text:
Grateful Dead
Spring 1990, Volume One Box - SOLD OUT
Digital Download
What's Inside:
• 60 page hardcover Smyth-Sewn book featuring essays by Dennis McNally, David Lemieux, and Blair Jackson and photos by Jim Anderson & Mike Laurentis
• 25th Anniversary Tour Program
• Official Band Letters
• 6 Ticket Stubs
• 6 Cloth Sticker Backstage Passes
• 1 Tour Laminate
• Official 1990 Band publicity shot
• 6 complete shows on 18 discs
• 3/16/90 Capital Center, Landover, MD
• 3/19/90 Civic Center, Hartford, CT
• 3/22/90 Copps Coliseum, Hamilton, ON, Canada
• 3/26/90 Knickerbocker Arena, Albany, NY
• 3/30/90 Nassau Coliseum, Uniondale, NY
• 4/2/90 The Omni, Atlanta, GA
Box Dimensions: 12-1/8" x 3-1/8" x 12-1/8"
Recorded and Mixed Live by John Cutler
Mastered by Jeffrey Norman in HDCD
Original art by Wes Lang
Individually Numbered, Limited Edition of 9,000
Introducing The Next Box: Spring 1990!
And now for something a little different. This year's box set - Grateful Dead: Spring 1990 - offers six complete shows from the epic spring '90 tour, one concert from each city the band played, personally selected by Dead vaultmeister and archival release producer David Lemieux. The sizzling six are: 3/16/90 Capital Centre (Landover , MD), 3/19/90 Hartford Civic Center, 3/22/90 Copps Coliseum (Hamilton, Ontario), 3/26/90 Knickerbocker Arena (Albany, NY), 3/30/90 Nassau Coliseum (Uniondale, NY) and 4/2/90 The Omni (Atlanta, GA).
In his "Producer's Note" in the beautiful book that is part of the box, Lemieux, who attended the first 10 shows on the tour, states, "To my ears this was the last tour that was consistently great, where every show is excellent, not a dud in the bunch." And Grateful Dead historian Dennis McNally's comprehensive and informative insider's essay in the box is titled "The Last Great Dead Tour." These guys know what they're talking about.
Basically, the band had been on an upward trajectory since Garcia's return to the road in the spring of '87, following his near-death the previous summer. Of course, 1987 was a trip in itself, what with the unexpected mega-success of In the Dark and their first hit single, "Touch of Grey." But the momentum just kept building with each subsequent tour, as Garcia got back up to full speed (and then some!) and the group as a whole was as unified as they had ever been since Brent joined the band in the spring of '79. New original tunes were popping up and the old favorites were imbued with a freshness and spirit that was so uplifting and inspiring. The band was having fun again, and it was downright infectious.
The group's fall 1989 shows-as documented two years ago on the Formerly the Warlocks box (two shows from Hampton, VA, 10/8-9/89) and on the 2001 release Nightfall of Diamonds (a single night in NJ, 10/16/89)- kicked the energy level up another couple of notches, as the band reintroduced such loved classics as "Help on the Way" > "Slipknot!," "Attics of My Life," "Death Don't Have No Mercy" and "Dark Star."
And when the band hit the road in mid-March 1990, they had a bunch of other cool tunes to lay on their unsuspecting crowds, including the return of "Loose Lucy" (last played in 1974; it's not on this box), Brent's "Easy to Love You" (missing since 1980), a rollicking cover of the Rolling Stones' "The Last Time," The Band's "The Weight" (with all four singers taking a verse each) and a lyrically retooled "Black-Throated Wind" (absent since 1974), which elicited huge cheers every time it was played.
Over these six shows, most of the cornerstones of the Dead's repertoire from the era appear-splendid versions of "Scarlet Begonias" > "Fire on the Mountain," "China Cat Sunflower" > "I Know You Rider," "Playing in the Band," "Uncle John's Band," "Eyes of the World," "Estimated Prophet," "Truckin'," "Sugar Magnolia," "The Other One," "Terrapin," "Stella Blue," "Feel Like a Stranger," "Bird Song," "Let It Grow," "China Doll," "Box of Rain," "Morning Dew"; you name it. From the fall '89 breakouts come "Help-Slip-Frank," "Attics of My Life" and "Death Don't Have No Mercy." Among the still newish tunes are "Picasso Moon," "Blow Away," "Foolish Heart," "Just a Little Light," "Victim or the Crime," "Standing on the Moon," "We Can Run" and a couple that would get their final plays from the Grateful Dead on this tour-"Built to Last" and "Believe It or Not." There are stirring renditions of "Dear Mr. Fantasy" and "Black Muddy River," rockin' takes on "Gimme Some Lovin'" and "Iko Iko" and the only version of the full "Hey Jude" the band attempted in the modern era. And the "Rhythm Devils" and "Space" jams at the heart of each second set are as noisy-beautiful-scary-funny-intense-mysterious-wild as you'd expect/hope for.
Of course, we understand that some of you may have other favorite shows from this tour you wish were included on this box. Really, you can't go wrong with any of them. But at 18 discs, this is still the second largest Grateful Dead box (after Europe '72: The Complete Recordings) that's been released, and the non-inclusion of any other shows from the tour definitely does not preclude their future release! But this seemed like a more manageable way to go, while still giving a sense of the tour's amazing depth and breadth.
Besides the discs themselves, Grateful Dead: Spring 1990 has much to offer, including: a gorgeous 60-page hardcover book containing copious color photos by Jim Anderson and Michael Laurentus, unique artwork by Brooklyn-based fine artist Wes Lang, fascinating business letters and communications related to the tour, a detailed historical essay by Dennis McNally, a Producer's Note by David Lemieux and individual show descriptions by Blair Jackson; a reproduction of the Dead's 1990 tour program (printed and sold later in '90, for the fall and Europe '90 tours); tickets and backstage passes of all six shows; a band publicity photo from 1990 by Ken Friedman; Dennis McNally's tour laminate; and reproductions of the colored 8x10 sheets GDTS sent out with hotel, food and other information for each city on the tour.
With recordings made by longtime Grateful Dead recordist and producer John Cutler, mastered by Jeffrey Norman in HDCD, you just know it's gonna sound great-and it does!
So, that's the skinny this time 'round. This box is limited to just 9,000 numbered copies - please note, this is the only time these shows will ever be officially available on CD. There will not be an All Music Edition and single shows will not be available physically. Due to ship out August 31st, we anticipate that this extraordinary set will sell-out, so order your copy today!
If you're looking for more of a bite-sized taste of the '90s, Spring 1990: So Glad You Made It, a 2-CD set featuring a handful of favorites, will be in stores on September 18th.
-Blair Jackson
Listening Party
4/2/90, The Omni, Atlanta, GA
Foolish Heart>
Looks Like Rain>
He's Gone>
The Last Time
Click here for an archive of past Spring 1990 Listening Parties.
David Lemieux on What's Inside Spring 1990
Show #1 |
Show #4 |
My set, 5538, arrived today! The packaging and presentation of this box are top-notch. It is clear to see that a lot of time was spent on this project. Love the high quality ticket/ backstage pass replicas and the hardcover book. It's handy to have while listening to the shows. Most importantly, the music is gorgeous. If I didn't have neighbors, my apartment would have already crumbled to the ground. For anyone hesitating on purchasing this set, bite the bullet and go for it. We all know how amazing '89-'90 was for the band. This collection is a pivotal piece in any fan's collection and should not be missed. Thanks to David Lemieux and everyone else involved in getting this out to us. It is much, much appreciated!
Primal Dead from '68
Hey dead.net how about a contest or lottery and the winner gets a free 90s box set.
Having seen the Sunday show in Hartford and the Saturday show in Albany I knew it was only a matter of time before these magnificent shows were released to us. I got my box two days ago and am just overwhelmed at the absolutely fantastic job Rhino did with this and all the goodies inside the box with the music. I'd rather spend the money for great music than bad food... that said.. I think guts of the box (the music) is worth every penny. IMHO that is.
Arrived in Italy today, box beautiful and incredible sound I have no words.
Great job
Will an article/ thread be started here at Dead.net about the November release of Jerry live disc or the release of Jerry/Merl complete Keystone recordings release due this month? The Jerry website now has some signs of activity. Good news, no?
we're only a few weeks away from the announcement of dave's picks volume 4.
lets hope its something from the '60s or '80s.
Although it may be a while, I look forward to Spring 1990 Part Two. Hopefully this set is successful enough so the remaining shows from this tour are also released. If 3/29/90 is included in a subsequent set, success of part two is virtually guaranteed.
Subjectivists beware. OK, then…
Fans with even a rudimentary understanding of phrasing, articulation, etc. are painfully aware of the decline in Garcia's playing from Fall '89 through '95. As time marched on, his solos meandered (sometimes lacking any sense of direction or cohesion) more and more often. At the very end, his mind and fingers – numbed by Persian and diabetes, respectively – were rarely capable of anything beyond guitar 101. THAT SAID…
As amply demonstrated by this wonderful box, Garcia still had some mojo left in Spring '90. Just as importantly, the rest of the band was ON FIRE. While some moments signal the decline (ref. Jerry's struggles during 3/30's strangely overrated pre-drums segment), many others convey a palpable joy. The band was clearly enjoying itself, and their energy comes through loud and clear on these disks. Well worth the cash (if you can tolerate the shorter solos), and definitely the Last Great Tour. Very nice Job on the "extras," too!
Now where's that "Gems of '85" box? :o)
"anyone have the inside as to when the replacment discs will ship?"
Your guess is as good as theirs!
This is a great set.. remastering is excellent.. the only bad part I had was that there was one disc that was cracked in the box (disc 2 from Civic Center - March 19,1990) . Is there any outlook on replacing disc that arrived cracked. First it was a couple of days.. then Sept 5... anyone have the inside as to when the replacment discs will ship? Phil
I mentioned the possibility of a Europe 1990 release because on the back of this releases black tour program there is a Europe 1990 poster.
Is that a hint?
Does anyone remember if during the Spring 1990 tour were there programs that had the upcoming Europe 1990 tour logo/adverting???
I was at the Frankfurt 1990 shows and would of-course love a Europe 1990 box-set.
"Both Pigpen & Bob both came very close to be fired from the band in the late '60's due to the fact that they were not providing the proper foundation for Jerry to play off of"
"Very close"? No, they WERE fired because Jerry was pissed at their laziness and that they wouldn't do as he lead them to do. It WAS Jerry's band no matter what anyone wants to think.
Then the rest of the band played under a different name - Mickey and the Hartbeats.
Some of it was recorded. See the album: Heartbits: Can You Pass the Acid Test ?
But Pig and Bob refused to leave and came back into the fold.
The combined aesthetic of music, artwork, and packaging is simply unparalled. It my sincere hope that Rhino and GD re-up their partnership for the long haul, as the merger of Lemieux & Co. on musical selection/remastering with Rhino's production flare have yielded a mastery of the craft.
The shipment packaging typifies the extraordinary commitment to detail and quality found within: My order arrived in a large box that accomodated both poster tube and the music with copious plastic air pillows to buffer empty space and even wadded paper towels in the ends of the rolled poster to protect against rub on the endcaps.
The sound is bright, lively, and Brent-acular! I have back-to-back 17 mile runs set for this weekend that will now pass - as with many future outings, I'm sure - with added haste as I tour from Atlanta to points north...
As another suggested, 'If you're on the fence, then by all means jump!' - beg, borrow, but don't steal to make it happen...you won't regret it.
Love and Peace, KAT
the package you produced is beautiful. I know I'll want to look at at what's here again and again.
In the tour program, I love the full-stage shots in the center spread -- and the huge Phil portrait and the over-the-shoulder capture of a pounding, grinning Billy K. are just great. The night-by-night photos in the hardbound book are maybe not as spectacular (you set the bar pretty high!), but still very worthy. The stage shot behind the contents list is terrific and I particularly appreciate all of the little light-show shots.
Overall, just a huge improvement over anything you could have given us in an individual-show release, or in a CD-size-only format period.
Well done. Keep it up!
Oh, yeah, the music is mostly pretty good too ;^)
Please, please, more box sets like this one!
These beautiful BIG photos are a pleasure to see.
They recapture (and improve upon!) some of what was lost in the transition from LP to CD packaging. The puny notes and pix in ordinary CD sets bear no comparison to what you're giving us here. When you're doing a project like this one, there's no question that it deserves the best possible presentation.
If the only thing that mattered was the music, it would be clear: Anyone could have heard these shows, all of them, and more, dozens of times via archive, torrent, or tree, and in pretty damn good sound quality, too. And so too with whatever you're planning to release next. It's pretty much ALL out there somewhere, whatever we want to hear, for free, now.
But when you release something, you're inevitably making a mark -- putting down a sign and saying hey, maybe THIS is worthy of some *special* attention. I think in the case of this particular run, you were right to try to make that point. And I think the package you produced is beautiful
Even though I attended the Omni run in 1990, and tend to be partial to late era Brent, the first set from 4/2/90 is some of the greatest music the Grateful Dead ever performed, right up there with the best of FW '69, E72, May '77, 8/27/72, ect ect ect...
The version of the Weight from 4/2/90 alone is worth the price of the box set, and some. Priceless. They could do no wrong at this show. Jerry is clearly inspired and taking the full initiative on this night, just like a well seasoned pro! Just exactly perfect indeed!
I look forward to every vault release, but on the subject of packaging, I'm now a firm believer of less is more. My Europe '72 Box sits on a shelf, and never gets opened. The music is ripped to iTunes. My favourite boxes are the Golden Road and Beyond Description, along with the Vault Box. Nice and simple, with class.
Anyways, someone mentioned a Europe 1990 Set - that would be cool (for me a least)
Mine came today, 560, and the tracking still hasn't updated
God bless the Grateful Dead for allowing us to have this discussion!
Apples vs Oranges!
Youth vs Wisdom!
Yesterday vs (less) Yesterday!
What they did TRANSCENDS.
In the future, please release CD box sets without the extravagant packaging. These are difficult economic times. It would be appreciated if you could release nice CD box sets for the smallest cost so that fans can afford them. A simple slipcase box and small booklet is enough. This oversized deluxe packaging just increases the overall cost and shipping cost too and makes it less obtainable and desirable to fans. Make it your mission to release the best music for the least cost and we will be grateful fans indeed!
I was cooling out in my recliner when I heard the familiar sounds of the mail dude's jeep. I sprang from my chair and was peeping out the window. Sure enough he pulled out a large box and placed it on the doorstep. I opened it to find a tube containing my poster and another box. This is the best box packaging yet. This box is what Europe 72 should have been like. Really nice, love the books and the extra poster. I'm listening to a show right now through my Bose headphones. The sound quality is very good, I'm a happy camper.
I was really worried about cracked CDs and scuffs, seems like many have had bad luck. I checked each one, all look good. My DP3 is home, now my S90 is here. Guess DP4 will round out 2012 for releases this year. Hopefully next year things will be a little more squared away. Really hope everyones gets their music this week. S90 is a great release, if your still on the fence about getting one, better jump now.
Peace and happiness to all.
True, I did have a minor snafu, but customer service was helpful and these things happen. Of course, I was hoping to have this earlier, but without any cliche, this was absolutely worth the wait. I was absolutely blown away by the gorgeousness of the packaging, the detail right down to how it smelled, the artwork, the design of the box, the layout, everything. Normally, I would be listening to this right now, but I had to leave a post. I am so overjoyed with the visuals that even if each disc hissed like an old Maxell, I'd still consider this money well spent.
Lots of complaints, but Rhino, David, Wes, and all the people behind this project deserve a major, major THANK YOU and kudos with a capital K. From the moment this was announced, everyone was spot on from the listening parties each week to the videos and stories behind the project to the 24 hour dedicated customer service, this has been an awesome experience. I know not everyone is happy for one reason or another, but for a night, there is one super happy kid in Chicago who has nothing but smiles, smiles, smiles. Thank you folks. Truly appreciate this magnificent gift. Please keep up the good work.
Jon M.
Chicago Happy
I only got to see 3 Keith and Donna shows, all during the Terrapin and Shakedown years. I was lucky enough to be around for those 1976-1977 shows, and love the Dicks Picks and GD download series from those years, especially 1977.
I saw many more Brent shows , all the way from the beginning to the end. After the near-death experience it took several years for Jerry to fully recover his stamina & playing (and sometimes vocals) . The Truckin up to Buffalo DVD is a brilliant example of just how great the 1989-1990 shows could be when Jerry was really on again, and how much Jerry loved playing with Brent and the energy that created to drive the music to another level.
Before deciding to drop $200 for the vanishing Spring 1990 release I sat down yesterday and listened to Dozin at the Knick all the way through. Brokedown Palace sealed the deal for me. It was like going back in time,and when the EQ settings are just right it's almost as good as actually being there again , if only that were possible : )
I have hard time with gripers. Makes me think of Jeff Duhnam and "Walter" (the old ragger) but at least he was funny.
Yeah me too. I'm 1971-1981 but i discovered that the (very) latter yrs of the GD were also outstanding (1988 ? and certainly 89-91).
This Spring 1990 is a killer string of shows.
Congrat's Monsieur Lemieux & Co.
PS: ...? Spring 1981 ... or finally ALL of Oct 1974 (ok...) or all March 1977 Winterland ...
Shipping confirmation emails came this morning. Followed three hours later with email stating the extra shipping money I had paid had been refunded to my card.....the wheel turns
First, let me say that my favorite period of the GD is the 70's. But that may be due to the fact that I saw the bulk of my shows from '73 to '81.
Of course the band evolved over time. I would expect nothing less. As has been said before by others here, the whole is greater then the sum of the parts due to synergy. Of course Jerry was more prominent early on. After all, Bob had been his student when he was younger so I don't think anyone should expect him to be on Jerry's level as a guitar player. Both Pigpen & Bob both came very close to be fired from the band in the late '60's due to the fact that they were not providing the proper foundation for Jerry to play off of. By the spring of '90 of course Jerry had cut back a bit. But that was probably due to the fact that after 25 years, and 10 with Brent, he was happy & comfortable to do it since the band had evolved into a well oiled machine with a great deal of coheseivness. I think this 1990 box is the bomb! The band is stellar and hitting on all cylinders. I think each member contrubutes beautifully and produces a rich & full sound. I think Jerry was rejuvenated at this point and I think he was proud of the music they were all putting out at this time. Sure, he had cut back a bit but it was because he no longer had to carry the whole band by himself. I am loving this box an have listened to nothing but since it arrived a week ago. Rock on.
I had contact with both Dead net and Dr. Rhino about over a week ago about these cracked discs. Both parties returned my phone calls and E-mails. Once again, I noticed my voice-mail flashing. Dead net called back sometime last Friday or Sat. to let me know that replacements will be shipping this week. The person said I should recieve my replacement sometime after the 5th and to allow up to 10 days. I have to say that once the ball got rolling I did receive both e-mails and phone calls from Both Dead.net and Rhino. Here is hoping. Both parties seemed sincere so I believe they are trying to correct this situation.
Really loving this box. Cycling through the 3/26 Knickerbocker show again. The bulk of the shows I attended were from 76 to 93, with a few shows in 94 and fewer in 95, and my favorate years are from 69 to 74, but revisting these shows have given me a greater appreciation for some very strong later era Dead. Good Stuff.
Hopefully no one is offened by my update!
I think I've read the objective-subjective debate maybe fifty times on the internet. To paraphrase the last 30 years of feminist philosophy: It's really hard to prove what is or isn't objective, but we can still learn from each other.
So with that said, here's my take on my first real attempt to get into post-70s dead. The jamming is more restrained, but still great. Bobby is actually taking a lot of interesting risks, which work out more often than they should. Jerry is audibly more technically skilled if less engaged. The big thing for me was learning to like Brent. Here's my take on him. Brent is like Donna in that he brings something that doesn't always fit with the band when he's the focus, but he unquestionably does wonderful work in a supporting role that really adds to the overall sound. It took me a while to come around on his voice, the tone of his keyboard, and all the staccato chords. But once I got over it, I really started to appreciate this music. I think it's been said before, but CD's 2 and 3 of 3/19 are really exceptional.
Sound quality is very good (but not at the level of the 1977 Winterland set). Phil is a little quiet in the mix.
I appreciate your call for civilty, and I concede my Neil Young quote was harsh. Bottom line for me is, these threads are, by and large, just a drag to wade through anymore. I don't know who else remembers the previous website where discussions for each release were about the release, and the music therein. There was a glorious debate over Dick's 21/Richmond '85, two thirds of posters singing its glories and the other third decrying how overrated it was. Whatever side you were on, it was a healthy community discussion about the music.
Today, the posts are overwhelmingly a customer service complaint forum. Who wants to read it? If you're not being served by GD customer service, why not send Marye a PM and get on with your day? I've had a few issues over the years, and I dealt with them without burdening everyone else with my tale of woe. Ok, there are obviously issues, and maybe a post or two is warranted, to alert the rest of us to check our Landover discs for duplicate show dates, for example; but often the same people post the same thing every day ("still waiting in Abilene" ~ dated August 28, 29, 30, & 31). Or they revel in thumbing their nose at Rhino's or GD's incompetence, with intentional hyperbole and venom, as if they take pleasure in the failures.
Basta. If there's a forum where people actually want to trade stories and debate 1970 over 1990, or which shows in the box are the best or which boxes and Road trips are the best and why, please tell me where it is. This one's a drag anymore.
You are right. There is no comparison. The GD were best when they were young, no doubt in my mind.
"Was the fat elvis the equel of the young vibrant elvis or is it subjective"
Not subjective; objective, in my subjective opinion! Chew on that. ;)
We could just start over.
I think the antagonistic posts started for only one reason that I can think of - some people didn't want others posting what they were posting. What other possible reason?
So I vote for letting people say what ever they like except let's try to be civil.
If you don't like people complaining about the service, the shipping, or even the music, just don't pay attention to those posts but don't try to force them to shut up.
If people want to compare GD eras, let them. If you don't like that kind of thing, ignore it.
The "name calling" came out of people wanting others to shut up about these matters.
So the bottom line rule to make it more civil again might be this: don't like a post? Ignore it instead of replying to it. Simple.
the last two of three box sets are fromm the late brent era. Now there is talk that spring 90 is also a possiblility. People complain too much 70s. For the life of me I don't understand how anyone can compare the 70s ot spring 90. It is one of the greats jg in music leading the band as opposed to ensemble playing. All it took was one listen to some of the 73 bo for me to put spring 90 on the self. There is all this great music in the vault and why release medioce stuff. Brent is not that good and Jerry is without a doubt the heart and soul of the band. The release of so much late era stuff is not what the legacy of this band should be. Was the fat elvis the equel of the young vibrant elvis or is it subjective
There have been a number of comments and some name calling regarding people who are wondering about their order(s) or are having issues with quality. I think there is value with bringing these issues up in this forum. If someone simply states their case then others may be able to help them describe how they resolved a similar problem. For example: "A disc was cracked. I called customer support and they didn't know what to do". Someone else may have had success resolving the same problem and could therefore help others with their experiences . What I think is of lesser value is people "blowing off steam" by making disparaging remarks about Rhino, dead.net, or others who's comments don't agree with them. It's one thing to offer suggestions it's another to level insults that don't accomplish anything except perhaps to alleviate one's frustration. Then again, I'm not into control so if it's working for you ... enjoy. I've had four "pre-E72" issues with bad discs in the past. Mostly issues with blobs of glue. While, for the most part, these problems were resolved I understand the anxiety associated with purchasing these recent sets because they're limited editions. It's not easy to listen S90 or E72 quickly to locate quality issues with the discs. You've got to be quick because you never know when replacement discs may disappear! As a wise man once said "What a grind, the stress is killin' me" :)
My suggestion is that Rhino, Dead.net, or whoever is in charge have a clear policy regarding replacement discs, replacement sets, etc. so people can make a rational decision as to whether they want to buy the set or not. Sending back a limited edition set because of one cracked disc makes no sense IMHO.
All that being said. I'm very much enjoying the music S90. I'm indifferent to "the stuff". However, the shot of Bill and Micky in silhouette is wonderful.
I'll miss you the most, rbmunchkin. By the way, a ) I wasn't referring to actual musical criticisms such as yours (much as I mostly disagree with yours), and b) when you said "So I'll stop here" I just knew you wouldn't stop there.
Neil Young: "Youre the kind of man, you know, that likes what he says/ I wonder what it's like to be so far over my head"
I'm not a senior citizen - I'm just old !
Aw, what a shame.
"Geez, you people who were able to see these shows must be practically senior citizens by now! ;-)"
Hey, I resemble that remark!
How would you answer my example in my first post about this:
Do you seriously contend that Jerry isn't OBJECTIVELY a better guitarist than me?
Comparing Van Gogh vs. Monet is much more difficult of course. I'm trying to make the point by using an absurd example, but a valid one.
Personally I think we want to say quality is purely subjective because it's easier to say that. It's too difficult to show objective quality so we don't want to go there. But just because something is difficult doesn't mean it's not reality.
This reminds me of the joke:
A man is searching on the ground under a street lamp. Someone comes up and asks him if he lost something. He says yes, his keys. Did you lose them here? No, I lost them in the alley but it's too dark there.
When looking for objective quality, one must look in the dark alley even though it's easier to see in the subjective lighted area.
Who got screwed out of their order is back on topic? Do tell, Footbear, who got screwed out of their order?
What started out as a thread that was finally mostly about the music in the box has degenerated into another bile fest. Guess some people feel better having an audience. I'm about done with these boards, myself. Talk about disenchanted and disgusted...... Sheesh.
March 29, 1990 on VINYL, yes please.
In a vain effort to return the discussion to the excellent but somewhat inefficiently shipped box set --
I was only able to catch the boys from 85-95, so 89 and 90 stand out as the apex years,
with Jerry sounding fresh and not so ragged and tired, and inspired ensemble playing.
I am so glad to have this. It will be cherished for years.
Wish I was able to catch 5-2-70, but I was still only 4!
Geez, you people who were able to see these shows must be practically senior citizens by now! ;-)
Now, if only they'd ship my replacement for the cracked Disc 3 of 3/16/90?
See, I'm not bitter.
Quality _is_ subjective, no matter how you describe it. The idea of one artist being more talented than another is subjective. Is Monet better than Van Gogh? Quality is, for most people, subjective to the price at bidding that has been established by people claiming authority to declare it such. Objectively, something is "good" or "bad" because it has been granted a more desirable status in a given framework. Social capital, if you will. You place great cultural capital in Jerry's playing and thus, for you, he is the best. The value I place on his playing, though high, is not as valuable for me as it is to you. I'd pay more for someone else. (Much as I value/love/geek-out-over the Grateful Dead and Pink Floyd, VU is still, for me, minted from the most valuable coin music/art provides.)
You are correct about my mis-attribution of the "bold"-ness, that was someone else calling it that. My mistake. :)
But the comparison of Pigpen dying and the band continuing vs. Jerry dying and not continuing, isn't a fair one. The first, a member dies while everyone in the band is still under 30 years of age. When they're all around 50, another one dies after 30 years together. Economics and age played as much a role in that. And then, as you said and I agree, even when the "tribute" bands contained all members but Jerry, it wasn't the same. But neither was a JGB show anything like a GD concert.
I'm not attempting to convince you, or anyone, to alter their opinions. You've made a great case as to JG being your favorite guitarist, and that is a valid opinion and reasoning you have. Declare one better than another when you reach a level of quality and performance between Clapton (whom I think is not as favorable as JJ Cale), Hendrix, Garcia, and let's say... Carlos Santana. Who is better? Depends on the night, the performance, the song. Ask most musicians, especially of an age to have seen a taster's choice of Great Guitarist, and Hendrix will, for good reason, be often cited as the best. I think Hendrix was a Beethoven-level musician. Making Garcia a Liszt-level guitarist, doesn't take anything away from him at all. Two entirely different styles, backgrounds, and intentions from each in what they attempted to do musically. Hendrix deliberately complicated his music as he progressed, while Garcia often spoke of enjoying simpler-constructions because it enabled the ability to freely improvise upon it.
Personally, I think it's great that you are passionate about this. It's music, and musicians are people we turn to to share the most intimate aspects of our lives: when we're joyous, when we're depressed, when we're furious about blah, blah, or blah.
I personally don't think of the ears of the Dead as one being better than another. Nothin' gets me goin' like a scorching rampage through The Eleven (which didn't happen after 70-71), but paring Scarlet & Fire couldn't have happened before 77. Terrapin is easily the most often played live song for me, but that's because there was only a single version of, and terribly recorded, Rosemary.
Because they did what they did and continually evolved in their sound and performance, they've given us this huge palette from which we all, evidently, paint our own pictures of the past and what we want them to be for us, and some of these paintings we call masterpieces.
Quality is not purely subjective. No way to prove it to you in words. So I'll stop here.
"And without the GD, Jerry wouldn't be known outside of some audiophiliac music fiends."
Nonsense! He was a musician extraordinare and his passion would move him toward notoriety one way or another. He didn't need the Dead, he CREATED the Dead. And he would have done something no matter who he worked with.
Hunter and Garcia met completely independent of the Dead.
"Jerry without the Dead mostly likely wouldn't have had Hunter as a song-writing partner, thus none of these songs would have come about."
Of course the same exact songs wouldn't have come about, but I certainly wouldn't have cared. All I would care about is hearing Jerry, no matter what he did, because he was GREAT and would have been no matter what.
"Favorites are favorites for damn good reasons. But yours are no more objectively the best than mine,"
I never said that. I said art is not just subjective; that there is an objective component. I never said MY likes were any more objective than any one else's.
"You can congratulate yourself all you want for "bold statements" (Jerry is the greatest guitarist is hardly a bold statement on Dead.net."
I didn't call it "bold". Another poster did.
Anyway, we can agree to disagree. At least we agree about Donna!
One more thing:
With all the personell changes, the Grateful Dead were great, even after losing Pigpen, and all the other keyboardist they lost, as well as when Mickey was gone.
Then when Jerry was gone - poof. No good any more. They didn't continue because they couldn't. But anyone else they lost Jerry could have kept the band going.
The post Jerry band called "The Dead" and then "Further"; I'm sorry but they sucked compared to the Grateful Dead.
Jerry made the GD, he was the GD, and could have created a great band with any good musicians.
So, RBMunkin,
In the spirit of analytic debate, he's a response contrary to a number of your "bold" statements.
Your analyzing note-by-note and what-have-you, doesn't mark you as any less subjective than Best Of polls by whomever.
Your liking Jerry's guitar work better than anyone else's is one thing, but no matter how much note-by-note comparisons you make, it doesn't elevate your opinion to the level of objective.
"Without Jerry the phenomenon of the Grateful Dead never would have gotten past small clubs if that."
And without the GD, Jerry wouldn't be known outside of some audiophiliac music fiends. Considering they all talked about how essential each one of them was to the whole, and based their entire musical philosophy around that, you're deconstructing the Dead is a great theoretic exercise, but one that misunderstands the overall point of the collective being more important aurally than the individual components.
"Robert Hunter was a great poet. He's my second favorite Dead."
Absolutely a great poet. Also one who likely would have never written with Jerry without the GD. Hunter knew Kesey from the Menlo Park research. Kesey knew the Dead through Owsley. The Dead played through the Acid Tests. Without that connection, probably no song-writing team of Hunter/Garcia.
"Phil was a great musician in many ways but never would have gotten so popular without Jerry."
Maybe. Is Brian Eno "popular"? Is John Cale? Robert Fripp? Phil would have likely progressed along those experimental lines without the GD.
"Bob, meh. Very good rhythm guitarist, taught largely by Jerry. Vocals, song writing, and personality - not my cup of tea. He was always jealous of Jerry being the front man. He wanted to be the front man but just plain old didn't have the talent or personality."
Did he now? Good to know. I never thought he was a great guitar player, nor a great song writer, but he did pen the music of Sugar Mag, Looks Like Rain, and belt out a mean Minglewood. GD wouldn't have been without this finger on the hand.
"Drummers - very good but the Dead could have gone on with different ones."
And the sound of "rolling thunder" wouldn't be. Thus, no Dead as we know it. No Scarlet>Fire, no PITB.
"Keyboards - Pigpen was the only GREAT one."
Not so. But you can believe that all you wish. Pigpen had charisma and was a "stone jack baller and his heart was true" but he couldn't play piano very well. He blew a mean nasty dirty mouth harp, but his musical ability didn't span a great spectrum. Keith was quite proficient on piano but limited on organ and the encroaching diversity and array of keyboards. Any discussion of Brent is for another time.
"Donna - OMG why was she ever in the Dead?! Just horrible. Sounded like a bag full of cats being hit with a bat. Okay on a couple of studio albums but ruined many a live concert recording."
I agree, but then there a couple of Eyes of the World and Sugar Mag she doesn't sound bad on. I usually skip tunes if she gets gonna too much.
Jerry without the Dead mostly likely wouldn't have had Hunter as a song-writing partner, thus none of these songs would have come about. Talented as he was, he would likely have been a bit like Ry Cooder, Al Di Meola, and such ilk. Infinitely talented and diverse, but without a band, they go through the ages being treasured by a few, liked by some more, and unknown to most.
As for "Hendrix to me was a bit one-sided. The overall sound always sounded a bit the same. Absolutely amazing but limited IMHO" … I think your lack of analyses is demonstrated lacking here. Y'know, cuz 1983 sounds sooooo much like Purple Haze. And Jimi with a 12-string acoustic is the same one-sided sound as when slaughtered ear drums at Monterey with the opening riff of Killing Floor.
Favorites are favorites for damn good reasons. But yours are no more objectively the best than mine, VH-1s, or Rolling Stones polls from readers who can't remember back any further than last summer's hot thing. You can congratulate yourself all you want for "bold statements" (Jerry is the greatest guitarist is hardly a bold statement on Dead.net. And your argument lacks anything beyond your talk of how awesome you feel when you listen to him play.
He's great. But talk of the "best" is beyond the faculties at hand. Or… ehem… ear.
P.S. If anyone is interested in might-have-beens with music, check out a novel called Glimpses by Lewis Shiner. A guy puts on his headphones and hears records by his favorite bands that never were: a Doors album post-LA Woman, Beach Boys beyond Brian Wilson's mental collapse, another Beatles record... that kind of thing.
I don't have much money at all in this point in my life and it really stinks I can't take advantage of items like this. But all the T shirts are sold out and all the box sets. Is it fans or people who are going to sell them on eBay?
Isn't that the Bradford Marcalis show? Did I butcher his last names spelling . The eyes of the works from that 3-29 is so sick, but I think it's on Dozin at the Nick
Go to the store, scroll to the very bottom of the front page and click on "help/customer service". Scroll down until you come to the section on shipping and - particularly if you are outside the US - check the shipping rates. Personally, I was horrified by what I saw. If this is going to be the way it is in the future, then it suggests that they will sell almost nothing outside the US again, certainly no individual CDs. Possibly (hopefully) this only applies to the "Spring '90" store, but it is not clear to me.
...this at quarter to eight!!! (Aussie time) I empathise with your statements, and I'm in Australia, too; we Dead Noggins seem to be a rare animal here.
Anyway, just got the Formerly the Warlocks box for Father's Day and it goes far beyond my expectations: When I first became seduced by this band I figured I'd always be a seventies/sixties purist, but MY GOD, no! I still prefer those decades overall, but there are plenty of treasures from the later years as well. A continuous discovery!
I believe it's on Amazon, too. But probably much more expensive, maybe check though! Bless.


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UT Tyler Department of Health and Kinesiology
Graduate Admission
An individual interested in applying for admission to a master's degree program in the Department of Health and Kinesiology should be aware of information and procedures related to graduate studies in general at UT Tyler. In addition to procedures that must be followed to meet requirements of the UT Tyler Graduate School, an applicant must complete and submit the following documents:
All documents must be submitted to the Office of Graduate Admissions (firstname.lastname@example.com)
The department requires scores on the General Test of the Graduate Record Exam (GRE), except for an applicant who has an earned graduate degree from an accredited institution. These scores should be submitted to the Office of Graduate Admissions.
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- Have an earned baccalaureate degree from an accredited academic institution in a field closely related to the mission of the intended master's degree program.
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My DNA is not my body? Didnt part of me swim up to fertilize the egg at conception?
Asurob views innocent developing babies as parasites to a woman. I feel sorry that he thought that way of his daughters that he says he has. Dad of the year.
Mr Tide is helping to remind me not to be judgmental no matter the situation... God Bless.
Horrible excuse.
And your crying about "imposing your beliefs on others" is the biggest load of hypocritical bull shite. You want to impose your beliefs and want others to be indoctrinated and accepting of your death culture that you love.
It's sick to treat the innocent unborn the way that you view things.
I allow G-d the privilege of final judgment.
I saw the Lord standing upon the altar: and he said, Smite the lintel of the door, that the posts may shake: and cut them in the head, all of them; and I will slay the last of them with the sword: he that fleeth of them shall not flee away, and he that escapeth of them shall not be delivered. Amos 9:1
I don't want to get in the way of that, or incur that myself due to error.
My DNA is not my body? Didnt part of me swim up to fertilize the egg at conception?
you guys are going to be in for such a surprise when you assume room temperature.
Abortion is the greatest assault on liberty that has ever been implemented. There are simple, non-religious questions to ask yourself to see if abortion is wrong:
1. At conception, is the new organism living? Yes, the new cells are performing their processes autonomously and are alive.
2. Is the organism human? Yes. The new organism is classified as human.
3. Is the fetus a genetically unique human being? Yes. Since the conception is the genetic combination of two people, the genes are unique to that one fetus.
4. Is the fetus classified as the woman's body or does it have its own body? As described in point #3, the fetus is genetically unique and performing life-sustaining cell functions autonomously. Since it is genetically different than the mother, it is dishonest to describe the fetus as the woman's body.
5. Do we truly believe the drafters of the Declaration of Independence when they wrote, "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness?" Yes. Humans in the United States have a Constitutionally protected right to life.
The baby is living, human, genetically unique, and genetically separate from the woman's body. The baby should be given every right to live, no matter the circumstances surrounding its conception. It's a sad state that it has to be spelled out like this.
God, when all the hypocrites say they want less government interference, why do they then interfere?
I can't that any person has the right to tell woman that she cannot have an abortion. It is not my place nor yours to be involved here
God, when all the hypocrites say they want less government interference, why do they then interfere?
But you and I have no right to tell Susie X she can't decide for herself.
(It is her body, right?
all good questions with no definitive answers
all very personal
However, let's play "What if?" - What if the child's life does actually begin at conception, or say, within an hour or two, just to keep it a little ambiguous, and that can be proven (right now, it's as much of a philosophical one for you guys - biology doesn't seem to matter) - so, then is the right to an abortion still sacrosanct to you?
Is it her right to abort then at any time, up to, and including birth?
What if it is at viability? Okay. So, are you guys still okay with any abortion after viability?
Or will you still allow the woman to order the chid's execution up to the moment of live birth?
Is there a line? Do any of you have the courage to either draw the line (somewhere - anywhere), or say there is no line
We believe that life begins at conception. We want to protect the most defenseless members of our society. Many of ya'll refuse to respect that. I respect the choice issues, particularly when the woman becomes pregnant through a rape or failed birth control situation, but that doesn't change the fact that we believe that life begins at conception and the child hasn't done a damned thing to deserve being cut into tiny pieces, vacuumed up and thrown in the garbage.
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Lillie P. Bliss
Lillie P. Bliss | |
Born |
Boston |
April 11, 1864
Died |
March 12, 1931 New York City |
(aged 66)
Nationality | American |
Known for |
• Art collector and patron • Museum of Modern Art • Lillie P. Bliss Bequest • Lillie P. Bliss International Study Center |
Lillie P. Bliss (born Lizzie Plummer Bliss, April 11, 1864 in Paul Gauguin, Henri Matisse, Pablo Picasso and Amedeo Modigliani.
Family and youth
Lizzie Plummer Bliss was born in 1864 as a daughter of textile merchant Cornelius Newton Bliss (1833–1911) and his wife Mary Elizabeth Bliss, born Plummer (1836–1923), in Boston. Since childhood, her family and friends called her Lillie P. Bliss. Of her three siblings, only her brother, Cornelius Newton Bliss, Jr., born in 1874, reached adulthood. When she was two years old, her family moved to New York City. Lillie P. Bliss did not go to school but was taught by private tutors. Her father held the office of United States Secretary of the Interior under President William McKinley from 1897 to 1899. As his wife was often ill and indisposed, his daughter frequently accompanied him to official events in Washington, DC. during this time.
At receptions at the home of her parents, artistically inclined Lillie P. Bliss met actors like Walter Hampden, Ruth Draper and Ethel Barrymore. In her youth, her main artistic interests were of both classical and contemporary music. In her thirties, she began to promote financially young pianists and opera singers. She also supported the string quartet led by Franz Kneisel (1885–1917) (Kneisel Quartet) and promoted the Juilliard Foundation devoted to musical training. Among her friends were the music critic Richard Aldrich and the musician Charles Martin Loeffler.
One of her earliest encounters with modern art were exhibition visits at the Union League Club of New York. Her father was a member of this club and its president from 1902 to 1906. The club exhibited regularly works of living artists. For example, thirty-four paintings by Claude Monet were shown there in 1891. After her father's death in 1911, Bliss, who never married, lived with her mother in an apartment on 37th Street in Manhattan.
Building the art collection
One of her earliest purchases of art works was a painting by American painter Arthur B. Davies. She met the artist in his studio and visited art exhibitions with him and the art teacher Mary Quinn Sullivan. In subsequent years, Bliss built the largest private collection of works by Davies in the United States.
Her friend, physician Christian Archibald Herter, accompanied her piano playing occasionally as a recreational cellist. Through him she met his sister-in-law, the painter Adele Herter who founded the Women's Cosmopolitan Club in New York City together with Abby Aldrich Rockefeller and five other women in March 1911. Lillie P. Bliss joined this union a few months later. She became a lifelong friend of Abby Aldrich Rockefeller. Their common interests later led to the founding of the Museum of Modern Art. In the same year, the Association of American Painters and Sculptors was constituted; among its co-founders were Arthur B. Davies, the artist Walt Kuhn and the critic Walter Pach. Over the years, Bliss acquired numerous paintings by Kuhn and all three played a significant role in the preparation of the Armory Show in 1913, whose aim was to bring the latest trends in art before the American public. Other venues, such as the conservative dominated National Academy of Design, at this time refused to support current artistic trends.[1]
Six weeks before the Armory Show, Bliss acquired two landscapes by Pierre-Auguste Renoir and Edgar Degas a painting and a pastel, at the New York branch of the gallery Durand Ruel. She lent these works to the Armory Show and also helped with funds to enable the exhibition. From the exhibition, she bought a large number of works of art, including Silence and Roger and Angelica by Odilon Redon. From personal encounters with artists in the exhibition, she developed some long-lasting friendships. This was the case with artists like Charles Sheeler, Charles and Maurice Prendergast, whose works she bought as well.
Works by Paul Cézanne form one focal point of her collection. Bliss acquired her first Cézanne (The Street, 1875) soon after the closure of the Armory Show from the collection of her friend Arthur B. Davies. Unaffected by negative reviews, Bliss acquired the painting Fruits and Wine and eight watercolors by Cézanne from the exhibition compiled by Félix Fénéon at the Montross Gallery in New York in 1916.
Arthur B. Davies:
Italian Hill Town, ca. 1925,
donation to the Metropolitan Museum of Art. Oil on canvas, 65.7 × 101.3 cm -
Pierre-Auguste Renoir:
Brouillard à Guernsey, 1883,
today Cincinnati Art Museum. Oil on canvas, 54 × 65 cm -
Paul Gauguin:
Hina Te Fatu, 1893,
donation to the Museum of Modern Art. Oil on burlap, 114.3 × 62.6 cm (45.00 × 24.65 in) -
Honoré Daumier:
The Laundress, ca. 1863,
today Metropolitan Museum of Art. Oil on wood, 48.9 × 33 cm
Together with her friends, art collectors Louisine Havemeyer and John Quinn, she persuaded the curator of painting, Bryson Burroughs, to host the Loan Exhibition of Impressionist and Post-Impressionist Art in the Metropolitan Museum of Art in 1921. Quinn lent 26, Bliss twelve (including five Cézannes and her Degas painting) and Havemeyer two works (both women were anonymous). The press complained about Quinn as a secret leader of this issue, criticized the self-appointed citizens committee and described the exhibition as "dangerous". The painting Quinn Hina Te Fatou (The Moon and the Earth) by Paul Gauguin from his collection was described by the newspaper New York World as typical for the odious Bolshevik work which were on display in the exhibition. Undeterred by such criticism, a little later Bliss acquired this painting for her collection.[2]
From 1924 to 1929, Bliss traveled to Europe once per year to discuss the latest artistic developments - especially in France. Purchases for her collection, however, were made almost invariably at New York art dealers or the New York branch of European galleries. In these years, in addition to current paintings, she bought some older works of art as well. For example, in 1927 she bought a work by the realist Honoré Daumier (The Laundress).
The foundation of the Museum of Modern Art
After the death of Arthur B. Davies in October 1928, several exhibitions were held to preserve his memory; Lillie P. Bliss borrowed many works of art for them. In the auction of his art collection, Bliss, Abby Aldrich Rockefeller, were among the buyers and both developed a plan to form an institution devoted to organize exhibitions of modern art in New York. The steadfast refusal of the Metropolitan Museum of Art to exhibit art of the late 19th century and works by contemporary artists played a decisive role.
At the end of May 1929, Abby Aldrich Rockefeller invited her friends Lillie P. Bliss and Mary Quinn Sullivan for lunch in order to discuss the establishment of a museum of modern art. Another invited guest was art collector A. Conger Goodyear, who had previously served as a board member of the Albright Art Gallery in Buffalo, and who also participated in the meeting. Goodyear agreed to chair this circle as president, Lillie P. Bliss became his deputy and Abby Aldrich Rockefeller was given the role of treasurer. A short time later they were joined by art historian and collector Paul J. Sachs, a friend of Abby Aldrich Rockefeller, publisher Frank Crowninshield, a friend of Lillie P. Bliss, and Josephine Porter Boardman, a friend both to Bliss and Rockefeller, who hosted a literary salon in New York. On November 7, the first exhibition of the Museum of Modern Art opened in rented spaces in the Heckscher Building at 730 Fifth Avenue (corner of Fifth Avenue and 57th Street) in Manhattan. To the first exhibition of Post-Impressionism, entitled Cézanne, Gauguin, Seurat, Van Gogh, Bliss in turn contributed some paintings from her collection.[3]
Last years and testament
Although Lillie P. Bliss was weakened by cancer the last months of her life, she participated actively in the formation of the Museum of Modern Art until shortly before her death. For example, March 2, 1931, she visited the exhibition Toulouse-Lautrec/Redon to which she had contributed three works by Odilon Redon and her paintings of Toulouse-Lautrec. On March 12, 1931 Lillie P. Bliss died in New York. She found her final resting place on the Woodlawn Cemetery. Two months after her death, the Museum of Modern Art presented in its 12th exhibition Works by 24 Artists from the Collection of Lillie P. Bliss, in memory of the Museum co-founder.
In her will, Lillie P. Bliss endowed charities like the Claude Monet's painting The Rocky Cliffs at Étretat.
To the surprise of her friends from the Museum of Modern Art, she donated most of her art collection, 150 works of art, to this institution. The museum, was at first thought of only for exhibition purposes and without its own permanent collection, was thus given the foundation of a proper permanent collection. The conditions attached to this legacy in the testament included a secure financial basis to be provided by the museum within three years. This condition should permanently secure the collection.
One clause stipulated in her will proved to be proactive and helpful for the future museum collection: her collection of works of art could be sold or exchanged for other works of art. Only three pictures, the two Cézanne paintings Still Life with Apples and Still Life with Ginger Container, Sugar and Oranges and the Laundress by Daumier were excluded from this stipulation. These works should never be sold, only to be given to the Metropolitan Museum if not suitable for the Museum of Modern Art. The two Cézanne paintings are still in the Museum of Modern Art, the Daumier painting was transferred to the collection of the Metropolitan Museum in 1947.
Paul Cézanne:
Still life with apples, 1895–98,
donation to the Museum of Modern Art. Oil on canvas, 27 × 361⁄2" (68.6 × 92.7 cm). -
Amedeo Modigliani:
Portrait Anna Zborowska, 1917,
donation to the Museum of Modern Art. Oil on canvas, 511⁄4 × 32" (130.2 × 81.3 cm). -
Georges Seurat:
Port-en-Bessin, Entrance to the Harbor, 1888,
donation to the Museum of Modern Art. Oil on canvas, 215⁄8 × 255⁄8" (54.9 × 65.1 cm) -
Odilon Redon:
Silence, 1911,
donation to the Museum of Modern Art. Oil on prepared paper, 211⁄2 × 211⁄4" (54.6 × 54 cm)
Among the most important works from the Bliss collection in the Museum of Modern Art today are Cézanne's The Bathers and his Henri Matisse and Silence and Roger and Angelica by Odilon Redon.
The first director of the Museum of Modern Art, Alfred H. Barr, characterized the importance of this collection saying: "With the Bliss Collection, New York can now look London, Paris, Berlin, Munich, Moscow and Chicago in the face so far as public collections of modern art are concerned. Without it we would still have had to hang our heads as a backward community."[4]
The Lillie P. Bliss Bequest
The vaguely defined "firm financial basis" in the testament, a sort of endowment to maintain and expand the collection, led to protracted negotiations between the brother of the deceased, employed as testamentary executor, and the board of the Museum of Modern Art. Basis for the assessment of the foundation sum should be the value of the collection donated to the museum. An expert opinion of the New York gallery Ferargil estimated the collection at $1,139,036.00 with Cézanne's three masterpieces The Bathers, Still Life with Apples and Pine and Rocks at $150,000 and Degas' Rider before Hills being valued at $40,000. Following this estimate, Cornelius Newton Bliss and the Museum Board initially agreed to raising a sum of $1,000,000.
Due to the impact of the Great Depression at the beginning of the 1930s, raising the sum demanded by the donation proved to be extremely difficult. The Museum of Modern Art managed to negotiate the amount required to be lowered to $750,000 initially and eventually to $600,000. This amount could indeed be raised, not the least by a few large donations. Abby Aldrich Rockefeller alone contributed $200,000, her son Nelson A. Rockefeller and the Carnegie Foundation each had $100,000 available. In March 1934, the amount agreed upon was allocatable and the collection of Lillie P. Bliss was legally handed over to the stock of the museum. It forms the basis of the museum collection and the proceeds of the applied amount of money serve to expand the collection since then as Lillie P. Bliss Bequest.
According to the scheme in the will, the museum sold off the Bliss art collection pieces one by one. For example, Degas' Jockeys on Horseback before Distant Hills was sold in the late 1930s for $18,000, in order to purchase Picasso's Les Demoiselles d'Avignon with the proceeds and an additional $10,000. By the sale of three other works from the Bliss collection, the acquisition of Vincent van Gogh's Starry Night was achieved in 1941.
In 1951, three more works from the Bliss collection were sold to the Metropolitan Museum: Odilon Redon's Etruscan Vase with Flowers, Paul Cézanne's Portrait of Antoine Dominique Sauveur Aubert and Pablo Picasso's Woman in White. Henri Rousseau s Lion in the Jungle and Camille Pissarro s Riverside (both now in private collections) and Henri de Toulouse-Lautrec's May Belfort (now Cleveland Museum of Art) and Pierre-Auguste Renoir's Brouillard à Guernsey (now Cincinnati Art Museum) were sold as well.
In turn, the Museum of Modern Art acquired through the Lillie P. Bliss Bequest paintings by Amedeo Modigliani, Alexej von Jawlensky, Alberto Giacometti, Balthus, Alexander Archipenko, Juan Gris, Pablo Picasso, Fernand Léger, Theo van Doesburg, Marc Chagall, Piet Mondrian, Lyonel Feininger, Arshile Gorky, as well as sculptures by Umberto Boccioni, Henri Matisse, Henry Moore, Constantin Brâncuși, Joseph Cornell, and numerous other works of art.[5]
In addition to the Lillie P. Bliss Bequest, the Lillie P. Bliss International Study Center is reminiscent of the Museum co-founder. This study center of art historical research in the field of modern art is located at the Museum of Modern Art.
- Barr, Jr., Alfred. The Lillie P. Bliss Collection. New York: Plantin Press, 1934.
- Brown, Milton. The Story of the Armory Show. New York: Abbeville Press, 1988, ISBN 0-89659-795-4:
- James, Edward T., Janet Wilson James and Paul Boyer (ed.): Notable American Women, 1607–1950: A Biographical Dictionary. Cambridge: Belknap Press of Harvard University Press, 1971, ISBN 0-674-62734-2.
- Kantor, Sybil Gordon. Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art. Cambridge: MIT Press, 2003.
- Roob, Rona. "A Noble Legacy." Art in America, (November 2003) Vol. 91, No. 11, p. 73–83.
- ^ Henry Liu 2004, Asia TimesMoney, Power and Modern Art Retrieved September 2, 2010
- ^ Rona Roob: A Noble Legacy, Art in America, November 2003.
- ^ Bliss Collection Time Magazine, May 25, 1931 Retrieved September 2, 2010
- ^ Museum of Modern Art: Endowment Fund raised to secure Bliss Collection for MOMA. Press release, 1933-34.]
- ^ Alfred Barr jstor.orgPainting and sculpture acquisitions at MoMA, 1948–1950 Retrieved September 2, 2010
External links
- Museum of Modern Art: Documentation of the collection
- Museum of Modern Art: Biography of Lillie P. Bliss


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Hi guys,
I'm running a COS 6.4 Samba 4 Server at home, and looking for a simple backup/restore solution.
At the moment i've been using Clonezilla for the boot drive so i can undo any cockups i've made. But as this is destined to be a headless server, that's not going to be practical once it's off the bench. It's also manual.
Can you recommend a solution that could do regular backups to an external HDD that would be easy to restore?
Is there also a way to save the system state and "undo" things on Linux? At the moment, i have to restore the whole system image from a backup if i've cocked something up.
Backup solution?
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Pakistan ball maker to fulfil World Cup dreams
Sialkot (Pakistan), May 24, 2014
By Katharine Houreld
It was when he felt the roar of the crowd at the 2006 World Cup in Germany that Pakistani factory owner Khawaja Akhtar first dreamt up a goal of his own: to manufacture the ball for the biggest soccer tournament on the planet.
"The people were chanting all around me. I just thought, 'This is the real thing'," Akhtar told Reuters. "I was part of the crowd. I never had that kind of feeling before."
His factory in eastern Pakistan had made balls for the German Bundesliga, French league and Champions League, but he had never snagged a World Cup contract.
Last year he finally got his chance - but only 33 days to make it happen.
When Akhtar heard last autumn that Adidas' ADSGn.DE Chinese supplier for the World Cup couldn't keep up with demand, he immediately invited executives to his plant in Sialkot, a wealthy Pakistani manufacturing town with a long history of leatherwork.
Their first visit was not a success.
"They said 'You have Stone Age equipment," said his oldest son, Hassan Masood Khawaja, laughing. "After they left, my father called a meeting and said: 'This is our only chance. If we show them we can't do it, we'll never get another chance again.'"
It usually takes six months to set up a production line, but the factory only had a month - Adidas, the German sports equipment maker, was in a hurry. So Khawaja designed, made and moved the equipment into place within 33 days. Everything had to be done from scratch.
"It was hard, maybe the hardest thing I've ever done," he said over the noise of the hot, hissing machines.
But it was a success, and the firm's previous investment in thermal bonding technology paid off. Only thermally bonded balls - made using a glue that reacts with heat - are round enough for the World Cup's strict standards.
A leading force in world cricket, Pakistan is a mere also-ran in soccer, where it ranks just 159th in the world. But Akhtar's factory, where men and women in bright, flowing robes move plastic ball panels from machine to precision machine, is part of a long tradition of Sialkot football makers.
Local legend tells of a poor cobbler who made his fortune by repairing the punctured footballs of colonial-era British soldiers, then studying how to make them himself.
He was so successful that soldiers all over the region started buying from him. Business blossomed - but so did child labour.
A series of scandals, and changing technology, forced many factories to close. Others had to clean up their acts.
These days foreign brands frequently inspect Sialkot factories that make their footballs. Large signs on Akhtar's factory walls sternly proclaim that child labour is forbidden and unions are allowed.
Workers that Reuters spoke to privately confirmed that conditions were good - the salary was mostly minimum wage, around $100 a month, but social security, life insurance and transport were extra benefits. A small government hospital sits on the premises.
In the past 40 years, Akhtar's own family business, called Forward, has grown from 50 men to 1,400 employees. Unusually for Pakistan, nearly a quarter of them are women.
Some wear the niqab, a long black covering that leaves only a pair of brown eyes exposed. Others flaunt bright sandals with imitation jewels and wear robes the colour of tropical birds.
Almost all say they are the first woman in their family to work.
Shakila Ashrafi, a 38-year-old mother whose long beige coat reached down to her ankles, said one of her first purchases was a television.
When the World Cup kicks off in Brazil on June 12, they plan to invite their neighbours - all avid cricket supporters - to come and watch the strange foreign game being played half a world away.
"We will bring everyone together to see the match," she said, her busy hands pausing for a moment. "I want them to see what we make and where the balls go."-Reuters


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I notice that the behavior from Yoda I think of most is when he's first giving Luke grief, before he's revealed that Luke has badly underestimated the little gnome who is really a Jedi master. Yoda's taunting of the heroes, crazy laughing, fighting with R2, tearing trhough Luke's belongings and eating his rations -- that guy is the best IMO, his "mmm? eh heh heh heh!" laugh is great, it conveys an almost nastiness that's masking wisdom.
The sage Yoda is good too, but it's almost a little too straightforward by comparison, very much a teacher that does more teaching through words than experience and behavior. It's all good here too, but the character becomes less interesting as the lessons take center stage.
(this thread discounts the Yoda of the prequels, that of a hard-headed Jedi Council Member and later a Columbian killer attack frog.)


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"Save America's Treasures" has been totally eliminated—the largest Federal program supporting preservation of such treasures as the original Star Spangled Banner and George Washington's tent.
65% of Americans don't know what happened at the Constitutional Convention, according to a recent survey by Newsweek.
The "Teaching American History" grants—the largest Federal program supporting history education—have been completely eliminated.
Visits to the Top 20 Civil War battlefields have dropped in half from 1970 to 2009 according to official National Park Service statistics.
40% of Americans can't identify whom we fought in World War II, according to a recent survey by Newsweek.
A quarter of Americans believe Congress shares power over U.S. foreign policy with the United Nations, according to a recent Annenberg survey.
"There is little that is more important for an American citizen to know than the history and traditions of his country," John F. Kennedy wrote in American Heritage.
The "We the People Program," which touched some 30 million students and 90,000 teachers over 25 years, has been completely eliminated.
Two-thirds of Americans could not correctly name Yorktown as the last major military action of the American Revolution, according to a recent national Gallup survey.
The National Heritage Areas and Scenic Byways program, the only major Federal program encouraging visits to historic places, has been completely eliminated in Congressional committee.
A LIFELONG FASCINATION with the stories of a famous pioneering family finally drove the writer to South Dakota in hopes of better understanding the prairie life Laura Ingalls Wilder lived there and later gave to the world.
When she was a little girl in Wisconsin in the 1870s, her father would take her and her sister on his knee after supper in their log house and tell them wonderful stories about bears and panthers and little boys who sneaked out to go sledding on the Sabbath. Then later she would drift off to sleep in her trundle bed hearing her father play his fiddle. Even after they left their comfortable house, and meals became unpredictable, the stories went on, as did the fiddle music. It was too good to be altogether lost. Read more »
Starting with a single, haunting battlefield image, an amateur photo detective managed to reconstruct a forgotten photographer's life and uncover a treasure of Indian portraits.
I had waited six months to see it. A long-time collector, I loved to roam the monthly swap meet in Long Beach, California near my home. Half a year before, I'd stopped at the booth of a dealer in old photographs and asked if he had anything related to General Custer or to the Battle of the Little Bighorn, both favorite topics of mine. He told me that he had a stereo view of the Custer Battlefield, but he hadn't brought it with him, and it wasn't for sale. "It's by a photographer I've never heard of," he explained.Read more »
Dan Patch never lost a race. But that's not how he made his owner a multi-millionaire. America's best-loved horse was also perhaps the most shrewdly marketed animal of all time.
In mid-September 1904 Americans reading about Teddy Roosevelt's conquest of the Republican presidential convention and the decisive Japanese victory over the Russians at Liao-yang came across a brief news item from Kansas: Dan Patch had taken ill in Topeka and would probably die. The announcement sent tremors of anticipatory grief not only through horse fanciers and turf followers but through millions of people who had no particular interest in the track.Read more »
Nearly a hundred years ago two rival cities fought hard and dirty to win the battle of numbers
In mandating a national census every ten years, the framers of the U.S. Constitution envisioned a counting, not a bashing, of heads. Certainly the Founding Fathers could not have foreseen anything like the strife between a pair of Minnesota cities perched on opposite banks of the Mississippi River. But the intense rivalry between the twin towns of Minneapolis and St. Paul peaked a century ago during the 1890 census, and the tallying of their populations became a battle of neighboring police forces, lawyers, judges, and crooked enumerators. Read more »
A seasoned campaigner's look at the never-ending war between archaeological fact and archaeological fraud
In 1961 three rockhounds found an unusual nodule near Olancha, California. It contained ceramic, copper, and iron components and seemed obviously man-made. Although ( California is the home of some of the world's finest universities, the discoverers took the artifact to the Charles Ford Society, reportedly "an organization specializing in examining extraordinary things." The results were predictably extraordinary.Read more »
All through the late spring and summer of 1894 a haze of woodsmoke hung over the town of Hinckley in Pine County, Minnesota. Small fires burned unheeded in the cutover timberlands throughout the county, throughout the whole eastern part of the state. In mid-July, section gangs of the St. Paul & Duluth Railroad were out fighting fires north and south of Hinckley, and they succeeded in getting the flames under control before the right-of-way was damaged. At about the same time, a correspondent for a St.Read more »
Between the ages of fifteen and twenty, young Peter Rindisbacher captured on canvas the lives of Indians and white pioneers on the Manitoba—Minnesota frontier
On August 12, 1834, a twenty-eight-year-old Swiss-born youth named Peter Rindisbacher, who was just beginning to attract international attention with his colorful and realistic drawings of Indian life along the mid-western United States and central Canadian frontiers, died in St. Louis. In a brief obituary the Missouri Republican noted his passing: "Mr. Rindisbacher had talents which gave every assurance of future celebrity. … He possessed a keen sensibility and the most delicate perception of the beautiful." Read more »
Giacomo Beltrami's discoveries were mostly illusory, but he had a glorious time making them, and the people of Minnesota have never forgotten his name.
In the serious story of the exploration of the Mississippi River, there is one unique and preposterous character. He is Giacomo Constantino Beltrami, an Italian of comic-opera proportions. Beltrami was in every way a glorious misfit. He was wayward, unpredictable, and humorous. It was impossible for him to be anything but a charming maverick, and when this dilettante set forth alone to discover the true source of the Mississippi, he did so in a gush of hyperbole.Read more »
Minnesota's Sioux uprising began with senseless murder on a peaceful Sunday afternoon. Before it ended, the smell of death was everywhere
The day was August 17, 1862, a Sunday when most of the settlers in southwestern Minnesota were taking a Sabbath rest in the midst of the farmers' yearly race to get in the ripe grain while the weather stayed good. If it was like most days in a Minnesota harvest season, there was a blue haze along the prairie horizon and the dusty smell of dry grass and wheat stubble in the air. Read more »


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Java Draw Created Jun 12, 2012 460 x 640px Unless noted Copyright 2012 santacruiser.
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i love the x factor and your amazing drawing your definately through to the next round from me 5h fav xxx
wow trhis looks nice :) i really like your coloring here micha :D , nice job hihi 5/5h C:


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What I Learned About Streetscape Construction Projects
Last week I spent an afternoon with the City of Painesville Economic Development Director and the Downtown Painesville Organization Executive Director. We were out meeting with business owners to discuss the upcoming streetscape construction project scheduled for this summer.
I learned a great deal regarding streetscape projects and what it takes to prepare for a project. It seems the main theme of the day was communication. The Painesville representatives have already done a great job of communicating the details of the project with the business owners. Projects like this are enormous undertakings and have so many moving parts that they can be hard to keep under control. While city leaders and downtown folks are typically very excited about these projects, they can be very daunting for business owners and it is imperative that they are kept in the loop. In Painesville, the business owners were contacted early regarding the project and given some rough ideas what to expect. When plans were complete, business owners were visited and construction plans were reviewed in person. This gave the business owners a chance to understand the process and how it would impact them, it also gave the city and downtown representative a chance to hear property owners concerns and address any questions. This also gives the project leaders ample time to make adjustments to suit the business owners and address concerns.
Business owners were informed when the construction would take place and how it would impact them. These impacts included reduced parking, reduced store visibility, increased noise and dust and reduced customer access. By better understand when and what was taking place, business owners are better able to prepare. Preparation most often included communication with customers to make them aware of the impending construction and let them know the store would be open, or in some instances have them enter the store from the rear. Some business owners were also making plans for temporary signage, changes in lighting or valet parking.
We also discussed the importance of finding the right contractor for the project. There are plenty of horror stories from other towns where a contractor was not sensitive to the needs of business owners and communicated poorly. In one of the worst cases, this situation lead to business owners suing the city over lost revenue during construction. Finding a contractor that has experience with streetscape construction is a must. This contractor must be willing to do the project in phases and try to keep the impact on business owners to a minimum. The contractor must also be willing to communicate on nearly a daily basis to keep everyone informed on the progress of the project.
Streetscape projects can and should be a tremendous benefit for a downtown or commercial business district, but if mismanaged, can be a potential debacle. I was very appreciative of the time I spent with Jen Reed and Cathy Bieterman of Painesville. I learned a great deal about what it takes to prepare for a streetscape project and feel confident that Painesville's project will run smoothly. As always with Main Street Communities, advice and suggestions were shared from communities that have already been through the process and Painesville will share their experience with cities going through the process down the road.
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The Ohio Vacant Facilities Fund
While in Spokane, Washington at the National Trust for Historic Preservation annual conference, I, along with many other Ohio delegates, attended a session on right-sizing. Presenter Cara Bertram, with Place Economics, conducted a survey of older industrial cities that have experienced significant population change over the last 40 years. Cleveland, Youngstown, Dayton and Cincinnati were 4 of the 20 cities selected for the survey.[1]
We expected answers and concrete models working in other cities that we could bring back to Ohio. Instead, we learned that there currently are no success stories. The issue of vacant properties and low population has only begun to be documented and the idea of rightsizing, or the process of reshaping physical urban fabric to meet the needs of current and anticipated populations, is only a working theory. We discovered that dramatic population loss is being experienced across the nation, not just in older industrial cities, but also in Texas, where army bases have vacated, and also in Niagara Falls, NY where they are about to lose their city status along with a significant reduction in federal funds . While a few facts remain constant, such as decreased population, vacant buildings, and economic decline, the available resources change dramatically from city to city and also state to state. Essentially, Ohio needs to find creative ways to solve rightsizing issues through our own resources and funding sources because a national model is not coming any time soon.
Two Ohio cities, Sandusky and Painesville, have decided to create disincentives by using penalties to nudge people and companies to make decisions that expand the tax base. Both cities have created vacant property registries. The ordinance requires owners of vacant properties to sign a registry. Part of the registry requires that the property owner indicates who the lawful owner of the property is and provide the contact information for that owner, or in the case of out of town owners, to provide the local contact for the person acting as the owner's agent. The property owner is then required to submit a plan for leasing the property, selling the property or developing the property. The ordinance also requires the property owner to keep the property safe and secure and maintain the property in accordance to local standards. As stated in the purpose of the Painesville ordinance, "(t)he purpose of this ordinance is to establish a program for identifying and registering vacant residential and commercial buildings; to determining the responsibilities of owners of vacant buildings and structures; and to speed the rehabilitation of the vacant buildings. Shifting the cost burden from the general citizenry to the owners of the blighted buildings will be the result of this ordinance." The key to this statement is "shifting the cost from the general citizenry to the owners of the blighted building." A dilapidated downtown building affects the whole city.[2]
On a statewide level, the Ohio Development Services Agency has created the Ohio Vacant Facilities Fund to create reuse incentives for vacant buildings while investing in local businesses and creating jobs. An employer will receive $500 in grant funds for every new full-time position created in eligible facilities. The position must last at least one year before funds will be distributed. Funds can be used for acquisition, construction, enlargement, improvement, or equipment of the facility. The fund has been allocated $2 million through August 2015 and will begin accepting pre-certification requests November 26. Over the next two years, the fund has the ability to create up to 4,000 jobs.
The program can be used by all scales of employers to fill both big-boxes and main street storefronts. For example, a bakery opens in a downtown. They create 4 jobs after opening. After 1 year, they are eligible for $2000, which could be used to reinvest in their equipment to meet their growing business needs.
Employers should submit a pre-certification request form, available from the Ohio Development Services Agency's website http://development.ohio.gov/cs/cs_ovff.htm. The request must be submitted prior to occupying the vacant facility or increasing employment in order to verify eligibility and reserve funds. All for-profit businesses are eligible, while non-profit and governments are not eligible. The building must be 75% or more unoccupied and available for use in trade or business for no less than 12 months. If the building is not occupied or construction is not complete, then construction must be at least 85% or more complete and able to be lawfully occupied with a certificate of occupancy. Also, the employer must increase employment above the Base Employment Threshold.
For more information and pre-certification request applications, please visit the agency's website: http://development.ohio.gov/cs/cs_ovff.htm, or contact the Office of Redevelopment at firstname.lastname@example.com or call 614-995-2292.[3]
[1] For more information on rightsizing and a full list of all 20 cities, the report in its entirety can be found on Place Economics' website at http://www.placeeconomics.com/services/rightsizing.
[2] This excerpt is from the article "The Price of Vacant Property" written by Jeff Siegler and can be found in the Fall 2012 issue of Revitalize Ohio.
[3] For direct assistance contact: Nathaniel Kaelin, Ohio Historic Preservation Tax Credit Program Manager, Office of Redevelopment, Community Services Division. email@example.com or 614-995-2292.
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Combating Vacant Property Workshop
If you missed the vacant property workshop or you'd like to review the materials, you can find them all below.
The Legal Approach to Nuisance Property – Matthew Yourkvitch, esq.
The Cost of Vacant Property & Solutions You Can Use – Alison Goebel, Ph.D.
Sandusky's Vacant Property Registry – Sandusky Fire Inspector Stephen Rucker
- Sandusky Vacant Property Ordinance
- Vacant/Abandoned Building Evaluation Form
- Commercial/Industrial Vacant Building Plan
Painesville Vacant Property Registry – Doug Lewis and Cathy Bieterman
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- KCII Radio - http://kciiradio.com -
Auditor Releases Crawfordsville Report
Posted By News On @ 6:26 am In Today's Local News | Comments Disabled
The Auditor of State has released an audit report on Crawfordsville for the fiscal year that ended June 30, 2010. The City's receipts totaled $943,685.
The biggest portions of this total came from capital grants with $506,000, note proceeds for $191,000, and $108,000 from operating grants.
The full report can be found here [1].
Article printed from KCII Radio: http://kciiradio.com
URL to article: http://kciiradio.com/2011/10/auditor-releases-crawfordsville-report/
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[1] here: http://auditor.iowa.gov/reports/1022-0884-B00F.pdf
Click here to print.
Copyright © 2005-2013 KCII Radio


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I'm a 20-something professional researcher who loves food: growing it, reading about it, shopping for it, eating it. cityfarming808 is an outlet of my personal experiences with food as a curious consumer, urban gardener and amateur chef armed with a 40 ft2 lanai and tiny kitchen. If you like to talk about food, I'd love to connect with you. Leave a comment on my blog or follow me on Twitter.
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Exotic meat No 2....Llama mmmmmm
Trip Start
Feb 19, 2006
Trip End
Aug 27, 2006
The following day we go on a tour to the silver mine. We�re kitted out in bright yellow suits, with yellow Bob the Builder style helmets...I think we pull them off?!? We set off to the mines with our guide Sol (an ex-miner woman, who made Lucy look tall). Our first stop is the miners market where we buy presents of coca leaves, soft drinks, 96% alcohol (which is like drinking fire) and ciggies. We also bought some dynamite, for the cost of a swift half in your local - just to arse about with.
We then stopped at the ore refinery plant, where they extract the silver, lead and zinc. Certainly no Health Safety and Environment regulations put in place here as we try to avoid the crushing machinery that�s whirring round at some ridiculous speed. We ask our guide whether there are many accidents. She told us that two people had died recently because they had mistakenly drank the VERY poisonous chemicals used to extract the minerals - mistaking it for water!!
We then enter the mine network. Note to anyone planning to take a trip into a mine, they are not designed for people over about 5�5". So anyone like Quinn who is over 6 foot will struggle, and for 1 and a half hours he did just that.
The group trudged through the mines (which are still very operational) avoiding the mine carts that were whizzing by (Indiana Jones style) gaining an insight to the awful working conditions of the miners. At points the mine can reach 50�C and the dust was choking. A long career in the mine is 25 years. After that the lungs of the miners have taken such a battering they often contract bronchitis (however you spell it). Add the fact that they consume huge amounts of coca, smoke unfiltered ciggies and drink 96% alcohol, 16 hours a day 5 days a week, its unsurprising they�re in such bad health.
Outside the mine the fun begins. Everyone in the group has purchased a stick of dynamite and are eager to blow stuff up. We moulded the dynamite into various shapes and placed it into a bag of ammonia nitrate (helps make the explosions bigger) stuck a fuse in and lit it. Then we ran (with the dynamite and lit fuse) down the hill to the control explosion area (an unused field), then with seconds to spare leg it back up the hill as though there�s 1Kg of dynamite ready to explode at any second. Check out the video and watch the camera actually shake as the dynamite goes off - only in Bolivia folks!
Went out that evening to a really nice restaurant, Quinn had Llama steak in garlic, really tender, a bit like steak but nicer mmmmmm.
Ok people, next entry will be the salt flats of Uyuni. Really looking forward to that bit.
Lucie pee pee and Quinny poo poo


text: Unlock Left 4 Dead's Next Map Early By Play-Testing "Dead Air"Owen Good8/06/11 11:00amFiled to: Left 4 DeadLeft 4 Dead 2ValvePCDead airBetaBlood harvest126EditPromoteShare to KinjaToggle Conversation toolsGo to permalink The importation of original Left 4 Dead maps into Left 4 Dead 2 rolls on, with the latest update to "Dead Air" delivering a new version of the Terminal map. Valve says the update brings matters "pretty close to being complete" but "at this stage what we really need is more testing." It's found a way to get you to do that. Advertisement Play a complete game of Versus in "Dead Air" and you will get an achievement, Valve says. When 60,000 people earn that achievement, the beta version of "Blood Harvest," the next map to be released, will be unlocked the following weekday."60,000 is going to be hard," L4D2's team writes on the official blog. "You can't rage quit and you need to work together." Advertisement Valve asks that gamers who get the achievement help others reach it as well, and post feedback and bugs to the Steam Forums and on the game's Facebook page. Progress toward 60,000 will be announced via Twitter.Connecting Flights [Left 4 Dead Blog]Reply126 repliesLeave a reply


text: Meta Battle Subway PokeBase - Pokemon Q&A Login Register All Activity Questions Unanswered Tags Users Ask a Question Rules Chat How many times can a TM be used in gen 5? 0 votes I found out that in gen 5 you can use a TM more than once. Is there a limited amount of times or is it endless? tms black-white gen-5 asked Nov 2, 2012 by Artist KS Please log in or register to add a comment. Please log in or register to answer this question. 1 Answer 0 votes Best answer Endlessly, same for Black and White 2 answered Nov 2, 2012 by the_netts selected Nov 2, 2012 by Artist KS Caught this one on the way out the door >:) wow endlessly, yeah i know u were about to leave, u said u were going to the zoo. Please log in or register to add a comment. Related questions Can somebody give me the full list of TMs in gen 5 and where to find them? Why was the TM list changed for Generation 5? Is there any way to get either Pikachu, Pichu, or Raichu in gen 5? Available download content and codes for Pokemon DS games Gen 4 & 5 ? How many final form pokemon gen. 5 pokemon are there? What would happen if I were to transfer a TM from Gen 4 to Gen 5? Can ANY items from Gen IV be transferred to gen V? Will there be a new event for Celebi in Gen 5 games? Useful Meta Posts Vote for Sun/Moon moveset questions How to change your username How to add a user avatar Why was my post hidden? The points system Question etiquette Flags vs Downvotes Anime FAQ