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Mostly Cloudy
Wind: 3 mph
The Katla Icelandic Horse Club will be sponsoring a schooling horse show on Saturday, August 17, from 10 a.m. to approximately 1 p.m. Come see Icelandic horses show their famous gaits in the traditional Icelandic manner on a 200-meter oval track.
This "schooling show" is an informal show in which participants receive official FEIF-judged scores and comments and may ask questions in a relaxed educational setting. The show will take place on the property of Richard Davis and Marilyn Blaess at 346 Big Basin Road in North Fayston and is open to the public. Visitors are asked to check in at the barn upon arrival and bring their own chairs.
For further information call (802) 496-3131 or visit www.katlaicelandichorseclub.com.


text:
Quick Links
Shop All Jewelry
ERZ10589 In Stock
These stunning 4 carat cz stud earings are truly dazzling! These 11mm brilliant cut stones sit in polished sterling silver prong settings for a breathtaking look that will surely get you noticed! Truly an intense statement on their own, if you're daring, add a cubic zirconia necklace for a style that is one of a kind.
Eve's Addiction.com wants you to be a happy customer. We want you to be completely satisfied with the sterling silver jewelry that you receive from us, as we only sell high quality silver and cubic zirconia cz jewelry. We do understand that you may not like your purchase for some reason.
You may return or exchange your jewelry within 60 days of purchase if you are not satisfied with it. The jewelry must be returned in its original condition for a refund or exchange. Engraved, personalized, photo, monogram, name and initial, chocolate and clearance items are not returnable or exchangeable.

subset: commoncrawl


text:
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text:
How To: Re-Enable Jailbreak/Unlock for Mac OS X 10.5.6
So you say you updated to the latest Mac OS X 10.5.6 and wanted to jailbreak or unlock. Well the update severely hindered your ability to do that. The Dev-Team says it is a simple kernel bug and not a specific countermeasure by Apple, never the less, there is still a work around.
It's a pretty straight forward fix actually, first you need to have administrator privileges. Then download the script file . Got it? Good, now continue on for the detailed instructions after the break!
Have something to say about this story? Leave a comment! Need help with something else? Ask in our forums!
Reader comments
How To: Re-Enable Jailbreak/Unlock for Mac OS X 10.5.6
i tried it and it worked then when i restarted my macbook pro and then the keyboard and mouse did not work, nor the cd drive. had to reinstall at the mac store with an ext. drive. But that might have just been a special case. For clarification it was a previous gen macbook pro not the new one that everyone claims doesnt do the jailbreaking.
Is this intended for the new Macbooks? I have a new MacBook and really want to jailbreak my iPhone but have shyed away from it because of the DFU problems people have been having. But if this fixes it awesome.
Just updated using the file. Have a 1st gen macbook and have not had any issues.
Rebooted quickly and everything is working!
I tried running this on my macbook pro, and it asked for my password twice as expected, but then the activity bar on the top disappeared and it seemed like it just stopped doing anything... waited for a few minutes and nothing happened at all... afterwords i tried to reopen the software and try again but after i push the ok button at the readme screen it crashes. help?
Yeah, same happened to me.
I opened it and it asked for password, then it like crashed. I restarted my computer and the DFU mode still doesn't work. I tried doing it multiple times but still didn't work. What really confused me is there is a backup folder thing on my desktop like there is supposed to be, but overall it doesn't work.
i dont have the new aluminum macbook pro with the black border. I have the one before that. still killed my usb , keyboard and mouse lol until i re installed the os
I followed the above steps. After I accept the terms of use, it asks me for my password and then something runs in the background (I see status updates next to my time machine Icon on the task bar) and then it stops and nothing else happens. I don't get the "Updating Boot Caches" message.
I tried to go through the terminal to the path where its supposed to copy the new files, and those files aren't there.
Any idea on what could be missing? I really want my iPhone back :(
Don't use this procedure with the new macbook family because it crash!!
I unlocked the iphone 3g 2.2 and jailbroken in 10 minutes!!!!
using the new Macbook pro aluminium and using an external USB hub (very cheap and it works with anyone!!)
Ho appena fatto il jailbreak e sbloccaggio per tutte le sim del mio iphone 3g 2.2 usando il mio Macbook pro aluminium della nuova famiglia mac.
Precedentemente non funzionava quickpwn su questo modello di laptop ma provando con un hub USB esterno (porta multipla USB) funziona.
Il mio suggerimento e' di non utlizzare la procedura che utilizzando lo script va a sostituire dei file.
Se avete aggiornato il software mac, non vi azzardate a usare questi script perche' potrebbero bloccare la tastiera e trackpad.
Semplicissimo: usate una porta usb esterna collegate il vostro iphone 3g 2.2 con quickpwn 2.2 e il gioco e' fatto in 10 minuti!!!!!!!!!
Hi. Can i use any usb HUB? I have one from logitech, will it do?
Yeah, tried this too, no Updating Cache window appeared, have rebooted without any apparent problems(Fingers crossed) - doesn't appear to have done a thing, I get the impression no one gives a sh*t either.... just another dodgy script.
Same USB freeze on my ppc powermac g5. I lost my Tiger disk years ago. Can anyone point me in the direction of how to install (without keyboard or mouse)? I can boot up in safe mode using a leopard disk for my MacBook pro came with and keyboard mouse work fine - I can even open Disk Utility but don't know why to do there - should I get some sort of disk image that will fix my USB drive? Like an idiot I didn't backup so where would I find? Can I steal it from an iMac or PowerBook Pro install disk? Thanks in advance!!!!!!
@ ALL : Best iphone jailbreaks ( all generations) , downgrades and error fixes With download links of all apps needed on this channel .. all working .http://www.youtube.com/user/iphonemaster777
Hi, I'm a little off topic aol. I love your blog design, got few very good ideas, thanks for nice article.


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Integration of Central High School Photo Gallery and related media
Integration of Central High School
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In 1957 nine black students integrated the formerly all-white Central High School in Little Rock, Arkansas. The students were dubbed the "Little Rock Nine."
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In 1957 nine black students enrolled at the formerly all-white Central High School in Little Rock, Arkansas.
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text:
With Windows 8.1, you can start from the desktop you've always known or the modern Start screen with apps as Live Tiles. You can use touch, your mouse or the keyboard – whatever's easier. And you can use the accessories you want because Windows is compatible with nearly all of them. Plus, you can search your PC, the web, the cloud and apps at the same time with Bing Smart Search. Just access the Search charm from the right side of your screen.
*Some apps not available in some regions.
Get Office and you'll have the freedom to work virtually anytime, anywhere, on any device. Create documents with Office applications you know and trust, save them to the cloud, and edit and collaborate with others in real time with Office Online*. Plus, multitasking split screens help you juggle when you need to, and Bing Smart Search helps you find the info fast no matter where it is.
Learn more about Office
*Data connection required.
In the Windows Store you'll find the apps you love, with new ones to discover every day. And built-in apps help you do more, like the Food + Drink app that gives you a hand in the kitchen, and the Photos app that lets you edit your shots in new ways.
Explore the Windows Store
With the Skype app, you can call any phone quickly and easily. Make free* video and voice calls with your friends and family in faraway places, and get messages delivered straight to you, no matter what you're doing.
Learn more
Internet Explorer 11 taps into the power of your specific device to load sites faster and let you browse more safely. And it's designed for touch, so navigating the web is more intuitive on your phone, tablet and touch laptop.
Learn more
Customise Windows and make it yours. Choose your Start screen background, pin your favourite apps, games, folders, profiles or websites and organise it how you want. Josh tweaks everything until it's just right. Much like he does with his restaurants' menus.
Some apps have Live Tiles so you can see updates in real time without even opening them. And you can adjust the placement and size of the tiles based on how important they are. Bianca adds a sprinkle of these and a dash of those.
Want a hipper desktop? You can customise that too with stunning desktop backgrounds from around the world, and Windows themes featuring photo sets, colour palettes, and sound design. Harley adds his own roadtrip photos, which also do the trick.
With OneDrive, you have access to your music, movies, photos, documents, settings, Windows apps, even browsing history, across your devices, with 15 GB of free* storage. That's enough for roughly 255 hours of music, 20,000 Word documents, or 300,000 photos. In other words, it's a lot.
You can use the same Microsoft Account on every device. This means you only need to remember one user ID and password, and your favourites and settings will automatically follow you from one device to the next.
Xbox is your complete entertainment center in the cloud, giving you access to your games, music, movies, iTunes libraries, and more – at home and on the go.
Xbox Games has the titles you want and new arrivals every day. You can use touch with many games for a more immersive experience. And with Xbox Service, you can chat with your friends and other players, rocket up the leaderboard and more.
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Starbucks®Stainless Steel Clip Tumbler, 16 fl oz
Designed for urban commuters and backcountry adventurers alike, this innovative stainless steel coffee tumbler features a rubber handle that clips to backpack, bag or beltloop for convenient carrying. The rubber handle flexes to secure the clip anywhere, while the no-slip grip bottom helps prevent spills. Bright green accent on flip-top lid and handle. Holds up to 16 fl oz of your favorite beverage. Handwash only. Do not microwave.
More Like This Item
$11.95 / 12 count
$37.95 / 50 count
$24.95 / 63 fl oz
$12.95 / 1 liter
Reviewed by 14 customers
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Displaying reviews 1-10
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When I first tried it it dripped but that´s because I didn´t close it tightly. it´s been perfect so far. I am amazed about how much it maintains the heat. I take it every morning in my handbag so there you go.
I have bought many things from Starbucks that didn´t work as good as this one.
Are you people serious? Doesn't keep it hot for longer than 45 min. I find it keeps my coffee hot as I brewed it for almost an 1:30 min then its on the good side of hot. I have a 45 min drive plus a day and don't drink it till I get to work as its almost to hot to drink it for the first 20 min like burn you hot. To those who can't keep it hot what do you brew your coffee with as with the mocha master this is perfect . If you don't brew hot it won't stay hot long it's simple stuff. I don't write many reviews but I had to speak up cause this thing works . I have a ceramic one that I use and got this for more room cause I needed more wake up juice and couldn't have been happier and shocked it kept warm so long . Buy it send me the bill if you don't like it
I'm extremely disappointed. I have other Starbucks SS dble-walled tumblers that keep the coffee hot. This one really disappoints. I even fill it with hot water for a few minutes (exactly like I do with my other cups) before pouring my coffee. I also don't think the handle will last as long as the others, plus I'm not crazy about how firmly the flip-top lid will last with a decent seal. I REALLY wish I hadn't bought either of the two that I did. BRING back the older style with the hard handle that had a spring clip from about 6 years ago. That was a GREAT tumbler. I'd still have it if I hadn't dropped the cup and broken the lid and had been able to replace it!
I should have believed the one review that rated this a "one star". As soon as I poured hot coffee, I could feel the heat coming through, and it was actually hot to the touch. Good thing it had a handle. So the drink cooled down significantly faster - in less then 45 minutes. I long for the good tumblers that Starbucks used to sell - one that actually kept drinks hot for hours, and the lids closed tight so there is no worry about spills. I would not want to clip this one on a bag for it to be swayed for fear of spilling.
in short, it is awesome. Lighter and yet keep my coffee hot longer than my previous one.
very good everything.
but shipping and delivery is little late.
Just bought this tumbler from my local store, and so far it has been great. Keeps my coffee hot for hours. Hot enough that it took awhile for it to cool down enough to actually drink it. Cool looking too, and I like the grip on the handle.
The basic look of this mug is great. However, the newer designs seem to insist on installing a flip cap to seal the coffee and prevent spilling. The lid, unfortunately, is so shallow that the hinge of the flipper bumps my nose when I take a swallow in the car (where it is more difficult to lean your head back). I like my older Starbucks cup that I bought 10 years ago and still use. The other irritation is that the lid has shallow screw threads and the lid binds some when you try to seal the lid on. Hence, the 2-star rating.
This is the first travel mug that has kept my coffee hot for a LONG time. I left it in the car, 38 degrees outside, for an hour and came back to a coffee that was on the correct side of warm. I am very impressed. The caribeaner hook is not metal, but maybe silicone and might break if used a lot, but that still doesn't stop me from giving this 5 stars. It is now my go-to cup, usurping my other SB cup.
Starbucks double walled stainless mugs are truly AMAZING at keeping hot drinks hot and cold drinks cold - nothing better! Then, add the genius of a clip built right into the handle - WONDERFUL! Plus, it's great looking too!
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The Homeland Security Programs support the Department of Homeland Security (DHS), other federal and state agencies, and commercial partners. Through the integration of a number of key competencies, ORNL is able to provide critical operational, technical, and scientific support to these sponsors. A key focus of this area is to translate the critical research into operational capability for the security, protection, response, and recovery of the nation against natural and man-made events.
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Claude Knighten (301) 734-5271
WASHINGTON, March 22, 2007--The U.S. Department of Agriculture's Animal and Plant Health Inspection Service (APHIS) today confirmed the presence of light brown apple moth (LBAM), Epiphyas postvittana, from specimens collected in Alameda and Contra Costa counties, Calif., by the California Department of Food and Agriculture (CDFA).
Diagnosticians at USDA's Systematic Entomology Laboratory in Washington, D.C., determined the samples were positive and validated using morphological testing.
APHIS, in conjunction with CDFA, has initiated trapping activities for this insect in areas surrounding the initial detection, including parts of Alameda and Contra Costa counties. APHIS and CDFA have also assembled a technical working group comprised of international experts on LBAM to discuss survey and control strategies to safeguard against this potentially damaging pest and prevent its further spread.
LBAM is native to Australia and is found in New Zealand, Ireland, the United Kingdom and Hawaii. The host range for LBAM is broad with more than 250 plant species know to be susceptible to attack by this pest. Major domestic hosts of concern are stone fruit (peaches, plums, nectarines and apricots), pip fruit (apples and pears), grapes, cherries and citrus.
The pest destroys, stunts or deforms young seedlings; spoils the appearance of ornamental plants; and injures deciduous fruit-tree crops, citrus and grapes.
LBAM has the potential to cause significant economic losses due to increased production costs and the possible loss of international and domestic markets. However, these impacts can be effectively mitigated through production-level management practices. State and federal officials are working together to take appropriate regulatory action to prevent the spread of this pest in association with the movement of host commodities.
Note to Reporters: USDA news releases, program announcements and media advisories are available on the Internet. Go to the APHIS news release page at http://www.aphis.usda.gov/newsroom. Also, anyone with an e-mail address can sign up to receive APHIS press releases automatically. Send an e-mail message to email@example.com


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Consider this, Amateurs built the Ark, Professionals built the Titanic
Ocala and Marion County Car Audio
Yeah, see how many look at this post.
But, will never respond.
Lets put another one called SPREAD SHOTS.
I thought it would have something to do with Obama supporters.............
Wasn't expecting something like that.
I thougth it was about fishing!
Bill from Spartanburg
Be like an old dog!!!! If you can't eat it or screw it, just piss on it and walk away!!!!
Ok so it was not what you expected!
Consider this, Amateurs built the Ark, Professionals built the Titanic
Ocala and Marion County Car Audio
are you the master baiter on the fish boat?
OR - are you the master baiter on the skin boat wishing you were going to tuna town.
"To show you how radical I am, I want carjackers dead. I want rapists dead. I want burglars dead. I want child molesters dead. I want the bad guys dead. No court case. No parole. No early release. I want 'em dead. Get a gun and when they attack you, shoot 'em."
Ted Nugent - speaking at the NRA convention April 17, 2005
Not what i throught it would be.
Your in my Mind, and in my Sights


text:
Buy Tickets Matteo Garrone Presents: Reality
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Matteo Garrone Presents: Reality
March 04, 2013
The fascination that "Big Brother" holds for a Neapolitan fishmonger transforms into a life-altering, disturbing obsession in Garrone's latest, most biting take on contemporary Italian society. Director Matteo Garrone in person! Read more »


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Find accommodations in Jones with the hotel list provided below. Explore our guide for inexpensive and discount hotel/motel rates in or near Jones, MI for your upcoming personal or group travel. We list the best Jones, Michigan motel and hotel rooms. Browse the Jones area hotels to find the perfect lodging! Please use the provided map of the Jones hotels.The Jones center is around 16 miles from Dowagiac Amtrak and 17 miles from Elkhart Municipal Airport.
Jones Hotels & Accommodations
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Fabulous 5-Bedroom Pool Villa
This beautiful 5 bedroom and 6 bathroom villa with pool, jacuzzi and garden is situated in an exclusive area halfway between Chalong and Phuket Town.
In a quiet, tranquil and safe residential development with natural atmosphere surroundings, this villa is away from hustle and bustle but close to shops, restaurants, hospitals, schools and within a short car drive from most of Phuket's beautiful sandy beaches.
The Villa has been built on two levels and to a high specification and is a perfect family home. All 5 bedrooms are en-suite, the 6th bathroom is on the ground floor. The second storey comes with a balcony with a sofa that overlooks the pool and garden which are an ideal place to relax in the shade or in the evenings. One of the bedrooms on the ground floor is completely self contained and currently used as a home office.
The property and its gardens have been meticulously maintained, all the bedrooms on the first floor have Makha wooden floors with teak doors and wardrobes, the master bedroom has a dressing room and a separate bathroom with a large granite bath. Makha wood is also present in the lounge and dining area on the ground floor. The dining area includes a large dining table with six chairs and the lounge has a three piece suite, table and 50″ TV with surround sound. The kitchen is fully equipped with built in cooker and hob, large fridge/freezer, water filtration system etc. The worktops are granite, the floor is tiled and there is a breakfast bar.
The property is being sold fully furnished. Outside there are plenty of areas to relax around the pool or under the parasol and look over the large garden and lake. At the front of the house, there is parking space for two cars. The villa is also equipped with a security alarm system.
"Ready to move in"
View full map
Property Details
- Bedrooms5
- Bathrooms6
- ViewGarden View
- TypeVilla
- Parking2 cars
- Swimming PoolPrivate
- Land Area728 sqm
- Building Area400 sqm
- Ownership StructureThai Freehold
- Land TitleChanote
- FeaturesFully-furnished
Interested in this property?
- Office:
- +66 (0)76 325 915
- Mobile:
- +66 (0)81 797 9131
- Email:
- [email protected]


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Jump-start your weldment design skills by learning to use SOLIDWORKS weldments to create a steel building.
Get up to speed with the surfacing tools within SOLIDWORKS fast. Learn how to create and modify surfaces, troubleshoot common issues, and manipulate faces in surfaces and solids.
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An ongoing series of articles on songs & performances of the early Grateful Dead.
August 8, 2013
Garcia and Tarot: The Evidence
So this post is meant to gather the evidence we have in one convenient spot, to see what conclusions can be reached.
First, a bit of context from Tom Constanten:
In 1970, "Joe McCord, aka Rubber Duck, had been doing gigs around the Bay Area, and I wound up in the "backup" band to his mime show. The "Rubber Duck Company." Sometimes I was the entire band. A student of Étienne Decroux, he was developing a mime play at the time, based on the characters in the Tarot. The "ride" then moved to New York, and I went along…"
From TC's book Between Rock & Hard Places:
"I found myself rehearsing what was to become Tarot with musicians like Peter Rowan, Richard Greene, and Mickey Hart. There were even a few gigs around the Bay Area, playing behind the show's driving force, mime Joe McCord… Ron Wilson and David Garthwaite (brother of Terry) managed to find time off from the Joy of Cooking to join us a few times. Don Buchla even sat in with us, with his 'Buchla box' synthesizer, one night at Mandrake's in Berkeley. By late fall, 1970, the show was ready to take to New York – there was a commitment from the Chelsea Theater Center in Brooklyn to mount it…
The musicians that went East to do Tarot included Gary 'Chicken' Hirsch, of Country Joe & the Fish fame…Paul Dresher, guitarist/flutist/sitarist/and musican extraordinaire - it's been a delight to watch his career unfold since; Wes Steele, bassist…Jim Byers, a Michael Lorimer guitar student; the peripatetic violinist, Art Fayer; and myself on keyboards. The troupe was known as the Rubber Duck Company, so naturally enough we were the Rubber Band…
Village Voice reviewer Carman Moore came to see Tarot during the run in Brooklyn (with Berio, whom I remember faintly applauding) and described the mix as 'magical'… The run at the Chelsea Theater Center was for a fixed duration, but there was some interest generated in moving the show to Manhattan. What that meant to us what a series of showcase performances (for potential backers), and a few reprises of the mime/music show [including] at the Village Gate… Just when it looked like we were all set to move the show into the Circle in the Square on Bleecker Street…one of the major backers suddenly and inexplicably pulled out. The remaining producer, Richard Fields…got United Artists Records to make up the difference as part of an 'original cast album' deal." (p.84-5)
The band changed their name to Touchstone, and recorded the Tarot album in 1971:
TC does not mention any Garcia involvement with Tarot; but he's not writing about every detail. (In fact, any precise details about the performances are scanty in his book; the narrative is vague on dates and mixes the story with reminiscences of various people he met. He does tend to mention the musicians he played with, though.)
The evidence connecting Garcia and Tarot follows:
1. An ad for Mandrake's in Berkeley lists the Rubber Duck Mime Band & Jerry Garcia as playing on June 2-3, 1970.
(Other scholars, though, have concluded that these were NRPS shows.)
The Rubber Duck Company (with Constanten) also opened for the Grateful Dead at the Euphoria Ballroom on July 14 & 16.
It's ironic that while Constanten wrote about other guests sitting in at Mandrake's, including Don Buchla, he didn't mention Garcia! But besides TC, Garcia would also have known the Rubber Band drummer Gary "Chicken" Hirsch, who had been with Country Joe & the Fish – and he was quite familiar with Rubber Duck himself:
2. In the comments to the JGMF post, Joe McCord (aka "Rubber Duck") wrote: "I worked with Jerry for quite a while… Jerry did play with us on many occasions. I personally toured with the Dead as their opening act. Jerry, & Mickey Hart, & Tom Constanten, joined with my band to fill it out. Jerry also played with my play "TAROT" first in Berkeley, & later in the Academy of Music, Brooklyn & the Circle In The Square in New York… Jerry played both pedal & guitar with me. I also opened for them at the Hollywood Bowl… Played with Jerry & Mickey in The Boston Tea Party & Cafe Au GoGo in New York, as well."
His memories are somewhat non-specific. But as it happens, one person on dead.net who attended an October '69 Boston Tea Party show wrote: "I remember that between sets there was a mime/music improv that involved a mime (I do not know who he was) with Jerry, Mickey and TC doing improv music behind him. It was different, strange and weirdly engaging."
(The Dead played the Café au Go Go the same week, so perhaps McCord was on tour with them.)
The Rubber Duck Co. had been billed as a Dead opener as far back as the August 29-30, 1969 Family Dog shows. (However, there's some debate about whether it was replaced by the band Phoenix.)
McCord was probably also the mime who opened for the Dead at the 11/23/70 Anderson Theatre show. (At least, there's no better candidate!) It's difficult to locate him at other shows since he would not have been billed.
Constanten wrote, "I found myself rehearsing what was to become Tarot with musicians like Peter Rowan, Richard Greene, and Mickey Hart" – this confirms that Hart, at least, was working with the Rubber Duck band at this point (while he was still playing with the Dead), and McCord agrees on this point. Greene & Rowan were then in the band Seatrain; McCord also remembered more vaguely, "I collaborated with Sea Train with Richard Greene & Peter Rowan."
Both Greene & Rowan would later be in Old & In The Way, however I don't think Garcia was friends with Rowan yet – the Rowans had been in New York and didn't move to the area until fall 1970. However, if Hart was also involved, it seems likely Garcia would have joined in these rehearsals if invited.
3. Paul Dresher first played with the Rubber Duck Company at the Euphoria Ballroom shows in July 1970. He was interviewed by 21st Century Music in 2000 about his history, and revealed more of the origin of the band:
"I was replacing Jerry Garcia, actually, in this band... The band was called The Rubber Duck Company. They used to open for The Grateful Dead... We were having a show produced at the Brooklyn Academy of Music... So I moved to Brooklyn to do the show, and lived in total, abject poverty. But I was having fun… So we did the show for five or six weeks at the Brooklyn Academy. The band was made up of a lot of people who had been successful in bands like Joy of Cooking, Country Joe and the Fish, and Sea Train... Tom Constanten was the keyboard player and leader of the band… Tom left the Dead in 1970, and then formed The Rubber Duck Company to do this music-theater piece. How the new band began was that Tom, Mickey Hart, and Jerry Garcia would improvise with this mime – between Grateful Dead sets or as an opening set. And the mime, Joe McCord, had a street-theater piece... So this new band was being formed for Joe's theater piece, and it was really time for Tom to leave the Dead, because he was really not fitting, and the Dead wanted to rock more... So Tom was the composer for Rubber Duck when I got in the band, but I started writing some of the music for the show, too... There's an album. There's a vinyl LP out there, which is actually in the Grateful Dead history books as a weird offshoot of their activities."
(For more, see the Appendix.)
So this confirms a lot of Joe McCord's account. It also appears that Garcia may have been the regular guitar player for the Rubber Duck band's appearances up until Dresher joined in July 1970. So here's one point where Constanten fails us, not mentioning the early improv sets at all; but since Dresher, McCord, and a Boston witness all recall them, we know they happened.
4. In March 1971, Circus magazine printed an interview with Garcia from November 1970. They wrote: "Recently Jerry has been playing music for a play called Tarot presented by the Chelsea Theatre Company in Brooklyn." (In another paragraph, it's said he's "helping with the music" for the play.)
The play isn't mentioned in the actual interview, so we don't know how they knew about it, whether by sighting or rumor, or maybe a Garcia comment that didn't make print.
There is a difficulty here – as far as I know, Tarot didn't start showing until December. (The Chelsea Theater Center apparently ran it from December 12-20, and I don't know of showings before that.) By then, Garcia was back in California!
Nonetheless, since Garcia was in New York through much of November, he would certainly have had the chance to meet with Constanten (who'd moved there in October or November). Constanten wrote that there were Tarot rehearsals & auditions after he arrived in New York. There may have been rehearsals Garcia could attend, or earlier showings I don't know about.
Of course the Dead had plenty of their own shows to play. But if the chance was available, there seems no reason Garcia wouldn't sit in, if Constanten invited him. Garcia was always insatiable for more opportunities to play. (Recall that Garcia and the New Riders, between a Nov 23 show in NYC and a Nov 27 show in Chicago, played a Nov 25 show at the Keystone Korner in San Francisco! There was also a "Garcia & Friends" show advertised at the Matrix on October 26, in-between the Dead's St Louis & Stony Brook shows.) And we do have, at least, an almost certain sighting of Joe McCord at the Dead's 11/23/70 show.
There is one most likely source for the Circus article's claim:
5. Garcia is listed as a guest in the Tarot program from December 1970 -
"Electric Lead Guitar and Pedal Steel – Jerry Garcia (when he can)"
The front page of the program even lists him prominently as one of the composers!
Of course, Garcia's being listed on the program doesn't actually prove that he ever sat in. Maybe he showed up at some point in November and made a vague promise to drop in later, never fulfilled… Paul Dresher failed to mention ever actually playing with Garcia at a Tarot show. But even if Garcia never showed or contributed anything, the Tarot company knew that mentioning his name might sell a few more tickets!
Carman Moore's review of Tarot in the Village Voice said, "The playing was not terribly tight... When Jerry Garcia joins the band, this assessment may have to change." So at least one reviewer took Garcia to be joining the show at some future date. I get the feeling Garcia's name was being dangled as a promotional gimmick – it's unlikely he would fly back to New York just to play for a musical! At least, he was never spotted.
6. Outtakes said to be from the Tarot sessions including Garcia, Lesh & Hart have circulated for some time. I've been skeptical that Garcia was involved in these at all – yet Michael Parrish wrote: "The Tarot sessions including Garcia, Lesh, Hart, and Richard Greene [were] taped off of KSAN in 1970, when TC visited their studios. He was the one who rattled off the names of the players, although I did not record his interview. What circulates now includes some other tracks of questionable provenance that may have included Touchstone, the group with which TC recorded the Tarot album."
We have two sets of music online – first, the long-familiar "Tarot Outtakes" which are filler tracks here:
Most of the tracks are strictly classical pieces done by a string section, with no band involvement. I would guess this is some other set of music entirely that slipped into our tapes. There are only three band outtakes: the first two "Tarot outtake" tracks – one instrumental with a full band, and one piece with harpsichord/electric guitar/bass – and another isolated outtake (track 17) that's also classical in style, with a range of instruments (flute, piano & band). Lastly, track 33 is a long avant-garde collage of sounds, a string section & piano bangings, which sounds like Constanten's work. If these were all included in TC's broadcast, he may have been playing a variety of selections, not all of them from the Tarot project.
There's also another set labeled "Tarot Music" which supposedly features "Garcia, Lesh, Constanten, Hart, & Greene."
This has four brief instrumentals with acoustic guitar, pedal steel, piano & violin (and very limited bass & drum). They're in a very different style from the other Tarot outtakes and don't sound like the same musicians at all.
As a comparison, here are a couple tracks from the actual Tarot album, which was recorded in 1971 with the regular Touchstone band. (This was all I could find for now.)
The Chariot Space Voyage / The Star - http://www.youtube.com/watch?v=AwinoOp_wQI (at the start, this sounds pretty similar to the first outtakes)
The Moon / The Old Fool's Reel - http://www.youtube.com/watch?v=h6qRrQtUxVQ
The Rubber Band, as you can see in the program credits, already featured "classic guitar," violin, and electric guitar, flute & pedal steel (played by Paul Dresher). There doesn't seem to be any need to credit any other guest players on our outtakes. And yet, Constanten does list a 1970 demo session with Richard Greene in his TCBase; and he did apparently also name Garcia, Lesh & Hart when he broadcast some tapes on KSAN. That said, there's no telling just which tracks he was referring to. If the broadcast was in 1970, it would date from an early phase of Tarot (which evolved as a play later on in New York).
There is also the issue that Tarot music was very "composed," and wouldn't seem to lend itself to Garcia's free-flowing jamming style – if any jams at all. This is not so much a concern earlier in 1970 – I can imagine Garcia, Constanten, Hart & co. having a jam session on the Mandrake's stage, like they'd done at the Boston Tea Party – but by the time Tarot was being recorded or presented onstage, Garcia would seem to be limited to strict sideman parts with little scope for improv. How eager would he be for that role?
Constanten's TCBase provides some useful info:
It lists undated performances by the Rubber Duck Company at Mandrake's in Berkeley in 1970. (Multiple bandmembers are listed – two guitarists, drummers & violinists, and three bassists. There was an ever-changing band membership, so they were all lumped together in this list, along with some guest players. Note that David Garthwaite & Ron Wilson, sitting in from the Joy of Cooking, are included – Joe McCord also remembered their involvement.)
TC also lists a "Tarot Demo Session" at Pacific High Recorders that year, including "Harlequin" and "Maiden Waltz" with Richard Greene on violin. Another Tarot Demo Session is listed as taking place in Albany, California that year.
The Tarot musical is listed as starting at Brooklyn's Chelsea Theater Center in December.
Garcia's name is not listed anywhere in these Rubber Duck entries. Whether it's because Constanten omitted him, or felt his involvement was too minimal to mention, it's hard to say.
After the Brooklyn run ended, Tarot performances resumed at Manhattan's Circle in the Square theater in March '71, extending into April.
Blair Jackson wrote in an article on TC: "I had the good fortune to see Tarot performed twice at the Circle-in-the-Square Theatre (both nights before Dead shows at Manhattan Center) [April 4-6], and can attest to the magical spell it cast on audiences with its eclectic music – played by T.C., former Country Joe & the Fish drummer Chicken Hirsch, multi-instrumentalist Paul Dresher (now a big name in avant-garde circles), violinist Art Fayer, and guitarist Jim Byers – and enchanting, dreamlike flow." (Golden Road, Summer 1984, p.24)
Note that Garcia still hadn't shown up...
When Constanten sat in with the Dead on 4/28/71, he was recording the Tarot album at Electric Lady Studios in New York. He later recalled, "I was in New York finishing the recording of Tarot. I didn't even go to the Fillmore East with the idea of playing. I just went to visit Pigpen and the others. I was backstage at the Fillmore East and the next thing I knew I was sitting down at the keyboard." (from the Sandy Troy interview, One More Saturday Night p.162)
That was the last time he played with Garcia.
The Tarot album was meant to be a double-album, but was cut down to a single. The Touchstone band headed back to California later that year (with some changes in personnel) with high hopes of recording another album, or playing more music. As Constanten reports in his book, their plans ended in disappointment.
From the Pooterland interview, TC concludes the Touchstone story:
"Touchstone moved to Los Angeles after the NYC Tarot run. Michael Butler, whose show Hair was running (and raking it in) in six cities at the time, was contemplating taking Tarot on. When that project ran into problems, he came up with a concept for a musical version of Frankenstein, and signed me to do the music. Aside from preparing for that, Touchstone did a few shows as an instrumental band in California. United Artists Records was cool to instrumental bands, though, so they didn't promote the album a whole lot. The fact that the show didn't catch fire during the New York run didn't help. So the second album our contract mentioned (and we had material for) evaporated into the fog on the Hollywood hills."
Joe McCord seems to have had some hard feelings about how it turned out. Commenting on one of the youtube clips, McCord wrote, "Touchstone's first name was the RUBBER BAND. Tom Constanten sabotaged TAROT, on the orders of the Church Of Scientology." Then Chicken Hirsch replied: "What the fuck Duck. Tom busted his ass for the project. I was there and I didn't see no sabotage."
The point of this is not to bring up old disputes, but it reminds us that if the guys who were in the band disagree on what happened, how much can we figure out by relying on the few scraps available on the internet?
This is what we're left with, for now:
1. An ad for shows with Garcia & the Rubber Duck band. Scholars dispute that they took place, but I think they did.
2. Joe McCord says Garcia played with the Rubber Duck band quite a bit. Constanten doesn't say a word about it.
3. Paul Dresher confirms that Garcia was the original guitarist for the Rubber Duck band, and that it started out as a Dead opening act & expanded from there. But he does not mention Garcia participating in the Tarot play.
4. The Tarot program lists Garcia as a possible guest player. But he was in California when the play was actually running. (Contemporary news references to his involvement still give no details as to how he contributed; they seem to be just taken from the program.)
5. Constanten apparently did mention Garcia as a player in some outtakes or demos he played on the radio. But we don't know which outtakes they are; it's impossible to identify him.
Hopefully, more precise information will come to light in the future! But it looks like, despite Garcia's presence in so many of our sources, his actual collaboration in Tarot may have been small.
My current theory is that the Rubber Duck Company started or entered the Dead orbit sometime in summer or fall 1969, as Garcia, Constanten & Hart would improvise & back mime McCord as an opener for their sets. By mid-1970, the Rubber Duck outfit was performing independently, and Garcia would sometimes participate in their shows. Once another guitarist joined, he dropped out. While in New York in November 1970, he met McCord again, may have played a little with the Rubber Band, and may have agreed to guest in the Tarot play when he could; and his name was happily added to their program. However, most likely he never appeared.
* * *
An excerpt from Paul Dresher's interview in the May 2000 issue of 21st Century Music.
DRESHER: I applied to Cal Arts the year it opened, and I got into Cal Arts the same time that I got into a very "big" band - a band that was doing stuff. I was replacing Jerry Garcia, actually, in this band.
ALBURGER: What was the band's name?
DRESHER: The band was called The Rubber Duck Company. They used to open for The Grateful Dead... So that was a big opportunity. I had to decide whether to go to Cal Arts, or take this gig with the band and move to New York. We were having a show produced at the Brooklyn Academy of Music.
ALBURGER: And you were 19.
DRESHER: Yes. So I moved to Brooklyn to do the show, and lived in total, abject poverty. But I was having fun… So we did the show for five or six weeks at the Brooklyn Academy. The band was made up of a lot of people who had been successful in bands like Joy of Cooking, Country Joe and the Fish, and Sea Train.
ALBURGER: Anyone we would have heard of?
DRESHER: Tom Constanten was the keyboard player and leader of the band… Of course, Tom has a very, very unusual musical history.
ALBURGER: He does, indeed, and he has some Mills associations, too.
DRESHER: Yes. Before he joined The Grateful Dead, he had been at Darmstadt for four years, and studied with Henri Pousseur and Boulez and Berio. In fact, Berio came to one of our shows in New York in 1970.
ALBURGER: And Tom had a connection with Steve Reich.
DRESHER: Yes, and he had a connection to that whole music community at Mills.
ALBURGER: And the other Grateful Dead member –
DRESHER: Phil Lesh. So Tom had been in Europe, and Phil got into the Grateful Dead, and Phil said to Tom, "You have to come be in this band." Tom was always the odd man out, because his musical world was really not dance music. Tom's world was the serious contemporary classical-music world. In fact, much of that unusual music in the Dead's second album, Anthem of the Sun – all the prepared-piano passages and all the weird electronics – is Tom.
ALBURGER: And of course, Tom didn't stay for the long haul.
DRESHER: Tom left the band in 1970, and then formed The Rubber Duck Company to do this music-theater piece. How the new band began was that Tom, Mickey Hart, and Jerry Garcia would improvise with this mime – between Grateful Dead sets or as an opening set. And the mime, Joe McCord, had a street-theater piece.
ALBURGER: Was he part of the San Francisco Mime Troupe?
DRESHER: No, this was very different. So this new band was being formed for Joe's theater piece, and it was really time for Tom to leave the Dead, because he was really not fitting, and the Dead wanted to rock more, they were getting less psychedelic. Well, they always stayed psychedelic, but… So Tom was the composer for Rubber Duck when I got in the band, but I started writing some of the music for the show, too. So that was my entry into the commercial-music world.
ALBURGER: The name of the show was?
DRESHER: Tarot, based on the tarot cards. There's an album. There's a vinyl LP out there, which is actually in the Grateful Dead history books as a weird offshoot of their activities.
ALBURGER: So you're part of that weird offshoot of the Grateful Dead output.
DRESHER: Well, I was, at a very early age. And I do have to admit that Jerry Garcia was my inspiration for a number of years.
ALBURGER: As a guitarist.
DRESHER: And for what the Dead did, in terms of where they would go sonically. As much as people like to disparage the Dead, magic things happened. Things happened on stage that were clearly unlike anything that had ever happened in rock and roll, before or since: the feedback, just dealing with the ambience of the moment, making transitions and going places that were very special. That's part of why people love that band. Performances were very unpredictable. Even before the death of Jerry, I hadn't seen the Dead for a number of years. But I've seen the Dead be completely boring and awful, and then I've seen moments that were astonishing. Sometimes in the same set! That was part of the whole Grateful Dead experience.
ALBURGER: You'd hang around long enough, and you'd see the face of God. But sometimes it was a long hangout.
DRESHER: Sometimes it was really boring…
ALBURGER: Jumping ahead, there you were in New York doing Tarot, and that wasn't going anywhere for you.
DRESHER: Spiritually, it was completely empty. Plus, we did an instrumental record. Well, nobody did an instrumental pop music record back in 1970… It was pretty fringe pop. Pop culture never accepted it. Rubber Duck was not commercially successful. We had Tarot, which was successful as an Off-Broadway show. We did the soundtrack album. It was an instrumental piece. It was all instrumental; no story on the LP. United Artists signed it, and the person who signed us immediately got fired. So we were orphaned, and we got passed off to someone else in the company. Even before the record came out, our A&R contact out of L.A. didn't have a clue who we were and had no interest in this weird thing. We couldn't even get them to answer our phone calls.
ALBURGER: You got buried.
DRESHER: Yes, buried. And that was a very, very, very good education about how that world worked; what were the values of the people I was dealing with.
ALBURGER: Did any of that provide experience for running your own ensemble?
DRESHER: Well, I've always naturally been inclined towards being the bandleader. When the band came back to the Bay Area, we really changed. We lost the drummer. Tom and I and the bass player came back, and auditioned drummers, and in fact, met the drummer I work with now. We added another guitar player (we had a violin in the band originally) and started gigging around in clubs. We were an instrumental band playing in dance clubs, playing in 17/8 time signatures and 10/4, and it wasn't going to make it. But the record came out, and we did some dates, and we quickly realized, "This is not happening," and we just wanted to play the music, and we just wanted to jam. We started doing these extended jams that were sort of half Grateful Dead, half Mahavishnu Orchestra. Pretty soon it dissipated into just having fun. It wasn't about making any money. That was right when I was hanging out at Mills College. That's when I really hooked up with a whole different group of people, and I realized instantly, "These are people who are doing music for the same reasons I'm doing it." …
* * *
Here are two reviews of the "Tarot" musical. One person who saw it has told me "it was not for the straight crowd"…
'Tarot' Features Songs by Yolande Bevan
Mime Is an Ingredient of Brooklyn Staging
By Clive Barnes
Pretentiousness is rioting at the Brooklyn Academy of Music, where last night the Chelsea Theater Center ill-advisedly opened a musical called "Tarot."
"Tarot" has been conceived by The Rubber Duck. The Rubber Duck is a man and The Rubber Duck is the name by which he wishes to be known in his professional capacity. You might imagine that anyone who wished to be called The Rubber Duck – even in a professional capacity – was in a certain amount of difficulty.
"Tarot" is a musical composed by Tom Constanten, Chicken Hirsch of Country Joe and the Fish and, among others, Jerry Garcia of the Grateful Dead. Most of the singing is by Yolande Bevan, and musically this is a moderately distinguished show. Close your eyes, forget The Rubber Duck and his ludicrous staging, and just go with the music and you may have a decent time. An original cast album would doubtless prove a mild pleasure. But the show itself is tedious, pompous, inefficient and amateurish.
The musical is based on the fortune-telling game of Tarot – a card game which I once learned about while exploring T.S. Eliot's "The Waste Land" but I now completely forget. This musical succeeded in bringing nothing back to me. Indeed I didn't understand what was happening from the beginning to the end, and truth to tell after the first ten minutes I did not care.
There are no words; it is a mime or dance musical. It has been staged by Mr. Duck and Robert Kalfin. Its chief merits are that one or two of the performers are virtuosos of the soap bubble. One of them can even put smoke in a soap bubble. It is quite lovely and – the music apart – the nearest point the whole evening came to approaching any even evanescent artistic statement.
As mimes or dancers the performers seemed innocent of anything so vulgar as technique. Messrs. Duck and Kalfin will not I suspect make a very favorable name for themselves as choreographers. Their corporate idea of movement, dance, mime and all points East appeared to be enthusiastic but puerile. Occasionally one could see what they were trying to do, and on such occasions it would have been inhuman not to have sympathized. But it is not in everyone to produce an evening of even modest theater, and the will should not always be confused with the way.
This is a lame Rubber Duck of a show – Mr. Duck incidentally parades through it trying to look a morceau like Marceau and failing dismally – so don't let us talk about it any more. Bubbles, bubbles, toils and troubles – but the music was fine.
Much more important was a note in the program. It read: "Pending funds being made available, as of the printing of this program the Chelsea Theater Center of Brooklyn will be forced to suspend operations for the current season after the final performance of 'Tarot' on Dec. 20, 1970." Now this should not be allowed to happen. [ … ]
It is the solitary professional drama company in New York City based outside of Manhattan and it has a handsome, resident home. It simply must not be allowed to die. Why do all the New York arts have to be in Manhattan? Even when the Chelsea Theater fails – as it does with "Tarot" – it fails interestingly. And when it succeeds a whole forest grows in Brooklyn.
(New York Times, 12/12/70)
By Carman Moore
[ Part of a longer article on the new "rock musical." ]
…With the Incredible String Band's "U"…the pure fantastical-mystical impulses of the rock community got up on stage and led the way into the area of abstract intermedia explored over the last decade by the avant-garde classical people and Happeners. This last week I twice witnessed a link in that chain of abstraction – once under the influence and once out from under at the Brooklyn Academy of Music. It is still running and is called "Tarot" by its author-star Rubber Duck and composer-pianist Tom Constanten, once of the Grateful Dead.
Clive Barnes also saw it – I know not in what condition – but he heaped fire and brimstone upon this little, gentle mime-plus-music account of how some medieval figures with names like the Fool, the Philosopher, Perfection, the White and Black Magicians (guess who represented villainy), Death (she's a woman), and the Tree of Life work the Fool's (mankind) birth, education, death, and re-absorption into Nature. I mention Mr. Barnes only to note how mixed-media can never be the same to both the music-centered and the visual-centered attendant. Let me opine that stoned, the mix in "Tarot" is magical, although either way the narrative progresion is inscrutable without the score card and/or religious training in occult mysteries. "Tarot's" linear inscutability may point to the fact that music dominates the mix. I like music, but I felt that a major problem of the piece is that it fails to touch the life of the viewer very often. Sure, we are all sort of Fools thrown into this world, set upon by some bad times, and tossed between our own good and evil impulses, but what about race, Vietnam, money, and alienation? What do I care about the Devil and the death of a Fool in an Existential world?
Much, however, is beautiful about "Tarot." In beauty and performer commitment it far outsrips "U" and is more consistently interesting than "Tommy." Especially fresh here is the fact that rock musicians using all kinds of music, most of it instrumental, guide the listener through a wider set of emotional changes than I have witnessed popular music to do in a long time. The playing was not terribly tight, although drummer Chicken Hirsch, once of Country Joe, seemed on top of everything, and Yolanda Bavan sang solidly on the second night. When Jerry Garcia joins the band, this assessment may have to change. There are no individually important pieces. Nonetheless the music does take your head on a real transport.
Dramatically I was knocked out by several scenes – the visitation of a gorgeous lady called Perfection to earth, the Philosopher's erotic encounter with the Tree of Life, the good and bad musicians' vying for the ear of the Fool, and the snarling performance of the Devil's woman as she exhorts her old man to kill the Fool. Otherwise, I guess I'd like my Tarot cards to inform me a little about your and my life here upon Earth (no matter how gently, allegorically, and beautifully) – advise us how to deal with Nixon.
They will be setting up in Manhattan soon. With a re-address to the piece I think a stunning rock adventure would come to fruition. Broadway shows, after all, will prune and re-write for a year in San Francisco before coming to Manhattan proper, so why not a piece so potentially lovely as "Tarot." At any rate, rock is probably going to be mixing it up until a special new art form reaches the masterpiece-capability stage. If "Tarot" does not, another piece will.
(Village Voice, 12/17/70)
http://news.google.com/newspapers?nid=KEtq3P1Vf8oC&dat=19701217&printsec=frontpage&hl=en (p.52)
6 comments:
I would say that his contribution is limited to possibly helping with arrangements, and allowing his name to be used in vague connection with the music, to possibly help ticket sales. Maybe he even rehearsed with the band. You did a great job compiling the evidence but at this point the assumption must be (until any new evidence surfaces) that he never played live with this group.ReplyDelete
Let me second Dr. Jeff here in saying that you have done an excellent job of tying together the somewhat disparate strings here. It's very useful to have them all in one place. I do have a few factual tidbits to add.ReplyDelete
I had initially dismissed the idea that Garcia had much to do with Rubber Duck or Touchstone, and had figured that any references to him playing with either band were hype, but now I am not so sure. As the reference to the October '69 Boston Tea Party shows, there are some clear sightings of Garcia playing with Joe McCord, so it isn't all mistaken memories.
One thing to consider is that in 1969, Garcia was still hungry to jam, and appears to have sat in with all sorts of people. He liked playing sessions, going to the Monday night Matrix jam, hanging out at the Family Dog, and so on. Garcia's solution was to form regular, if informal group--the Wales/Kahn/Vitt band at The Matrix and the New Riders. What that meant was that he had less time and less need to sit in with more casual partners. The timeline fits the Rubber Duck story. The times he jammed with them seemed to be late '69/early '70. By the time the end of 1970 comes along, Garcia is playing regularly at The Matrix and with the New Riders, so he has less need to sit in with others.
My first additional fact is that Seatrain, with Richard Greene and Peter Rowan, was initially based in the Bay Area in late 1969, and then they appear to have moved to Cambridge, MA. I have a Richard Greene post coming up that will explain it, but the essence of it is that Greene and Rowan would have been around the Bay Area in late '69 to connect with "Rubber Duck," and later to join in with New York recording sessions. I agree that Peter Rowan had not met Garcia at that point, the connection would have been a more casual Bay Area music connection.
My second fact is that way back in the mid-80s, I was friends with a bass player for Rubber Duck, namely Tom Glass. Tom is aka the artist Ned Lamont, and was an old Berkeley hand, playing with the Jazz Mice, Dancing Food And Entertainment and other ensembles. He told me about playing with Rubber Duck in 1969 (he told me "Rubber Duck was a mime named Joe," which turned out to be so), and Tom is listed in the Constanten gig list linked above. Tom mentioned nothing about playing with Garcia--he would have, I discussed the subject with him at length, and played him the Touchstone album, much to his astonishment--so I can at least assert comfortably that Garcia may have played with Rubber Duck on occasion, but hardly always.Replies
Thanks for the extra tidbits!Delete
While this post focused on Garcia's whereabouts, one thing I wondered about was just what Constanten was up to between his last Dead show, and the next known Rubber Duck Band appearance in June 1970. Was Constanten working with McCord steadily from the time he left the Dead?
McCord's activities seem to be barely documented. Constanten's gig-list, for instance, has the Rubber Duck Company playing at the Fillmore West sometime in 1970...when was that, I'd like to know? They seem to be the kind of act that almost never had a billing, but just showed up as an unannounced opener.
McCord most likely floated around, opening at Dead shows occasionally, and with different members in the Rubber Duck Band depending on who was available or interested. (Tom Glass, for instance, is cited in the gig-list in a period when the band's composition was ever-changing, and I'd bet a number of those people in the Rubber Duck list never played with each other.) Constanten's first quote in this post was that "sometimes I was the entire band"!
Guitarist Jim Byers writes that Garcia did not play with Rubber Duck at the New York Tarot performances:ReplyDelete
"Definitely not. I was at all performances and he never was there. Joe McCord and I were the original Rubber Duck, classical guitar and pantomime. Joe and I started doing our mime classical guitar act at the Family Dog on the Great Highway. Chet Helms liked what we were up to and we became regulars there. We could go on between sets. That's how it started. Joe knew the Dead because his wife Anne Moore used to live on Perry Lane with Kesey. Joe had this concept of a theater. I knew Richard Greene of the Sea Train and we would gig with them separately, and we would sometimes play with part of the Dead at their gigs. Mickey, T.C. and Jerry worked out some numbers with us. It was about pantomime and music. We also knew the Joy of Cooking and would sometimes integrate our concept with Ron Wilson and David Garthwaite. So you see we were playing often with different groups. When we started rehearsing for a play Richard Greene, Peter Rowan, Jerry, Mickey, and TC would play together. Interesting also is that several of us were acting in the play as well. I think that is how Old and In the Way came to be. There was a reel to reel demo tape done at a studio with Jerry, Micky, TC, Richard and Peter. I had a copy but it was stolen."
Thanks to Jim for the info!
This confirms that Garcia, Hart & TC were involved (at least sometimes) with McCord's performances in the period before Tarot came together. Greene & Rowan were in SF with Seatrain from fall '69 to spring '70, which is exactly the period when Garcia was dabbling with the Rubber Duck performances. Though Old & in the Way didn't form til years later, it's interesting to see that Garcia was already playing with both Greene & Rowan at this time. And it's fascinating to learn there was a studio demo tape! (How close it was to our "Tarot outtakes" tapes is unknown.)
Brett Champlin of the Devil's Kitchen Band (who were the Family Dog "house band") writes:ReplyDelete
"Garcia and other members of the band recorded tracks for the play for several months on and off in San Francisco. I know because he called up my band, Devil's Kitchen, and asked a couple of us to come and jam with him and work out some music for a play that some friends of his were doing called "the Tarot". I don't remember exactly when but it had to be early in 1970. Never heard of the tapes from that session again. But I seem to vaguely recall him saying something about this was just the start of it and they were going to do some more sessions later..."
This is fascinating news - it confirms that Garcia was working on the music for Tarot, rehearsing arrangements, bringing in other musicians, even recording demos sometime in 1970.
It seems to me he was involved with this in mid-'70 but dropped out sometime by the fall - maybe because the Rubber Duck band was getting more solid with new members, or they were going to New York, or because he was getting too busy between the Dead/NRPS/jamming with Howard Wales/recording American Beauty & Crosby's album...
Did any of you Deadheads get any footage of the Hollywood Bowl, where I opened for the Dead? A very memoriable day for me.ReplyDelete


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New DVD Releases: August 4, 2009Tuesday, August 4th, 2009
These are the new DVD releases for August 4, 2009.
Derek Charles (Idris Elba), a successful asset manager who has just received a huge promotion, is blissfully happy in his career and in his marriage to the beautiful Sharon (Beyonce Knowles). But when Lisa (Ali Larter), a temp worker, starts stalking Derek, all the things he's worked so hard for are placed in jeopardy.
Cast: Beyoncé Knowles, Idris Elba, Ali Larter, Christine Lahti, Bruce McGill, Scout Taylor-Compton, Ron Roggé; Directed By: Steve Shill
Special Features:
Race to Witch Mountain
For years, stories have circulated about a secret place in the middle of the Nevada desert, known for unexplained phenomena and strange sightings. It's called Witch Mountain, and when a Las Vegas cab driver (Dwayne Johnson) finds two teens with supernatural powers in his cab, he suddenly finds himself in the middle of an adventure he can't explain. They work together to discover that the only chance to save the world lies in unraveling the secrets of Witch Mountain, and the race begins.
Cast: Carla Gugino, Annasophia Robb, Dwayne Johnson, Christine Lakin; Directed by: Andy Fickman
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The Soloist
Columnist Steve Lopez (Robert Downey Jr.) is at a dead end. The newspaper business is in an uproar, his marriage to a fellow journalist has fallen apart and he can't entirely remember what he loved about his job in the first place. Then, one day, while walking through Los Angeles' Skid Row, he sees the mysterious bedraggled figure Nathaniel Ayers (Jamie Foxx), pouring his soul into a two-stringed violin.
At first, Lopez approaches Ayers as just another story idea in a city of millions. But as he begins to unearth the mystery of how this alternately brilliant and distracted street musician, once a dynamic prodigy headed for fame, wound up living in tunnels and doorways, it sparks an unexpected quest. Imagining he can change Ayers' life, Lopez embarks on a quixotic mission to get him off the streets and back to the world of music.
But even as he fights to save Ayers' life, he begins to see that it is Ayers—with his unsinkable passion, his freedom-loving obstinacy and his valiant attempts at connection and love—who is profoundly changing Lopez.
Cast: Robert Downey Jr., Jamie Foxx, Catherine Keener, Stephen Root; Directed by: Joe Wright
Special Features:


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INFOGRAPHIC: All the facts for #Wondo4Brazil
INFOGRAPHIC: the official voter's guide for #Wondo4Brazil
April 29, 2014
With USMNT head coach Jurgen Klinsmann's final roster decision looming for the 2014 World Cup, there is no better time to show our solidarity for Chris Wondolowski.
Wondo has our vote; does he have your endorsement? Download the official #Wondo4Brazil campaign materials, and hit social media, Quakes fans.
Those numbers don't lie:


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Age Range < 18 18 - 24 25 - 34 35 - 44 45 - 54 55+
Eye Color Amber Blue Brown Gray Green Hazel Violet
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Craving is a lot more plum than pink on my light toned skin. Goes on easily and has long wear with moisture. A terrific day-to-evening shade, and perfect transition to the deeper plums of the autumn palette..
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I fell in love with Craving years ago. It's an Amplified Cream so the wear-time is pretty good and I don't find this drying on my lips. Such a pretty deep berry rose shade.
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New Adidas ad. MLS : Smart Soccer Since 2012
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We lost our 10-year-old dog earlier this year and the house was too empty, so I knew the Wolves game was a great way to adopt a new friend. Shadow has a lot more energy than I, but we are having a good time getting used to each other. She is becoming one of the family as we get to know each other. Thanks for Haydar's Hounds!
Breed: Mixed
Owner Name: Pat Newman
Adoption Year: 2012


text: Dora Lorene Pate, 91, of Duke, passed away Thursday, Dec. 6, 2012, in Altus. She was born Sept. 21, 1921, in Harmon County to William Nathan Hunter Pate and Velma (Landreth) Pate.Ms. Pate was a hard worker and worked in numerous occupations throughout her lifetime. She enjoyed life and her family. She loved to visit and talk to her many nieces and nephews. Dora loved flowers, animals and especially kittens.She was preceded in death by her parents; two brothers, Al Pate and Lemma Pate; and by four sisters, Audra Duke, Jodie Payne, Francis Pride and Ada Westbrook.She is survived by a host of nieces, nephews, great-nieces and great-nephews, and many other relatives and friends.Funeral services have been scheduled for 2 p.m., Monday at the Lowell-Tims Chapel. The Rev. Micah E. Welcher will officiate. Interment will follow in the Rock Cemetery north of Duke under the direction of Lowell-Tims Funeral Home.Friends and family not able to attend may join the service on our Web-Cast at www.lowell-tims.com Click on obituaries and choose Dora Pate. The Web-Cast will begin at 1:58 p.m.On-line tributes can also be made to the family at www.lowell-tims.com


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Sting Ray Oversized Tote
Style # 225451
This tote is the season's best buy. Durable and gorgeous it's 'sting ray-textured' feel, studded shoulder straps, and oversized style is a must have. Lined with inner zipper pocket. Available in many color options.
- 100% Faux leather
- Imported
- Height: 14 1/2" (37 cm), width: 19" (48 cm), depth: 5? (13 cm), handle drop: 23 1/2" (58 cm)
Rated 4 out of 5�by 2 reviewers.
Rated 3 out of 5�by 1ofeach Oversized tote This is an average bag it holds a lot. It makes a great carry on. It is a good price but overall it was missing that "wow" factor, February 26, 2014
Rated 5 out of 5�by AmbitiousBEBE21 Great Bag! The price is right! I purchased in black, Can be a tote for all occasions. January 1, 2014
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