gateful dead 1972 germany

The Shot Heard Round the World

This Grateful Dead show at the Beat Club in Bremen, West Germany, April 21, 1972, was the show that turned me onto the Grateful Dead around 35 years ago. Got on the bus as the hippies say. It’s not even one of their best shows, although certainly one of the most unique on video, and Donna was squawking away, but it didn’t matter. 1972 is one of their top years. And a show with Pigpen and Keith is special. Out of the many keyboardists the Dead have had, Keith Godchaux was my favorite with Bruce Hornsby second. This was one of Pigpen’s last shows.

Where and how I grew up in South Carolina, good music wasn’t exactly easy to come by. I was born a poor black child, you see. Good music anywhere was tough, but especially in a little town of 500 in S.C. To get true alternative music back then, before alternative was mainstream and was actually an alternative to pop instead of being pop, you ordered records from magazines out of New York. My mother, fortunately, saved a big box of 45s from the beach house from the 50s and early 60s, and a stack of LPs that dated back to the late 1800’s I think. Seriously. Inch-thick discs of classical that played at obscure turntable speeds. But what was played mostly on the old Victrola was a lot of Willie Nelson, Waylon Jennings, Hank Williams, Patsy Cline, Enrico Caruso, and other opera and country and western selections mostly. My father’s musical reach was the hook from Ray Stevens’ “The Streak,” and that was about it. We had a radio of course but with poor reception of crummy stations, who bothered? If you wanted to buy a record or cassette tape, you had the Record Bar at the mall, which sold mostly the same crap that was on the radio, or the seedy cinder-block building on the other part of town that sold classic rock and some good stuff, but was known more for their vast porn selection than their music. So I only went in there when my dad took me.

I had listened to Jimmy Buffett, James Taylor and the usual South Carolina fare that all my friends listened to, but I also listened to a lot of those old 45s of my mother’s. Chuck Berry and Jerry Lee Lewis were two artists whose hits I listened to a lot. All sorts of obscure hits from those decades were in that stack, and a lot of them were fun for a kid to listen to, like “Splish Splash,” etc…but I got a good feeling for the dawn of rock and roll and pre-rock. The Beatles totally saved humanity from some seriously terrible music. Paul Anka? Tiny Tim? Seriously?

And then one day, in the early 1980’s, I saw the cut of “One More Saturday Night” from this show (@30:20 in the video below). I saw it once, my jaw hit the ground, and that was it. Which made sense since VCRs were still a new technology and what you watched was whatever was on one of the 3 stations. But few things have hit me as resolutely as that did. Like Jehovah’s favorite choir. Seeing these guys play such energetic, raw rock and roll and the colorful wild hippie set and such intense and competent musicianship, and I was sold. (You have to think, this was the 1980’s and synth and bubblegum crap music was everywhere. Seeing guys actually playing instruments like that live and sounding so unique, real, musically complex(they have 7 people on stage) and completely awesome was amazing!) The modulation gets the blood pumping, too. Musically it was familiar. A big influence on Jerry Garcia’s guitar playing is obviously Chuck Berry which you can hear in One More Saturday Night and of course his cover of Johnny B. Goode and Promised Land among other songs that leak out the influence from that era like Not Fade Away. Plus Keith’s piano playing, with his runs and trills and ragtime feel was reminiscent of Jerry Lee Lewis. And no racks of stupid synthesizers everywhere like Devo-or far, far worse in the 80’s- but just Keith over on the side banging away at a piano with a bottle of Coke next to him. I still love watching and listening to it, even though musically it’s not their finest version. It’s pretty good though because of the energy. That’s easy to say though when you have a trillion shows under your belt. It’s still great and I still love it like the first time I saw/heard it in fact, if not more because I know the Dead pretty well now.

And before I get a bunch of emails telling me the Grateful Dead are terrible, I realize this is my opinion and they aren’t everyone’s cup of tea. Their time signatures are non-standard, which a lot of people don’t like, and the nontraditional arrangements are too much for some people as well. Jerry’s style involves coming in just a little late on vocals and guitar every now and then I’ve noticed, which he does on on purpose usually, which also may put some people off very subtly. Or maybe it’s just Donna, or whatever, but save your time and breath; I know it. I’ve heard it before a time or two. Thankfully, we don’t all have to appreciate each others’ music. I mean Slim Whitman was great and all…

I’ve also heard so many of their shows so many times now, I find I can pick out more and more unique information just by listening to them, like a sommelier can tell you about a bottle of wine by taking a sip. and this new sound system I have is revealing some amazing details I’ve never heard, like heaving breaths and picks hitting the strings and new percussion and subtle runs and phrases I’d never picked up on. In some cases entire instruments that you couldn’t hear in the background. It’s like hearing a lot of these shows for the first time again, which is pretty great. Especially with the frequent releases of all their best shows professionally remastered, like Cornell 5/8/77 etc… in really good audio quality.

The Dead’s sound evolved of course from a jug band quickly to rock and roll, and within that the songs and styles were dynamic. Psychedelia to country and western to old spirituals to jazz numbers to everything in between. Even a polka thrown in here and there. It’s partially why they’re the longest enduring band ever. This period in the 70’s was my favorite(minus the horrible disco-Dead with Go to Heaven-style “Street” songs. My least favorite Dead songs are Dancing in the Streets and Shakedown Street. And Looks like Rain.), with the early 80’s and late 60’s right behind. Those were different eras in several ways. The repertoire pivoting each time for one. Different instruments. Different hairstyles even. Lots of stuff. The worst being when they added the MIDI and went digital in the early 90’s. That’s also when the Dead became seriously mainstream and took on a life of its own. Weird to say when they packed a million people into their shows. But the partying and parking lot scene were out of control. It became about nothing but partying and the music was highly secondary. That’s when I stopped going to shows. It goes from novel at first, to distracting, then annoying after a while. I blame MTV, as I do with a lot of the decline of the general quality of the music scene in the US. How hot you were became more important than how good you were musically. That’s a big conversation for another time.

I recently remembered that I used to make the A/V guys at my high school play and replay the “One More Saturday Night” clip for me on Saturdays when I was stuck on campus, because only a few qualified geeks students could hit Play/Stop/Rewind on the highly-technical VCR on the cart in the A/V center. Which was basically the library attic if I also remember right. What made me think of that was how things have changed since those days. I’m watching it now, at my total leisure, on a giant high-def screen on an audiophile-grade sound system. I can’t wait to see what media consumption is like in 30+ more years. I’m sure the guys in the band couldn’t begin to imagine their humble shows would one day be broadcast like they are. Bobby, with the ponytail, turns 70 this year. And he’s the youngest by quite a few years, since he ran off with the band when he was 16. In the decades following this performance, both keyboardists and the guitarist would be dead, the bassist will have a liver transplant and they’ll add another drummer. And make a ton of great music playing a few thousand shows in between, all available at our fingertips.


Spanish lady comes to me, she lays on me this rose…

Grande Galerie

Spring Cleaning in the Autumn of our Lives

My wife and kids are away for Spring Break, as they tend to do each year. My wife’s a teacher, and my youngest is 1-1/2, so their schedules are flexible. They go to Alabama to see family while I stay behind and take care of the aging dog, get some sleep, listen to the Grateful Dead very loudly, and usually clean the house really, really well. This year is no exception, and maybe one for the records for projects. I’ve already replaced the air/fuel sensors in the old Toyota and they’ve been gone less than a day.

Our garage was out of control with “things” and what has been passing as my “workshop” has been a bunch of old bent, rusty metal storage shelves.  Considering the setup I once had that was an enviable, organized and roomy workstation, it becomes frustrating to have to look for a socket or a certain pair of pliers or set of screws/nuts/washers for 15 minutes, sorting through “organized piles” and a bunch of plastic sandwich meat containers. It has become a waste of time/life, annoying, not good for my tools, which I have a lot of and some nice ones I try to maintain, is an eyesore, and so on. So I spent tonight cleaning up the garage in preparation for a serious reorganization.

Along the way, I had to decide what to do with a lot of junk that I realized I’ve been lugging around for nearly 30 years in some cases, and even longer in others. Things I’ve kept for sentimental reasons; because I thought I could make or repair or do something with the item later, and never have; used to use the thing and stopped, but never disposed of it (like a lawnmower and dryer that really need to go); but things that I acquired somehow, and almost subconsciously have been carrying them around with me, very carefully, for many, many years. Decades.

For most people that wouldn’t be much of a big deal. But during the time I’ve accumulated this crap, I’ve lived, and moved among, 7 states. That’s a lot of back and forth and boxes and tape and sore backs. I’ve probably now lived in 20 different houses and crummy apartments. I know I once lived in 11 places in a 10-year span, which was a true nightmare. That’s a lot of packing, unpacking, carefully choosing where to put this stuff in my new place, and then doing it all over again without ever stopping to think of why I’m hauling all this stuff around. Also during that time I’ve had things that mean a lot to me broken, stolen, or just abruptly removed from my life somehow. Every time I’ve moved, something valuable has been broken no matter how careful everyone is. And we used to have 2 cats, now down to one because the male was so terrible, which destroyed a loooong list of my once-nice things. So I’ve had to say goodbye to a lot of meaningful things in my life, so maybe it’s natural as we get older to not mind parting with material possessions as much. Just a theory.

Upcoming project next week: build an appropriate work bench and reorganize the garage to be useful, clean and navigable. I’m using these as a foundation. The reviews were flattering to say the least. And it is a great idea. Just add 2x4s and benchtops/shelves. I’ll be going for the deluxe model, however. It’s going to be pimp-tight as they say, and I’ll post photos upon completion. Here’s a taste of what I’m starting with. It doesn’t look nearly as bad as it really is, but as you can see it’s just piles of rusty tools:

tools and shelves and rust and unorganization

I’ve spent 2 days de-rustifying my tools, which were ruined during a stint of mine in Montgomery Alabama, when I had to use a front porch to store my things underneath. Basically just sitting outside in the dirt and elements. I had nowhere else to put them because of the size and layout of the house and no garage or shed. So at least 50% of my things I’ve collected over the years were ruined; wood, metal, power tools, drill bits, machinery, etc… I’m salvaging the rest using soap and water to clean them all and break the surface tension, then a chemical bath, which I’ve gotten in all my cuts on my hands. Who needs gloves when handling acid? But that should help to not have to replace every single thing at least. Tip: Dust and dirt attract moisture, so keeping tools and wood dust-free in your shop is important. Putting silica packs in your toolboxes will help, or using an old-school wooden toolbox to keep them dry. Not only are quality tools expensive, but they’re a pain to obtain a lot of the time, so save yourself some time and money and maintain them.

Just trying out new stuff

Vectr WordPress Vector Editor Plugin

This is a WordPress plugin for editing and creating vectors right within the WordPress post page I’m trying out and it seems pretty powerful, if it works as imagined. And so far it’s delivering. It’s a vector editor that I can pull up right in my posts/pages. They have a desktop app available for OS/PC/Linux, as well as a browser-based editor, and this plugin, and by looking at their roadmap seem to really be on the ball. The editor seems to have most everything you need. It’s no-frills for sure, but I’m comparing it to Adobe Illustrator, which I consider the standard for vector illustration and graphics. I haven’t checked out the SVG capabilities yet, but for a free vector editor it’s fast and full featured. And easy to use.

Some limitations I’ve hit: no way to align objects on the page easily, and no way to edit gradients. If I want to make a linear gradient that’s -96 degrees, I have to come up with a tricky solution.  I have a feeling these are basic features that the people at Vectr are working on though. I’m sure they know what people use. Also a bug I’ve found is it sometimes posts the extra images WordPress generates when you upload an image. By default, when you upload a photo, you immediately get weighed down with 3 other copies, so it’s a great idea to optimize your images as much as possible.

EDIT: I was contacted by the astute folks at Vectr who set me straight on gradients and a few other things(I’ll elaborate as time allows, which isn’t right now). Here’s a video explaining how to work with gradients in Vectr:

Incidentally, that is John Paul Jones in the featured photo. He hasn’t slowed down one bit since those days and can play any instrument in the galaxy.

 

vector illustration

How to Get Amazon Prime for Free, Plus Other Cool Stuff

How to get Amazon Prime for Free

All you need is patience, to spend at least $580 a year on Amazon.com, and decent credit. And before you click away after seeing me mention the word “credit,” bear with me. This is how to put a card to work for you properly.

This is simply an explanation of how I just managed to get it for free. You'll have to make some personal decisions, but to me this is a no-brainer. Free! (Well, about 10 minutes of your time)   

I’m already a member of Amazon Prime, which we get our money's worth out of in many ways: cloud storage, videos, music, discounts, 2 day shipping and all the rest. It's a great deal if you're a consumer. You can even have a free trial if you aren't sure it's for you.

It costs $99 a year. Order a few large items and you recoup that easily in shipping costs. But it offers many more benefits as well. Obviously I don't need to sell you on Amazon Prime, since you're here trying to get it.

Also, when you get the Amazon card, you get $70 credit in your account, which knocks that cost down to $29 already. I'm not here to sell you on getting a credit card either, per se. I hate credit cards, normally. It's just a step in a pretty smart plan. If you have credit issues, maybe this might not be the best idea. You'll have to decide. This is what I did.

Apply for the Amazon card, which along with the aforementioned $70 credit, you get 5% off Amazon purchases. That can add up, fast. And 3% at gas stations, restaurants, and some other places you probably visit. And 1% on everything else. And it offers some great travel perks, unlike most cards that give you skymiles that expire in 3 months. Check out the list of benefits; they're pretty good, and useful.

That card, after approved, becomes the default payment method for your Amazon Prime account automatically. Perfect. Then I set up for my balance to be automatically paid in full each billing cycle through my bank's website. Easy enough. 

So even though I'm technically using the card, it's just like using my checking account, with the money passing through the Amazon account briefly. I don't intend to carry a balance because the interest rate is WAY too high. I would advise you to avoid that as well. Note: You can call Chase, who manages the Amazon card, and negotiate a better rate, especially after using it for about a year or so, to build up a history of “paid in fulls” with them. That’s a good practice anyway with credit cards. You should be able to negotiate a much better rate if you pay your bills. If you like to carry balances, again, this is probably not the card for that, and it blows the whole plan I'm outlining here. The idea is to get Amazon Prime for free plus all the benefits of the Amazon card automatically and free. And build up some credit while you're at it. 

With the 5% you get back on your purchases, you only need to spend $580 in one year to make up that remaining $29. Or 3% on gas, food, etc… Should be pretty easy. That isn't going to be any problem for our household. Free Amazon Prime FTW, baby!

free money
Free $

 

Bootstrap Development by Michael Musgrove (me)

Book

Back when Bootstrap was Twitter Bootstrap and it had been downloaded a grand total of about 5,000 times, I wrote and published a book on how to develop using the Twitter Bootstrap framework. I sold a few copies and learned about using Bootstrap pretty well. Well enough to write around a 200-page book on it, at least.
 
Time went on and Twitter Bootstrap became Bootstrap and Mark Otto left Twitter, and took his framework with him and rebranded. I think he works at Github these days, but he and his partner still update and work on it a lot.
 
After a while, my book became slightly outdated, and keeping a sizeable technical book up to date wasn’t a priority. So I posted it on my old website, michaelmusgrove.com, for free. Which a popular move on my part. Then like a dummy, I took the whole site down.
Long, boring story short: I’m re-posting the Bootstrap Book here. I’m going to go back through and try to clean up what’s outdated and it should be a pretty good resource for people that are beginners through intermediate. It has a TON of great Bootstrap resources too, for the advanced crowd.
People send me things to include all the time, which I think is awesome and welcome it. If you’d like to contribute, just send me a message.
Here it is in .pdf form, unedited since final draft:
I’ll be updating & uploading as quickly as possible beyond this.
Angus

The Story of The Hurricane

Bob Dylan fan or not, you have to be impressed with anyone that can perform this entire song. It’s long.

Interestingly, it was written by a team of people (Written by Falana Brown, Tarik L Collins, Lonnie Rashid Lynn, Mercedes Martinez, Tracey M Moore, Denard Smith, Scott Storch, Scott Spencer Storch) and not Bob Dylan. In any case, it’s a cool song and story and worth saving here for easy access.

I don’t expect this video to be posted very long. It gets taken down all the time for copyright reasons. But in the meantime… It’s my favorite version because of the accompanists. Bob Dylan is around three feet tall, which you can kind of pick up here as well.

Pistol shots ring out in the barroom night

Pistol shots ring out in the barroom night
Enter Patty Valentine from the upper hall
She sees a bartender in a pool of blood
Cries out my God, they killed them all
Here comes the story of the Hurricane
The man the authorities came to blame
For somethin’ that he never done
Put in a prison cell, but one time he could-a been
The champion of the world

Three bodies lyin’ there does Patty see
And another man named Bello, movin’ around mysteriously
I didn’t do it, he says, and he throws up his hands
I was only robbin’ the register, I hope you understand
I saw them leavin’, he says, and he stops
One of us had better call up the cops
And so Patty calls the cops
And they arrive on the scene with their red lights flashin’
In the hot New Jersey night

Meanwhile, far away in another part of town
Rubin Carter and a couple of friends are drivin’ around
Number one contender for the middleweight crown
Had no idea what kinda shit was about to go down
When a cop pulled him over to the side of the road
Just like the time before and the time before that
In Paterson that’s just the way things go
If you’re black you might as well not show up on the street
‘Less you want to draw the heat

Alfred Bello had a partner and he had a rap for the cops
Him and Arthur Dexter Bradley were just out prowlin’ around
He said, I saw two men runnin’ out, they looked like middleweights
They jumped into a white car with out-of-state plates
And Miss Patty Valentine just nodded her head
Cop said, wait a minute, boys, this one’s not dead
So they took him to the infirmary
And though this man could hardly see
They told him that he could identify the guilty men

Four in the mornin’ and they haul Rubin in
They took him to the hospital and they brought him upstairs
The wounded man looks up through his one dyin’ eye
Says, wha’d you bring him in here for? He ain’t the guy!
Here’s the story of the Hurricane
The man the authorities came to blame
For somethin’ that he never done
Put in a prison cell, but one time he could-a been
The champion of the world

Four months later, the ghettos are in flame
Rubin’s in South America, fightin’ for his name
While Arthur Dexter Bradley’s still in the robbery game
And the cops are puttin’ the screws to him, lookin’ for somebody to blame
Remember that murder that happened in a bar
Remember you said you saw the getaway car
You think you’d like to play ball with the law
Think it might-a been that fighter that you saw runnin’ that night
Don’t forget that you are white

Arthur Dexter Bradley said I’m really not sure
The cops said a poor boy like you could use a break
We got you for the motel job and we’re talkin’ to your friend Bello
You don’t wanta have to go back to jail, be a nice fellow
You’ll be doin’ society a favor
That sonofabitch is brave and gettin’ braver
We want to put his ass in stir
We want to pin this triple murder on him
He ain’t no Gentleman Jim

Rubin could take a man out with just one punch
But he never did like to talk about it all that much
It’s my work, he’d say, and I do it for pay
And when it’s over I’d just as soon go on my way
Up to some paradise
Where the trout streams flow and the air is nice
And ride a horse along a trail
But then they took him to the jailhouse
Where they try to turn a man into a mouse

All of Rubin’s cards were marked in advance
The trial was a pig-circus, he never had a chance
The judge made Rubin’s witnesses drunkards from the slums
To the white folks who watched he was a revolutionary bum
And to the black folks he was just a crazy nigger
No one doubted that he pulled the trigger
And though they could not produce the gun
The D.A. said he was the one who did the deed
And the all-white jury agreed

Rubin Carter was falsely tried
The crime was murder one, guess who testified
Bello and Bradley and they both baldly lied
And the newspapers, they all went along for the ride
How can the life of such a man
Be in the palm of some fool’s hand
To see him obviously framed
Couldn’t help but make me feel ashamed to live in a land
Where justice is a game

Now all the criminals in their coats and their ties
Are free to drink martinis and watch the sun rise
While Rubin sits like Buddha in a ten-foot cell
An innocent man in a living hell
That’s the story of the Hurricane
But it won’t be over till they clear his name
And give him back the time he’s done
Put in a prison cell, but one time he could-a been
The champion of the world

 

 

punt gun

Louisville’s Homicide Problem

Like most cities these days, Louisville is under seige by an abnormally high homicide rate. The theories for this phenomenon, which is happening in nearly every city in the US, are interesting, to say the least. Some are sound, some are stupid. Unfortunately, what’s being done falls on tiptoeing down the middle politically, which is resulting in no improvement.

Here’s a map of Lousiville’s homicides for the past 6 months. The prior 6 months are identical; the mapping system I have access to only goes back 6 months, for some reason though.

louisville homicides

See any pattern here? I do. The red line going down the middle is where most Louisvillians would identify west Louisville from East Louisville. And I have a feeling the homicides on the east side were perpetrated by at least a couple of people that came over from the west side and were involved in a robbery or other crime that went south. There just isn’t a lot of violent crime on the East end, which is where I happen to live, and was a consideration when deciding where to live in Louisville. West Louisville also happens to be predominantly black. (But don’t tell anyone.)

Unfortunately, the people that need to be able to see this can’t for some reason. This map’s a lot like the one you’d find of Chicago, or any city in the USA these days. The homicide rate has exploded since Ferguson and the uproar over Michael Brown’s death. People want to blame it on all sorts of things, but to me the most logical is that after Ferguson, and subsequent calls of violence towards police, in addition to an outward display of hatred for police by the very communities that need them the most, police have taken a more hands-off approach to policing those areas. West Louisville in this case. Who can blame them? They’re being gunned down execution-style as a thank-you, when they’re out trying to help people for a relatively paltry salary. Although I believe the police in Louisville are paid quite well, compared to the rest of the country. Not enough to go out and face a violent death every day, though.