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You Probably Need a Will, So Here's How to Have That Potentially Awkward Conversation with Your Family
Remember, if you die without a will, the state will determine who inherits
They say that your life completely changes when you have a baby. That this overwhelming sense of love makes you forget all of the sleepless nights and dirty diapers, the temper tantrums and crayon marks on the freshly-painted walls. Many new mothers declare that this is what they were meant to do: bring another life into this world. I suppose this is how I feel, too — except that I'm not a mom yet.
Ever since I was a little girl, I've always known that I wanted to be a mother. I used to create elaborate scenarios with my dolls as my "babies" where I was their doting mother. When I was around 14, I began babysitting for one of the local church's childcare centers a few Sundays a month; I'd spend a couple of hours watching after babies and toddlers while their parents attended services. I bounced smiling babies on my knees, fed them bottles as they looked up at me with their big eyes, and patted their backs and sang to them as they cried. In college I made extra money by nannying for a family during the summer. I'd travel with them and their three small children, taking care of them practically 24/7. At night I was regularly woken up because of the two-year-old's nightmares. My alarm clock was the baby wailing for his first morning bottle. But even though they weren't my kids, I felt that emotional tug deep inside my chest. Children make me feel a peaceful happiness — like you're living in a world where everything is pure and beautiful.
Today, I'm 25-years-old and my desire to become a mother is stronger than ever before. I feel like my body's been screaming to get pregnant for years. Some might say hormones are messing with my head; they probably are. Most fertility experts say that a woman's fertility peaks between around age 23 and 30, with a decline usually beginning in your late 20s. After all, having several babies by the age of 25 was the norm for most women — and still is in some parts of the world — for thousands of years. My pulsing hormones are why I almost come to tears whenever I hold a newborn and why I'm overcome with emotion even when I see a baby being casually pushed down a sidewalk in a stroller.
But I realize those are not feelings young professional women my age all share and that when I do have a child, among my peers, I'll be considered a relatively young mom. In some ways, wanting to have a baby in your 20s is more taboo than having one in your 40s, especially in New York City where I live. Just last week, MSNBC host Melissa Harris-Perry became a mother through in vitro fertilization and a surrogate; women CEOs and high-powered execs à la Sheryl Sandberg and Marissa Mayer seemingly manage to do it all as mothers of small children in their 40s. Mothers with gray hair and wrinkles perhaps outnumber those without in some places. But despite the fact my choice has been carefully thought out, I have a good job and a loving spouse who wants a baby just as much as I do, whenever I casually bring up the topic with a woman who's a bit older than me, the response is more often than not overwhelmingly negative. You should really wait until you're both making well into the triple figures. Don't you want to be able to pay for private school? Don't you want to give your kid everything you possibly can?
My answer is always that I want to be the best mother possible and I strongly believe that if I have my baby before I'm 30 that I'll be able to do that. Right now, my salary is modest and I know that my wife and I will never be rich (I work in publishing; she's in graphic design/art direction). We might not have a Maclaren stroller or send our child to overpriced afterschool programs. But at least I'll have the energy of someone in her 20s while raising my baby. I also believe that the transition into motherhood will be easier for me as a younger woman because I'm not as entrenched in my single life or in my career as a 39-year-old would be, for example.
My wife and I are planning to begin our journey to motherhood in about a year. To be honest, I'm a bit scared, but not of anything that will prevent me from going through with it. There will of course be many sleepless nights and difficult moments. I'll probably feel a bit awkward as one of the few mothers under 30 picking my child up from daycare, and being one of the few under 40 attending school meetings. But in the end, that stuff really doesn't matter.
Whenever I'm bored or procrastinating, I look at other people's Facebook pages and get "life envy." I look at photos of their luxurious vacations in Tahiti and read their statuses describing their fabulous night out. Recently I looked at the Facebook page of a girl I went to school with who's happily married. She recently gave birth to a baby boy and I stumbled across an image of her holding him shortly after giving birth. He was swaddled in white cloths and sleeping, while she looked down at him with the most blissful smile I've ever seen. I felt "life envy," I also knew deep down inside that I'll have that moment too one day. I can't wait.
Reprinted with permission from The Frisky. Want more?
Ellen Degeneres And Portia De Rossi Are Still Blissfully In Love, Thank You Very Much


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School of Media and Communication
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Media, Conflict and Democratisation
Dr Katrin Voltmer is the Coordinator of a major research project on 'Media, Conflict and Democratisation' (MeCoDEM), which started on 1 February 2014 and will run over three years. The project investigates the role of the media in conflicts that accompany and follow transitions to democracy.
Pararchive: Open Access Community Storytelling and the Digital Archive
Funded by the Arts and Humanities Research Council (AHRC), Pararchive: Open Access Community Storytelling and the Digital Archive was launched on 1st October 2013 and runs until 31st March 2015. Based at the School of Media and Communication, University of Leeds, it is part of the AHRC's Connected Communities Programme, and has been funded under the Digital Transformations in Community Research Co-Production in the Arts and Humanities.
Improving Cultural Work
'Improving Cultural Work' is an Arts and Humanities Research Council (AHRC) Network project on inequality and exclusion in the cultural industries.
Communicating Copyright: An Exploration of Copyright Discourses in the Digital Age
Digitalisation of media has brought longstanding tensions about the purpose and scope of copyright law to the fore, not only for those with a financial stake in copyrighted materials, but for ordinary users as well.
Cultural Policy Under New Labour
New Labour's cultural policies are of particular interest, because more than any other British government, and more than most modern national governments, New Labour placed great emphasis on culture and the arts in their political self-presentation and in policy practice. They placed much greater stress than other governments on the economic role of commercial 'creative industries', while retaining and indeed raising subsidies for the arts.
Representations of Contemporary Soldiering in Digital and Visual Cultures
In this British Academy-funded study, Katy Parry (Principle Investigator), Simon Popple (Chief Investigator) and Nancy Thumim (Chief Investigator) investigate perceptions of contemporary soldiering in the UK primarily through focus group discussions with serving military personnel, veterans and forces families.
Globalization, Visual Communication, Difference
From 2011 to 2015, Dr Giorgia Aiello's project "Globalization, Visual Communication, Difference" was funded by a €100,000 Marie Curie International Reintegration Grant under the European Commission's Seventh Framework Programme
Strike Stories - Films
A series of films that tell participants' own stories and offer new perspectives on the 1984/5 miners' strike. Participants included former miners, retired police officers, women's groups, local history groups and political activists, who were tasked with responding to the content of the BBC archive, re-examining the coverage and challenging the 'official' version of events.

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We offer an Honest, Reliable and Professional service with competitive rates. All types of Household Electrical work are carried out by us, including Inspection & Testing (Electrical Condition Reports) for Customers wishing to have the condition of their Electrics checked also for Purchasing of Property, especially for Solicitors/Estate Agents including Landlord Inspections.
Our main priority is to ensure a High Level of Customer Satisfaction which we feel we are confident in achieving, as once someone becomes a customer of ASW Electrics, they stay a customer. We find that we have a lot of repeat business and as well as new customer recommendations.
We are an ELECSA registered company which also means Part 'P' Registered which means all work carries a Warranty of 6 years and will be Certificated. We are City & Guilds qualified .
We are happy to discuss and answer any questions anyone may have, face to face or over the phone so please fell free to contact us, No matter how irrelevant or small you think the job is we are more than happy to please.
All areas of Hampshire and surrounding borders.
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For all the fuss it has made in history, for all the language it has distributed about the world, England is a rather small place. The largest of the four constituent elements that make up the United Kingdom, it covers 50,331 sq miles (130,357 sq km), about the same size as New York State or one of New Zealand's islands. But its population of over 50 million is over two and a half times New York State's, and over 15 times both New Zealand's islands. ...more


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13. Charitable Lead Trusts, Part 3 of 3
An Introduction to the Law and Taxation
of Charitable Gift Planning
By: Russell James III, J.D., Ph.D.
13. CHARITABLE LEAD TRUSTS, Part 3 of 3
Links to previous sections of book are found at the end of each section.
|To this point the focus of the chapter has been on non-grantor Charitable Lead Trusts. A less common type of Charitable Lead Trust is a grantor Charitable Lead Trust. In a typical grantor Charitable Lead Trust the donor receives the remaining interest at the termination of the trust. Because of this, the trust is always considered to be owned by the donor. A grantor Charitable Lead Trust is not even a separate tax paying entity; it is simply an extension of the donor. If the trust earns income, the donor is treated as having earned the income. This trust is not used for estate and gift tax planning because the donor hasn't transferred anything out of his or her estate.
Instead, this trust is used for income tax planning purposes. Specifically, the donor is allowed to immediately deduct the present value of the future charitable gifts funded by the trust assets. This allows the donor to "pull forward" future charitable gifts and deduct them today (so long as the donor transfers sufficient assets into the trust to fund these gifts).The tax deduction for transfers to grantor Charitable Lead Trusts is limited to 30% of adjusted gross income, or 20% if funded with long-term capital gain property, because the gift is considered to be "for the use of" charity rather than "to" charity. This is because the Charitable Lead Trust itself is not a tax-exempt entity (unlike the Charitable Remainder Trust). Additionally, Regulation 1.170A-10(a)(1) and PLR 8824039 indicate that excess gifts "for the use of" charity cannot be carried forward, but IRS publication 526 and PLR 200010036 indicate that they can be.
Pulling forward tax deductions for future charitable gifts is particularly useful when the donor's tax rates are high now, but will be lower later. A grantor Charitable Lead Trust allows the donor to take the deductions now, when they are more valuable, rather than later. This temporarily higher tax rate may result from a spike in income, perhaps due to the sale of an appreciated asset, a Roth conversion, or some other temporary income. Additionally, this difference in tax rates may occur as the result of a planned retirement where future income, and thus future tax rates, will be substantially lower after the retirement date.
Of course, the donor could simply make a large charitable gift during the year when income is high. Or, if the donor wishes to spread out the transfers to charity over many years, he or she could make a large transfer to a donor advised fund. Both of these approaches would also generate a large immediate income tax deduction. However, the grantor Charitable Lead Trust allows the donor to get the asset back after the expiration of the trust (or at least what remains of the asset after making the required payments to charity). Suppose the donor owns a large income-producing investment which generates $100,000 per year. Using a grantor Charitable Lead Trust, the donor could transfer the asset, use the income to pay for $100,000 annual charitable gifts, take an immediate tax deduction for all of the future $100,000 annual gifts, and then receive the asset back at the close of the trust. This could work especially well if the asset was desired to produce income in the future, for example in retirement planning, but would be better used to generate charitable tax deductions today. The other methods do not allow the donor to both keep the underlying asset and also take an immediate deduction for the future years of gifting.
A typical grantor Charitable Lead Trust follows the plan of the accompanying diagram because the donor retains the reversion rights. There are other rights that will also trigger this grantor trust treatment, but many violate other Charitable Lead Trust rules (such as rules against self-dealing) and therefore eliminate Charitable Lead Trust treatment and the tax deduction.
In rare cases a grantor Charitable Lead Trust may continue to exist beyond the death of the donor. (This might occur where the trust is set to run for, say, 10 years, but the donor dies before the end of the 10 year period.) This creates a problem because the donor can no longer be treated as the owner of the trust and taxed with the trust's income. In such cases a grantor Charitable Lead Trust becomes its own separate tax paying entity (i.e., a complex trust) just like a non-grantor Charitable Lead Trust. This means that the trust is taxed with any income earned, but it can also deduct subsequent transfers to charity. However, to offset the fact that these anticipated gifts were already deducted by the donor, the deductions are recaptured on the donor's final income tax return. In other words the donor's original deduction, less the value of the amounts already paid to charity discounted to the year of the deduction, is treated as income in the year of recapture. This same result also occurs if the donor gives up his or her reversion rights (although the recapture will occur on the donor's tax return in the year that the rights were given up rather than on the donor's final tax return).
|Because the grantor Charitable Lead Trust allows for a deduction today for transfers to be made to charity in the future, the value of the deduction depends upon the prevailing §7520 interest rate. The size of the deduction is much larger during lower interest rate periods than during higher interest rate periods. For example, a Charitable Lead Trust funded to support $10,000 annual charitable gifts for the subsequent 20 years will generate a $163,514 deduction if the §7520 rate is 2.0%. (The annuity factor for a 20-year term certain annuity at a 2.0% interest rate on Table B "Term Certain Factors" found on the web at http://www.irs.gov/Retirement-Plans/Actuarial-Tables is 16.3514.) But, if the §7520 rate is 8.0%, the same transaction generates a deduction of only $98,181.
|Grantor Charitable Lead Trusts and non-grantor Charitable Lead Trusts have opposing tax characteristics. A grantor Charitable Lead Trust is treated as if it is still owned by the donor. Thus the donor receives the charitable income tax deductions, but is also taxed with the income earned by the trust, and the assets in the trust are considered to be owned by the donor for gift and estate tax purposes. In contrast, a non-grantor Charitable Lead Trust is treated as a separate tax payer. Transfers to a non-grantor Charitable Lead Trust do not generate income tax deductions. The trust pays taxes on any income it earns and it takes deductions for any transfers it makes to charity. Most importantly for gift and estate tax planning purposes, any assets in a non-grantor Charitable Lead Trust are outside of the donor's estate. Thus, the choice of the trust type will depend upon the tax goals of the donor.
There is, however, a type of Charitable Lead Trust that proposes to combine the characteristics of a grantor and non-grantor trust. A "defective grantor trust" or "super grantor trust" or "super trust" purports to create a Charitable Lead Trust where the donor may take an immediate tax deduction for future charitable gifts from the trust, pay taxes on any income earned by the trust, but the trust assets will not be included in the donor's estate. Thus, the estate and gift tax results are the same as with any non-grantor Charitable Lead Trust, but the donor is actually able to take a personal income tax deduction as if it were a grantor Charitable Lead Trust.
|The explanation for this result relates to a slight inconsistency in the tax code. The income tax rules defining grantor and non-grantor trusts are almost identical to the gift and estate tax rules defining grantor and non-grantor trusts. But, they are not perfectly identical. If a donor keeps the right to get trust property by substituting other property of equal value, this will trigger grantor treatment of the trust for income tax purposes. However, it does not trigger grantor treatment of the trust for gift and estate tax purposes. Thus an otherwise normal non-grantor Charitable Lead Trust can be converted into a "super grantor trust" by simply inserting this one right. This hybrid trust has not received clear approval from the IRS, but does appear to comply with the language of the tax code.
|Charitable Lead Trusts are commonly funded with simple assets such as cash and publicly traded stocks and bonds. However, some assets can create complications or difficulties when transferred to a Charitable Lead Trust.
|Although Charitable Lead Trusts are not private foundations, they are required to follow the private foundation rules against self-dealing, taxable expenditures, jeopardizing investments, and excess business holdings. Failing to follow these rules will result in the trust being disqualified as a Charitable Lead Trust. For example, the trust may not indefinitely hold too much ownership in a single business entity (no more than 20% ownership by the trust and all disqualified persons combined unless trust ownership is 2% or less). However, the trust may hold unlimited ownership in a business gifted to the trust for up to 5 years before it must sell the asset. Consequently, if a Charitable Lead Trust is established for a term of 5 years or less, it will not violate this rule. Another rule is that the donor may not transfer property to the trust with debt that is less than 10 years old because such transfer constitutes self-dealing. Also, the trust may not hold assets that are so risky as to jeopardize the charitable purposes of the trust. These rules are covered in detail in the chapter on private foundations.
Unrelated business income arises when a trust owns business interests in a form that generates ordinary income such as a sole proprietorship, a partnership, or a limited partnership interest where the limited partnership is actively managing a business operation and not simply collecting passive income from investments. In a Charitable Remainder Trust, unrelated business income results in a harsh 100% excise tax. No such excise tax applies to Charitable Lead Trusts, allowing them to receive unrelated business income. When the trust is a grantor Charitable Lead Trust any such income is simply attributed to the donor and treated as if it had been received directly by the donor. However, special rules apply if a non-grantor Charitable Lead Trust receives unrelated business income. In this case, a non-grantor Charitable Lead Trust may deduct only 50% of this income when it is given to a public charity or 30% when it is given to a private foundation. This means that the trust cannot escape paying at least 50% or 70% of the unrelated business income tax, regardless of its charitable distributions.Why should such a rule exist? The idea of having an unrelated business income tax is that nonprofits should not be able to outcompete for-profits in non-charitable commercial enterprises simply because nonprofits pay no taxes. This would be unfair for regular businesses and would have a negative effect on tax revenues based upon regular commercial activity. If a non-grantor Charitable Lead Trust were allowed to operate a business and pay no tax on the earnings (because earnings were 100% distributed to a charity and resulted in a 100% tax deduction), the result would be the same as charging no unrelated business income tax. To avoid this result, contributions of unrelated business income are not fully deductible. As a result, a non-grantor Charitable Lead Trust must pay some unrelated business income tax, even if all unrelated business income is donated to charity. (Note that the trust's ownership of a limited partnership interest will not generate unrelated business income if the limited partnership does not engage in the active management of a business, but simply holds passive investments and collects income from them. Thus, if a donor was using a limited partnership holding passive investments for the purpose of obtaining a valuation discount for estate tax purposes, such interests could be gifted to a Charitable Lead Trust.)
Subchapter S-corporation shares are most commonly held be people. These shares may not be held by another corporation, a partnership, or a Charitable Remainder Trust. (Doing so will cause the corporation to lose its subchapter S status and instead become a subchapter C-corporation.)
It is perfectly acceptable for a grantor Charitable Lead Trust to hold such shares because the trust is treated, for tax purposes, as being owned by the donor. Similarly the hybrid "super grantor" trust is also treated as a grantor trust for income tax purposes and could also hold subchapter S corporation shares. This is not the case, however, if the shares are held by a non-grantor Charitable Lead Trust. The non-grantor Charitable Lead Trust is a separate taxpayer from the donor. Because the trust is not a person, its ownership of subchapter S-corporation shares is not permitted under the subchapter S-corporation rules. There is one exception that permits a non-grantor Charitable Lead Trust to own such shares. This arises if the trust choses to make an ESBT (Electing Small Business Trusts) election. Such an election is usually undesirable for the non-grantor Charitable Lead Trust as any income earned from the shares may not be deducted as a charitable gift when transferred to charity.
|Charitable Lead Trusts can be complex vehicles (certainly much more complex than presented in this brief chapter), but this complexity should not prevent advisors and fundraiser from being familiar with their, potentially dramatic, tax benefits. Although relatively rare, these trusts represent a significant share of assets held in split interest charitable trusts and an even larger share of actual charitable distributions made from such trusts.
Submitted by Robert Constantine on Fri, 08/05/2016 - 17:41
Re: 13. Charitable Lead Trusts, Part 3 of 3
In the second paragraph of page 2/6 of this 3rd part, you made two references to non-grantor CLTs that I think should have been grantor. See the sentence that starts... "However, the non-grantor [CLT] allows the donor to get the asset back after the expiriation of the trust..." The same issue occurs a few sentences later..."Using a non-grantor [CLT], the donor could transfer the asset..." Have I misread this or does this need to be revised? Great articles.
Submitted by Russell James on Fri, 08/12/2016 - 18:04
Re: 13. Charitable Lead Trusts, Part 3 of 3
Yikes! You are correct. Thanks for pointing that out. I'll see if I can request this to be corrected online. Also, the sentence "Because the non-grantor [CLT] allows for a deduction today for transfers to be made to charity in the future..." should have the "non-" removed.


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Watch how to make this recipe.
Special equipment: a 4-inch round cutter, a 2 1/2-quart freezer-safe bowl (about 9 inches by 4 inches) and a 3- to 4-cup freezer-safe bowl (about 5 inches by 2 inches)
For the brownies: Preheat the oven to 350 degrees F. Line a 12-by-17-inch baking sheet with parchment paper and spray with cooking spray.
Combine the granulated sugar, brown sugar, vanilla, salt and eggs in a large bowl and mix until well combined; set aside.
Melt the butter and chocolate in a double boiler, then whisk together until fully combined. Pour the chocolate mixture into the sugar mixture and mix until fully combined. Fold in the flour and cocoa.
Pour the batter into the prepared baking sheet and bake until a toothpick inserted in the center comes out clean, 18 to 20 minutes. Let cool completely.
For the bombe: Using a 4-inch ring cutter, cut a round from the baking sheet of brownies. Slice the remaining brownies into approximately 3-by-4-inch rectangles. You should have 10 rectangles. Keep 5 rectangles as they are and cut the other 5 in half to make triangles.
Line a 2 1/2-quart (about 9 inches across) freezer-safe bowl with plastic wrap. Place the brownie round in the bottom of the bowl and, alternating between the rectangles and triangles, fill the sides of the bowl. Press the brownie pieces into the bowl so that the interior of the bowl is lined with brownies. Break off any excess that extends above the edge of the bowl. Make sure to press the seams together so there are no cracks. Break the remaining brownie pieces into small crumbles and reserve.
Wrap a 5-inch freezer-safe bowl in plastic wrap from the bottom, combining the loose ends of the plastic wrap at the top.
Spread the softened ice cream inside the large bowl over the brownie layer. You should have about a 2-inch-thick layer of ice cream. Place the 5-inch bowl inside the ice cream layer, pushing it into the ice cream slightly to create a well. Cover the top with plastic wrap and freeze until the ice cream is firm, about 2 hours.
In a large chilled bowl, combine the heavy cream, granulated sugar and cocoa. Whip the cream with a whisk or electric hand mixer until stiff peaks form.
Remove the bombe from the freezer and remove the small bowl. Pour the hot fudge into the well, then fill with the whipped cream. Combine the reserved brownie crumbles and walnuts and sprinkle over the top of the bombe. Cover with plastic wrap and push down to press the brownie crumbles into the bombe. Freeze until the whipped cream is frozen, about 2 hours.
Remove the bombe from the freezer and place the bowl side into a large bowl of hot water for 1 minute. Remove the plastic wrap. Invert the bombe onto a large platter or plate. Remove the glass bowl and plastic wrap. Garnish with a sprinkle of cocoa powder. Slice and serve.
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Most new Android phones now come pre-installed with the alternative keyboard Swype, but there is a large portion of users that have never tried it. Swype is not available for sale in the Android Market, so the only way to get it is through their beta program that is offered every couple of months.
Swype just sent us an email to inform us that they have opened registrations for their latest version that they need help beta testing. These open registrations are normally offered for a limited time, so head over to beta.swype.com and sign up before it's too late. All you need to do is provide your email and then Swype will send you a link to download their installer.
If this is your first time to try Swype, check out the detailed installation instructions and FAQ if you need any help. If you are upgrading from a previous version of Swype, please make sure uninstall both Swype and Swypeinstaller.
It appears that Swype's servers are still getting hammered from all the new users, so if you experience any problems please wait and try again. The important thing is to make sure you register so you can gain access to the Swypeinstaller file.
Check out the new version and let us know what you think. Is Swype your favorite alternative keyboard or do you rock the stock layout still?
Swype is pleased to offer an (updated) Android Beta! Here are the details:
- In English, Spanish, Italian, Portuguese, German, and introducing French and an early, *UNSTABLE* preview release of Chinese Pinyin
- Now includes support for Double-Tap-to-Edit, Cursor Restore, and Voice-to-Text (requires Google Voice Search be included in your system firmware)
- HVGA, WVGA, and WVGA854 Resolutions – don't worry we'll detect this automatically. Sorry, no QVGA
- Limited End User Support – mostly via our forum
- If your phone came pre-installed with Swype DO NOT download this beta (it won't work)


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At Coppin State College, athletic director Ron DeSouza oversees seven men's teams and six women's. The budget is just over $500,000, and DeSouza said, "That's for everything: scholarships, salaries, travel."
At Ohio State University, there are 18 men's teams and 12 women's. The Buckeyes' operating budget for 1990-91 is $23,970,800.
Some administrators and coaches wonder what those colleges are doing in the same division of the NCAA. Division I has grown from 238 schools in 1973 to 296 today, and the larger, more-established programs plan to say enough's enough at the 85th annual NCAA convention in Nashville, Tenn., next January.
The issue comes down to money. In economically uncertain times, many of the bigger athletic programs are operating in the red, despite their share of the $1 billion that CBS is paying to televise the NCAA basketball tournament for seven years. By making it harder for the Coppin States to stay in Division I, the big-time schools can keep more of that money for themselves.


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The endless stream of brilliant solo weirdness from the lead vocalist of the Legendary Pink Dots continues with this limited edition CD, which features two extended tracks. The first, entitled "Happy New Year," was recorded (appropriately enough) on New Year's Eve, 2004. Ka-Spel had decided to spend the evening recording at home instead of indulging in the typical year-end festivities, and the result is a pleasantly noisy ambient composition based around a gently warped piano melody. It's quite soothing in a low-fi kind of way with its music box chimes and analog drones, and though it gradually gets noisier and more chaotic, it never moves into grating or painful territories. "What Goes Around," the second track on the CD, is a bit weirder, starting off with insect buzz and deconstructed voices, but likewise avoids punishing extremes. While its status as a collector's item will probably keep this out of the hands of all but Ka-Spel's most devoted fans, it's a fine example of his more experimental side; one can only hope that these two tracks might be issued on a wider release at some later date.
Visit Edward and his Legendary Pink family at www.legendarypinkdots.org
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01 Sep 2016
Featured Artist: BoilermakersBack
Boilermakers is Matt Okine's music side-project, working alongside long-time collaborator, "Dinnertime Duke". His debut single 'Fade (Nothing At All)' dropped a few weeks ago and we caught up with him to discuss the future for Boilermakers, spontaneously releasing the track and what his Dad thinks about it all.
Firstly, congrats on the single! We love it here at Ditto. What are your plans with Boilermakers? Is there more music coming soon?
For sure. This is just the edamame that you first get when you sit at the table. We haven't even ordered drinks yet. There's still a proper meal to come.... and by "meal", I mean "an EP that I've started working on".
Is it tricky to release music when you have such a public profile - what were your thoughts behind releasing the track? Or did you just feel you had to get it out there?
Of course people aren't gonna take me seriously at first. I've been doing comedy for ten years. People are expecting joke-raps. The funny thing is though - comedy and tragedy aren't really that different. Have you ever watched Big Bang Theory without the laugh track? That shit is straight-up depressing. I'm still saying the same things that are going on in my head. I've just replaced the laugh track with some sick af production from C1.
How long have you been making music for? What was the first song/rap you wrote like?
I've been playing around with music for 12 years now. But never seriously... making all the mistakes too. rhyming 'lyrical' and 'miracle'. All of that. Trying to put on my best hilltop hoods impersonation. I listened to my oldest songs just the other day actually just to remember what was going through my head back then. Rapping about spending my last twenty bucks on the pokies. Haha. What a battler.
What Australian hip hop artists are you into right now?
There's a sick track from a dude called B Wise called "No Questions" which I'm loving atm. And Coda Conduct keep going from strength to strength. Not to mention, Gill Bates, Tigerilla, Feki. There's a new wave. Hopefully one day I'll be the old person they only take on tour with them because I'm over 25 and can hire a car.
And international artists?
I'm hell excited for new stuff from Childish Gambino. And she's not exactly hip hop, but that new Maggie Rogers joint is so good. Got me crying like Pharrell.
Are you going to tour the release?
My agent got angry with me last night because I dropped the song out of nowhere. I don't know how these things are supposed to work! I'm stuck in the middle of a comedy tour atm so hopefully after this current one, I'll jump up before a local act or two around the place.
If you could collaborate with any hip hop artist (alive or dead) who would it be?
Mike Skinner. He was the guy that got me into all of this. Original Pirate Material was my gateway. Nek minut - I'm freebasing Jay.
Can you tell us about the meaning behind Fade (Nothing at all)?
It's a real parallel between starting a new phase in your life (music) and starting a relationship. There's always so much hope. And you're so into doing everything together. But it's scary because so often, things don't work out. And you end up driving yourself into the ground, trying to make something happen. You get made aware of all your short-comings.
And finally it had to be asked.. what does your Dad think of your music?
I actually have this terrible old song called "Pardon Me" that my radio co-host Alex Dyson, loves to bag me out by playing on the radio, but when I first made that song, the daddy mack used to bump it in the car all the time. He's always been the one to tell me to take it seriously. He was the one who went with me to buy my first computer and soundcard when I was 18... He was in a band once himself, so I reckon he's just living vicariously through me. The original Ghanaian dance mom.


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BRAVING IT: (from left) Robert "Eight-Ball Bobby," Donnie, and "Sicilian John," and a fourth unidentified man, opted to sleep outside this week.
Be succinct, constructive, and relevant to the story. Leaving a comment means you agree to our Discussion Guidelines. We like civilized discourse. We don't like spam, lying, profanity, harassment or personal attacks.


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HCA691 Healthcare Internship
Course Description
Minimum of 120 hours of structured work experience in a healthcare organization under the direct supervision of one or more experienced healthcare managers. Grading is by S or U only. Course is eligible for an 'IP' grade.
Learning Outcomes
- Apply the professional knowledge and skills learned in didactic healthcare administration courses to work in healthcare administrative.
- Plan and complete one or more supervised applied project (s) related to healthcare administration in an approved healthcare organization.
- Write a report demonstrating the successful integration of academic knowledge and skills to management problems in a healthcare organization.


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Nicole is a sought after professional speaker and media commentator in the areas of:
- Social media radicalisation
- Social media Jihad
- Preventing Violent Extremism
- Public and Digital Diplomacy
- Crisis Communications
- Military social media
- Military information operations
To find out more about booking Nicole to speak at your event or conference, provide media comment or deliver a seminar series please contact her publicist here.
Nicole is a regular blogger for Firebrand Talent .
February – NATO Public Diplomacy Forum, Brussels (Belgium.)
March – WEBINAR – IABC 'Social Media Analytics, Global.
April – Social Media Crisis Communications – Local Government Pro conference, Melbourne (Australia).
April – Building Social Cohesion and Tackling Extremism Conference, Sydney (Australia.)
August – Safer Cities Conference, Melbourne (Australia.)
August – Crisis Communications, IABC Victoria, Melbourne (Australia.)
August – Social Media Rules of Engagement, Monash University, Melbourne (Australia.)
August – Social Media IABC Victoria Corporate Affairs Advisory Board, Melbourne (Australia.)
September – Social Media Rules of Engagement, AUSNZ Police Directors Conference, Darwin (Australia.)
October – NATO Social Media for International Organisations conference, Brussels (Belgium).
November – Royal Australian Air Force (RAAF) Public Affairs conference – The Content Wars, Sydney (Australia.)
29 October – IABC Canberra, Australian National Press Club – Canberra
Crisis Communications in the Social Media Battlespace: from the battlefield to the boardroom
26 October – PRIA (Public Relations Institute of Australia) National Conference 2015
16-18 September – Universities Australia Marketing, Communications and Development Conference 2015, Melbourne (AUSTRALIA)
30 July – Firebrand Talent, Planning for a Social Media Crisis, Sydney (Australia)
24 July – Firebrand Talent, Planning for a Social Media Crisis, Melbourne (Australia)
15-17 July – Security 2015 conference and exhibition, Melbourne (AUSTRALIA)
24 June – International Association of Business Communicators – Victoria: Content from the inside out workshop, Melbourne (AUSTRALIA)
June 4 – release of my book 'Social Media Rules of Engagement' through Wiley publishers.
25 March – Social Media & Extremism Forum, Canberra (AUSTRALIA)
View my presentation on Slideshare here.
16 February – NATO Public Diplomacy Forum, Brussels (BELGIUM)
View my presentation on Slideshare here.
4 December – NATO Allied Transformation Command Innovation Hub MOOC (Online)
25 November – Social Media Risk and Reputation Forum, Sydney (AUSTRALIA)
View my presentation Slideshare here.
29 October – NATO School – Allied Transformation Command, Norfolk VA (USA)
15 October – Social Media Club, Melbourne (AUSTRALIA)
26 September – Monash University, Melbourne (AUSTRALIA)
22 March – NATO Allied Transformation Command Innovation Hub MOOC (Online)
18 March – RMIT University, Melbourne (AUSTRALIA)
6 December – Kokoda Foundation, Canberra (AUSTRALIA)


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When the Revealed Science of the Heavens ( Astrology ) and the
science of numbers merge, we have a lovely resultant science, Vedic
Numerology. The great Paracelsus averred that the knowledge of the mysteries of
the Universe must perforce be occult as they are not for the
uninitiated. These sciences play an important role in our lives - for they are
pointers to the Ultimate Reality!
Personality Overview
Personality Overview
In Transcendental Philosophy
the Number Five is considered very sacred. The Absolute Self is enveloped by five concentric sheaths - the
material, the mental, the vital, the intellectual & the blissful. The
entire Universe is composed of the Elemental Five - earth, fire, water, air
& ether. Our sensory world is relayed to us by the Five sense
organs. In Sidereal Astrology the Fifth House is important as it is one of
the moral triangles. In Transcendental Meditation, the Fifth state is
the all-important Cosmic Consciousness. Five is very prominent in the
Pythagorean system. No wonder Pythogoras exulted in the mystery


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A lesser known mountain range of Himalayas. Shivaliks run 2400 kms- almost parallel to greater Himalayas with width of 10-50 kms and it is most youngest formation of Himalayas.
From Indus to Brahamputra – elevation varies from 1500- 2000m. Arguably highest point would be considered CHURDHAR PEAK 3647m near Solan in Himachal Pradesh.
Shivaliks receives very less rainfall thus most of the mountain range is bushy, seasonal agriculture and major source of fruticulture of North India.Most of pear, peach, plum, citrus, mango, raisin grapes.
Shivaliks shot into fame when prehistoric fossils were recovered in a village in Distt. Sirmaur of Himachal Pradesh. Government constructed a museum where plethora of skeletal remains of different groups of skulls and limbs of mammals, skulls of hippopotamuses, tortoises, gharials andcrocodiles, tusks of 22 species of elephants, rocks and charts and paintings related to the several aspects of plants and animals life of the past and present. The stone items on display belong to the Early Palaeolithic Man. Also preserved in the museum are fossils of two genera of extinct primates, Sivapithecus and Ramapithecus.The museum also houses antiquities unearthed by Captain Cautley in the area, from which he dug out the remains of Asia's oldest human ancestor.
A shot look at slopes and cuts of mountain clearly shows huge sedimentation which is marked by presence of mud and rounded stones with clear markings of water flow thus establishing that once this whole region was under water. Scientists believe it took millions of years for rivers to cut down and form present bed of valleys.


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Guzman Also Has Successful Rehab Outing
Quick note on reliever Angel Guzman's rehab:
In Des Moines, Angel Guzman started for Triple-A Iowa and threw 1 1/3 innings in a 7-1 win over Oklahoma City. Guzman gave up one hit, walked one, and struck out one, throwing 25 pitches, 15 for strikes. Muskat Ramblings.
Guzman had been the Cubs' best reliever in 2009, so his return will be quite welcomed. It's possible he could return on Monday, along with Aramis Ramirez and Reed Johnson, leading to an absolute CF (no, that's not Center Field) of roster moves.


text: We're so glad you have come to our website! Abundant Life Community Church is located in beautiful Grass Valley, CA (about 45 minutes east of Sacramento) in the heart of gold country. Our goal is to bring Christ's love to our community through fellowship, praise, and our genuine love for all of God's children. From our family-style worship services, to our small groups, we want you to know that you are a vital part of God's kingdom, and we'd love for you to be a part of our family in Christ. We hope you enjoy our website, and we are excited to meet you in person!


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Coro Filigree Gold tone Art Glass Pin Brooch
$28.00 This Coro signed pin brooch has a wonderful large glass green cabochon, or jelly belly stone in the center of a filigree square. It is very light and lovely even though it is 1-7/8" square. The gold plate is gorgeous and the pin is in excellent condition.
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People recognize that the economy isn't doing this well and that it's challenging work you love. To get through this difficult patch, it is very important learn whatever you can about employment. This article has many helpful employment tips which can help you. Frank Schwarz
Recognize how you can expect to explain gaps with your work history. You can find reasons anyone may have work gaps, and that is understandable. However, anticipate to be asked about the subject throughout an interview and possess a response ready. Doing this, you gaze calm and prepared, in addition to giving a solution you aren't flustered about.
When your interview is within a spot that you are not familiar with, make certain you map out your route in advance. There exists enough stress that you will be under already, as you should know precisely where you are likely to avoid any problems at the time of your interview.
Always dress to thrill. Just one day of looking sloppy at the office can create a lasting impression. Ensure that your clothing fits appropriately which is always clean and ironed. Also, remember to utilize the best hygiene and maintain the hair styled and trimmed. Sticking to this rule will make certain you consistently produce a good impression.
Offering great vacation benefits is the best way to recruit good employees. Most employers offer only 1 or 2 weeks of paid vacation. Perhaps increasing it to 3 weeks, or offering longer vacations for more time served will guarantee an upper hand in accessing better employees. The longer, the better.
Go that step further to help make things easier for your boss. As an example, if you know your boss enjoys to have coffee when he arrives every morning it is actually a great gesture to make certain that a pot is prepared when he usually arrives. Little things like that can decide how you will be perceived through your boss.
When you are looking for a task, make sure that you select one that may be in your sector and is applicable to your studies in college. This is significant as each job that you just take helps you to develop your resume for the kind of work you may be doing in the future. Therefore, you will need to do something that you concentrate in.
Try tailoring the goal in your resume on the position you're trying to get. When your resume includes an unbiased, it will match whatever position you might be trying to get at that job. Once you have more specific details in your objective, you must the chances of you being chosen for the position.
In case you are in college, ensure that you go do as much internship that you can during the summers. This can be vital as it will not only help to bolster your resume, but will give you utilized to the everyday living of an individual who is working hard at the full time pace.
Remember that choosing a good job can take the time. Usually do not stop trying should you be not finding what you would like straight away. Consider having a job that pays well even if it is not what you should do to help you support yourself while seeking a better job.
A resume can, alone, reward you together with the job you seek. Organize your resume so employers can simply get an idea of what type of background you might have. It must include your educational and job experience. Make sure to include contact details and any volunteer work.
If you're nervous about a conversation, think it over differently. Think of it as a "test" interview. Suppose that you've already got the position, or that you're not thinking about the work whatsoever. This instantly relaxes you, and you could stop being nervous and simply have a conversation. The vast majority of time, which will get you hired.
When you start a fresh job, it is better to know your manager greater than needed as an alternative to leaving out anything. Plenty of issues with employment originate from bad communication, which can lead to problems. Instead, report in more often than the regular amount. Your boss will probably appreciate the effort, and can give you valuable feedback on ways to improve in the future.
When you have a conversation, the most crucial factor is usually to be on time. Punctuality shows a great deal about your work ethic and exactly how valuable of any employee you can expect to truly be. Get to your interview at the very least half an hour before it actually starts to show that you mean business in your future employer.
Network, network, network! When evaluating a task use all of your current resources, including both business and private contacts. Connect to anyone who is in the field you might be in and make use of resources like LinkedIn to find other contacts, too. Submitting your resume and application with an inside track gives you an edge on the lots of people who submit using the standard practice.
The easiest strategy for finding jobs online is to try using employment search engine. This kind of site indexes all the major job boards, enabling you to search them simultaneously. I strongly suggest Indeed.com since it found my hubby the job of his dreams!
If you have managerial or supervisory experience, you might be tempted to include testimonials solely from higher-ups. This can be excellent information, but you can take it further by including feedback out of your subordinates. Hiring managers look for candidates who can connect and make rapport with employees whatsoever amounts of an organization.
One of the things to comprehend when you find yourself job hunting is the fact there will be lots of disappointments. In the event you understand this, you will certainly be inside a good position to get back on the feet and remain persistent should you not land the task. Eventually, your dedication and drive pays off.
Make sure you let all the parties involved know if you are using multiple employment agencies to locate a job. There is certainly nothing wrong with using a couple of, but they should be informed. This will assist to keep them from duplicating efforts by submitting you several times for a similar position.
The position interview is definitely the final thing standing when it comes to you being employed. There is a lot riding about the interview, but don't enable the pressure get to you. You possess everything necessary to conquer your career interview. Take advantage of the tips and be prepared to receive the job.


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How long she would have continued to rage at Lady Agnes it is impossible to say, for the invalid, with the artificial strength of furious anger, sprang from his chair to turn her out of the room. Chaldea dodged him in the alert way of a wild animal.
"That's no love-embrace, my rye," she jibed, retreating swiftly. "Later, later, when the moon rises, my angel," and she slipped deftly through the door with a contemptuous laugh. Lambert would have followed, but that Agnes caught his arm, and with tears in her eyes implored him to remain.
"But what can we do in the face of such danger?" she asked him when he was quieter, and breaking down, she sobbed bitterly.
"We must meet it boldly. Silver has the forged letter: he must be arrested."
"But the scandal, Noel. Dare we—"
"Agnes, you are innocent: I am innocent. Innocence can dare all things."
Both sick, both troubled, both conscious of the dark clouds around them, they looked at one another in silence. Then Lambert repeated his words with conviction, to reassure himself as much as to comfort her.
"Innocence can dare all things," said Lambert, positively.
A friend in need.
It was natural that Lambert should talk of having Silver arrested, as in the first flush of indignation at his audacious attempt to levy blackmail, this appeared the most reasonable thing to do. But when Agnes went back to The Manor, and the sick man was left alone to struggle through a long and weary night, the reaction suggested a more cautious dealing with the matter. Silver was a venomous little reptile, and if brought before a magistrate would probably produce the letter which he offered for sale at so ridiculous a price. If this was made public, Agnes would find herself in an extremely unpleasant position. Certainly the letter was forged, but that would not be easy to prove. And even if it were proved and Agnes cleared her character, the necessary scandal connected with the publicity of such a defence would be both distressing and painful. In wishing to silence Silver, and yet avoid the interference of the police, Lambert found himself on the horns of a dilemma.
Having readjusted the situation in his own mind, Lambert next day wrote a lengthy letter to Agnes, setting forth his objections to drastic measures. He informed her—not quite truthfully—that he hoped to be on his feet in twenty-four hours, and then would personally attend to the matter, although he could not say as yet what he intended to do. But five out of the seven days of grace allowed by the blackmailer yet remained, and much could be done in that time. "Return to town and attend to your own and to your brother's affairs as usual," concluded the letter. "All matters connected with Silver can be left in my hands, and should he attempt to see you in the meantime, refer him to me." The epistle ended with the intimation that Agnes was not to worry, as the writer would take the whole burden on his own shoulders. The widow felt more cheerful after this communication, and went back to her town house to act as her lover suggested. She had every belief in Lambert's capability to deal with the matter.


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Bedrooms: 3
Bathrooms: 2
Sq Feet: 1,660
City: Tempe
Zip: 85281
Sub Division: Marlborough Park Estates Lot 1-177 TR A-J
Property Description
Spacious 3 bedroom 2 bathroom fully remodeled Papago Park home priced for immediate sale! This home has it all a unique master suite with full bathroom, a nice open floor plan, and large lot with including a pool/spa and patio perfect for entertaining. Amenities include brand new stainless steel appliances, granite countertops, fire place, and custom lighting. Close proximity to the beautiful Evelyn Hallman Park with Biking trails, easy hiking, and a pond. Home is also just minutes from ASU, Tempe Marketplace/Town Lake,and Sky Harbor. This house will not last long on the market, make an offer before it is too late. This home will make a phenomenal primary residence, vacation home, and or upscale rental opportunity.
General Information
School Information
Community Information
Lot Information
- Directions:
- AZ-Loop 202 E, Exit #7 Scottsdale Rd, Turn North on Scottsdale Rd(.3), Turn north College Ave (.4), turn East on valerie Dr(500ft), turn south on N La Rosa Dr (.1), property on East Side
- Cross-Streets:
- E Curry Rd & N College Ave


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Paula Giliker, author of the Sweet & Maxwell textbook Tort, has written an article for the Law Student all about the key tort law developments thus far in 2014:
"Tort law remains a particularly dynamic area of private law and continues to evolve. It has therefore been an exciting time to update my textbook on tort law. In the first half of 2014, we have already seen an important Supreme Court decision on private nuisance and the bringing into force of the Defamation Act 2013 on 1 January 2014 (both covered in the new edition of Tort). UK Justice minister, Shailesh Vara, commented that the Defamation Act 2013 represents "the end of a long and hard-fought battle to ensure a fair balance is struck between the right to freedom of expression and people's ability to protect their reputation." This short article will comment on these two key developments in the first half of 2014: the Supreme Court decision in Coventry (t/a RDC Promotions) v Lawrence [2014] UKSC 13; [2014] 2 W.L.R. 433 on private nuisance and the changes introduced by the Defamation Act 2013.
Any Supreme Court decision is generally worth noting, but the February 2014 decision in Coventry v Lawrence (students may be more familiar with its Court of Appeal title: Lawrence v Fen Tigers Ltd [2012] EWCA Civ 26) gives valuable guidance in relation to a number of questions in private nuisance…"
Click here to download the article in full.
If you don't already own a copy, the new edition of Tort is available from bookshops, Amazon.co.uk or direct from sweetandmaxwell.co.uk.
Tags: Tort


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• Creating compelling and shareable B2C content, communicated with audience through various channels including blogs, social media and newsletters • Weekly neighbourhood feed curation of unique food/drinks establishments, up-and- coming cultural trend and events • Sharing industry insight while build content designed to increase brand awareness, infuse passion and grow community on and off the app • Organising and hosting corporate and bloggers' social events and press nights • Developing strategies to increase online/offline engagement and interaction • Managing 'Annie the Owl' community that received over 125,000 entries and was widely featured in media: Metro, Telegraph, Evening Standard, London on the Inside, Time Out etc. • Developing strategies to increase engagement and interaction for a unique pop-up event - ABQ - via social media and PR campaigns
• 3 months to plan, develop and execute an incredible conference event in New York • Maintaining and developing inbound and outbound client relationships and communication • First point of contact for sponsors, clients and consumers on queries and customer support • Identifying new and restoring old partnerships with organisations of similar nature, with similar goals • Providing leadership, motivation, direction and support to a remote team all over the world • Planning and overseeing social media campaigns via integrated content calendar, increasing following and community engagement by over 40% in 3 months • Setting, communicating and maintaining timelines and priorities on execution
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Feb 20, 2012
June 18, 1967: Monterey Pop Festival
Most important part of the Festival was the style of instrumental work used by the blues-rock groups. Individualists are emerging with imaginative creations. Their music is just as much for listening as dancing, and under many circumstances would be called jazz, not rock. For instance, when Al Kooper's band got into the blues, and the Grateful Dead (Pigpen McKernan on Hammond) went off into 20-minute blues medley-variations, there was nothing aurally to indicate that this was part of a rock & roll or pop concert at all. It was experimental music based on the blues, and that's jazz...
Another recent big-label San Francisco recording group, the Grateful Dead, had ideal program billing (midway Sunday night) but partially blew it by playing too long. The Dead are among the most musically intriguing of any rock groups, but they seem to be straying from the typical dance format more quickly than any of the others....
(by Phillip Elwood, from Billboard, July 8 1967, page 26)
Accessible on Googlebooks: http://books.google.com/books?id=wycEAAAAMBAJ
. . . . The trouble with San Francisco is that it isn't quite urbane enough. When it has to deal with uptight New York or plastic Los Angeles it loses its vaunted cool. There is a story that takes place at a jam session in Sausalito. Dewey Martin of The Buffalo Springfield, one of the least commercial L.A. groups, gets up to sing, and a guy in the back can't resist yelling, "Los Angeles pseudo-hippie, Los Angeles pseudo hippie." L.A. musicians have mixed feelings about San Francisco; most of them admire the music but distrust the mystique. San Franciscans respond with brickbats. "What Brian Wilson is doing is fine but it has no balls," one Jefferson Airplane told Richard Goldstein of The Village Voice. "Everything is prefabricated like the rest of that town. Bring them into the Fillmore and it just wouldn't work."
So, as June 16 approached, Chet Helms, chief of The Family Dog, which runs the Avalon Ballroom, and Dan Rifkin, wild-haired manager of The Grateful Dead, the band that developed such an underground reputation (and was so obviously indifferent to potential wealth) it could afford to dicker with three or four companies until Warner Brothers finally guaranteed absolute product control in a recording contract, were feuding with Adler. 'Are you gonna let the people on the Fairgrounds, Lou? What do you mean, for a buck? Music should be for everyone, Lou, those prices are ridiculous. These bands are all rich, why do you have to pay expenses? And everything first class, Lou. Is that movie Pennebaker's shooting for ABC gonna be distributed in theaters? The Dead have a booking Friday night in San Francisco, Lou, we can't make it Friday. Where are all those kids gonna crash, Lou?'
Despite their tendency to overrate their own importance, the San Franciscans were right this time--the Angelenos needed them badly. "Be happy, be free; wear flowers, bring bells," the brochure read. In other words, act like hippies--and mingle with hippies. With the exception of Canned Heat, a blues band, and The Group With No Name, a throw-in, the L.A. groups were all hit-makers-- The Seeds, Love were not invited. The Doors were in New York. But some of the San Francisco groups had never even recorded. The whole setup was an implied bow to the "rock underground," which apparently only existed only up north. If you don't make it in L.A., you're just a flop.
But San Francisco did not appreciate the compliment. Dan Rifkin envisioned an enormous, secluded campground at Fort Ord--yes, Fort Ord, so the M.P.'s could protect them from the Highway Patrol--where all of the real groups would hold an anti-Festival, everyone streaming to the anti-Festival, where the real music was at. The Grateful Dead perform free much of the time, and so do many of the other groups in the Bay Area. Rifkin saw no reason why other good bands shouldn't do the same. . . .
[On Sunday night] the task of following The Who fell to The Grateful Dead. Originally scheduled for Friday, seen lurking in the wings until Buddy Miles broke things up Saturday afternoon, The Dead finally made their appearance in a sunburst of San Francisco warm. "You know what foldin' chairs are for, don't you?" asked Bob Weir, his dirty blond hair hanging down past his shoulder blades and over his face. "They're for foldin' up and dancin' on." As the group drifted into "Viola Lee Blues," the hangers-on in the wings started to dance, slowly gravitating toward the center of the stage, and some of the audience got up as well. Adler's compulsive streak was really beginning to show. He was mad. Before too long he helped the stagehands hustle the dancers off, and the ushers did the same in the aisles. There was no resistance per se, but everyone was annoyed. The Dead looked as if they might leave the stage themselves. Then Peter Tork came on.
Tork, the ineffectual Monkee, had surprised everyone by emceeing part of Friday night and drawing a good many teeny shrieks. . . . The Monkees have inferiority problems. Ever since their first album appeared with someone else playing the instruments, most of the people in rock have snickered at everything about them except their music. In San Francisco they are regarded as the height of L.A. plastic. "I was rapping with that guy backstage before," a member of one San Francisco entourage said, handing me a joint as Tork waited for the audience to quiet. "His head is really nowhere."
Tork's mission was to quash a small riot. All weekend there had been Beatle rumors--their equipment was backstage, they were holed up in a motel, they were mingling incognito ("disguised as hippies," Derek Taylor said). The Beatles are kings of the love crowd, and everyone wanted desperately to catch a glimpse of them. Now some kids were trying to get in backstage and hunt. Who better than a second-hand Beatle to stop them?
"People," Tork said, "this is me again. I hate to cut things down like this, but, uh, there's a crowd of kids--and this is to whom I'm talking mostly, to whom, are you ready for that?--and, um, these kids are like crowding around over the walls and trying to break down doors and everything thinking The Beatles are here..."
Phil Lesh could no longer resist. Lesh, The Dead's bass player, is twenty-nine, classically trained, a Bay Area native, and there, right there, stood Los Angeles, this square, manufactured teen idol, the mouthpiece of safe and sane Adlerism, everything Lesh had hated all his life.
"This is the last concert, why not let them in anyway?"
"...and, um, last concert, all right, except that they're trying to break things down, crawling over ceilings and walls and like, they think The Beatles are here and they're not, you, those of you, they can come in if they want."
"The Beatles aren't here, come in anyway," Lesh said.
There were cheers. Tork laughed nervously, mumbled, "Uh, yeah, there's great things happening anyway. "
"If The Beatles were here they'd probably want you to come."
"Yeah, except that, uh, just don't, you know, bring down ceilings and walls and everything, and, uh, carry on."
The cheering was for Lesh, and Tork knew it. As he limped off, crowds of non-ticket holders pressed through the rear gates and filled the empty field behind the stadium. The "Seat Power, We Love You" college kids did not try to stop them, and The Dead did the carrying on, much enlivened. By the end of the set Weir and Jerry Garcia were riffing back and forth in the best guitar-playing of the Festival.
It becomes clearer and clearer that the so-called psychedelic sound is moving toward jazz. San Francisco rock is basically Chicago and Texas blues plus electronic music, and Chicago blues is primitive jazz. Also, the structure of jazz meshes with the whole bias of the San Francisco scene toward "freedom." The problem is that rock is much easier to play than blues and blues is much easier to play than jazz. Anyone can pick up an electric guitar and sound a few chords, but it takes real musicianship, not to mention a special kind of creative talent, to improvise melody. There was some good blues guitar at the Festival--Bloomfield and his replacement in Butterfield's band, Elvin Bishop, were excellent. Dennis Gerrard of The Paupers and Jim Gurley of Big Brother played some good electronic stuff. John Weider of The Animals contributed a fine violin solo with "Paint it Black." And that was it. Garcia and Weir were arresting, no more, but that was enough to make them the standout improvisers of the Festival.
But their performance was quickly obscured by The Jimi Hendrix Experience. . . .
(by Robert Christgau, from Esquire, January 1968)
Transcript taken from Christgau's site:
It is a long article reviewing the whole Festival and well worth reading in full.
Saturday night, Jerry Garcia of the Grateful Dead commented, "There's a lot of heavy stuff going on." Whether he meant music or acid or emotion or everything, he was right. . . .
The Grateful Dead were beautiful. They did at top volume what Shankar had done softly. They played pure music, some of the best music of the concert. I have never heard anything in music that could be said to be qualitatively better than the performance of the Dead Sunday night. The strangest of the San Francisco groups, the Dead live together in a big house on Ashbury Street, and living together seems to have made them totally together musically. Jerry Garcia, lead guitarist, and owner of the bushiest head at the festival, was the best guitarist of the whole show. The Dead's songs lasted twenty minutes and more, each a masterpiece of five-man improvisation. Beside Garcia there is Phil Lesh on bass, Bob Weir on rhythm guitar, Bill Kreutzmann on drums, and Ron "Pig Pen" McKernan (who seldom talks) on organ. Each man's part was isolated, yet the sound was solid as a rock. It is impossible to remember what it was like. I wrote down at the time: "accumulated sound like wild honey on a moving plate in gobs...three guitars together, music, music, pure, high and fancy...in it all a meditation by Jerry on a melancholy theme...the total in all parts...loud quiets as they go on and on and on...sounds get there then hold while new ones float up, Jerry to Pig Pen, then to drums, then to Lesh, talking, playing, laughing, exulting."
That sounds crazy now, but that's how it seemed. The Dead built a driving, unshakable rhythm that acted not just as rhythm, but as a wall of noise on which the solos were etched. The solos were barely perceptible in the din, yet they were there like fine scrolls on granite. At moments Garcia and Weir played like one instrument, rocking toward each other. Garcia could do anything: one moment he hunched over, totally intent on his strings, and then he would pull away and prance with his fat ungainly body, then play directly to some face he picked out in the crowd straining up to the stage. Phil Lesh called to the audience as they began, "Anybody who wants to dance, dance. You're sitting on folding chairs, and folding chairs are for folding up and dancing on." But the crowds were restrained by ushers, and those who danced on stage were stopped by nervous stagehands. It was one of the few times that the loose reins of the festival were tightened. Was it necessary? Who knows? But without dancing, the Dead didn't know how well they had done. Lesh was dripping with sweat and nervous as he came off, but each word of praise from onlookers opened him up: "Man, it was impossible to know how we were doing without seeing people moving. We feed on that, we need it, but, oh, man, we did our thing, we did our thing."
They certainly did. The Dead on Sunday night were the definition of virtuoso performance. Could anybody come on after the Dead? Could anyone or anything top them? Yes, one man: Jimi Hendrix, introduced by Brian Jones as "the most exciting guitar player I've ever heard." . . .
(by Michael Lydon, written June 1967 & unpublished; excerpted from the 2003 book Flashbacks)
It's worth seeking out the book for his full description of the Monterey festival.
Since the Billboard article is only available in a google scan, I'll also transcribe the full article here. It's an interesting contrast with Christgau's more cynical take (though neither of them liked Hendrix!) -
MONTEREY, Calif. - Last act on the Monterey International Pop Festival (June 16-18) was the Mamas and the Papas, and in Mama Cass' introduction of "California Dreamin'" she probably captured the spirit of the whole event: "the weekend is like a dream come true," she said. And the whistles and cheers of 7,500 fans emphasized their concurrence.
It was 12:30 a.m. Monday; the fading minutes of nearly 22 hours of stage performance spread over an exhausting three-night, two-afternoon schedule. Over 30,000 seats had been sold for the Monterey weekend and another 30,000 young people (by police estimates) had taken advantage of the Festival's extra-arena events and strolled under the oaks, through the booths and displays and gotten out to the Monterey Peninsula College athletic field where, most of the nights until dawn, various rock bands performed for the fog-chilled kids in their bed rolls and sleeping bags.
Significantly, it was not the performances on stage which made the greatest impression on most of the veteran observers of the concert and pop music scene: it was the festival concept itself, and the total capturing of the very best in today's younger generation and those willing to accept its philosophies as an alternative to extinction.
It was this spirit which made the Monterey Pop Festival a success and because of this feeling of gentleness, restraint and love, the audience behavior inside the crowded arena (and their enthusiasm) were strikingly significant.
When standing ovations occurred they had been earned; none of the automatic huzzahs from beered-up and demonstrative egocentrics.
More than 30 acts performed on stage, including an exquisite three-hour presentation by Indian sitarist Ravi Shankar, who had all Sunday afternoon to himself.
It matters not what many people think about Indian palace music as part of a pop music program: what does matter is that over 5,000 young people sat in awe and spent those three hours contemplating the artistic contribution of Shankar.
The Jimi Hendrix Experience, from Britain, making its American debut (altho Hendrix is from Seattle) proved to be more experience than music, pop or otherwise. Accompanied by overmodulated electronic feedback squeals and bombastic drumming, the Hendrix performance is quite a crowd rouser but its sensationalism is not music, and unlike Chuck Berry (who was doing some of this stuff 15 years ago), when Hendrix sings he has trouble with phrasing, and his modal-turned-chicken choke handling of the guitar doesn't indicate a strong talent, either.
The only other sensational performance at Monterey came from the Who, an excellent quartet with an out-of-sight drummer in Keith Moon. Their lyrics are fascinating, and clear; they ran through a noisy set (including a roaring "Summertime Blues") and ended with a guitar-smashing sequence of their own, quite similar to the Yardbirds' bit in "Blow Up."
The strongest performance by any of the relatively unheralded groups was that of singer Janis Joplin with Big Brother and the Holding Company, a San Francisco hard-rock blues group. She squeals, and groans, rocks and moans...and utterly tore Monterey apart. She was the queen of the Festival.
Saturday afternoon was devoted to various blues and hard-rock bands. Other than Big Brother, et al., Mike Bloomfield's new Electric Flag, Paul Butterfield's band and the Steve Miller Blues Band were the strongest, with Country Joe and the Fish (one of the few local groups to have kept an informal sense of humor in their presentations) and the Quicksilver Messenger Service also (at least occasionally) driving their stuff home.
Eric Burdon and the new Animals played on the opening Friday night show.
Most important part of the Festival was the style of instrumental work used by the blues-rock groups. Individualists are emerging with imaginative creations. Their music is just as much for listening as dancing, and under many circumstances would be called jazz, not rock. For instance, when Al Kooper's band got into the blues, and the Grateful Dead (Pigpen McKernan on Hammond) went off into 20-minute blues medley-variations, there was nothing aurally to indicate that this was part of a rock & roll or pop concert at all. It was experimental music based on the blues, and that's jazz.
The Blues Project has long worked in that area, using amplified flute and a jazz line on many tunes, and they were interesting in their short Monterey appearance.
On the other hand, when the Jefferson Airplane brought down the house on Saturday night, it was because of their creative work within the field of rock. The Airplane were the most finished and consistent group that played during the whole Festival.
Simon and Garfunkel ended the first evening's show with a delicate and immaculate set: "At the Zoo," a beautiful "Emily" (by Art Garfunkel), "Sounds of Silence," a few others, and then a 16th century Benedictus, done a cappella, and finally a sensitive "Punky's Dilemma."
For absolute contrast, Otis Redding ended the next night's show, well after 1 a.m. with a few minutes of his classic stuff. His appearance had been delayed by the long show, in which the least effective group of the whole Festival (Hugh Masekela) played the weekend's longest set (55 minutes).
But when Redding came on, it took him exactly four beats in two seconds to get 7,500 voices screaming and chanting with him. Booker T and the MG's supplied strong accompaniment.
Unfortunately Redding was the only representative of the Negro blues tradition and the only R&B entertainer in the Festival.
True, Lou Rawls put on a superb demonstration of his road show technique during the first evening's concert, but Rawls isn't R&B. Significantly, however, Rawls was the only performer to include what many Americans would call "popular music"; i.e., "Shadow of Your Smile," "Autumn Leaves," and his now dully stylized medley based on "It Was a Very Good Year."
Balancing the slick Rawls performance was that of Johnny Rivers, who presented virtually a vocal history of the earlier days of rock, from rockabilly through plain folk. Rivers did a fine job, but the Festival and crowd were too immediately hip, too sophisticated, to give him much response.
Because of this predominantly hard-blues-rock feeling in the crowd, some performers which would normally do quite well didn't seem in the right place.
The Association, Moby Grape, Buffalo Springfield, and even the Mamas and Papas were, if anything, too popular in style for this Festival. And the Byrds, though they played well, felt it necessary for David Crosby to deliver a sophomoric political commentary prior to their playing of "He Was a Friend of Mine."
The Byrds were not nearly as close-knit as the Buffalo Springfield, who roamed along through a fine tight set, including "Pretty Baby Why" and "Bluebird."
The Grape was unstrung, it seemed: big smiles, lots of stage-hip, but nothing in the way of powerful and imaginative performance to compare with many of their San Francisco colleagues.
Another recent big-label San Francisco recording group, the Grateful Dead, had ideal program billing (midway Sunday night) but partially blew it by playing too long. The Dead are among the most musically intriguing of any rock groups, but they seem to be straying from the typical dance format more quickly than any of the others.
The performances of the Paupers, Canned Heat, the British singer Beverly, and Laura Nyro, didn't measure up, for one reason or another, and Hugh Masekela was a disappointment.
The Festival could have been better handled, but in retrospect, it seems irrelevant. The important thing is that a "warm, groovy and beautiful festival" (as Ralph Gleason had it in The San Francisco Chronicle) was held with all kinds of exciting stage incidents and no kinds of problems elsewhere. The San Francisco Examiner said of the Festival, "An unqualified success, speaking well not only of the musicians but of the beautifully behaved and attentive audience."
Co-directors John Phillips and Lou Adler and their fleet of aides and assistants somehow got it all done.
* * * *
Here is another article from the San Francisco paper Mojo Navigator R&R News, August 1967:
It's too bad this article couldn't have come out, for that matter, been written, about three weeks ago – because if you don't put it down right away and read about it right away, you lose a lot of the feeling and spontaneity of the thing. Anyway, by now I'm sure you've all heard about it and how great it was, which is really true. It was like for two days you were in this surrounding of music and color and being happy and people in your own scene. . . . And like nothing else in the world existed for awhile. It was really nice to forget everything and just hear all this music, look at all these things, and just dig it – a new world to live in for a couple of days. You could walk around the fairgrounds and see people like Paul Simon, looking so conservative and little, like a graduate student at some eastern college – and I can just imagine all these beautiful thoughts curlycuing out of his head – he looked happy. And Brian Jones, who looked just exquisite with a long, flowing, flowered cloak topped with a huge ermine collar – like Mae West in drag, he too looked happy. Oh, and Skip Spence of the Moby Grape looked happiest of all, in fact he was so happy that he was able to talk to me with his eyes closed and somehow still know who he was talking to.
Okay, and now to the music: I missed Friday night's show in favor of seeing The Who at Fillmore, so I can't say much about the opening program except that from what I heard, it wasn't really that tough. When I got there Saturday afternoon, Frank Cook of Canned Heat was down on his knees on stage, rolling over, sloshing about, and yelling out, in his best pseudo-spade preaching technique, Bobby Marchan's "There Is Something On Your Mind"; it seemed pretty shitty but the longer they were on the more I began to think that maybe they were into it to a degree that was much deeper than the average White Blues Group – I don't know – but when their other singer did Johnny "Guitar" Watson's "Those Lonely, Lonely Nights", it really came off.
Big Brother came on and Janis Joplin came off – very well in fact. The group itself really isn't that good, as many people think – they still don't know much at all about arranging a number – as their records show, nor do they seem to know much about changes other than variations on basic blues riffs – repetition seems to be one of their mainstays. And Jim Gurley seems to be almost wasting his great lead ability in favor of functioning as a competent rhythm guitarist.
Of the other San Francisco groups who played that afternoon, I think Steve Miller fared the best, although I still don't think that much of them – there is more to music than being able to play the blues at three times their normal speed. Country Joe and the Fish were kind of a disappointment, although I liked their LP quite a bit, they just didn't seem to come off here – I don't know, maybe it was a bad day for them or something. And the Quicksilver – I really, and I'm sure everybody else does too, wish they would come up with some new material – I mean, they try but there just doesn't seem to be much there, and the same songs over and over and over. At Monterey they really seemed kind of second-rate, just a cut below everybody else.
Both Butterfield and Bloomfield have now added two horns to their groups, trumpet and sax, and the added fullness worked pretty well for both, although I don't think their parts (the horns) were worked in smoothly enough or to their full advantage in the context of the groups' sound – in other words they seemed tacked on just for a bigger sound. Butterfield did a beautiful slow blues, that he prefaced by saying "This is one of the most beautiful songs I've ever heard", a Lowell Fulsom number called "Tollin' Bells" that was really a gas: a death march-like thing that Elvin Bishop, who is now playing lead, would accentuate by striking a note to indicate the "tollin' bells", very moving. And it was really a gas when Butterfield introduced his new bass player: "Buggsey…(Something) from Omaha, Nebraska" (and that really sounded funny), and this little guy comes out, and in a high, falsetto blues voice starts wailing Chuck Berry's "Wee, Wee Hours", it broke everybody up – really great.
Bloomfield's new group, the Electric Flag (at least at the time of the festival that was their name), as everybody knows by now, was one of the great successes of the festival. Fronting some of the best musicians in the business – Harvey Brooks on bass (he played in Dylan's road band, I think); Barry Goldberg on organ; Nick Gravenitis on congas and vocals; the incredible Buddy Miles on drums and lead vocals; somebody (I think) whose name escapes me, on rhythm; and Bloomfield himself on lead, they just swung like hell – incredibly hard, heavy and full. And it was beautiful to see Mike Bloomfield's face after they finished their set (their debut) – so happy and excited at the tremendous reception they received, a standing ovation and an encore.
Moby Grape opened up Saturday night's show, and although looking like they come on very tight and professional, I think their music, basically and actually, is very thin – there's just not that much there at all; and Skip Spence's bit of jumping around a lot and looking really excited and turned on and trying to get this over to the audience, wears thin about the second or third time you've seen it.
The worst and only real drag of the festival (although Laura Nyro was too but hers was a shorter set) was Hugh Masakela, and man, he was really bad. But even worse than his music, which was a kind of second-rate pseudo-jazz (Ramsey Lewis with more instruments) was the fact that he was allowed to play for an incredible fifty-five minutes – horrible! I've no desire to draw a line between rock and jazz, but what was he doing up there anyway? Was it because he's a friend of the Byrds or something? Whatever it was, it was terrible; and his singing – "Society's Child" and "Here, There and Everywhere" – was atrocious.
The Byrds I have heard much better before, and Dave Crosby's comments and little sermons about acid, and the fact that Paul McCartney now takes it, and the Kennedy assassination, came off sounding very sophomoric; and the STP sticker on his guitar didn't make it either.
Laura Nyro came on with all the drama and flair that I suppose is well known to audiences at the Las Vegas supper club French extravaganza productions, the only trouble being that Monterey is not the Sands Hotel, and a pop festival isn't the "Lido de Paris", fortunately. With two spade chicks flanking her and singing some kind of fake spiritual: "Eli's Comin', woe, woe…" she looked, as Richard Goldstein in the Village Voice put it, "…like the third act of Medea", a real bomb. . . .
Because I've been kind of down on their music for such a long time, I've just never really liked it that much, I don't feel I could give much of a review to the Airplane, although I did like Jack Cassady's bass work and Grace's singing; overall I guess they came off pretty well.
Booker T. and the MG's were really a gas, just playing their funky R&B instrumentals – drums, organ, lead and bass – very tight and down-home swinging. Otis Redding closed Saturday night's show (Booker T. and the boys stayed to back him, plus the Mar-keys – two horn men), and Otis, bouncing out on stage, in about five seconds had the whole audience completely with him – he's got some kind of incredible, dynamic magnetism that just reaches out and grabs you: dipping down, screaming, bouncing and trotting all over the stage, he socks it right to ya! So happy and turned on to what he's doing – it's really a gas to watch him.
The whole of Saturday afternoon was devoted to Ravi Shankar: incense, very soft, very gentle, explaining what he was doing, how his instrument worked, clapping and turning his hands in time to Alla Rakha on tabla, smiling serenely, nodding his head, concentrating, the soloing, the brilliant interwoven exchanges in a duet between the two, the mild and then very heavy and complex ragas, his exchanges of love and friendship with the audience – a brilliant, demanding, fascinating exhibition of virtuosity, marred only by the noise of jets overhead and the insistent clicking of the photographers' cameras. Although I wonder if he would have been invited if George Harrison was not his pupil.
Sunday night's show opened with the Blues Project, who didn't impress me much with their jazz-rock orientation or their new organist, who seemed very affected, like he was trying to tell the audience that at last the group had a real soul brother.
The Buffalo Springfield came off very well – this was the first time I had seen them and they did some very nice, melodic ballads and also swung pretty well on their up-tempo numbers.
The Dead were really a gas – doing about four or five long numbers, the major part of each being a fantastically tight instrumental excursion with each guy just using his axe to cut in and out of and around and through what the other guys were doing – like watching the insides of a watch working.
With Pete Townshend looking like a twisted Merlin the Magician armed with a rubber guitar, the Who proceeded to attack a repertoire which included their current hit, "Happy Jack"; their album's mini-opera, "A Quick One While He's Away"; their new record, "Pictures of Lily"; and that old favorite, Eddie Cochran's "Summertime Blues"; which they completely demolished – like wringing out a wet towel, they extracted everything possible from the song and it lay there, wasted, when they had done with it. They closed, literally, as well as figuratively, with "My Generation" – Roger Daltrey stammering out the words, Keith Moon kicking away his double drum set, Pete setting off smoke bombs and smashing his guitar, while off to the side, John Entwhistle managed to keep some semblance of a beat going with his bass. Although they didn't seem quite as turned on as they were at Fillmore and the audience didn't seem to appreciate them as much, they were brilliant, which seems to be the rule for them. Somebody should have told the stage crew what to expect, though, because one of the technicians almost lost his head while trying to rescue a microphone in the vicinity of Pete Townshend, who was busy raising his guitar and hammering it into the stage.
Heard to remark backstage during the Who's devastating finale: "What can I do for an encore to that?" Jimi Hendrix showed everybody that he could come up with something. In between playing some great guitar and some really heavy numbers, he also screwed his guitar, coming on it with lighter fluid, and set it afire, offering it, as he put it, as "a sacrifice of love…" for the audience of his first appearance back home in America. Oh, come on Jimi, that's a big shuck, and you know it as well as I do – if there was any sacrifice it was offered for the sake of showmanship. It was kind of ironic and puzzling to see how excited the audience got over the violence and destruction of Hendrix and the Who. . . .
(by Mike Daly, from the Mojo Navigator R&R News, vol.2 no.2, August 1967)
6 comments:
There were many other news reviews of the Monterey Festival, though I don't know how many others are online or gave much notice to the Dead.ReplyDelete
Some time ago I saw Ralph Gleason's review in the SF Chronicle of the Human Be-In 1/14/67, where he mentioned, "The Dead's set was remarkably exciting, causing people to rise up wherever they were and begin dancing. Dizzy Gillespie...asked who the Dead were, commenting on how they were swinging."
I don't remember where I saw it, though, and can't find the article now!
I added the Monterey Pop review from the Mojo Navigator. My scan cuts off at page 32 - if anyone has the missing last pages of this issue, please contact me!ReplyDelete
I added Michael Lydon's rave review of the Dead, in the middle. (A short edit of his Monterey review appeared in Newsweek, but I think the full piece wasn't published til the last decade.) Lydon wrote about them perceptively; he would write articles on them a couple years later for Rolling Stone.ReplyDelete
The reviewers here were impressed by the Dead's playing - their long improvs stood out from the other bands there. "The best guitar playing of the festival," "fantastically tight instrumental excursions with each guy just using his axe to cut in and out of and around and through what the other guys were doing – like watching the insides of a watch working," "a masterpiece of five-man improvisation...the definition of virtuoso performance." The Billboard reviewer dissents, though admitting they're a musically intriguing jazz-like group, by saying they play too long and are "straying from the typical dance format..."
Down Beat magazine also reviewed the Dead at Monterey, calling them "a curiously down-homey bunch that has become enshrined as the king group of West Coast acid rock. It is a formidable outfit, with two of the coast's top freakout musicians, guitarist Jerry Garcia and a bearlike organist known only as Pigpen... The Dead's shorter arrangements are brilliant, but its longer tunes have a habit of ending up in the same way. Uncontrolled cascades of notes over tonic drone build up to the threshold of pain. Then, suddenly, everything stops and they go back to the beginning. Certainly it mesmerizes the freaks (which is what the Dead get paid for doing), but it's kind of a slipshod, lazy way to play music." (from Richardson, No Simple Highway p.100)ReplyDelete
John Morthland wrote a lengthy review of the Monterey Festival for the San Bernardino Sun-Telegram, "First Pop Music Festival Great Hit At Monterey." (6/25/67)ReplyDelete
An excerpt on the Dead:
"Sunday night's show was the most exciting...with the Grateful Dead, The Who, and The Jimi Hendrix Experience, all literally tearing the crowd apart...
Introduced as a "group that will destroy you," The Who from England then proceeded to do just that — literally. It's one of the best new bands to come out of England... Complete with a drummer (Keith Moon) who throws his drumsticks high into the air, then catches them and continues playing without missing a beat, The Who gained roars of approval for their new single "Pictures of Lily" and "A Quick One," which lasted, about 10 minutes.
At the end of the last song "(My Generation") lead guitarist Pete Townsend hurled his guitar to the ground, smashed it into pieces, then threw it out into the audience. This has become the traditional way for many English groups to end a concert, and, having seen it done by Jeff Beck of The Yardbirds, I can assure you Townsend does it better than most.
Not content merely to destroy his guitar, Townsend also set off several smoke bombs, destroyed an amplifier or two, and knocked over every microphone on the stage before taking apart Moon's drum set.
After the stage was put back together, The Grateful Dead took over and kept the excitement at a peak. The Dead is in the tradition of the great jazz groups, doing long (20-30 minute) songs and relying heavily on improvisation.
They are also one of the loudest bands in the industry. Lead guitarist Jerry Garcia is the best in the business, bar none, and when he and organist Pigpen "talk" to each other with their instruments, there's no telling how the conversation will go. Organized in San Francisco by novelist Ken Kesey, The Dead have failed to produce a hit record for only one reason: no recording engineer in the country could catch on wax the uninhibited excitement they generate, especially Garcia ("Capt. Trips"), Pigpen, and bassist Phil Lesh. In a live performance, The Dead is electronic thunder and lightning.
The Dead was followed by The Jimi Hendrix Experience. Hendrix, who might best be described as a psychedelic James Brown, sings (Dylan's "Like A Rolling Stone" was his best), but also plays the guitar — behind his back, over his head, and with his TEETH. At the end of his set, he went Townsend one better by dousing his guitar with lighter fluid, then putting a match to it before repeating the smashing scene."
Cashbox ran a lengthy review of the Monterey Pop Festival in its 7/1/67 issue, summing up each performance:ReplyDelete
"Warner's The Grateful Dead offered an exercise in amplified dexterity but their guitaristronics only served to remind us of Dave Kapp's pictorial supplication captioned 'Where's the Melody?' Sound and fury broken only by the comparative melodic drone of low flying planes." (p.46)