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Sorry, we're low on stock. Please reduce the quantity.
Crush the cold in these plush, fleece-lined mittens for warmth that's softer than soft.
Prices and availability may differ in-store.
Women's Textured Fleece-Lined Knit Mittens
If you are a consumer in the United Kingdom ("UK"), European Economic Area ("EEA") or Switzerland, this privacy policy ("Privacy Policy") explains how we process your personal data when you shop in our stores, access or use our websites, register for and attend events, engage with us on social media or otherwise interact with us. lululemon athletica UK Ltd, located at Garden House, 57-59 Long Acre, London, WC2E 9JL, and our corporate affiliates and subsidiaries, including lululemon athletica inc., lululemon UK ltd.lululemon usa inc. and lululemon athletica canada inc. (collectively, "lululemon," "we," or "us") are the data controllers for the personal data we process about you.
Please note that we provide different or additional privacy notices in connection with certain activities, programs, and offerings. For example, this Privacy Policy does not apply to consumers located outside the UK, EEA and Switzerland. For more information about our privacy practices in another jurisdiction, please refer to the privacy policy available in our stores, or posted on our website, for that jurisdiction.
Please read this Privacy Policy from time to time to make sure you understand how we process your personal data and the choices you have with respect to such processing.
lululemon reserves the right to change this Privacy Policy from time to time. If we make changes, we will notify you by revising the date at the top of this Privacy Policy. If we make material changes to this Privacy Policy, we will provide you with additional notice (such as adding a statement to our websites' homepages or sending you a notification).
In this Privacy Policy, "personal data" means any information about an individual whose identity is apparent or can be ascertained, directly or indirectly.
We collect personal data from you in connection with your access to and use of our websites, your in-store or online purchases of our products or services, or if you provide us with personal data through other channels or media, such as social media or an event registration service.In particular, we collect personal data directly from you in connection with the following activities:
Registering for an account or filling in forms on our websites or in our stores (this includes information you provide when you request additional information, in writing or verbally, about our products or services or sign up to receive our e-mail newsletters, marketing messages or coupons);
Completing a profile or uploading goals to our websites;
Interacting with us on social media, such as by tagging us and/or our products, or permitting us to follow your social media profile;
Purchasing any product or service from us;Providing design or product feedback or making other submissions to us;
Requesting information or assistance from us, including correspondence with our customer service team and through social media;
Participating in or responding to surveys or requests for opinions, feedback and preferences regarding our products and services;
Participating in or registering for events, consumer contests, sweepstakes and other promotions;
Using other features of our websites that may be offered from time to time, which may require such information in order to utilise the feature.
We collect the following types of personal data in connection with the activities described above: your name, username, password, e-mail address, address, telephone number, credit card and debit card numbers (with expiration dates), personal preferences, goals, and any other personal data that you choose to include in your profile or in other communications with us.
When you access and use our websites, we also automatically collect data, including personal data, using cookies, pixels and local storage. The data we automatically collect includes your IP address, browser type, access times, pages viewed, the frequency of your visits to our websites, the routes by which you access our websites, and your use of any hyperlinks available on our websites. This helps us to provide you with a good experience when you browse our websites and allows us to improve our websites. For detailed information on the cookies we use and the purposes for which we use them, see our Cookie Policy
You may have the option to link your social media account to our social media account (such as on Facebook). If you do link your social media account to our social media account, the social media service may share certain data about you and your activities with us in accordance with their privacy policies and your privacy settings on their services. If we receive data about you in this manner, we combine that data with the personal data we collect directly from you.
In general, we use your personal data to respond your requests, conduct your requested transactions, maintain and customize your account and our interactions with you and provide, maintain and improve our products and services. The specific purposes for which we process your personal data are set out below:
To administer your online account and profile (the legal basis for this processing is our legitimate interest in better understanding user needs and expectations and improving our website);
To provide products and services to you, which includes processing payments, sending notifications related to your purchases, and processing exchanges and returns (the legal basis for this processing is the performance of the purchase agreement between you and lululemon);
To conduct or administer events, contests, prize draws, sweepstakes or other promotions in which you have participated (the legal basis for this processing is the performance of the agreement between you and lululemon related to such contest, prize draw, sweepstakes or other promotion);
To respond to any communications from you, including to troubleshoot problems with our websites (the legal basis for this processing is our legitimate interest in providing you with a functional website);
To analyse your use of and customise your experience on our websites (the legal basis for this processing is our legitimate interest in better understanding user needs and expectations and improving our websites);
To develop and manage lululemon's business and operations (the legal basis for this processing is our legitimate interest in understanding shopping behaviour, improving our selection of products and services, and exploring ways to develop and enhance our business);
To measure your social media engagement with our brand (the legal basis for this processing is our legitimate interest in understanding the efficacy of our marketing strategies);
To detect, investigate and prevent fraudulent transactions, error, negligence, breach of contract, and other illegal activities and protect against harm to the rights, property or safety of lululemon and our users, customers, employees or the public, including by using video surveillance systems (the legal basis for this processing is our legitimate interest in preventing fraud, error, negligence, contractual breach and other illegal activities and protecting and securing our premises,customers, employees and the public);
To comply with our legal obligations, including our tax obligations, those related to the prevention of fraud and money laundering, and those required for you to benefit from rights recognized by law, or any regulatory requirements or provisions (the legal basis for this processing is compliance with our legal obligations under laws in the EEA and Switzerland related to, for instance, taxation, money-laundering and terrorism financing and consumer protection law);
To offer you opportunities to purchase products or services that we believe may be of interest to you, by supplementing the information we collect about you with information from third parties (the legal basis for this processing is our legitimate interest in providing information about products and services that may be of interest to you, unless applicable law requires us to obtain your consent, in which case we will do so).
We do not share personal data about you with third parties except as follows:
a.Our affiliates and subsidiaries. We disclose your personal data to our holding company, subsidiaries and affiliates, including lululemon athletica inc.lululemon usa inc. and lululemon athletica canada inc., for the purposes described in the "Use of Your Personal Data" section ABOVE. Since our holding company, subsidiaries and affiliates are located around the world, please note that these disclosures involve cross-border transfers of your personal data as described in the "Data Transfers" section BELOW.
b. Our Service Providers. We share personal data with third parties that perform services for us, including customer support, web hosting, information technology, payment processing, product fulfilment, fraud control, direct mail and email distribution, contest, event, sweepstakes and promotion administration, and analytics services. We only share with service providers the personal data that they need to perform services for us. Since our service providers are located around the world, please note that these disclosures involve cross-border transfers of your personal data as described in the "Data Transfers" section BELOW.
c. Corporate Transactions. Personal data may be disclosed or transferred as part of, or during negotiations of any purchase, sale, lease, merger, amalgamation or any other type of acquisition, disposal, securitisation or financing involving lululemon.
d. Professional Advisors. We share personal data with our legal, financial, insurance and other advisors in connection with the kinds of corporate transactions described above or in connection with the management of all or part of lululemon's business or operations.
e. Compliance with Law. We disclose personal data when we believe doing so is reasonably necessary to comply with applicable law or legal process (including requests from authorities), to respond to claims (including inquiries by you in connection with your purchases from lululemon), or to protect the rights, property or personal safety of lululemon, our users, employees or the public.
f. Consent. We share personal data with third parties when we have your consent to do so. For example, if you decide to participate in certain interactive areas or features of our websites, such as creating a public profile and posting your goals, you consent to the disclosure of this information to other users of our websites.
g. Third Party Advertising partners: as described in the "Third party" section ABOVE, we may share personal data we collect, including about your usage of the applications and services, with our advertising partners so that they can better target and/ or personalise advertisements displayed within any lululemon service, on another website or any application used by you. Some of our third-party advertising partners act either as joint controllers of your personal data along with lululemon or as independent data controllers, and thus will handle shared data under the terms of their own privacy policies. This means that we provide you with information in this privacy policy, but you should contact of the relevant third party if you want to exercise your data protection rights relating to the data that has been shared. Further information, including how the third party enables you to exercise your data protection rights, and subsequently processes your information, can be found in that third party's privacy policy
Our third party partners currently include:
Facebook: Joint Controller: https://www.facebook.com/about/privacy
Rakuten: Independent Controller: https://go.rakutenadvertising.com/hubfs/Website-Privacy-Policy-English.pdf
Teads: Joint Controller: https://www.teads.com/privacy-policy/
Criteo: Joint Controller: https://www.criteo.com/privacy/
We have physical, technical and administrative measures in place to help protect personal data from loss, unauthorised access or processing, modification, disclosure, damage, alteration, destruction or other misuse. Unfortunately, the transmission of information via the internet is not completely secure or private. You understand that any messages or information you send to our websites may be read or intercepted by others. If you have any questions about the security of personal data collected by lululemon contact us HERE.
For the reasons set forth in this Privacy Policy, the personal data that we collect may be transferred to and stored or otherwise processed by our holding company, corporate affiliates, subsidiaries, and service providers outside of the UK, Switzerland and the EEA, including (but not limited to) in the United States, Canada or Australia. We also transfer personal data to service providers that process personal data for us in the United States, Canada and other locations (as an example, Amazon Web Services process information for us in various data center locations, including those listed at HTTPS://AWS.AMAZON.COM/ABOUT-AWS/GLOBAL-INFRASTRUCTURE/). While in another jurisdiction for processing, your personal data may be accessed by the courts, law enforcement, and national security authorities of that jurisdiction. These jurisdictions may not provide the same level of data protection as your home jurisdiction and may not be considered by the European Commission to offer adequate protections for personal data.
We ensure, with the signature of Standard Contractual Clauses adopted by the European Commission, that personal data transferred outside the UK, EEA and Switzerland is maintained with at least the same level of security and protection for personal data that is required under applicable law. Copies of the Standard Contractual Clauses we use to facilitate this transfer of data are available HERE and HERE. Transfers to Canada are made pursuant to European Commission decision 2002/2/EC of 20 December 2001 and recognized by the UK government.
We retain personal data only for as long as necessary to achieve the purpose for which such personal data was collected, unless a different retention period is required under applicable law. We also retain personal data for as long as you have your account, or as long as is needed to be able to provide the services or products to you, or (in the case of any contact you may have with our Guest Education Centre) for as long as is necessary to provide support-related reporting and trend analysis. If reasonably necessary or required to meet legal or regulatory requirements, resolve disputes, prevent fraud and abuse, or enforce our terms and conditions, lululemon may also keep personal data as required, after an account is closed or is no longer necessary to provide services. Unless otherwise required by applicable law, lululemon will take reasonable steps to destroy or permanently de-identify personal data it holds if such personal data is no longer needed for the purpose for which it was collected.
Please note that our websites contain links to third-party websites that are not controlled or operated by lululemon. If you follow a link to any of these websites, please note that these websites have their own privacy policies and that lululemon does not accept any responsibility or liability for these policies.Please review these policies before you disclose any personal data when visiting such third-party websites.
Subject to certain limitations and exceptions, you have the following legal rights regarding our processing of your personal data:
A right to obtain information:You have the right to request information about how we process your personal data.
A right of access:You have the right to request access to, or a copy of, the personal data we process about you.
A right of rectification: You have the right to request that we correct or supplement inaccurate or incomplete personal data we process about you.
A right of erasure: You have the right to request that we delete personal data about you.
A right to restriction of processing: You have the right to request that we restrict processing of your personal data, so that we can store such data but not otherwise process it.
A right to data portability: In certain circumstances, you have the right to request that we provide the personal data which you provided to us in a structured, commonly used and machine-readable format, and you have the right to transmit such data to another controller without hindrance from lululemon.
A right to object to processing:You have the right to request that we stop processing personal data about you. For example, when your personal data is processed for email marketing purposes, you have the right to object to such processing at any time by clicking on the "unsubscribe" link at the bottom of such marketing communications.
A right to revoke your consent: When our processing is based on your consent, you have the right to revoke such consent at any time.
The right to file a complaint:You have the right to file a complaint regarding our data protection practices with a supervisory authority. You can do so by contacting your country's supervisory authority.
If you would like to exercise any of these rights or if you have any questions or enquiries relating to our privacy practices or procedures, you may write to the Privacy Officer at the addresses provided below.
Questions or Comments
Questions or comments about this Privacy Policy and or data protection practices should be directed here.
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The Two-Way, NPR.org and some of NPR's Twitter accounts were hacked late Monday by an organization that's said to support Syrian President Bashar Assad's regime, as this statement from NPR reports:
"Late Monday evening, several stories on the NPR website were defaced with headlines and text that said 'Syrian Electronic Army Was Here.' Some of these stories were distributed to and appeared on NPR Member Station websites. We have made the necessary corrections to those stories on NPR.org and are continuing to work with our Member Stations. Similar statements were posted on several NPR Twitter accounts. Those Twitter accounts have been addressed. We are closely monitoring the situation."
The problems began around 11 p.m. ET Monday, when the "Syrian Electronic Army" messages started to pop up on The Two-Way and NPR.org. Minutes later, this statement appeared on the SEA's Twitter page:
"We will not say why we attacked @NPR ... They know the reason and that enough #SEA #Syria."
Three more messages appeared on the SEA's Twitter page in the next few hours, including the claim that "5 Twitter accounts for @NPR in addition to their official website was hacked by #SEA... We hope that NPR got our message #Syria."
Another message said "you can ask @deborahamos" for an explanation of the attack. NPR's Deborah Amos has done extensive reporting about the conflict in Syria and in the course of her reports has told of the hard toll the fighting there is taking on the Syrian people. She was among the NPR correspondents singled out when the prestigious Peabody Awards were announced in March. Amos and NPR's Kelly McEvers were lauded for their "detailed reportage, often from dangerous locations." Several of their reports took them into rebel-held territory.
The SEA also posted a screen grab showing an email sent to NPR staff just after midnight by Mark Stencel, NPR's managing editor for digital news. He said: "We are aware that access to our publishing system appears to have been compromised and several stories were hacked. We are taking steps to fix the stories that have been vandalized."
As this story from the Deseret News explains:
"Last month The Washington Post reported that the SEA appeared to have hacked the Human Rights Watch website and Twitter feed. 'All Your reports are FALSE !! Stop lying!!!,' read one entry posted during the assault. The Associated Press reported in March that in addition to gaining temporary control of several BBC Twitter accounts, the SEA previously has targeted both Al-Jazeera and Reuters."
The Guardian has described the SEA as "Syrian regime supporters."
Copyright 2021 NPR. To see more, visit https://www.npr.org.

subset: commoncrawl


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Coventry Drainage Solutions (Free Phone)
Cookies are small data files used by websites, apps and mobile sites to improve and personalise your visit to that particular site in the future.
Cookies serve a range of purposes, from allowing you to navigate between pages easier and storing your personalised preferences, to generally improving your experience of the website. Cookies make the interaction between you and the website easier and faster.
The Able Group and third party partners may set different types of cookies when you visit .able-drainage.co.uk and other Able Group websites.
We have strict security measures to protect personal information. This includes following certain procedures and encrypting (encoding) data on our websites.
By using our website, you therefore consent to the collection and use of your personal information by us as detailed in this Privacy Policy.
This website may contain links to other websites. Please remember that we are not responsible for the privacy practices of these other sites. This Privacy Policy applies only to the information collected on this website.
Our Privacy Policy outlines how we treat your personal information, and forms part of the Terms and Conditions of this Site. This Privacy Policy applies only to this site, and not the collection and use of personal information by any third party.
If you would like any further information or have any comments about our Privacy Policy, please write to us at the Able Group, 39 Progress Road, Leigh on Sea, SS9 5PR, United Kingdom. Alternatively, you can email us at [email protected]. We may change this policy at any time, in which case we will publish the amended version on our website.
Want to speak to an expert?
Call Free 0800 114 3310
Powered by Viabl Ltd, Company Registration Number: 11955942 (England & Wales), VAT Number: 626613543
Copyright © coventry.able-drainage.co.uk 2019
Calls made will not be charged


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Job Information
Providence RN - Med-surg *FT - Nights* in Santa Monica, California
Providence nurses are not simply valued – they're invaluable. You will thrive in our culture of patient-focused, whole-person care built on understanding, commitment, and mutual respect. Your voice matters here, because we know that to inspire and retain the best nurses, we must empower them. Learn why nurses choose to work at Providence by visiting our Nursing Institute page.
Join our team at Saint Johns Health Center. As a Providence caregiver, you'll apply your specialized training to deliver world-class health with human connection and make a difference every day through your extraordinary care.
Required Qualifications:
Graduation from an accredited nursing program.
Upon hire: National Provider BLS - American Heart Association
Upon hire: California Registered Nurse License
National Institutes of Health Stroke Scale Certificate - NIH Stroke Scale Training Course upon hire
1 year Nursing experience.
Preferred Qualifications:
- Upon hire: National Certification in area of specialty, unless otherwise indicated.
Why Join Providence?
Our best-in-class benefits are uniquely designed to support you and your family in staying well, growing professionally, and achieving financial security. We take care of you, so you can focus on delivering our Mission of caring for everyone, especially the most vulnerable in our communities.
About Providence
At Providence, our strength lies in Our Promise of "Know me, care for me, ease my way." Working at our family of organizations means that regardless of your role, we'll walk alongside you in your career, supporting you so you can support others. We provide best-in-class benefits and we foster an inclusive workplace where diversity is valued, and everyone is essential, heard and respected. Together, our 120,000 caregivers (all employees) serve in over 50 hospitals, over 1,000 clinics and a full range of health and social services across Alaska, California, Montana, New Mexico, Oregon, Texas and Washington. As a comprehensive health care organization, we are serving more people, advancing best practices and continuing our more than 100-year tradition of serving the poor and vulnerable.
The amounts listed are the base pay range; additional compensation may be available for this role, such as shift differentials, standby/on-call, overtime, premiums, extra shift incentives, or bonus opportunities.
Check out our benefits page for more information about our Benefits and Rewards.
About the Team
The Sisters of Providence and Sisters of St. Joseph of Orange have deep roots in California, bringing health care and education to communities from the redwood forests to the beach shores of Orange county - and everywhere in between. In Southern California, Providence provides care throughout Los Angeles County, Orange County, High Desert and beyond.
Our award-winning and comprehensive medical centers are known for outstanding programs in cancer, cardiology, neurosciences, orthopedics, women's services, emergency and trauma care, pediatrics and neonatal intensive care. Our not-for-profit network provides a full spectrum of care with leading-edge diagnostics and treatment, outpatient health centers, physician groups and clinics, numerous outreach programs, and hospice and home care, and even our own Providence High School.
Providence is proud to be an Equal Opportunity Employer. We are committed to the principle that every workforce member has the right to work in surroundings that are free from all forms of unlawful discrimination and harassment on the basis of race, color, gender, disability, veteran, military status, religion, age, creed, national origin, sexual identity or expression, sexual orientation, marital status, genetic information, or any other basis prohibited by local, state, or federal law. We believe diversity makes us stronger, so we are dedicated to shaping an inclusive workforce, learning from each other, and creating equal opportunities for advancement.
Requsition ID: 296132
Company: Providence Jobs
Job Category: Nursing-Patient Facing
Job Function: Nursing
Job Schedule: Full time
Job Shift: Night
Career Track: Nursing
Department: 7006 PSJHC MEDSURG CSS
Address: CA Santa Monica 2121 Santa Monica Blvd
Work Location: Providence Saint John's Health Ctr-Santa Monica
Pay Range: $52.24 - $83.52
The amounts listed are the base pay range; additional compensation may be available for this role, such as shift differentials, standby/on-call, overtime, premiums, extra shift incentives, or bonus opportunities.
Check out our benefits page for more information about our Benefits and Rewards.
Providence offers a comprehensive benefits package including a retirement 401(k) Savings Plan with employer matching, health care benefits (medical, dental, vision), life insurance, disability insurance, time off benefits (paid parental leave, vacations, holidays, health issues), voluntary benefits, well-being resources and much more. Learn more at providence.jobs/benefits


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Microsoft Download Center Archive
Cumulative Security Update for Internet Explorer in Windows Server 2008 64-bit Itanium Edition (KB953838) |
This update addresses the vulnerability discussed in Microsoft Security Bulletin MS08-045. To find out if other security updates are available for you, see the Overview section of this page.
- Security issues have been identified that could allow an attacker to compromise a computer running Microsoft Internet Explorer and gain control over it. You can help protect your computer by installing this update from Microsoft. After you install this item, you may have to restart your computer.
Other critical security updates are available: To find the latest security releases for you visit Windows Update and click "Scan for updates." And visit the Protect your PC site to learn how to have the latest security updates delivered directly to your computer.
Knowledge Base Articles: | |
Security Bulletins: |
Status: DeletedThis download is no longer available on microsoft.com. The downloads below are archives provided by the Internet Archive Wayback Machine from the Microsoft Download Center prior to August 2020. |
File | Size |
Windows6.0-KB953838-ia64.msu SHA1: 35af936fa0f7e4f53b466d8865fa77f606f26aee | 12.79 MB |
System Requirements
Operating Systems: Windows Server 2008 for Itanium-based Systems
- This update applies to Internet Explorer with the following operating system:
- Windows Server 2008 Family Itanium 64-bit
Installation Instructions
- Click the Download button on this page to start the download, or choose a different language from the drop-down list and click Go.
- Do one of the following:
- To start the installation immediately, click Open or Run this program from its current location.
- To copy the download to your computer for installation at a later time, click Save or Save this program to disk.


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"Data-driven human grasp movement analysis", in 47th International Symposium on Robotics, ISR 2016, 2016. hamal.pdf (899.24 KB)
, "A data-driven kinematic model of the human hand with soft-tissue artifact compensation mechanism for grasp synergy analysis", in IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS), Tokyo, Japan, 2013, pp. 3738 - 3745. [PDF] (2.42 MB)
, "Motion Planning for Two 3D-Dubins Vehicles with Distance Contraint", in International Conference of Intelligent Robots and Systems - IROS 2012, Vilamoura, Algarve, Portugal, 2012, pp. 4702 - 4707 . [PDF] (895.33 KB)
, "Multi–object handling for robotic manufacturing", in IECON 2016: 42nd Annual Conference of the IEEE Industrial Electronics Society, Florence, Italy, October 24-27, 2016, pp. 6887 - 6893 [Online]. Available: http://ieeexplore.ieee.org/document/7793936/?reload=true [PDF] (2.11 MB)
, "Controllability analysis of a pair of 3D Dubins vehicles in formation", Robotics and Autonomous Systems, vol. 83, pp. 94 - 105, 2016 [Online]. Available: http://www.sciencedirect.com/science/article/pii/S0921889015301202 [PDF] (1.35 MB)
, "Efficient Walking Gait Generation via Principal Component Representation of Optimal Trajectories: Application to a Planar Biped Robot With Elastic Joints", IEEE Robotics and Automation Letters, vol. 3, pp. 2299–2306, 2018. 08294205.pdf (829.55 KB)
, "On the Problem of Moving Objects With Autonomous Robots: A Unifying High-Level Planning Approach", IEEE ROBOTICS AND AUTOMATION LETTERS, vol. 1, no. 1, pp. 469-476, 2016 [Online]. Available: http://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=7384694
, "A synergy-based hand control is encoded in human motor cortical areas", eLIFE, 2016 [Online]. Available: http://elifesciences.org/content/5/e13420v2 [PDF] (4.99 MB)


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Play needn't cost a fortune. Try these games you can play indoors or out – using everyday things you'll find at home. Use our filters to find the perfect activity or scroll through a few of our favourites.
Let's Play
Filter by:
4+, 3+, 12+, 0-3 years, LEGO bricks, Miscellaneous items, 60+ minutes, Under 15 minutes


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Samsung Appliance Repair New York
When it comes to home appliance repair, it can always be a scary thing with more questions than answers. No one wants to see their expensive appliances broken and fewer still want to pay more for the repair than they paid for the appliance itself. Luckily for these people there are good and trustworthy repairmen in the world who are interested in not only seeing appliances restored to their former glory, but making sure that the customers they serve have a hassle free time when doing so. With Samsung Appliance Repair, you can always be sure that your home appliances will be cared for by a highly skilled and highly motivated team of experts who make it their business to ensure that once your appliances are repaired, they're better than the day you brought them home. We pride ourselves on being able to handle any situation. Broken dishwashers, Refrigerators that don't keep food fresh and even washing machines that leak. We have the expertise necessary to fix them all and get your home back to normal operations before you can even notice that something has gone wrong.
A common misunderstanding is looking over the instruction manual. Often the answers to the most frequent problems a user faces can be found in the little booklet that comes with the product, and to save money you can resolve the problem at home with a few basic tricks. If your refrigerator isn't cooling as well the condenser coil's found behind the kickplate of the unit could be caked with dust, by simply unplugging the refrigerator use a soft bristle brush then vacuum. When the dishwasher begins to leave a puddle could be caused by adding too much soap, pour half a cup of white vinegar in the bottom of the dishwasher to any Excess suds then run empty. If your washer keeps vibrating during the spin cycle it could just be off-balance, place a free 4th inch thick piece of plywood under it and screw it down to the joints.
The best part of all of this though, is that we will never try to up sell our customers by claiming an appliance unfix-able simply for the sake of making more money. Here at Samsung Appliance Repair our goal is to ensure that your life gets returned to normal as soon as possible. As I've said, we know having something like a major appliance repaired can be a scary experience, but we will do our best to make sure that you are one hundred percent in the know with everything that is going on as we repair your appliances. And we will do our best to make sure that it is one of the most enjoyable experiences you can have during a troubling time.


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Product Performance eSource presents device survival estimates, advisory summaries, performance notes, and other information pertinent to assessing the performance of Medtronic implantable pulse generators (IPGs), implantable cardioverter defibrillators (ICDs), cardiac resynchronization therapy (CRT) devices, insertable cardiac monitors (ICM), and implantable pacing and defibrillation leads.
Search for Device Information Tool
If you know your Medtronic CRM product serial number, use the "Search for Device Information" tool on the homepage to find information specific to your product. To obtain accurate results, you must enter the serial number accurately. This tool will provide results only for current CRM implantable IPG, ICD, CRT, ICM devices and leads. While Product Performance eSource has information on hundreds of Medtronic CRM implantable products, it may not include older products, or very new products, or some low volume products.
If the serial number lookup is able to recognize your product, it will provide:
- A link to the performance information for your model, if available
- Links to applicable active Advisories and Performance Notes, if any
- A brief status of analysis, if your product has been explanted and returned to our analysis lab.
If you don't have a serial number...
Use the navigation links at the top of the page to find performance data by model. Or click on the links to access the active advisories and performance notes for Medtronic CRM products.


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Cape with Shawl Collar and Belt
Your SENTALER item will be packaged and sent to you in our branded garment bag (coats and capes only) and gift box, finished with a tied black ribbon, and carefully shipped within a corrugated delivery carton.
The expected shipping date for your item will be listed on its product page as well as in your shopping cart. Shipment dates vary according to style and size. All purchases are charged at the time of checkout, regardless of their expected shipping date. SENTALER reviews all orders within one business day, at which point, the below shipping timelines begin. Once your order has been processed, and the shipping label is generated, you will receive a shipment confirmation email including your tracking number.
SENTALER provides complimentary expedited shipping, with the following timelines:
- Canada: 1-4 Business Days
- U.S.: 1-4 Business Days
- International: 2-5 Business Days
International deliveries may experience longer timelines due to unexpected border delays.
Express shipping is available for most delivery locations. Should you be eligible, the applicable option below can be selected at checkout.
- Canada, Priority Overnight Shipping (1-2 Business Days) - US $30
- U.S., Priority Overnight Shipping (1-2 Business Days) - US $50
- International, Priority Shipping (2-3 Business Days) - US $50
SENTALER requires a signature upon delivery for all orders. Should there be any discrepancies, damages or shortages, please notify email@example.com upon receipt of your package.
The SENTALER x John Tavares Varsity Jacket and Vicuña products are not eligible for returns nor exchanges. All other purchases (SENTALER Flagship or Sentaler.com) are eligible for a complimentary return label. To receive a full refund, the purchased item must be unworn and in original condition and packaging, with the original tags attached. Should any of these conditions not be met, SENTALER reserves the right to not refund you for the purchase, and will advise you via email.
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text:
This little project has been more slippery than it appears. No one writes the history of rehearsal halls, and there are no posters, ads or reviews to provide context or confirmation. There are the occasional tapes, of course, but even they offer almost nothing about the space itself. With no audience to talk to, any between song chatter says nothing about location, so any identifying details remain invisible. Thus this list is mostly sparse, lacking in color, and probably both incomplete and inaccurate. Anyone with further details, corrections, insights or useful speculation is encouraged to add them in the Comments or email me (note: thanks to some amazing Commenters, this post has been substantially updated since its original publication).
The back of what was Dana Morgan's music store on Ramona Street, as it appeared in 2009 |
According to McNally, members of Mother McRee's Uptown Jug Champions started fooling around on electric instruments as early as the Summer of 1964. Jerry Garcia, Bob Weir and Pigpen all worked at Dana Morgan's music store on Ramona Street, and they would play instruments in the back room, facing the alley. Per McNally, one of Garcia's folkie banjo students was dismayed to see Garcia playing electric back there as early as December 1964. Once Kreutzmann came on board as drummer, and the store owner's son was added on bass, the Warlocks were born.
Various suburban houses, Palo Alto and Menlo Park, CA
After a month of unsatisfactory performances by bassist Dana Morgan Jr, he was replaced by Phil Lesh. Owner Dana Morgan, who didn't like the band's sound anyway, reclaimed the instruments and shooed all his instructors away. Garcia and Weir, at least, found new students and access to equipment at Guitars Unlimited in Menlo Park, but the fledgling group had nowhere to practice. According to McNally, they rehearsed anywhere they could: at Sue Swanson's parent's house in Menlo Park, at Phil's apartment in Palo Alto and presumably other places.
2504 San Pablo Avenue in Berkeley, site of the Questing Beast, where the Dead almost rehearsed in 1966. Don't google the site at work. |
According to legend, the Warlocks new patron Owsley Stanley intended to move the band to Berkeley, where they were to rehearse at a place called The Questing Beast. The Questing Beast was a sort of psychedelic folk club, with suitably far out painting on the walls, and Owsley was reputed to have been at least a regular customer, if nothing else. 2504 San Pablo had formerly been the site of the Cabale, the folk club where Garcia and others had seen the influential Jim Kweskin Jug Band in March 1964, so it wasn't without history. And the history of The Questing Beast is indeed interesting, but whether or not Owsley truly intended to move the band there or that was just a fable, he led them to Los Angeles instead, and the Grateful Dead had no connection to the Questing Beast.
"Pink House" Los Angeles, CA
While in Los Angeles, the band presumably rehearsed in the large, pink house where they stayed. According to McNally, it was located just off Western Boulevard, in the North Adams District at 2511 3rd Avenue.
The Straight Theater, 1702 Haight St, San Francisco, CA
After several weeks in Los Angeles, the Grateful Dead and their friends moved to a crumbling mansion in Marin known as Rancho Olompali. McNally has them rehearsing at Olompali, and then moving rehearsals to the Straight Theater after that, but further research has revealed that to be out-of-sequence. Ace Commenter Yellow Shark sorts it out:
I think the proposed timeline for the Straight Theatre is a little out. I was always pretty certain that by the time of the May 19, 1966 Straight benefit the Grateful Dead were already using the Straight as a rehearsal hall and that the benefit (held at the Avalon Ballroom) featured those acts that were using the Straight to rehearse (The Grateful Dead, The Wildflower, Michael McClure (at that time working with the Wildflower as a lyricist) and The Outfit). So my view was always that The Straight rehearsals were much earlier than suggested here.
Anyway, after reading what is a great post I thought I would check with Reggie to see if he could help with the timeline, and if he could shed any light on way the Grateful Dead stopped using the facility to rehearse. This was his reply:
"When we got into the Straight in early April 66 the Dead began rehearsing almost immediately. They rehearsed as I ripped out the first 26 rows of seating. Soon due to a combination of things like building the floor during the day rehearsals were scheduled at night. Then the QMS, the Outfit, and others rehearsed at night. The Dead moved on due to other factors like scheduling freedom and certain members of the Dead moving out of the Haight to Marin."
The Straight Theater, at 1702 Haight at Cole, was an old movie theater in the Haight Ashbury district that many of the local hippies wanted to turn into a Fillmore-style ballroom. The city was against it, for the usual variety of reasons. The Grateful Dead had played a benefit for the Straight at The Avalon on May 19, 1966--strange that the Avalon was putting on a benefit for a future competitor, but such was hippie paradise.
I do not know why the Dead left the Straight, nor precisely how long they rehearsed there, but McNally just says the situation "fell apart" (p.152). The locals considered the Straight a community resource, and probably were more than happy to hang out watching the Grateful Dead rehearse. That was probably not what the Dead wanted, however, and the security for their equipment was probably poor. Since Quicksilver and The Outfit were rehearsing there as well, it probably meant that equipment had to be moved around as well. Bands don't like to have to pack up their equipment each night at a rehearsal hall, as it cuts into time that could be spent rehearsing, which would have already been constrained by the shared rehearsal space. However, the fact that the Dead and Quicksilver shared rehearsal space so early in their career accounts for the extraordinary closeness of some of the members and crew over the years.
Rancho Olompali, CA
Yellow Shark:
I think it was the commute from Rancho Olompali that led the Grateful Dead to drop the Straight Theatre for rehearsals sometime in the summer. The well documented "party" on May 22 followed soon after the benefit and I suspect that by early June the rehearsals were shifted up to Rancho Olompali. The rental lease on Rancho Olompali ran out sometime over the summer and there was a move up to Camp Lagunitas – perhaps in July. I do not know how well it lent itself to rehearsals. Perhaps this is the time slot for 895 O'Farrell?In any case, by June 1966 the Grateful Dead were able to leave their equipment set up where they lived, on the grounds of the Rancho Olompali mansion. "Rehearsal" may have been an inaccurate description of the Summer's events, but the band could play without interruption, when they desired to do that.
895 O'Farrell St, San Francisco, CA
After the end of their idyllic stay in Olompali, the Dead migrated over to an unused Girl Scout camp on Arroyo Road in the town of Lagunitas. At the time, while towns in Eastern Marin, like San Rafael, were prosperous suburbs full of San Francisco commuters, Western Marin was still an empty, largely agricultural area, and there were plenty of underused spaces. However, while the camp could house the band and their friends, they were not allowed to rehearse there for noise reasons. McNally said that was the trigger for rehearsing in the Straight Theater, but they must have rehearsed somewhere else.
Over the years, a building at 895 O'Farrell Street (at Polk) has been identified as a former Grateful Dead rehearsal hall. The building was the former site of a Pontiac dealership, among other things. It is two doors down from the Great American Music Hall. I had never been able to figure out when the band would have used it, but Yellow Shark's unraveling of the timeline for the Straight Theater seems to sort it out. The Dead rehearsed at the Straight in April and May 1966, then Rancho Olompali in June, and sometime in July they had to find a new place. I think the bands rehearsal hall in July and August 1966 was at 895 O'Farrell.
Some time after the Dead rehearsed there, 895 O'Farrell had a brief and peculiar history as a competitor to the Fillmore. In July 1967, the original four members of the Family Dog re-established themselves as the Psychedelic Cattleman's Association. They put on a weekend of shows and ran into trouble with the police. The venue re-opened in September 1967, but it was only open for about six weeks. The venue is mostly only known to poster collectors (for a good look at the posters, see our write-up here).
The final promoters of rock shows at 895 O'Farrell were two brothers from Antioch, CA, Jim and Artie Mitchell. They discovered another, more profitable enterprise for the theater, however, and the venue has had a lucrative, sordid and sad history ever since. Don't google it at work.
Gale Garnett's second Columbia album Sausalito Heliport. The cover photo was probably not taken at the Heliport, however. |
According to McNally, when the rehearsal space at the Straight Theater was no longer viable, roadie Laird Grant managed to get the Grateful Dead rehearsal space at the Sausalito Heliport. In the 1967-68 period, many San Francisco bands rehearsed at the Heliport. The noise caused by the helicopters insured no complaints from any neighbors about mere rock bands. Sausalito is right off the Golden Gate Bridge, so it wasn't inconvenient for San Francisco bands (or even Berkeley's County Joe And The Fish). Enough bands rehearsed at the Heliport that it was a sort of musicians hangout, with jam sessions occurring regularly. Singer Gale Garnett even entitled her second Columbia album Sausalito Heliport.
In late 1966, a very small number of concerts seemed to have been held at the Heliport, including one with the Grateful Dead on October 15, 1966 (the poster is up top). I think the Heliport was too hard to get to for 1966 hippies, as Marin was largely unpopulated in those days, and I don't think the Heliport was an appealing venue. My suspicion has always been that someone tried to put on a few concerts, which didn't succeed, but in so doing the bands figured out that they might have found a good rehearsal space instead, and the Heliport owners were happy to have paying clients. Based on what little information I have, the Grateful Dead seem to have been among the first bands to rehearse at the Heliport. Yellow Shark has some intriguing suggestions:
I believe that the band were already rehearsing at Sausalito Heliport by the time of the October 15, 1966 performance with the Transatlantic Railroad (I have never found out what the "TJ" stands for on the poster). The band had moved back to the City in early October and was living in 710 and the commute to the heliport was an easy one. Sausalito had by October 1966 a scene of its own growing with the Ark hosting regular performances, the No Name Bar which remains to this day and The Kingston Trio's Trident – latter Horizons but now renamed to the Trident.As far as I can tell, the Heliport is currently called The Commodore Center Heliport, and it is located on Bolinas Street, off Richardson Bay. about a mile Northwest of Gate 6, where the ferry boat Charles Van Damme was permanently docked (aka The Ark). Helicopters were supposed to be a big thing in the 60s--I firmly believed as a child that I would grow up to commute in a helicopter, and I'm still disappointed not to do so--so I think that when the Heliport was constructed in 1963 they anticipated considerably more traffic than they actually had, leaving numerous hangars free for other forms of aerial transport.
Reader Phil sent in this photo from the entrance to the Heliport, taken in June 2015 |
The Heliport is just where you described it, clearly visible from 101 as you go north towards San Rafael. Although it no longer hosts band rehearsals to my knowledge, it seems to be much the same building as it was back when the Dead rehearsed there.I believe the Dead rehearsed at the Heliport from the end of 1966 through about May 1967. There are a few famous Spring '67 Gene Anthony photos of Garcia, Mountain Girl and others at the Heliport.
Warnecke Family Ranch, Healdsburg, CA
According to McNally, the Dead spent the month of May 1967 in Sonoma County: "Late in May, the band fled the city to John Warnecke's family ranch on the Russian River north of San Francisco near Healdsburg" (McNally p. 195). John Carl Warnecke Jr was a friend of the band, and he seems to be one of a number of people who worked with the band in trying to promote shows. Canyon filmmaker Robert Nelson made a short film of the band in 1967, and parts of it were filmed at the Warnecke ranch.
That isn't even the interesting part. It seems that family patriarch John Carl Warnecke (1919-2010) became friends with John Kennedy at Stanford in the 1940s. Warnecke Senior trained as an architect, and did various commissions, including the 'Eternal Flame' at John F. Kennedy's gravesite. However, it also seems that Warnecke was the architect for the McHenry Library at UCSC, which was built in 1968. So that means while the Dead were at the Warnecke Ranch, the architect was working on the McHenry Library where the band's Archive ended up. Hey--Stanford, never head a chance, it was already implicit that UCSC would get the Archive.
In any case, as we know from the short film, the Dead built a platform on the Russian River where they could jam and rehearse, writing the song "Alligator" in the process. However, if the Dead had their equipment at the Warnecke ranch in May 1967, then it wasn't at the Sausalito Heliport. Thus I am fairly confident, though not absolutely certain, that the Dead gave up the Heliport as a rehearsal space in May 1967. Since they would spend much of the Summer of '67 on tour, this was probably a financial decision as much as anything else.
Members of the Dead hanging out at the New Ptrero, circa 1968 (via @Tripsntunes) |
Potrero Theater, 312 Connecticut St, San Francisco, CA
In late 1967, the Grateful Dead got a new rehearsal space, at the long-disused Potrero Theater, near 312 Connecticut St (at 18th St) in the Potrero Hill district. The theater had been constructed in 1913 as the Altair, but when it got sound equipment in the 1930s, it was renamed the New Potrero. It had closed in 1963, and had long fallen into disuse. The Potrero Hill neighborhood district was neither nor hip nor prosperous at the time, so it too was kind of forgotten (assuredly not the case today). Apparently, the theater was in terrible shape--according to Joel Selvin, Mountain Girl visited once, saw all the rats and never returned again. Nevertheless, the Grateful Dead rehearsed at the Potrero for about a year, and the rehearsals were in many ways the truest rehearsals that the band ever held.
Like all these things, it is difficult to parse out the timing, but it appears that the Dead moved into the Potrero shortly before Mickey Hart joined the band. Hart's arrival triggered an interest in actually working with difficult rhythms. Stories abound of the Dead rehearsing difficult numbers like "The Eleven" over and over, in order to get the feel for playing something that complex. In that sense, the work at the Potrero were true rehearsals, rather than just jamming or working on songs. The band was trying to get better as a band, and playing the same difficult parts over and over was a rare form of band discipline.
It was during the Potrero Theater period that the Grateful Dead went from Pretty Cool to Something Special. The psychedelic powerhouse shows of 1969 would not have been possible without endless rehearsal at the Potrero. After the Potrero, when they stretched out and jammed, the Grateful Dead were doing so from a foundation rather than a mere willingness to take a risk. Yet after the Dead left the Potrero, they never rehearsed that much again, and never in a disciplined fashion where they worked on developing as an ensemble. Once seems to have been enough.
warehouse, Novato, CA
The Grateful Dead officially moved out of 710 Ashbury in March 1968. Within a few months, every member of the band had moved to various locations in Marin County By the end of the Summer, rehearsing in San Francisco made little sense. Manager Bert Kagenson found them a warehouse near Hamilton Air Force Base in Novato, and that became the Grateful Dead's new base of operations. I do not know the exact location, and in any case it is probably a housing development now.
The principal function of the Novato warehouse was to store and work on the band's ever growing mountain of equipment. Owsley in particular liked to experiment. Fellow traveler Ron Wickersham was critical to these experiments, but Wickersham, unlike Owsley, was not on the Dead's payroll. Wickersham and his wife (then girlfriend) Susan started the Alembic Sound company. Alembic focused on live sound for rock and roll, modifying and creating instruments, amplifiers and other equipment for the Grateful Dead, Jefferson Airplane and ultimately many others. Alembic then moved out of the Dead's warehouse into their own facilities and studio.
I do not know how much the Dead rehearsed at the Novato warehouse. Honestly, I am not 100% certain that they rehearsed there at all. The one detailed description of a 1969 jam at their facility, by Fleetwood Mac road manager/soundman Dinky Dawson, actually desribes the location as Sausalito. Since Dawson had never been to California before, its entirely likely that he mistook Sausalito for Novato. However, it's also possible that the Dead had some other temporary facility in 1969--the Heliport?--in Sausalito.
My own feeling is that the Novato warehouse was used as a rehearsal facility at first, and ultimately got turned into a mad scientist workshop for Owsley. I think the Dead could rehearse there when they needed to, but for the most part they didn't. Around September 1968, approximately when they moved their equipment to Novato, the band also started recording at Pacific Recording in San Mateo. The Dead spent five months in the studio recording what was to become Aoxomoxoa. They spent over $100,000 recording in the studio, but the net result was that whatever 'rehearsing' they needed to do seems to have been done in the studio. Thus I believe the Novato warehouse was never really set up as a full-time rehearsal studio.
unknown building, Western Marin County, CA
Thanks to Commenters, it seems that Blair Jackson reported that the Dead abandoned Novato for an unknown place in Western Marin, near Pt. Reyes. Another Commenter makes the alert point that the band's office move to Fifth and Lincoln happens in April 1970, and it coincides with both the move to West Marin and the aftermath of the Lenny Hart debacle.
The Grateful Dead performed at the Santa Venetia Armory on December 29, 1966. By 1971, it appears they were rehearsing there. |
When did the Grateful Dead abandon the Novato warehouse? It's unclear (update: see Comments). Where did they rehearse between 1971 and 1974? That too is unclear. Based solely on a Keith Godchaux rehearsal tape from September 1971, I am assuming that they rehearsed in the Santa Venetia Armory, at least at that time. According to Garcia's apocryphal story about meeting Keith and Donna Godchaux at the Keystone Berkeley, he invited Keith to the "rehearsal hall," and Keith was so good that Garcia phoned Bill Kreutzmann to come join them. According to McNally, the Dead's rehearsal studio was in a warehouse off Francisco Boulevard (p.411). This location would not have been far from the future site of Le Club Front on 20 Front Street.
What are we to make of the tape where Keith rehearses labeled "Santa Venetia Armory?" If the Dead rehearsed near Francisco Boulevard, why would they have worked with Keith at the Santa Venetia Armory? I see two possibilities:
- the tape reference to Santa Venetia Armory is just incorrect. There is almost no way to check corroborating evidence for a rehearsal tape
- The Dead rehearsed at the Warehouse, but they rented the Santa Venetia Armory to try out a new sound system. Touring with a grand piano was brand new for the Grateful Dead, and they had a substantial tour coming up. So perhaps they rented a genuine, if small, venue and tried out their stage setup
The Santa Venetia Armory, at 155 Madison Avenue, was the National Guard Armory, and a regular site of "Teen" dances in the mid-60s. It was used briefly for psychedelic rock concerts in 1966-67, before it was superseded by the Fillmore and the Avalon. The Armory itself may still be active, although it uses the address of 153 Madison.
NRPS Rehearsal Studio, San Rafael, CA
One of the intriguing gaps in this little history of Grateful Dead rehearsal spaces is the early 1970s. Other than the Godchaux tape, which may or may not be representative, I could only find one other reference to a rehearsal space. It does raise the question as to how much the Grateful Dead actually rehearsed in the early 1970s. Perhaps they toured so much that they could just use soundchecks for rehearsal. In any case, any information about early 70s rehearsal spaces, however fragmented or vague, is of great interest.
The Grateful Dead were still writing a fair amount of material in the early 1970s--where did they learn to play each of those songs? I can imagine that some cover versions could be whipped up with some conversation and a quick run through at a soundcheck, but "Stella Blue" or "Eyes Of The World?" At the Maples Pavilion show on February 9, 1973, the Dead debuted seven new songs, and they must have practiced them somewhere.
Update: scholarly Commenter runonguinness made an important find, from an article by Charles Perry that was originally published in the Rolling Stone edition of November 22, 1973
Of course, any band needs a practice studio. Sometimes the Dead use the New Riders' studio, located in the San Rafael industrial neighborhood. The studio is rented, natch, from an old friend of the Dead's, Don Wrixman. He rents another part of the building to some woodcraftsmen, and yet another is the Dead's sound and lighting equipment warehouse. The original Dead warehouse, which the equipment has long since outgrown, is now a workshop for repairing electronic equipment and building speaker cabinets.
As for a practice hall for the Dead themselves, they might build one someday on a piece of land they own known as "Deadpatch". When Weir's home studio is complete,the band could fit there, though Weir built it - with some of the heaviest insulation ever put into a building - so he could practice by himself...
The pieces start to fall into place here. The New Riders were managed by the Dead, and they had a rehearsal studio, so the Dead could use it. However, they couldn't use it all the time, so the Dead periodically had to rent other spaces. At the time, the Dead's offices were on 5th and Lincoln in San Rafael, and Sam Cutler's Out Of Town Tours was at 1333 Lincoln, a few blocks North. I believe the NRPS staff offices were at about 2nd and Lincoln. (update: a Scholarly Correspondent [also the NRPS archivist] reports that the NRPS office was at 1212 Second St, between B and C. The band shared it [and management] with Commander Cody in the mid-70s, and finally gave up the building in 1981. It was an Old Edwardian house that got torn down in 2019). I presume the rehearsal studio was across Highway 101, in the more industrial area where the Francisco Boulevard warehouse, and later Club Front, were located (update: our Commenter points out that the warehouse on Francisco Boulevard [above] may be the same as the NRPS studio. The Dead may have simply started sharing it with them) [update 2: the NRPS rehearsal space was on Irwin Street. It's not clear if it was the same one as referred to here].
[update 20230626: Jesse Jarnow figured out from interviewing Dead employees for the Deadcast that the "New Riders rehearsal studio and warehouse" was in fact 20 Front Street. Eventually the Jerry Garcia Band took it over and then the Grateful Dead.]
Stinson Beach Community Center, 32 Belvedere Ave, Stinson Beach, CA
McNally alludes to the Dead having spent January of 1973 rehearsing, but he doesn't say where. He does mention a sad event in March, where Pigpen wants his picture taken with the band, and they refuse, as they are busy rehearsing for a tour. McNally identifies them as rehearsing at the Stinson Beach Community Center.
Was this a temporary space, just for March? Had the band rented the Community Center earlier in the year, when they rehearsed the Wake Of The Flood material? Information about the Dead's rehearsals and rehearsal spaces in the early 1970s remains surprisingly scarce. I can imagine how the group might rent Stinson Beach Community Center for a few weeks at a time, but they can't have been using it as a permanent space, as it had too many other functions. Did the Dead still rehearse at the warehouse on Francisco Boulevard? The fact that they rented the Stinson Beach Community Center does hint that they did not have a permanent space suggests that the New Riders were busy at home, and that the Dead needed to use another space temporarily.
Stinson Beach is in isolated community in Western Marin. Jerry Garcia and Mountain Girl lived there, and the Rowan Brothers lived nearby, which was responsible for the genesis of Old And In The Way. The Community Center's main assembly hall can accommodate about 200 people. The building seems to have been built in the 1960s. Since Stinson Beach is so small, it had to be be near Garcia's house. Old And In The Way even played a show here, one of their very last (on September 30, 1973), as a kind of warm up gig for their last few dates.
I am reliably informed that the Dead rehearsed the material for Mars Hotel in the
studio, presumably as part of the recording process. I guess the
unfinished feel to Mars Hotel songs comes from the fact that they
learned and recorded the songs in a brief three-week stretch (March 30-April 19, 1974) at CBS Studios in San Francisco. This was a far cry from the ten days it took to record the mostly road-tested material for Wake Of The Flood (August 6-15, 1973 at The Record Plant in Sausalito).
Ace's Studio, Bob Weir's house, Mill Valley, CA
the Grateful Dead gave up touring, any chance to sneak in rehearsals at
soundchecks went away. It makes sense that the Dead needed their own
space, and the studio above Bob Weir's garage seem to fit the bill. Nick
Meriwether has suggested that the band encouraged the studio at Weir's
for just this reason--without it they would have had nowhere to play. When
the band moved into Ace's, it was as close a situation as they had had
to the Potrero Theater. They weren't rehearsing to become a better band,
as they had in 1968, but they weren't trying to record an album as
quickly as possible, either. The many tapes that survive show a relaxed
band exploring in a leisurely manner, another episode in the Grateful
Dead's musical history that would not be repeated.
As everyone knows, the Grateful Dead worked up the material on Blues For Allah
throughout the first several months of 1975, even if the final versions
were recorded rather quickly. The Grateful Dead recorded four songs
for the Reflections lp in August 1975 (I have a lot to say about that, but you'll have to wait), and the debut Kingfish
album was recorded at Ace's as well, in late 1975. However, by 1976,
Ace's studio seemed to retreat back to a personal studio for Weir, with
few outside projects, even from within the Grateful Dead family.
Keith and Donna Godchaux's house, Paradise Dr, Corte Madera, CA
parallel story to the secret history of Grateful Dead rehearsal spaces
is the even more murky history of Jerry Garcia's rehearsal spaces, such
as they were. For one thing, I do not believe that the Jerry Garcia-Merl
Saunders band, to the extent it was even a "band," ever had a fixed
place to rehearse. It is interesting to think that Jerry Garcia's
infamous preference to simply working things out at the Keystone Berkeley
rather than in rehearsal may have been an economic decision as much as
anything else. Since, as near as I can tell, the Grateful Dead had no
fixed place to rehearse in the early 70s, Garcia and Saunders didn't
either. Has anyone ever heard a Garcia/Saunders rehearsal tape? I don't
think there was ever a rehearsal. It was cheaper to just work out the
arrangements as they went along, and that fit Jerry's approach to his
own band anyway.
There are a very few early Jerry
Garcia Band rehearsal tapes in circulation. There is a rehearsal with
Nicky Hopkins, dated to September 1975, a rehearsal with James Booker
dated January 7, 1976 and then one with Keith and Donna Godchaux dated
January 25, 1976. The last two are usually attributed to Club Front, but
for reasons that will become clear over the next few paragraphs, that
attribution seems unlikely. Rather, I think they were rehearsal tapes
that were retroactively assigned to Club Front, since I think the
Front Street Warehouse did not become the JGB rehearsal space until the
end of 1976.
I think when the Jerry Garcia Band absolutely had to have some kind of rehearsal, they rented a studio. It might have been expensive, but renting a studio for a few hours a year was still probably cheaper than having a permanent rehearsal hall. For example, an otherwise inexplicable recording session at The Record Plant on May 31, 1974, with Michael Omartian and Ron Tutt (and Garcia, Saunders and John Kahn), includes a jam (released as "Cardiac Arrest") and the old standard "Some Enchanted Evening." The mystery of the recording session is partially explained if we look at it as a kind of getting-to-know-you jam for Tutt. It couldn't take place in a rehearsal hall, because neither the Dead nor Garcia/Saunders had such a place.
However, in a Blair Jackson interview in
the Winter 1987 Golden Road, John Kahn had some interesting comments
about how much the Keith and Donna Garcia Band liked to play together:
Keith used to live over on Paradise Drive [in the Marin town of Corte Madera], so we used to play over there all the time. He had a room set up so we could just go in and play. Tutt was out of town a lot, but that was OK. You could practice without a drummer. Plus, Tutt was so good that there was nothing that we could come up with that he couldn't figure out right away. I lived in Mill Valley, and Jerry lived in Stinson Beach, so it was real easy for us to get together. Anyway, we had this scene where we would get together just about every night and play. We'd do just about everything. We had Dylan songbooks and we'd do stuff like play everything from Blonde On Blonde. Then we'd do all sorts of Beatles songs. It was great. Most of it never got past that room.Wherever the few recorded rehearsals of the Jerry Garcia Band had been held, most of the rehearsing seems to have been done at the Godchauxs' home. Keep in mind that until the middle of 1976, the Dead had no money from touring, and were hemorrhaging money on the record company and the Grateful Dead movie, so rehearsing at home was their only real option. The only band clubhouse was Ace's studio, but Weir wasn't in this band, so it's not surprising that the rehearsing didn't take place there.
Orpheum Theater, 1192 Market St, San Francisco, CA
The Grateful Dead officially returned to touring on June 3, 1976 in Portland, OR. Some rehearsal tapes exist from the previous week at the Orpheum Theater in San Francisco. On May 21, 1976, the Jerry Garcia Band had played a concert at the Orpheum (it was a great show, immortalized on the archival cd Don't Let Go). While the band could play together at Ace's studio, that wasn't a formal stage configuration. The band had also been off the road for so long they had no road set-up either.
It's my supposition that the Grateful Dead rented the Orpheum for a week not only to rehearse, which they certainly needed, but to try out their equipment and sort out any problems in advance of the road. They purposely rented a theater that was approximately like most of the refurbished old theaters that they would be playing on the forthcoming tour. In order to pay for the rental of the Orpheum, I think the JGB played the concert to foot the bill. It's important to remember that the Dead had no touring income, were working on an expensive movie and were about to lose their record company, so a Garcia concert was about their only choice.
I assume that the Garcia Band played the show on the Dead's prospective sound system, and they simply didn't load out the equipment. Rather, they just left it there for technical tweaking and band rehearsal until they left for Portland. From what I can tell, the show was not promoted by Bill Graham, but the Bill Graham Presents staff were hired to run the show. This would have meant that the Dead (or whoever financed the concert) took any financial risk or reward, but did not have to put together a staff to run the theater.
The Orpheum Theater was 1192 Market Street, near 8th, was built in 1926. It was in a seedy area, but not nearly so seedy and rundown as the Fox-Warfield a few blocks away (at Market and 6th). The Orpheum was typically used for 'legitimate' theater of various kinds, although it had originally been built as a movie theater. It was only rarely used for rock shows, although the Grateful Dead played six famous concerts there in July of 1976.
Sound City Studios, Van Nuys, CA
The Grateful Dead recorded Terrapin Station at Sound City Studios, Keith Olsen's facility in Van Nuys in the early part of 1977. Olsen made the Grateful Dead rehearse the material extensively, including 'section rehearsals.' meaning the vocals were rehearsed separately, the rhythm section was rehearsed separately and so on. Whatever the cost of this, it seems to have obviated any need for the Dead to acquire any kind of rehearsal facility.
With the enforced rehearsal, it was likely no accident that the Spring 1977 tour featured some of the tightest and most pristine Dead performances in many years, and arguably ever. This, too, was not a phenomenon that was repeated.
Le Club Front, 20 Front St, San Rafael, CA
By the end of 1976, with the Grateful Dead back on the road, headlining stadiums, and a new Arista contract, the cash flow situation would improve. In either late 1976 or early 1977, the Garcia Band rented an unused warehouse on Front Street in San Rafael as a rehearsal space. Initially, 'Club Front' was strictly the property of the Garcia Band. The Jerry Garcia Band didn't rehearse there, exactly--it appears they just played. Kahn described in Golden Road (Winter '87) what the band liked to do:
We had this trip where we'd call ourselves the Front Street Sheiks and we'd play dumb piano jazz and stuff like that. We did some recording down at the rehearsal place [what evolved into the Dead's studio] right after they got their 24-track. We'd be down there every night of the week playing these old songs like "All The Things You Are," and "Night In Tunisia, " things like that. Keith and Donna were always together, so Donna sang with us too.It seems that the musical pallette of the mid-70s JGB was much broader than that which we saw on stage. Yet the Garcia Band used Front Street to explore, rather than to explicitly rehearse difficult music, since it appears that many or most of the songs they played at Front Street never appeared in concert.
In mid-1977, the Jerry Garcia Band were planning to record for Arista. They made some preliminary demos at Front Street, and Ron Tutt liked the drum sound so much, he persuaded Garcia to let Betty Cantor turn Front Street into a recording studio, and Cats Under The Stars was recorded there (as was the unreleased Robert Hunter album Alligator Moon, apparently). However, at some point later in 1978, the Front Street studio was transferred over to the Grateful Dead. Money changed hands on an accounting basis, but I do not believe the Garcia Band received any actual cash.
From late 1978 onwards "Le Club Front" was the Grateful Dead's recording studio, rehearsal hall and hangout. Although the band did a fair amount of recording there over the years, they did not do much rehearsing. Even when Brent Mydland, Vince Welnick and Bruce Hornsby joined the band, they learned far more songs by playing along on stage, rather than formally being rehearsed. The Jerry Garcia Band had even fewer rehearsals. Apparently, band members would receive the music for new songs at sound checks--the likes of Melvin Seals and David Kemper were experienced studio hands--and a quick run through at a soundcheck counted as "rehearsing" a new song.
It was a telling irony that when the Grateful Dead finally had full possession of their own rehearsal and recording facility, they used it only for occasional recording and very rare rehearsals. The development processes that took place at the Potrero Theater, or Ace's, or even at the undisclosed location where the Wake Of The Flood material was first practiced were mostly ghosts by the time Front Street was firmly in the band's hands.


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Next year promises to be a very good year for LEGO train fans with the release of the 'EXPERT' set "10233 Horizon Express". This is a very good looking high speed train kit, most certainly based heavily on certain verions of the French TGV. What is especially cool is that the set is designed so that buying two (the kids will love it!) means you end up with a full two-ended set. I'm very impressed by all the though that's gone into this one.
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Ski resorts set the scene for the mountains around the town of Killington in winter, though venture to these parts outside of peak season and find also pleasant hiking trails, well-groomed golf greens and a handful of rural attractions.
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