Cross-eyed" goes into "Wilson" which at the time was still a novelty.
Needless to say I was pretty darned shell-shocked after that whopper of a set. With the power trio of "Stash", "Gumbo", and "Crosseyed", the first set of Starlake easily finds its way into the top five best first sets in my opinion. Set II had a tough act to follow. The band couldn't quite conjure up the magic flowing so freely in the first set. Nevertheless, Set II was still excellent. The song selection was great. It was the good old days of "Izabella." "Sleeping Monkey" nestled comfortably into a rare mid-set appearance. The highlight came in a joyful romp through "McGrupp" > "2001". The overall vibe was very bright and playful with blue lights flooding through the air.
A "Theme" encore sent everyone off very satisfied and amped for Darien and the Great Went. I remember people running straight to the pay phones to tell the world what they had just witnessed. One guy was shouting, "They just hosed down Starlake!" Boy did they. With the craziness about to ensue at the next three shows, they definitely set the tone right from the get-go.
Molly and I strolled back to the car floating on air. As we approached, our hearts practically stopped as we saw a sign resting on the windshield. It screamed back at us, "STILL WAITING."
I (with 5 friends and a dog) was on the epic, circum-continental summer tour of '97. My college roomate Jake lived near Pittsburgh. He was into Phish too, not quite as much as me, but had a healthy respect and appreciation for them. (He really had no choice. In '94 - '96 our whole campus was awash in Green Day and DMB, and by that time I had accumulated dozens, perhaps a hundred tapes, which provided a necessary escape from ants marching, biting my lip, and closing my eyes.)
Anyway, Jake was pretty into the Dead - we had actually been to a couple southeast Dead shows together in '95 - (and a lot of other cool music too), but this was to be his first Phish show. So of course I was hoping for exactly the perfect show that would resonate with him, convince him beyond a shadow of a doubt that this was a band and experience like no other.
Now, recall we are only a couple days past the 2nd anniversary of Jerry's passing, a topic which surely came up as we tailgated. And as we settled into the pleasant summer's night of music, the strains of Franklin's Tower started eeking through the air, a little mysteriously at first, as many great teases evolve, but then unmistakably. We looked at each other, incredulously confirming that we were hearing the same thing, as the jam took on that viscous feel - the richness in the air that Phish creates like no other band I have ever heard. I think a warmth overcame the whole venue as they played this brief but beautiful tribute to the Fat Man, celebrating the love, community, and energy that music enables and facilitates.
At least, thats my story, and I'm sticking to it!
(I really need to update my collection of shows.)
On a tour with a lot of standout shows, August 13th, 1997 often gets overlooked. Star Lake Amphitheater (now called the First Niagara Pavilion as of last month) in the tiny town of Burgettstown, Pennsylvania is an average size outdoor musical venue, holding approximately 23,000 fans. It is 25 miles west of Pittsburgh, nestled aside Raccoon State Park and just across the bridge from West Virginia. It has a very small and unassuming sign at the one entrance, often times not even with the name of the band playing there that night. There is
plenty of camping available nearby. If fans choose to get a hotel, they have about three small motels directly nearby, otherwise they will need to venture west to northern West Virginia or north eastern Ohio.
Fans knew the show would be special from the get-go when Phish took the stage and opened with Elton John's rock ballad "Amoreena" with Page singing the lyrics. This would be the first and only time Phish covered the song (I wish they had kept it in the song rotation). After an upbeat interlude of Poor Heart, the opening guitar licks to Stash begin. Being one of a number of musical gems from this particular evening, I hail this Stash as one of the most intense examples of Phish's tension-release style improvisation. In a year when many jams ventured into their newfound patented funk, this Stash exploded with extreme tension being built by all the band member, eventually letting way to Trey to come to an explosive peak leading to an even higher peak about a minute later accented by Fish pounding on the high-toms. Being in an elite group of face-melting Stashes, this one takes the cake for me because of it's intense explosions after gorgeous build-up and the fact it's in a year when funk started to dominate and with Stash musically on it's way downhill this one was sprinting up the Appalachian Mountains.
Allowing the fans to catch their breath after seeing the monster that showed it's face in Stash, Phish played a nice and slow version of Water in the Sky. This came only minutes before thumping out the beginning of Gumbo. You can count the number of Gumbos that explore past it's safe Type I territory jamming on one hand. Three of these occurred within a month of each other, this one being the 3rd. The twenty minute juggernaut goes all over the place after the gates open up the the jam then eventually start rolling along, letting way to "funky" Trey for a bit before Mike starts becoming more prominent, and eventually, around the 12 minute mark, Fishman locks on when he pops over to the ride...this is when they really start rolling along, hosing everyone in attendance. By the 15 minute mark Trey is soaring in a more noodley than rocking way, eventually settling down to go into The Horse. There is no other jam like it, arguably the best Gumbo ever (and I am often hesitant to make claims like that).
As the first set moves along, Phish plays Crosseyed & Painless for the fourth time since Halloween 1996. Being the third improvisational gem in the first set, it was apparent Phish didn't wait until the second set to play these treats under the cover of nightfall, and Kuroda or course. This psychedelic trip sounds very different from the other two highlights thus-far in the show, taking you into their Phishy rhythmic space.
The second set opens with a standard Runaway Jim with the 1997 Summer Tour standard, Ghost, on deck. There are not many bad 1997 Ghosts, and this one isn't any different. At about fifteen minutes, it clocks in as a modest length version, but the whole song is a Mike Gordon driven dance party. While the band is still bumping out the jam, Trey goes into the licks for Jimi Hendrix's "Izabella", after the drums awkwardly catch on, the dance party turns into a rock-n-rage party. With other musical goodies like McGrupp and the Watchful Hosemasters > Sample in a Jar and 2001 > Golgi Apparatus > Frankenstein, the rest of the show certainly doesn't let down. Phish keeps a full head of steam from the Page's piano opening Amoreena to the end of Theme From the Bottom.
This show is a must have in any serious listener's collection.
From www.onlinephishtour.com
first and foremost, i just pulled down the remastered aud off the phish spread sheet- sounds fantastic!
things start off nicely with a great cover of elton john's "amoreena." page does a fantastic job on this one, both on keys and vocally. poor heart picks up the pace, getting the boys a bit loose. stash is solid, but it doesn't quite "get there." it is always nice to see the boys try to open things up early though. a snappy version of water in the sky gives everyone a breather before phish buries the funk. gumbo is extended into slow funk oblivion. the whole band locks in. with a nice loose funk groove layed down by fish and gordo, page and trey are given ample room to explore. page has some hot clav licks, while trey alternates between some nice leads and some funky rhythm guitar. eventually, this jam gives way to a well-placed horse>silent. beauty of my dreams is one of my favorite bluegrass songs they do, and this version is played well. then we get our second big treat of the first set. for only the 3rd time in the u.s., phish belts out cross eyed and painless. this version is much slower than how they approach it now. it's not cities slow, but it's slower none the less. this is very much given the '97 treatment. i think part of the reasoning for the slower playing is a slight lack of confidence playing this song, at this point. they are not quite as forceful with it, but once they hit the jam, trey really takes control with some nice leads. after a hefty dose of some good 'ol '97 funk, they hit a slower, darker, murkier jam. if this was a '99 show, i would definitely expect them to hit "what's the use," but it's not... anyway, trey brings everybody out of this dark realm with the opening to wilson. they hit a home run with this one, bringing the crowd back to a rowdy frenzy. trey tacks on a little drummer boy tease at the end, and it sounds like fish wanted to crank up harry hood. i'm guessing some members of the band may have started to get up/remove instruments, because all you hear of hood is that opening drum roll. none the less, adeline sends everyone into set break happy.
now, there's the second set. run away jim kicks things off properly with. there's a slight lyric flub by trey.. kind of funny. once they hit the jam, trey just takes off and never looks back. by the time this jam hits its peak, trey is just firing off a cosmic flurry of notes. after bringing this one back into jim, trey thanks the crowd, and then they embark on what is possibly a dark horse candidate for ghost of the tour. while the whole band plays well, gordon really shines here. fishman is at his '97 best, trey and page are both hotter than hell on this jam, but gordon just gets locked into a slap frenzy, driving this band to a very funky peak. eventually, they head into the land of izabella. this transition pales in comparision to the tweezer>izabella from auburn hills in the fall, but hell, i'll take my izabella's where i can get them. this one is well played, but unlike auburn hills, they decided not to take this one for a ride. after a red-hot start, the boys slow it down for a rare midset sleeping monkey. mcgrupp works well out of monkey, as the boys really bring this set back to life. as usual, page really makes this song a highlight. from here though, this show starts to lose a little traction. 2001 feels slightly forced out of a rocking but typical sample. they didn't appear to have much of a game plan, so page steered them toward good 'ol also sprach. golgi and frankenstein are high octane but nothing out of the ordinary. i do really like theme from the bottom in the enc slot and could go for more of that in the future. i would say the back half of this 2nd set, while still being rock-solid, keeps this show from being considered one of the top tier '97 shows, but there are some very serious highlights here that should not be missed.
get on the spread sheet's remastered section and pull this one down. gumbo is '97 funktastic, cross eyed>wilson is a very interesting listen, and the opening sequence of run away jim, ghost>izabella in the 2nd set will just blow you away. they just don't make 'em like that anymore....
Subject: Trey & the Rubber Chicken (Starlake Review)
DISCLAIMER: I've only had 2 hours of sleep after driving 4 hours from
Pittsburgh to the DC area after last night's show, and am feeling kind
of loopy, so please don't flame me too bad! ;^)
Howdy pholks,
Once again I emerge from lurkdom to bring more good tidings from the
outstanding Summer Tour. The scene was the Starlake Ampitheatre in
Burgettstown, PA, and my friends, those who were there bore witness to yet another spectacular display of amazing jams and setlist surprises (the kind of stuff that keeps us comin' back! :^) Not being able to get off work till 2:30 thanks to my boss, I made the 4+ hour trek and got there just in time to enjoy a tasty Samuel Smith's in the lot before headin' to the show. From the short time I was there, I surmised that the security was pretty lax - I didn't see any yellow shirts walking around, and the lot seemed pretty darn lively. The venue is your standard summer concert shed, though it did seem a tad bit smaller than other mega-corporate sheds such as the Miller Lite Deer Creek Amp. or the GTE Va. Beach Amp. (FWIW, this was the Coca Cola Starlake Amp., and there were Coke ads all over w/ a picture of a frosty bottle of bev. w/ the phrase "Always a Hit!" next to it ;^) Damn, those Coke marketeers sure do their research!! Security inside seemed fairly lax as well, no cavity searches or anything to get in, and I only saw a couple of people on the aisles get hassled about their tickets. Anyhow, onto the show...
1st Set:
Amarina???*, Poor Heart, Stash, H20 in the Sky, Gumbo->JAM->Horse->SITM, Beauty of My Dreams, Crosseyed and Painless->Wilson**, Sweet Adeline
* - not sure if this is right, supposedly an Elton John cover, though I
didn't recognize it
** - w/ Little Drummer Boy ending
Again, I'm not sure who sang this song originally or if this is even the
right song title, but judging by the lyrics (something about ballerinas
- that's all I remember!). Sung by Page, a very mellow, pretty opener,
caught everyone off guard.
Poor Heart
Now were gettin' started. Great solo by Trey - I swear he even extended the solo a few bars beyond the standard solo (man, they're just jammin' out everything! ;^) Good version, got everyone pumped for...
I called this one, a fairly long version, w/ standard chaotic Stash
jamming until they brought it down a bit and Trey started on some of
that Middle-Eastern type jamming that fits so well into Stash jams. This built up for a while then just freakin' exploded w/ an incredible
extended release at the end that just wouldn't quit!! This was quite
orgasmic, to say the least.
NOTE: Somewhere early in the set (during Poor Heart?), someone chucked a rubber chicken up on stage. After the song, Trey picked it
up and pretended he was eating it like an ear of corn (?!?), then set it
down on Page's baby grand. From that point on, before each song, Trey would pick up the chicken and pretend like he was biting its head off, then set it back down on the piano and bust into the next song.
Definitely weird, but amusing as hell!
H20 in the Sky
Ok, this is a cute little country ditty as you all probably know by
now. It probably wouldn't kill me if I never heard them do this one again live, but hey - who's complainin?
After hearing about what went down in Chi-town, I was mega-psyched to hear them bust this one out. Very solid composed part, then right at the part when Trey does his solo, the jam just sorta goes off into the realm of Funk. For about 10 minutes or so, we just got a laid back funk groove a la Wolfman's Bro, with lots of noodling and effects from Trey, and Page funkin' it up on the Clav and Mellotron. Nothin' too exciting compared to the funk we've seen on tour. They started to hit the hose a little bit though, bringing it to an almost Theme-like jam... I could have sworn they were gonna bring down to the "from the bottom..from the top" lines, but alas the jam subsided in a beautiful fashion, and Trey's pretty little strumming emerges as the opening progressions to Horse. The crowd was excited to hear this (1st of tour?) as was I. Really brought the energy levels back up after the exhausting Gumbo Jam.
Beauty of My Dreams
Standard. Don't remember anything special about this.
Crosseyed and Painless >
YESSS!!! My first one live, and boy did it smoke! Played at a slightly
slower tempo than usual, it was exceptionally played with Fishman all
over those tricky vocals. Just an exuberant, hi-energy jam is all I
really remember, since my peanut sized bladder was near exploding and I had to cut out in the middle of the jam, but got back just in time for them to bring it down to a sinister, slow jam to which Trey hit the opening note to...
Fuck yeah! This practically tore the roof off the place, and was the
perfect closer to a blistering first set. Right at the last chord, where
they usually close out and Trey thanks the crowd (c'mon, I need a
musical term here!), they just kept up the noise, and Trey starts
strumming Little Drummer Boy. I swear he was strumming that pick at
about 1000 rpms or so. Played almost the entire song, which must've
really annoyed Fishman since he was doing the closing "go nuts on the
drum kit" and had to extend this for at least a minute or so. Nuts I
tells ya.
Sweet Adeline
Like a cherry on top of the fattest sundae you've eaten in ages!!!
A fantastic set as far as 1st sets go, though on this tour it seems that
it just don't matta if it's 1st set or 2nd set, they're still gonna jam
the hell out of it!
Man, did anyone try those soft-baked pretzels? I've never seen a longer or slower line for PRETZELS, so after waiting about 20 min. during setbreak I bought 2 Cinnamon Sugar pretzels just for the sake of waiting, but man was it worth it. Definitely check this out if you go
back to Starlake. The Pittsburgh Brewery Co. (or something like that)
Pilsner was pretty darn good too. Anyhow,
2nd Set:
Runaway Jim, Ghost -> Izabella, Sleeping Monkey, McGrupp, Sample, ASZ, Golgi, Frankenstein E: Theme
Runaway Jim
OK. I'll be bold and say that this was the most spectacular STANDARD
(see NYE 95 or RR 96 for non-STANDARD versions) version of Jim mine ears have ever heard. No funny stuff or ->My Soul (thank God!), just the most joyous, energetic, goosebump raising jam segment I've ever heard them do in a Jim. It was only around 10 min. or so, but the jam (which was ALL Trey) didn't monkey around- it was the return of Machine Gun Trey in full force 8^) . He just went straight for the meat smoked the solo the likes of which I've never seen heard in any other version. You MUST hear this!!
Ghost >
After hearing this earlier in the tour and on the Sugar Megs page, I was psyched to hear it again. I must say, this song is already turning into a monster! I remember the one thing that kept passing through my mind during the jam was "what a thick groove!" Just totally dense, with Mike slapping out some crazy funk lines. (Note: does anyone else think that Mike's newfound prominence in the mix has anything to do w/ his new bass... he scrapped the 'doc for a sweeeet Modulus Graphite, which I think might have a big influence on his sound. Any opinions?) A great jam that got very rockin, I'm not kiddin! Then Trey started jamming the riff to...
Great segue!! An extremely rockin' version, with Trey screaming on the
'doc, and the whole band just providing a raucous backup. A great cover, especially on a night where covers seemed to be the norm. No doubt it's also a tribute to his newest daughter of the same name, which I think is cute!
Whooo! After an insane start to the set, I was ready for a cooldown.
Sleeping Monkey
YESSS!!! What perfect placement for one of my favorite corny Phish
songs! Seriously, you know it's a special set when they bust this out
for anything besides an encore. Even Henriet...er.. Fishman's voice
sounds more refined now in his solo part. Must go along w/ the new look I 'spose. I was in 7th heaven, and was ready for something special...
WooHoooo! My first one live! Not a spectacular version but very solid
and great to see live.
Lame. I mean they needed to bring the energy back up, but this was bad placement IMO. Normally I'll forgive em if Trey destroys the solo, but this was frighteningly standard, almost hitting the album version note for note.
I knew this would be a funk monster, and the boys didn't disappoint! I
love how this song has developed on its own. Also a great showcase for the lights. Chris K. must feel like a kid in a candy store when they do this song, he just hit every single light effect and color imaginable!
The lights keep getting better and better w/ each tour! Anyhow, a good ASZ, around 10-12 minutes - I suppose a standard version by '97
standards (sorry for the redundant redundancy :^)
Was lookin' for a phat Antelope or Disease to close out the set, but
instead we got...
Golgi Crapparatus
Nothin against this song, but I was expecting more to finish off such a
spectacular show. Easily the sloppiest version I've ever heard, with
the band starting off totally out of sync and Trey missing that final
lick. Still a crowd pleaser though.
I thought that would be it, but there was still one more to come...
Now THAT's more like it! An appropriately rockin closer to finish off a
rockin set. Man, it's something else to watch Trey's fingers on the
fretboard during the trilling solo part.
E: Theme
A good encore song, since it goes from quiet to loud all in the same
song (instead of the obligatory slow song then a rocker to finish).
Standard version, nothing really spectacular, but then all the Themes
nowadays seems to be good after they did away with all the spacey guitar effects from 95/96 versions.
So, sounds like a good show, huh? Well, it was!! Wow, you're good! After my lofty ratings I gave for the Va. Beach show (see Dan Schar's
excellent reviews page http://stickman.biology.ucla.edu/~review/ ), I
feel like a fool for giving it the lofty ratings that I did, cuz overall
this show smoked Va. Beach. Both sets are definitely worth seeking
out. First set highlights - Stash, C&P>Wilson!. Oh yeah the Gumbo was pretty tasty as well! Based on the average, standard 1st set, this set gets a 7.5 . Well above average w/ lots of jams that could pass it off for a good 2nd set. Second set, though shorter than the first, had the INCREDIBLE Jim followed by the scorching Ghost>Izabella, Sl. Monkey and McGrupp. After that they could've played goddamned Greensleeves all night and I would've been in 7th heaven. So I forgive the lame Craparratus and give the 2nd set a 7.5 (would've been well over an 8 had
it not sputtered after ASZ).
So there you have it. A 7.5 - i.e. GET THIS SHOW ON TAPE, DAMMIT! I think I gave the same rating to Va. Beach, but that was a bunch of overinflated bullhonkey compared to Starlake.
Have fun at the Went, y'all, I'll be at the rmp gathering in spirit!
SetI:Some Elton to open up,but it was the gumbo that had me grooving for the very 1st time,the Horse/Silent was liking to my young ears,Crosseyed had me bouncin all over the lawn like some dumb-ass noob..This wild Wilson didnt help either, as I was yelling W-I-L-S-O-N at the top of my lungs and prob,bothering folks around me.
SetII:Runaway was short but rocking(w/a oops from Trey towards the end)Ghost was new,but turned into my fav,new song...monkey seemed out of place,Mcgrupp was strong. I had my other sing along w/Sample.late set 2001 (also out of place) had the place ragin'.and a Golgi to close.
enc:Theme,nothing to special but fitting..
fwiw,the drive from Darien->Went was much worse
Once Trey shook off his vocal flub in Runaway Jim the 2nd set really took off. Ghost > Izabella should not be ignored. Izabella jumps out at you from nowhere. Every time I hear it now, it still brings a smile to my face and reminds me of the great vibes on the Phish Summer 97 tour. Everything is played well through the set but McGrupp stands out to me as being flawless and beautiful. 2001 is of course sick but it always was in 97, right?
Amoreena was cool, more in retrospect though, cos at the time I had no idea what it was or the importance of a "debut" in general. And never again played to this day. That's the shit that gets me off about this band - stats. (2nd to the tunes, of course, duh.) Oh, to be a noob again!
This Gumbo is one I go back to again and again, long and experimental, just the way I like it. The Sweet Adeline was great in person cos I really had no idea they did the a cappella thing. I was impressed.
Izabella is another rare one, so I dig that I caught that live. And who doesn't want to hear a Jimi cover at their first show? When I heard Also Sprach, I was like, "Shit, I know this!" I still love a good 2001 to this day. I was also psyched for Frankenstein, cos I was familiar with the Edgar Winter version.
So, I left feeling like I was finally a part of it all, ya know. A live show under the belt....it's just too funny to look back and realize that it was the covers sticking out more than the rest for me. Yah, I was definitely a noob one time, long ago.
I MUST give my first show 5 stars. It wasn't a bad one, and hey, it's personal!
Amoreena was cool, more in retrospect though, cos at the time I was not very into Elton John and definitely didn't understand the importance of a "debut" in general. And never again played to this day. That's the shit that gets me off about this band - stats. (2nd to the tunes, of course, duh.) Oh, to be a noob again!
This Gumbo is one I go back to again and again, long and experimental, just the way I like it. The Sweet Adeline was great in person cos I really had no idea they did the a cappella thing. I was impressed.
Izabella is another rare one, so I dig that I caught that live. And who doesn't want to hear a Jimi cover at their first show? When I heard Also Sprach, I was like, "Shit, I know this!" I still love a good 2001 to this day. I was also psyched for Frankenstein, cos I was familiar with the Edgar Winter version.
So, I left feeling like I was finally a part of it all, ya know. A live show under the belt....it's just too funny to look back and realize that it was the covers sticking out more than the rest for me. Yah, I was definitely a noob one time, long ago.
Writing this has just made one thing apparent, for sure: Phish is so one of a kind that even after 3 years of "religious" listening, after finally seeing them live, that's when you realize you are now finally and only "just a noob". For me, at least.
I MUST give my first show 5 stars. It wasn't a bad one, and hey, it's personal!


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