Monday, October 31, 2005

Ratdog, Weir: better than Dead


From the Buffalo News:

Ratdog, Weir: better than Dead
By JEFF MIERS NEWS POP MUSIC CRITIC
10/31/2005

Ratdog was born over a decade ago as a duo. Grateful Dead vocalist/guitarist Bob Weir and bassist Rob Wasserman toured together whenever they could squeeze in dates around their other projects. In typical Dead fashion, the thing eventually took on a life of its own. When Weir and Ratdog played a jubilant show before a capacity crowd in the Town Ballroom on Saturday, they did so as not only the finest ensemble currently playing Dead and Dead-related music, but as the premier proponents of improvisation-based rock. Dare I mutter it, at its best, this band rivals the Dead.

Ratdog started out performing primarily blues-based material, but today - with Weir joined by drummer Jay Lane, guitarist Mark Karan, keyboardist Jeff Chimenti, bassist Robin Sylvester and saxophonist Kenny Brooks - Ratdog can go anywhere it pleases at a moment's notice, whether it be deep funk, outer space, folk, country, rock 'n' roll, jazz or the startling fusion of any and all of these that has always been a hallmark of Dead music.

Saturday night, the band gave us a transcendent show in a remarkably intimate venue, considering the grand scope of the music. It was long, it was strange, it was definitely a trip, but mostly, it was just beautiful, spiritual, brave and rewarding music played by virtuosic musicians who have subverted individual ego for the greater cause. Ratdog is a band in the true sense; the members function as one unified organism.

The opening moments of "Supplication Jam" laid the canvas before us, and over the next several hours and two sets of music, Ratdog painted the thing every color in the spectrum. "Cassidy," one of the finest songs Weir has written, sounded fantastic, as Brooks sax lines were interwoven with Karan's sinewy modal runs, Weir's rich voice laying down the poetic text with a seasoned storyteller's authority. "Easy To Slip" fell away into "Dark Star," the dense two-chord figure an improviser's dream, the cinematic quality of the ensemble sound spacious and trance-inducing. "Bertha" bubbled under, then exploded into a full-on scorcher, as the crowd went nuts, dancing, shaking and always smiling like someone had given them wonderful news.

"West LA Fadeaway," always a torrid, funky, swamp beast of a groove in concert, was certainly one here, and again, the interplay on stage was profound - Weir playing the style of free-form, improvised rhythm guitar that is his own creation, while the rhythm section bobs and weaves, and Karan, Brooks and Chimenti spin musical gold out of thin air. Weir's take on the Bob Dylan/Robert Hunter gem "Silvio" ended the first set on a high note; this song got away from Dylan in the recording studio, and Ratdog's version is clearly the definitive one, reminding us what a fine tune this really is.

Set two started out with Weir on acoustic guitar, offering a gorgeous rendition of Paul McCartney's "Blackbird" and then leading the band through an elegant "Black-Throated Wind." One of the evening's many highlights came with the song-suite "St. Stephen/The Eleven/Come Together/Dark Star/Cassidy (reprise)," which left my heart well up in my throat and my gray matter rattling around the Town Ballroom's rafters. Judging by the crowd's reaction, I was far from the only one feeling this way.

After a fittingly rambunctious take on "One More Saturday Night" and an encore of Dylan's "Knockin' On Heaven's Door," they were gone, leaving a joyous afterglow. Until next time, then.
e-mail:
http://www.buffalonews.com/email/email_form.asp?author_dept_id=248

Saturday, October 29, 2005

Bob Weir back from the Dead


From the Toronto Sun:

Bob Weir back from the Dead
By BILL HARRIS - Toronto Sun

A former member of the
Grateful Dead is playing with RatDog on Halloween at The Docks. Honestly, folks, we're not making this up.

Could it be any more ghoulishly ominous?

But don't expect ghosts of past concerts -- or, at least, ghosts of recent concerts -- to be haunting the place when guitarist Bob Weir and RatDog take the stage on Monday.

When asked what fans who purchase tickets can expect to hear, Weir on the phone recently answered in a manner that best can be described as bluntly vague.

"Well, it would be impossible to predict what tunes they're going to hear," said Weir, 58. "But what they can expect not to hear is anything we played the last couple of times we were in town, or anything we play in the previous few gigs on this particular tour.

"Aside from that, we're working on new material. Maybe we'll pull out a few new chestnuts, or old chestnuts."

The unpredictability of repertoire is something Weir comes by honestly, following his multiple decades with the Grateful Dead, perhaps the most famous touring band in the history of rock 'n' roll. The classic Dead lineup took a fatal blow when
Jerry Garcia died in 1995, but playing live remains in Weir's blood.

"Any band that mixes it up is going to have a longer career because they're not going to go nuts playing the same set every night," said Weir, whose current band records its concerts and has CDs available for purchase immediately afterward. "Practice makes perfect, and we got a lot of practice, man. Years and years of practice."

Countless musicians, both professional and amateur, joined the Dead on stage through the years. Some meshed with the band better than others, naturally.

"Well, maybe (saxophone legend) Branford Marsalis," Weir said when asked if anyone really surprised him. "I figured he would be good, but I didn't know he was going to fit with what we did as well as he did. It was a slam-dunk on a certain level, but on another level it was surprising how well he graced what we were doing."

Undoubtedly, if Garcia still were alive, the Grateful Dead still would be touring.

"I would expect so," Weir said. "But maybe not quite as hot and heavy as we used to do it."
As for RatDog, the group began as a low-key blues ensemble a decade ago but slowly has transformed itself into more of a jazz-hard rock combo worthy of its threatening name.

"I love to play, you know," Weir said. "There are new challenges, nightly, monthly, yearly.

"If we're boring, we're not doing our jobs. If we're boring, we're dying, absolutely. We have to keep ourselves amused or we're not going to last very long."

Please. At this stage of his career, the last thing Bob Weir has to worry about is a lack of longevity.

Friday, October 28, 2005

Jerry Garcia, the Movie


From Empire Online:

Long Strange Biopic
Jerry Garcia gets the film treatment

He’s inspired legions of fans that call themselves Deadheads. He’s had a Ben & Jerry’s ice cream flavour named after him. Now The Grateful Dead’s Jerry Garcia is getting the biopic treatment.

Justin Berfield – whose day job is playing Reese on Malcolm In The Middle – has optioned two biographies, Captain Trips and One More Saturday Night with business partner Jason Felts and is aiming to produce a film that follows Garcia’s real-life recovery from a drug-induced coma. The pair are negotiating with the band and Garcia’s ex-wife Carolyn to include several of their songs in the film. "Jerry's story deserves to be told with colour and sound, and we are going to bring him alive in a movie," Carolyn Garcia said. "I'm excited and happy to help it happen, to help reflect Jerry's genius and his generous spirit accurately. There are so many stories to share."

Wednesday, October 26, 2005

The Dead lives on

From the Harwich Oracle:

The Dead lives onBy Don Wilding/ dwilding@cnc.comWednesday, October 26, 2005Big Rhythm Wine proudly carries on the tradition of The Grateful Dead, so much that the Cape-based cover band bills itself as "A Grateful Dead Experience." The set lists are chock full of obscure and popular Dead tunes alike; the space jam sessions go on forever and then drop into another song; and fans of the band tape their shows for bootlegs.

Bootlegs are a particularly big draw for "Deadheads," as fans of the San Francisco acid rock icons are known as. The biggest diehards can point to dates and venues that the band played, and point out what songs were played - and how the late Jerry Garcia may have played a certain guitar solo, the specific way that Bob Weir growled through an blues tune, or what percussion tricks Bill Kreutzmann and/or Mickey Hart pulled out of their sleeves.

Big Rhythm Wine knows this better than anyone in this era of post-Garcia Dead re-hashes, DVDs and CDs of countless shows from the 60's to the 90's, and Cherry Garcia ice cream. "Other guys in the band will be like, 'Let's do that song like 3/3/86, or whatever," says Harwich native Mike Pandiscio, BRW's lead singer, rhythm guitarist, artist, and web master. "It's amazing - these guys can rattle off dates from the top of their heads."

Pandiscio and the rest of BRW, which includes Harwich native / Brewster resident Pete Waters and Jason Roza of Harwich on drums, keyboardists Brett Ginter of Chatham and Dick Sage of Providence, bassist Paul Scarpino of Holbrook, and Garcia-style guitarist Jeff Martinson of Connecticut, will be hosting the second annual "Day of the Dead" (also known as "Dia de Los Muertos") Halloween and Costume Party at the Captain's Club in Dennisport this Saturday night. Cash prizes are on tap for the winners - last year's top costume was none other than "The Pot Fairy."

Right - the Pot Fairy. Only at a Grateful Dead show - or reasonable facsimile. That's where BRW comes in.

"The show is an excuse to have people get crazy," says Pandiscio, also known as "Marcus" to band mates. "You tell people 'Grateful Dead,' and you get a certain audience - the hardcore people, which is what this band is. They're all Deadheads, through and through."

Pandiscio, who also fronts the band Care Factor Zero, is "low man on the totem pole" when it comes to how many times he's seen the Dead (who actually played at the Pyramids in Egypt back in 1978) or the band's solo efforts live. Pandiscio has seen them over 60 times, with the first show being on April 7, 1987 at the Worcester Centrum. "I had a stepmother at the time who turned me on to her collection, and then I bought a copy of 'American Beauty,'" Pandiscio recalled. "It's been downhill ever since." Sixty times is a pretty impressive count for Dead shows, but that's nothing compared to Martinson, who's had the pleasure of viewing the Dead on 300-plus occasions.

Pandiscio, who turned 35 this month, once played in the Dead cover band Lazy Lightning, along with Roza and Harwich's Colin Stevenson, now the front man for Earth Junior. Sage's former band, the New Prophets, once opened for Weir's band, Ratdog. Martinson and Sage both played in the Connecticut Dead cover band Shakedown, and Martinson sat in on numerous occasions with Max Creek. Scarpino played in the Dead cover band American Beauty and was a guest guitar player for the Mighty Mighty Bosstones on their album "Pay Attention." Ginter, who offers up the styles of both Brett Mydland and Keith Godchaux, is best known as the ringleader of the Boston band The Kind.

The variety of Dead numbers on a BRW set list is impressive. Sure, they'll offer up the "hits" - "Truckin'," "Casey Jones," and "Touch of Grey" - but obscure tunes such as "Wharf Rat," "My Brother Esau," "Black Throated Wind," and "Jack A Roe," are in there too. "There's a few hard ones," Pandiscio concedes. "'Estimated Prophet' is tough because it's an exotic time signature (7/4), but we have done 'Terrapin Station.'" They've also taken on both "speeds" of "Friend of the Devil," the Robert Hunter / John Dawson / Garcia composition from "American Beauty" - there's the fast-paced version from the album, and the slower take that the Dead took to performing live in the 1970's.

So does Pandiscio have a favorite tune? "I don't have one that I don't like," he says. "There's plenty of songs that I've played in cover bands, but you'll never find me groaning about any of these."

BRW played a year of gigs at the Brewster VFW, but they're on the lookout for a steady 18-plus gig for once a month. The Dead Zone in South Yarmouth ("they're good people," says Pandiscio) has been a big boost for the band, as has the BRW web site at www.bigrhythmwine.com. Fans can download the band's music, and also view features on their bio page, like "30 Questions."

Wherever BRW goes, the spirit of the Dead shows is always there - and that will certainly be the theme of the Halloween party this Saturday night in Dennisport - maybe it will be referred to as "10/29/05" in future performances.

"It's a family-type thing," says Pandiscio. "We don't know a lot of these people, but we're definitely connected, because we've done it for so long."

If you go ...
What:Second Annual "Day of the Dead" Halloween and Costume Party
Who: Big Rhythm Wine ("A Grateful Dead Experience')
When:Saturday, Oct. 29 - 10 p.m.
Where:The Captain's Club, 243 Lower County Road, Dennisport
Information:508-398-5673 or www.bigrhythmwine.com

'60s rockers pay tribute to Chet Helms


From Mercury News:

'60s rockers pay tribute to promoter
Brad Kava
Mercury News

San Francisco has always found a way to celebrate its musical heritage with big free concerts in Golden Gate Park. The one coming up Sunday is no exception. It will be like a high school reunion for old hippies and an introduction to the roots of classic rock for younger music fans.
The show is a tribute to Chet Helms, the longhaired and bearded promoter who was like Bill Graham without the business instincts. His Family Dog club competed with Graham's Fillmore and helped build the 1960s San Francisco scene.

Performers at Golden Gate Park's Speedway Meadows from 10 a.m. to 5:30 p.m. will include War; Taj Mahal; Sammy Hagar; Jefferson Starship members Paul Kantner, David Frieberg, Pete Sears and Prairie Prince; Eric Burdon (the Animals, ``San Franciscan Nights''); Dan Hicks and the Hot Licks with a special appearance by the Charlatans; Nick Gravenites; Harvey Mandel; Country Joe McDonald and Barry ``The Fish'' Melton; Zero II featuring Martin Fierro and Greg Anton; the Rowan Brothers; Quicksilver Gold featuring Joli Valenti, Peter Harris and Mario Cipollina; Ramblin' Jack Elliott and Roy Rogers; Cold Blood featuring Lydia Pense; Jerry Miller from Moby Grape; Blue Cheer featuring Dickie Peterson and Leigh Stephens and Canned Heat.

The concert is an electric alternative to the acoustic Bridge School Benefit at Shoreline Amphitheatre, which takes place Saturday and Sunday. The Bridge concert's lineup includes Bright Eyes, Norah Jones, Good Charlotte, and on Sunday, Dave Matthews -- as well as classic rockers CSNY, Jerry Lee Lewis, and on Saturday, John Mellencamp.

LESH SHOW: A pity that Ryan Adams bailed out of the Phil Lesh show scheduled at Bimbo's on Thursday. Adams has been bailing a lot lately. Tickets were up to $450 on the Internet to see the quirky rocker with the Grateful Dead bass player. The Lesh camp is promising someone of equal interest.

Lesh, who didn't show up for the September Jerry Garcia tribute in Berkeley attended by the rest of the Grateful Dead, is probably working hard to call in some favors for the smallest show he has played in eons.

Tuesday, October 25, 2005

The Dead Live on the Music Chart

From the Book Standard:

The Dead Live on the Music Chart
October 25, 2005
By Patrick J. Eves

The Grateful Dead keep truckin' like the do-dah man, even ten years after front man Jerry Garcia's death of a heart attack. The legendary psychedelic jam band—which spawned a rabid fan-base collectively known as Deadheads, who followed the band from show to show—is best known for its marathon live sets. Deadheads who miss the shows have been lining up to buy The Complete Annotated Grateful Dead Lyrics, available just in time to celebrate The Dead's 40th anniversary. The book remains at No. 1 on the Music Chart after debuting at the top last week. David Dodd, founder of the Annotated Grateful Dead Lyrics website, comments on all 184 songs here and has appeared on the nationally syndicated radio show Dead Hour to promote the book. In other Dead news, bassist Phil Lesh scored a hit earlier this year with a memoir about his 30 years with the band. Searching for the Sound has sold 39,000 units so far, peaking at No. 4 on the Biography & Autobiography Chart for the week ending April 24, 2005.
1. THE COMPLETE ANNOTATED GRATEFUL DEAD LYRICS, annotated by David Dodd (Free Press, Hardcover, 0743277473)
2. COMPLETE IDIOT'S GUIDE TO MUSIC THEORY, 2ND EDITION, Michael Miller (Alpha, Paperback, with CD ROM, 1592574378)
3. AND THEY ALL SANG, Studs Terkel (New Press, Hardcover, 1595580034)
4. THE COMPLETE IDIOT'S GUIDE TO PLAYING GUITAR, Frederick Noad (Alpha, Paperback, with CD, 0028642449)
5. PLAY PIANO IN A FLASH!, Scott Houston (Hyperion, Paperback, 1401307663)

Phil & Friends holiday shows announced

From Rolling Stone:

JOHN MAYER TRIO and PHIL LESH AND FRIENDS will team up for three holiday shows in San Francisco, taking place December 29th at the Fillmore, 30th at the Warfield Theater and 31st at the Bill Graham Civic Center. Tickets go on sale November 6th . . .

Friday, October 21, 2005

Jerry's spirit inspires peace dove


From JamBase:

PEACE POSITIVE

A bold evolution of the popular Support Our Troops yellow ribbons is taking off. It's the Peace Positive Dove car magnet, now available at peacepositive.net. The design is a dove in flight. The message is one of peace: Support Our Troops, Bring Them Home. And it's not just making a positive statement, it's making a difference--20% of the net proceeds go to charities that support peace.
Inspiration moved him brightly
"The idea came just before dawn on the morning of the 10th anniversary of Jerry Garcia's passing," says Peace Positive founder, Mike Indgin. "A voice came into my head that said, 'Create a design that marries the current yellow ribbons with the complementary shape of a dove. Have it fly a message of peace. And don't just talk about it, DO IT!' The voice had an exuberant energy that reminded me very much of Jerry. So of course, I listened."
A little action goes a long way
Indgin passed the idea on to his wife, a graphic designer who took the concept and brought it to life with an image that is both peaceful and powerful. The buzz is already growing for the product and the
peacepositive.net site. "When I first saw the finished design, I was blown away by its beauty and power. Now when others complain about the political situation, I no longer feel powerless because I am doing something about it! Now other can too, just by putting the magnet on their vehicle or by spreading the word of our site to others."
The tagline on the bottom of the home page says, "No act of peace is ever wasted." That's a sentiment no one can argue with. To see the Dove magnet in flight, go to
http://www.peacepositive.net/.

Wednesday, October 19, 2005

Tucker Carlson fan of the Dead & Lesh


From MSNBC:

Q: A few months ago, on the night of the latest Harry Potter book's release, you and Rachel and the other guest were talking about other things that had been worth waiting for, and you'd said you'd waited in line for rock concert tickets. I'm curious: who'd you wait in line for? What kind of music do you like? Who are some of your favorite bands? Sorry it's totally irrelevant to everything, but I've been wondering this for a while. — Barrie

A: I'm not ashamed to admit it: I like the Grateful Dead, and have since childhood. Phil Lesh, the longtime bassist for the band, is coming to New York soon and we're hoping to have him on. Stay tuned.

Ratdog Bring The Music To The Deadheads

From SoulShine:

Ratdog Bring The Music To The Deadheads

Former Grateful Dead guitarist Bob Weir will be keeping Deadheads happy this fall by taking his band Ratdog out on the road for a series of North American dates. Included in the itinerary will be a Halloween night stop in Toronto, though if you’re in the area and can’t get tickets for that show, the band will perform two nights earlier just down the QEW in Buffalo. Weir formed Ratdog in 1995, although the band has to date released only one album, 2000’s Evening Moods. To satiate fans, however, Ratdog began issuing a series of live CDs in 2003 for sale and download through the online music store MunckMusic. Weir’s original Ratdog partner, bassist Rob Wasserman, is now no longer involved with the group – the lineup now consists of Weir, bassist Robin Sylvester, guitarist Mark Karan, saxophone player Kenny Brooks, drummer Jay Layne and keyboardist Jeff Chimenti. Ratdog’s upcoming tour will begin October 25 in Milwaukee and wrap up December 2 in Denver. As mentioned above, one Canadian stop will be included. October 31, Toronto, ON – The Docks
Writer: Neil McDonald

Caribbean Cruise Getaway with Ratdog

From Antsmarching.org:

Dave & Friends Caribbean Cruise Getaway Posted by
Matthew Yette 10/19/2005 1:10pmFirst revealed by a Warehouse email to members, and now announced on davematthewsband.com, in February 2006, Dave Matthews & Friends will be traveling to a secret island in the Bahamas via two "eco-friendly" cruise ships, and Warehouse members are invited. The 3-day, 3-night voyage includes not only Dave & Friends, but also a handful of artists that are sure to coincide with the DMB fanbase's tastes. G. Love and Special Sauce, Ozomatli, Bob Weir & Ratdog, and the North Mississippi Allstars are but a few of the acts that will be accompanying the band down the Atlantic. The cruise is sure to generate buzz not only within the community, but also throughout the entire music industry. Reservations are available exclusively to Warehouse members, and Monday, October 24 at 7:00pm are when they are available. For more information, visit cruise.davematthewsband.com.

From JamBase:

From www.dmband.com:
In February 2006
Dave Matthews & Friends will be performing on a secret island in the Bahamas, and members of the Warehouse, the official fan association, are invited to take a cruise to the concert! Two spectacular eco-friendly ships, the Majesty of the Seas and the Sovereign of the Seas, will sail in tandem to a secret island in the Bahamas, a weekend musical adventure that is destined to be a once-in-a lifetime experience.
Several artists have been hand-picked for this special occasion, including Bob Weir and
Ratdog, G. Love & Special Sauce, Toots and the Maytals, Ozomatli, Mike Doughty, North Mississippi Allstars and many more. T he artists will be performing on both ships, giving fans the opportunity to see some of their favorite bands in unique settings. Exciting events, delectable cuisine, two private island destinations and an exclusive group of fans will make the experience unforgettable.
Friday, February 3, 2006 kicks off a welcoming party on the pool deck. Live entertainment, dancing and other activities will continue all evening and into the early hours in the ships' wide assortment of venues: themed lounges, nightclubs, pools, restaurants and casinos. The ships will be sailing through tropical waters when fans awake on Saturday.
The ships will anchor in Nassau, Bahamas on Saturday morning, February 4, 2006, and all passengers will have a chance to enjoy the ship or the shore throughout the day. That evening will culminate with the Dave Matthews & Friends show on the beach, under the stars, among the swaying palms... Following the concert, fans may enjoy a late-night dance party into the wee hours of the morning.
Sunday, February 5, 2006 brings a day of relaxation in CocoCay, a private island resort. Passengers may sunbathe, stroll, relax, indulge in a variety of water sports and a BBQ party on the beach. Returning to the ships that afternoon, fans will have the opportunity to gather in the Shipboard Stadium for Super Sunday football festivities and the Big Game followed by another evening filled with stellar musical performances.


Dave Matthews & Friends
Bob Weir & Ratdog
G. Love and Special Sauce
Toots & the Maytals
Ozomatli
North Mississippi Allstars
Mike Doughty's Band
Mofro
John Brown's Body
Grace Potter and the Nocturnals

From Billboard:

Matthews Sets Sail For Caribbean Concert
By Jonathan Cohen, N.Y.

Dave Matthews will anchor a concert in the Bahamas in February which will highlight the Dave Matthews & Friends Caribbean Cruise Getaway. Fans will overtake the Royal Caribbean cruise ships the Majesty of the Seas and the Sovereign of the Seas from Feb. 3-6, and be treated to music from Bob Weir and Ratdog, G. Love and Special Sauce, Toots and the Maytals and the North Mississippi Allstars, among others.The ships will set sail from Miami and Port Canaveral and will converge to sail together through the Atlantic. Backed by as-yet-unannounced artists, Matthews will perform Feb. 4 on a private island in the Bahamas. The ship will anchor in Nassau that day and proceed the following day to the private island resort CocoCay.
Among the other acts set to appear during the cruise are Ozomatli, the Mike Doughty Band, Mofro, John Brown's Body and Grace Potter and the Nocturnals.Members of Dave Matthews Band's Warehouse fan organization will get first crack at tickets Monday (Oct. 24). For pricing information, visit the cruise's official Web site.As previously reported, Dave Matthews Band will close out this year with a brief tour that begins Nov. 26 in Minneapolis.

Tuesday, October 18, 2005

Ratdog adds more dates


From LiveDaily:

Bob Weir's Ratdog adds more dates

by Jim Harrington
liveDaily Contributor

Vocalist-guitarist Bob Weir and his Grateful Dead spin-off group Ratdog (
tickets music) have announced a batch of new shows to fill out the band's fall itinerary.

The tour now kicks off Oct. 25 in Milwaukee and continues into early December. The bulk of the newly added shows are in the Southeast, including a two-night stand on Nov. 15 and 16 at Atlanta's Variety Playhouse.

While on the road, Weir and his 10-year-old group--which currently also includes drummer Jay Layne, keyboardist Jeff Chimenti, guitarist Mark Karan, saxophonist Kenny Brooks and bassist Robin Sylvester--will treat Canadian Deadheads with a Halloween night (10/31) performance at the Docks in Toronto.

The full tour itinerary is included below.

Weir formed Ratdog in 1995 with bassist Rob Wasserman, who is no longer involved with the group. The only Ratdog studio album is "Evening Moods," released by Arista Records in 2000.
The band started a live-CD series in the fall of 2003, making many of its past performances available on CD and as downloads exclusively via online music store MunckMusic (
https://www.munckmusic.com/wms/index.html).

Ratdog performed as part of the "Comes a Time - A Celebration of the Music and Spirit of Jerry Garcia" on Sept. 24 at the U.C. Greek Theatre in Berkeley. The event--which honored the late Grateful Dead frontman, who died in 1995--also featured Trey Anastasio, Hamza el Din, Brian Godchaux, Mickey Hart, Warren Haynes, Jimmy Herring, Bruce Hornsby, Gloria Jones, Bill Kreutzmann and others.

[Note: The following tour itinerary has been provided by artist and/or tour sources, who verify its accuracy as of the publication time of this story. Changes may occur before tickets go on sale. Check with official artist websites, ticketing sources and venues for late updates.]


October 2005
25 - Milwaukee, WI - The Rave
27 – Chicago, IL – Riviera Theater
28 - Erie, PA - Warner Theater
29 - Buffalo, NY - Town Ballroom
31 – Toronto, Ontario – The Docks

November 2005
1 - Cleveland, OH - House of Blues
2 - Baltimore, MD - Ram's Head Live
4 - Greensburg, PA - Palace Theater
5 – Mashantucket, CT – Foxwood Resort and Casino
7 - Westbury, NY - North Fork Theater
8 - Frederick, MD - Weinberg Center for the Arts
10-11 – Jim Thorpe, PA – Penn's Peak
12 – Worcester, MA – The Palladium
14 - Asheville, NC - The Orange Peel
15-16 - Atlanta, GA - Variety Playhouse
18 - St. Petersburg, FL - Jannus Landing
19 - Boca Raton, FL - Mizner Amphitheater
20 - Lake Buena Vista, FL - House of Blues

December 2005
2 - Denver, CO - Fillmore Auditorium

Friday, October 14, 2005

Dead's lyrics live in annotation

From the Oregonian:

Dead's lyrics live in annotation
Friday, October 14, 2005
JEFF BAKER
The Grateful Dead first performed two songs with thunder and lightning imagery, "The Wheel" and "Lazy Lightin'/Supplication," at a show at the Paramount Theater in Portland on June 3, 1976.
Many a Deadhead knows that interesting piece of trivia, but how many know that a line in the chorus of "The Wheel" -- "If the thunder don't get you, then the lightning will" -- echoes a line from Merle Travis' country classic "Sixteen Tons" ("If the left one don't get you, then the right one will").
Robert Hunter, who wrote the lyric, and Jerry Garcia, who sang it, probably knew it, and now everyone who reads "The Complete Annotated Grateful Dead Lyrics" (Free Press, $35, 480 pages) knows it, too. They'll also see a comparison between Hunter's lyrics and his "Lay of the Ring" from the "Eagle Mall Suite," and read some notes about the wheel in Roman mythology and the Bible, and learn a little about the robin, the bird that shows up in the line "Round, round, robin run around."
And if they look up from the lyrics to the page they're printed on, they'll see an illustration by Jim Carpenter, a Eugene artist who worked with annotator David Dodd to make the book come alive. More than 200 of Carpenter's illustrations are sprinkled throughout the book, from the literal (a cog and wheel on "The Wheel") to the outrageous (a sleeping Samson is oblivious to Delilah, who's about to trim his stringy locks in "Samson and Delilah," another song that was first performed at the Paramount in 1976).
"Some of the songs really lent themselves to a drawing," Carpenter said. "Some are so abstract, there's no chance. I just looked for a place to stand and tried to keep rolling."
Carpenter is a sculptor and maker of musical instruments who previously worked on another Grateful Dead book, "The Water of Life," with Alan Trist of Ice Nine Publishing Co., the Dead's publishing arm. Carpenter took some samples to the Dead's headquarters in San Rafael, Calif., "and they let me go."
"I had a lot of freedom to do whatever I wanted," he said. "It was a lot of work in a short amount of time, but very rewarding. Ideas are like rabbits; once you have a couple, they start popping up everywhere."
Carpenter's beautiful cover illustration refers to a drawing by Stanley Mouse, who created many of the Dead's iconic images, in its use of a skeleton, a jester and a crow. The book contains color plates of illustrations by Mouse and Alton Kelley as well as two by Carpenter (for "Friend of the Devil" and "St. Stephen") and two by Tim Truman.
The information in the book comes from Dodd, whose day job is being the city librarian of San Rafael, Calif., and whose obsession is the Dead. Dodd set up a Web site called "The Annotated Grateful Dead Lyrics" 10 years ago that he writes was "the first to use hypertext to annotate any kind of literary text." He began receiving e-mail from Deadheads and incorporating their comments into the Web site. The book "is the result, though perhaps not the end result. . . . I hope the margins are big enough for readers to add their own notes."
Why not? Who knew that William Howard Taft's campaign slogan was "Smile, smile, smile" (a line from "He's Gone") or thought about the character in Vladimir Nabokov's "Pale Fire" named Stella Blue, the same name as a famous Garcia/Hunter song? The possibilities are endless.
Dodd and Carpenter will sign copies of their book at 4:30 today at Tsunami Books, 2585 Willamette St., Eugene. Those who buy a book will receive a bookmark created by Carpenter.
At 8 tonight, the Dark Star Orchestra ("the best Grateful Dead cover band on the planet," according to Carpenter), will perform at the McDonald Theatre, 1010 Willamette St., Eugene. Dodd and Carpenter again will sign copies of their book, and those who purchase a book can buy a Dark Star Orchestra CD for $10.
Jeff Baker: 503-221-8165; jbaker@news.oregonian.com

Spotlight on John Scott


From New Hampshire Business Review:

Firm keeps on truckin’ after the Dead’s demise
By John Walters

How powerful was the Grateful Dead phenomenon? Here’s one piece of evidence: A New Hampshire man made a good living for over a decade by compiling lists of every song played at every one of the legendary group’s concerts. John Scott sold thousands of copies of “Deadbase,” the all-but-official database of Grateful Dead performances. But 10 years ago Jerry Garcia died, and the band was no more. Scott continued to produce Deadbase, but like all entrepreneurs faced with such a development, he realized his business would have to change. He now calls his company “Dharma Rose.” The Internet retailer (dharmarose.com) sells a variety of clothing and merchandise — some Grateful Dead-related, some not. Its headquarters is the family home, an old white farmhouse in Cornish. The first several years were a time of growth, but sales were off last year.“On the Internet, we have to compete with the big guys,” he says. “A year and a half ago, one of our major suppliers opened their own online store, and they’re now the big kid on the block. That’s part of the problem. Business is decent; it’s at a sustainable level, but we’re in an awkward time.”In such a rapidly changing environment, this soft-spoken 46-year-old is turning himself — by necessity — into a savvy businessman. John Scott was a freshman at Dartmouth College in 1978 when he first saw the Grateful Dead perform. It also was his first encounter with the Deadhead phenomenon. “I was surprised that people followed the Dead on tour. I couldn’t quite understand how someone could drop everything and make that their life.” Although he came to occupy an important niche in their world, “I never [became a Deadhead] myself. I saw a fair number of shows, but I never followed the band around the country.” By a fair number, Scott means “160 or so. But a real Deadhead has to have seen over 200.”Scott graduated in 1981 with an art degree, but after a couple of years “I realized that the romance of the starving artist wasn’t what it was played up to be.” So he spent a year taking computer science classes at Dartmouth. That was where Deadbase was born.“I took a database course, and my project for that was a Grateful Dead set-list database. And that’s what led into this; I was archiving all these set lists for the course — and afterward, I’d already started, I couldn’t stop then.” For a few years it was a hobby, and Scott worked at Dartmouth. “I was writing an online interface for statistical databases in the social sciences. Back then it was a very new field. During my time there it changed to something that’s still in use — DCIS, Dartmouth College Information System, an online interface to a wide range of databases.” By 1986, Scott wanted to publish Deadbase. He saw a ready-made market among the legions of Deadheads and their lively trade in bootleg tapes. “There were a lot of tapes in circulation. People needed ways to keep track of tapes, and find out what else was out there. That was the driving force behind it.”Scott contacted Dennis McNally, a writer of some note who was close to the band. Through McNally, Scott gained the band’s permission, and he pledged to donate a portion of the proceeds to band-approved charities. “The print run started out pretty small — a thousand or two,” but sales picked up, and in 1988 Scott quit his job to work full-time on Deadbase.“I did these books pretty much yearly for seven or eight years. I’d come out with a new one, and I started doing supplements that covered just that year in just nauseating detail. I listened to every show, timed out every song, and we’d have reviews of every song.” Truly a Deadhead’s dream. By its final edition, Deadbase was nearly 600 pages long and cost about $35.
Challenging time
On Aug. 9, 1995, Jerry Garcia died. His bandmates decided to retire the group, rather than carry on without their guitarist and leader. Scott produced two more editions of Deadbase, but the writing was on the wall. In 1999, he and his wife Terrie launched a Web-based business called “Deadbasics” that sold Grateful Dead-inspired apparel and remaining copies of Deadbase. But they knew it couldn’t last forever. They started carrying other kinds of clothing, although the Dead remained the heart of their business. They changed the name to “Dharma Rose,” which was less overtly tied to the band and to Deadbase. They experimented with other merchandise, including scented candles and personal-care products. It paid off in the short run. “Diversity was important to me,” says Scott. “I wanted to offer something for everyone. But that also had a big cost; our inventory was out of control.” He now plans to eliminate the non-apparel items, and streamline his clothing selection. It’s a challenging time for John and Terrie Scott. Dharma Rose is in transition, and family expenses are high. They have a 19-year-old son in college; soon enough, they will be paying tuition bills for their other sons, ages 16 and 13. Health care is a heavy burden; Scott says they paid about $20,000 last year for insurance and medical expenses. Would their life be different if Jerry Garcia hadn’t died at the age of 53? Would they still be making a living off Deadbase? Scott isn’t so sure. Thanks to the Internet, he says, “it’s all available for free. I don’t think it was just Jerry’s passing that marked the end of Deadbase. I think it was also the way the Internet was moving, with the philosophy that things should be free, which I actually agree with to a large extent.”Whatever the future holds for Dharma Rose, Deadbase will live on. Scott has sold remaining copies for as much as $250 on eBay. Its contents will soon be posted on the official Grateful Dead Web site.

Interview with Dennis McNally


From JamBase:

American Bohemianism: An Interview with Author, Historian & Grateful Dead Publicist, Dennis McNally Randy Ray 2005-10-13
I see a vision of a great rucksack revolution, thousands or even millions of young Americans wandering around…who go about writing poems that happen to appear in their heads for no reason and also by being kind and also by strange unexpected acts keep giving visions of eternal freedom to everybody and to all living creatures…- The Dharma Bums, Jack Kerouac
The thin, fine, complicated slip, stitch and pass thread from jazz and bop, linking the Beats, piercing the Grateful Dead and hooking Phish, sliding into the mystic future is an epic journey that combines personal freedom and divergent hardship. As Bob Dylan once said, “to live outside the law, one must be honest.” Dennis McNally, former Grateful Dead publicist and current RatDog, Dead-related and freelance publicist, wrote the second biography ever written about Kerouac in 1979. Desolate Angel: Jack Kerouac, the Beat Generation and America still stands among the finest books ever written about an American author. McNally’s thesis revolving around Kerouac’s slow, ponderous voyage from French-Canadian roots in Lowell, Massachusetts to the Voice of the Beat Generation is deeply rooted in a rich historical study that links jazz with spontaneous writing and improvisational music with the structure of hammering out unedited manuscripts. McNally has a beautifully unique writing style that seems to link history with architecture. In A Long Strange Trip, he created historical interludes that segue from chronological storytelling and comment upon the biography being written from several points of view—insider’s vision or otherwise. Perhaps, most remarkably, McNally constructs a three-dimensional form of history centered upon space management, instead of time as a narrative device.
The Beat historical torch would be passed onto the Grateful Dead via several cultural off ramps, not the least of which was the groundbreaking compositions of John Coltrane. After nearly two decades working as the Grateful Dead publicist, McNally completed his biography of the band, A Long Strange Trip, in 2002. He had been endorsed by none other than Mr. Garcia himself, after the musician had read his Kerouac book and exclaimed: “It’s the best biography I’ve ever read!” On the recent occasion of the Comes A Time–Jerry Garcia Tribute show at the Greek Theatre in Berkeley, California, we sat down with the historian. The discussion centered upon the threads of American Bohemian culture from World War II through the Beats and the Dead and reaching out into the Great Unknown of tomorrow’s “great rucksack revolution.”
RR: From Kerouac to the Dead and beyond…where’s it all going to connect up?
DM: What I’ve always said connected Kerouac and the Beats with the Grateful Dead was what Kerouac called spontaneous prose and what Jerry would have called improvisation. In both cases, they arrived out of an African-American tradition of jazz. Jack played homage to, and in his case, it was Lester Young, more even in the bop. Allen Ginsberg, being a poet, later re-named it spontaneous bop prosody. In any case, improvisation, defined by jazz in the twentieth-century, is the richest cultural touchstone in American culture. It has spawned almost an infinity of other things, of cultural forms but it all starts from jazz improvisation.
Your question—where’s it all going to connect up? My reply is blunt and simple: fuck if I know…I’m a historian and I trace evolution but I am not in the business of trying to predict things. The jambands that we see that feel indebted to the Grateful Dead to varying degrees, in my experience, they understand improvisation in a large sense—they go back to modern jazz improvisation, which is to say that four musicians hold a groove and one musician solos. That’s the modern version. The Grateful Dead at their best actually went back to old jazz, Dixieland improvisation, in which everybody improvises. There was a central core of music that everybody sort of circled around but it was genuine group improvisation, which happened again with [John] Coltrane. Most of what we think of jazz—the drummer is not improvising, the drummer is holding a groove and he’s not attempting to improvise. Grateful Dead drummers did, which is one of the things that made them and the Grateful Dead generally unique. There are subtleties and nuances that, frankly, most bands don’t necessarily attempt to cover.
RR: Do you feel that there was a lack of mainstream media coverage for the 10th Anniversary of Jerry Garcia’s death?
DM: There’s a part of me that says that I’m glad. The people that cared about Jerry genuinely cared about Jerry and they know and they hold them in their hearts. They lit a candle or just played a song or kissed their partner or whatever. They thought about him special that day—probably every day for most of us. For the media to go, “ah, ten years” and grind out articles—there was a couple of articles that I liked. The ones I saw I liked because, obviously, they were coming from the heart of the reporter and not because some editor said: “give me 500 words on Jerry Garcia, ten years later.” That was cool. If it’s genuine, then that’s great but sort of a ritual tenth anniversary thing—you know, the American media has gotten into a pretty sad state so it doesn’t shock me.
RR: What was the historical importance of the Grateful Dead?
DM: Certainly, it was a fusion of many kinds of American music. As far as the overwhelming thing that they did that was distinctive was that they fused rock tonality and instrumentation with jazz changes, which nobody had done before. Rock and roll through 1965 was essentially three minutes with a good hook. Blues jammed but, you know, rock didn’t jam. Grateful Dead, under the influence of John Coltrane primarily, decided to pump some air into rock and roll and stretch it out. That’s their fundamental contribution to music in terms of structuralism—if you were a structural critic, you’d have to acknowledge that. Over and above that, they had among the most literate lyrics. Phil Lesh created an entirely new approach to rock bass. He followed an approach that was treating the bass as simply a low-end guitar and not as simply a timekeeper or a bottom end keeper.
All kinds of things that the Grateful Dead did were genuinely revolutionary—whether you can say that you like this or not. They created, among other things, the finest psychedelic music ever made. They made many contributions to music in a general way but, to me, that’s the essence. They also brought a whole social web of circumstances to their music just from who they were that, for many Deadheads, had more far reaching consequences than the music. For me, I frequently look at those people and say that that’s kind of missing the point. There’s the guy that I offered the free ticket that was hanging out in the parking lot—because we had some free tickets—and he looked at me and said: “nay, I just come here for the parking lot.” Missing the point but what are you going to do?
RR: Why did Jack Kerouac have such a hard time transitioning into the 1960s?
DM: Because he was doing the transitioning in the very early 50s, which was an especially rigid time in American tastes. I made a joke about structural critics before. They ran the American literary world in a sort of one step removed way in the early 50s. You have to remember—you’ve gone from a stunning Depression that makes anything we know about or can even imagine economically look nickel-dime; then, the biggest war in history so you come back from that and people do not want to be bothered. The result? A cold war in which conformity is everything. You can’t diverge and [Kerouac] diverged and he paid for it by being ignored.
My admiration for Kerouac is based on the fact that as a writer, he consciously committed writer’s suicide. He made a decision to write in a way that he was pretty sure would never be published. He followed it anyway because, of course, he had to, he just had to. And, of course, in the end, thanks to a couple of, in some cases, coincidences, if you read my book, you find for instance, much of what happened to Kerouac, can be traced, quite a lot, can be traced to the New York Times Review—back in the time when the Times Review meant something—of On the Road written by Gilbert Millstein who ordinarily wouldn’t have been the reviewer, it would have been Orville Prescott. It came out in the summer and Prescott was on vacation and Millstone fell in love with it and called it the “generational document,” which was a quote that went into every ad. It lit a fire and there were people around for whom it meant a great deal. That was luck. Prescott would have hated his book. That gave Kerouac a lot of celebrity so he had good sales and that enabled his other books to be published.
RR: There’s the story about Kerouac shaking his head when he read the Times review. He either thought it was praise too late in his career, didn’t believe it or, something much darker. [On the Road, introduction, pp. vii-viii, Penguin, 1991]
DM: Well, you know, I don’t even know that story and I wrote the biography. It would not surprise me in the slightest. I think one of the things he would have said is that in 1957 it came too late. There was something that happened to him between ’51, when he started writing the advanced style, and 1957 that really damaged him. He had always been damaged but it took some kind of stuffing out of him. From ’57 until he died, he was drunk most of the time. That was self-medication, as it were, for a lot of pain.
RR: Now where was Kerouac in terms of sales when you wrote your dissertation, which turned into Desolate Angel? Nowadays, his sales are very good.
DM: Very respectable.
RR: Were Kerouac’s sales respectable in 1979?
DM: No. That book came out in ’79. I started it in ’72. He had been dead for three years. He was sort of off the charts. There were books that were out of print. He was held up as being passé by many people. Remember in the 60s, as he retreated into a lot of drinking, he was always politically conservative. He was pro-Vietnam and a lot of other things that came from being a working class child of French-Canadian immigrants. That did not go over so well in the 60s with the young people who presumably would love On the Road so he was ridiculed in many places.
RR: What was your plan before you joined the Grateful Dead?
DM: I wanted to write. What happened—my life story, quite frankly, which turned about to be my entire adult life without going into detail because it takes hours (laughter)…I was in graduate school and one night a guy said, “you oughta write a book about Kerouac.” Long story short—I followed up with that and eventually did so. He also, six months later, took me to my first Grateful Dead concert and I fell in love with the Grateful Dead on the first night. Six months after that, I had been working on Kerouac for a year, I suddenly had this Eureka moment. I said I want to write a two-volume history of—at the time we called it the counter-culture—I would say now, American Bohemianism. Since the period after World War II, through biography and volume 1 would be Kerouac and would cover the 40s and 50s, Volume 2 would be the Grateful Dead and would cover the 60s and 70s. Because I took so very long, I had the 80s and 90s thrown in for free. That, to make a long story short, is what I did. I wrote the Kerouac book in ’79. Sent a copy to Jerry and he, eventually, invited me to write a book about the Dead, to which I said, “great idea.” I started on that and I got busy working for them and I had to put it aside for twelve years. Then, he passed on and eventually I got it together and it came out in 2002.
RR: What takes up the majority of your time, now?
DM: Well, I’m still publicist on a retainer basis for Grateful Dead Productions. I work for RatDog. Yeah, I’m a freelance publicist. I’m working on a book on the Mississippi River when I get time, which isn’t very often.
RR: How far are you along on that?
DM: When you’re crossing the ocean in a rowboat, all you know is that you can’t see shore. I’d say I’m in the middle. (laughter)
RR: I enjoyed the inner-mechanism approach of Phil Lesh’s book, Searching for the Sound, but you wrote the definitive, overall Dead biography.
DM: I tried to produce a very, very complex, multi-faceted portrait—different people’s points of view and writing it in an entirely different way. [Lesh] was pretty consistent and he wanted to tell his point of view and, obviously, a very valuable one! (laughter)
RR: What was your overall reaction after all of those years of planning—A Long Strange Trip comes out, its three years later, how do you feel about the experience?
DM: It was a wonderful experience. I had a fabulous editor. Once I finally got going on it, the actual creating of the book, the writing was satisfying. I had a wonderful agent who created this amazing situation and I’ve got this great editor and, thank you, made a very sufficient sum. I got on the New York Times Best Seller’s list for one week, which, of course, means that you can refer to yourself as a best-selling author for the rest of your life—if you want to. Deadheads loved it and understood what I was trying to do. Most of the reviews I found exactly the same as Kerouac. They didn’t review my book; they reviewed my subject. If they loved the Dead, then fine. If they didn’t, they hated it. They never—even the Dead Heads—I’ve got no review where I can say that this person really reviewed my book. They reviewed the band and whether or not they agreed to my approach to the band.
RR: Ah, I sense a writer’s challenge that is very interesting to me.
DM: There’s a structural technique that I worked on, as a writer, in terms of the structure of that book that I think, as a writer, is pretty darn elegant. In the classic writer’s sense that form must follow function, your writing can’t simply be to tell the story. It must be the story and I think I did that very well in a lot of ways.
RR: I’m puzzled by the fact that people didn’t catch that.
DM: No. No. Nobody ever catches that. That’s OK. That’s what I expected. I knew that. My first review of my Kerouac book, the first sentence of my first review in a very important newspaper was “Dennis McNally isn’t going to like me.” I sort of read this and I realized afterwards that this lady didn’t like Kerouac. She thought he was gross and nasty. She was a proper Boston matron. I met her husband because he was the editor of the Atlantic. She hated Kerouac. I can’t do anything about that. It really takes your ego out of it. I got one review that just about nominated me for Pulitzer Prize. It was the review every writer wants. Even that—there were very nice things about my writing and the book and everything else, no question, but the underlying aspect was: this guy liked Kerouac! Well, OK. (laughter) When you write about, well, fringe isn’t the right sort of word but you know what I mean—people that aren’t the center of the mainstream culture, people that diverge; you’ve got to expect that.
RR: That’s interesting because if you write about the Mississippi River, the reader will almost be forced to get into the structure supporting your narrative.
DM: I’ll be talking about the Mississippi River and I’ll be talking about people like [Mark] Twain and blues and jazz and this and that and Tennessee Williams. It certainly will be more mainstream. I’ll also be treading on very, very well trod ground. I’m not going to say something entirely new about Mark Twain—pretty tough. Yet another biography in today’s New York Times. Unbelievable—which is hard to believe because one of the great biographies ever written was about Mark Twain. The guy’s been dead a hundred years; people still are writing new biographies. There was one biography out when I published the Kerouac book.
RR: The one by Ann Charters.
DM: Charters’ book, yeah. There have been, I don’t know, five since but none with my point of view because, remember, I’m a historian, not a literary guy. I wanted to tell a story; I wasn’t interested in analyzing literature.
RR: I noticed you’re a board member of the Northern California affiliate of the American Civil Liberties Union.
DM: I was term-limited off the board and, now, I’m the chairman of the San Francisco chapter. The essential fact is that I contribute my time and work on fund raising, which is what board members of non-profits do—they go out and ask people for money, which is what I do. I’m a true believer in the ACLU and the Bill of Rights and defending it and it’s a very bad time to do that stuff.
RR: Definitely—it’s a dark time.
DM: Keep fighting.


Biography (from Wolfman Productions):

For countless fans spanning three generations, the Grateful Dead were more than just a rock band, they were a way of life. The Grateful Dead embodied the spiritual power boom of the San Francisco music scene during the Sixties and, like no other musical group in history, influenced and defined and entire sub-culture of American youth. What a long strange trip it was. Now for the first time ever, in a special multimedia event you can experience what the 30 year ride looked like from the inside, on- and off-stage, personally and professionally. Long-time Grateful Dead publicist and biographer Dennis McNally invites you to an evening filled with anecdotes and historical accounts backed by a behind-the-scenes slide presentation set to music.
Dennis McNally was raised in a military family before graduating high school in Maine. He attended St. Lawrence University and then received his Masters and Ph.D. in American History at the University of Massachusetts, Amherst. His dissertation, a biography of Jack Kerouac, was published by Random House in 1979 as Desolate Angel: Jack Kerouac, the Beat Generation, and America.
In pursuit of his next book, a history of the Grateful Dead, he settled in San Francisco in 1977, where he has made his home ever since. He began work on the Dead history in 1980 at the invitation of Jerry Garcia, and in 1984 the Dead hired him as their publicist. He continues to hold this position. The obligations of the job required him to put the book on hold, and he only resumed it in 1997, after the death of Garcia. A Long Strange Trip: The History of the Grateful Dead, is expected to be published in the fall of 2002.
McNally has been married to Susana Millman, a photographer and graphic designer, for 15 years. They have one daughter, Season Ray. Dennis is a board member of two non-profit organizations, the Northern California affiliate of the American Civil Liberties Union, and Music in Schools Today.


Thursday, October 13, 2005

Phil to Lecture


From JamBase:

PHIL LESH TO LECTURE
From
http://www.learningannex.com/default.taf?sctn=A&_function=detail&cnum=240HSF&cat:
See Phil Lesh Live!!!

Phil LeshJoin legendary Grateful Dead bass player
Phil Lesh for an intimate look behind the scenes of one of America's greatest bands.

Phil shares the band's amazing journey to acclaim including all the provocative details that only an insider would know. Learn never-before-revealed secrets about San Francisco's Summer of Love. And hear his saucy account of what really went on behind the scenes at Woodstock, Monterey Pop, Altamont and the Pyramids.

Part legend, part folklore, the Grateful Dead defined a one-of-a kind music genre with their eclectic mix of jazz, country, blues, bluegrass, rock and folk. Phil explains what it was like to work with bandmates Bob Weir, Bill Kreutzmann, Ron "Pigpen" McKernan, Mickey Hart and of course, the memorable founder Jerry Garcia.

Touring for throngs of charismatic "DeadHeads" was the Dead's hallmark. But the night–after–night, city–after–city touring rituals took their toll on the band. Hear Phil's very poignant and personal account of the price he and others have paid up to and following Garcia's death in 1995.

Plus, learn little-known facts about the group from Phil's book Searching for the Sound - the first and only account of the Grateful Dead from a band member!

Register now! This special Learning Annex presentation WILL sell-out!
Course 240HSF, Section AWednesday, January 11, 2006 from 07:00 p.m. to 08:30 p.m.Location: Downtown (San Francisco)
US $ 39.99 / $ 39.99 VIP Members

Register Here

You can also register by calling the San Francisco office at (415) 788-5500. For information on group discounts, special offers or the status of your registration, please call or email us at Registration_SF@LearningAnnex.com. We respond to email Monday through Friday 9 a.m. - 5p.m.

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IRONY: Drug Bust Conducted by Jerry Garcia

From Eastern Arizona Courier:

Man arrested for DUI-drugs, possession
By Lindsey Stockton, staff writer

The University of Arizona Police Department, which spends most of its time atop Mount Graham, made a traffic stop resulting in the confiscation of a large amount of drugs Sept. 29.

UAPD Sergeant Jerry Garcia was on his way to the veterinarian's office at about 4 p.m. when he heard an ATL (attempt to locate) on his radio for a car that fled the scene of an accident.

He spotted the vehicle, which was swerving, and conducted a traffic stop on the 2200 block of 16th Street in Safford.

Because the vehicle's driver, Brian Cueto, 34, appeared to be under the influence, Garcia said he performed a DUI investigation on the vehicle's driver.

During the DUI investigation, Garcia found about 40 grams of methamphetamine and drug paraphernalia in the vehicle.

Friday, October 07, 2005

Vegoose predicted to have "national impact"

From Business Press:

Music festival could have national impact
BY ARNOLD M. KNIGHTLYBUSINESS PRESS Pat Christenson and Darren Libonati believe the time is right for a Las Vegas music festival that they hope will become an annual signature event.As president of Las Vegas Events and director of Sam Boyd Stadium, respectively, the duo want to present a musical extravaganza that will bring a certain type of music fan to the area with money to spend during a traditionally slow tourist time. Experts in recruiting and hosting "Super Bowl-type" events that involve motors or animals believe there is a musical void that could be filled and bring music fans by the tens of thousands from across the country."We are really looking at niche-type events," Christenson said. "When you look at what Las Vegas has been doing musically, this was a kind of market that hadn't been tested.
Dave Matthews on the stage of Bonnaroo Music and Arts Festival in June. Matthews is scheduled to perform this month at the first annual Vegoose Festival.
"We wanted to find a time when it would help the city. That worked out great for us in terms of a weekend that is good for the city and because this crowd likes to travel."Scheduled for Halloween weekend, the Vegoose Music Festival will center on a two-day spectacle at Sam Boyd Stadium featuring well-known artists such as Dave Matthews and Beck, as well as many mainstream music fans have never heard. With 28 bands scheduled to play on four stages Oct. 29-30, promoters are hoping to draw as many as 50,000 fans each day.Also scheduled are late-night performances Oct. 28-31 at the Aladdin Theater, Thomas & Mack Center, Orleans Arena, The Joint in the Hard Rock and the House of Blues by many artists who are also playing the stadium."If we can turn the turnstiles and fill up the seats, we know the business model will take care of itself," Libonati said. "I do know this is an affluent group of people because just to get to Las Vegas these people will have had to spend $1,000 already to get here."While the first three weekends of October are strong tourist draws, the Halloween weekend has traditionally been a challenge, according to Christenson. A recent exception was when the defunct jam-band Phish's 1998 concert brought 19,000 fans to the Thomas & Mack for a four-hour Halloween performance."The spirit of the attendees is such a great one that we'll see many of them having fun dressed up," Libonati said. "We've seen it with our Phish dates and not one person in the entire city knew we were there except the Phish fans. We'll probably see a couple thousand Elvises."The promoters are the team of A.C. Entertainment and Superfly Productions. For the past four Junes, they have co-produced the Bonnaroo Music and Arts Festival in Manchester, Tenn.Held on 700 acres of rural farm land, the endeavor made $13.3 million with more than 76,000 attendees this past June, according to Billboard magazine. Rolling Stone magazine says Bonnaroo has been "hailed by fans and critics for its near-flawless logistics, peaceful vibe and progressive lineup.""Financial-wise, it has meant something to us," said Coffee County Mayor Ray Johnson. "A lot of people will stop outside the city and get supplies. We get sales tax off the vendors that sell stuff during the concert, and that means probably a quarter of a million dollars to the county.""Bonnaroo looked like something we could customize and bring to Vegas," Christenson said. "We wanted something a little unique for Vegas and we left that up to them. They did a good job of putting together the program, the acts and the event. We want our own unique music festival in Las Vegas."The courting process started three years ago when the duo flew to Tennessee and began working to convince the two Southeast-based companies to bring a festival west."If you look at Las Vegas as a market, it doesn't need a lot of help musically," Christenson said. "All of the properties do a good job competing for what is out there."As an example, U2, the Rolling Stones and Paul McCartney all play at the MGM Grand in November. Beyond Dave Matthews, Jack Johnson and Beck, other Vegoose performers, such as The Arcade Fire, Phil Lesh, Trey Anastasio, The String Cheese Incident, Talib Kweli and Blackalicious appeal to a niche market with a strong Internet following.Supported by chat rooms and Web logs, many of the bands are followed religiously. Fans swap show tapes and compact discs, post set lists from concerts, coordinate travel plans and follow the ever-changing landscape of the music scene, all via the Internet.This devotional activity is rooted in the fan base of the Grateful Dead. But this is a distinctly different generation and type of fan than those who followed the Dead around the country."There is a tremendous amount of musical diversity in the lineup," A.C. Entertainment owner Ashley Capps said.Dave Matthews is one of the top touring acts every summer, but he has only headlined once in Las Vegas, in a series of concerts at Sam Boyd Stadium in May 2001. During the festival, he will play the Aladdin one night and the stadium another giving fans two opportunities to see him."Without the Vegoose event, Dave Matthews would have never played a nightcap at the Aladdin under any other circumstances," Libonati said. "He's a stadium guy and that is what makes this event so unique."Superfly Productions started out based in New Orleans, producing shows during the city's jazz festival and Mardi Gras in the late 1990s. Knoxville, Tenn.-based A.C. Entertainment promotes mainly in that college town, owning a theater and producing a successful free-concert series during the summer. In 2002, the two companies combined resources to create Bonnaroo. After being approached with the Las Vegas idea three years ago, the partnership agreed to become involved in the project."We know Vegas is a great destination city and we put on destination events," Superfly co-owner Rick Farman said. "A lot of acts we work with and are on the festival have a nice history in Vegas, especially during special events times like Halloween and New Year's Eve."Said Capps: "(Christenson and Libonati) are great partners because they really understand what this is all about. They already have the infrastructure in place that is able to support us. They are great partners in making this event a reality."Tickets are sold separately for the satellite concerts, with people holding stadium tickets receiving first rights of purchase. Five of the 11 citywide shows, many of which are scheduled to start around midnight, sold out to festival ticket holders before the public sale began on Oct. 1. Eight of the performers are also scheduled to play the festival part of the event.One of the major differences between the two festivals is at Bonnaroo most of the attendees camp out at the festival site.There will be no camping allowed at Sam Boyd. According to Johnson, Coffee County has only 1,600 hotel rooms, mostly taken up by the promoters and bands. With a regular population of nearly 50,000 for the county, the festival grounds become the sixth-largest city in the state of Tennessee over that June weekend.Johnson took office as county mayor three months after the first Bonnaroo. He describes the two promoters as "pretty good to work with" and that they have "been getting things done like they're supposed to." He praises them for working with the local and state government to help with traffic and the people attending the festival."I had some different opinions about it, but I talked with some ministerial associations," Johnson said. "If they were all right with it, I decided I could live with it.""Creating the Bonnaroo Music Festival is like creating a small city," Capps said. "We have to bring our own infrastructure, our own security system. We bring in the power, we bring in the water. There's nothing there."We're still going to have a festival environment but we're not going to have a camping environment at all. Vegas is already a city so it gives us a different set of opportunities because Vegas has so much to offer. We don't have to set up a network necessary to support 80,000 people camping."Most ticket purchases have been coming from out of state, mostly from California. New York has bought the fifth-most tickets as a market. According to Libonati, the Las Vegas market has only sold about 3,000 tickets but he feels more locals will buy closer to the dates."The whole purpose is to fill hotel rooms and create a synergy for the city that all the entertainment venues can appreciate," Libonati said. "Because this crowd is such a mellow crowd, we don't anticipate any issues whatsoever."aknightly@lvpress.com 702-871-6780 x316

What: Vegoose Music Festival

When: Oct. 28-31

Where: Sam Boyd Stadium and other venues around the city

Who: Dave Matthews and Friends, Widespread Panic, Beck, Jack Johnson, The Arcade Fire, Primus and many more

Cost: Tickets to the two-day stadium event are $128.50, before fees, with a limited number of VIP tickets available for $442.50. The shows around town are sold separately.

Info & Tickets: www.vegoose.com

What Does "Vegoose" Mean: According to Superfly's Rick Farman, nothing. "It's just a fun word. One of the guys on our staff was using it. He was calling it that and it just stuck."

Gov't Mule coming to Park City (Utah)


From Salt Lake Tribune:

Working like a mule
Busy musician Warren Haynes brings Gov't Mule to Park City

With all due respect to James Brown, Warren Haynes is probably the hardest-working man in show business circa 2005. The 45-year-old singer and guitarist is a performing member of no fewer than three heavy-touring bands - The Dead, the Allman Brothers Band and Phil & Friends, a Grateful Dead spinoff led by bassist Phil Lesh. He also records and tours as a solo act. Perhaps none of those projects is as close to Haynes' heart as Gov't Mule, a classic power trio à la Cream and the Jimi Hendrix Experience that Haynes formed in 1994 with bassist Allen Woody and drummer Matt Abts. Or rather, Gov't Mule was a power trio until Woody was found dead in 2000 of unknown causes, throwing the band's future in doubt months after the release of "Life After Insanity," a far-reaching album many thought would help Gov't Mule break into the mainstream. "At the beginning [after Woody's death], we were very uncertain as to whether or not the band could, would or should go on," Haynes recalled in a recent interview. "The band started as a trio, and it started based on this void that existed of experimental trios in the rock world. That was something that used to exist in the old days a lot and had gone away, and that was part of the impetus for Gov't Mule. "But, as with any trio, the longer you stay together, the more you experiment with other sounds and other approaches. We were writing songs that didn't necessarily work as a trio, so we were kind of already headed in that direction. Allen's death is what pushed it headlong forward." After Woody's death, Haynes and Abts took baby steps in getting Gov't Mule started again. They hosted a one-night concert in New York to help raise money for Woody's daughter's education, then made "The Deep End," a collection of songs featuring some of Woody's favorite bass players filling in, including The Who's John Entwistle, Yes' Chris Squire, Primus' Les Claypool, P-Funk's Bootsy Collins and fIREHOSE's Mike Watt. Touring in support of "The Deep End," Haynes and Abts worked with a rotating cast of musicians, but eventually decided to add bassist Andy Hess as a permanent member shortly after adding Danny Louis on keyboards. The natural evolution of the band that started with "Life Before Insanity" when Woody was alive ended up with Gov't Mule as a wildly experimental, improvisational four-piece. Haynes wouldn't have it any other way. "The elements that Danny and Andy bring into the music are wonderful," Haynes said. "It's kind of a new band, but it's still the old band as well. . . . They definitely add a whole different chemistry, which is what you have to do when you lose a member of a band. You have to hopefully discover a whole new chemistry, which is what bands are based on in the first place, and I couldn't be happier with the way the band sounds right now." The "new" version of Gov't Mule is on display on the year-old "Déjà Voodoo" album and on one of the band's seemingly endless tours, including a stop in Park City on Saturday. That elusive band chemistry is what Haynes has found in all the groups he plays with, and while the constant touring can be tiring, the thrill he gets from stepping onstage every night provides the energy he needs to keep going. He might not get to see his home in New York too often, or his wife, for that matter, but Haynes gets to experience some of the finest musical interplay in rock 'n' roll on a daily basis, whether playing with Gov't Mule or filling in for Jerry Garcia with The Dead, playing with the Allmans or with Lesh. "To me, to work as much as I do, I would much rather have it spread out among a few different projects than just do the same thing all the time," Haynes said. "I think the burnout factor would be much more obvious in a situation like that. "The good thing is that all the bands I work with and all the different projects I do are geared around improvisational music and not playing the same set list all the time. I would go nuts if I just had to play the same songs over and over. To me, that's too much like work. I didn't get into this business for that."

Saddle up for Suede

* Gov't Mule plays Saturday at Park City's Suede, 1612 Ute Blvd. at Kimball Junction. Doors open at 7:30 p.m.
* Tickets are $26 in advance, $28 day of show, available at Smith's Tix outlets, Graywhale CD stores, Orion's Music and at the door.

Fox News' Steven Milloy criticizes Deborah Koons Garcia's film


Before reading Steven Milloy's Fox News article, here is something about him from the Center for Media & Democracy:

The Junkman Goes Nuclear
Source: Media Matters for America, August 12, 2005
Media Matters for America has news on the latest from Steven Milloy, the Cato Institute's self-proclaimed "debunker" of "junk science" and commentator for Fox News. They report that Milloy (who is not a scientist himself) recently self-published a deceptive "study" purporting to show that radiation levels at the U.S. Capitol Building were 65 times higher than the proposed standards for the federal government's planned high-level radioactive waste storage dump at Yucca Mountain. For our exposes on Milloy, see, for example, our article on "How Big Tobacco Created the Junkman" or our report on Milloy's unfounded claim that more asbestos at the World Trade Towers would have saved lives during the 9/11 terrorist attack. (And for a humorous take on the Milloys of the world, the Slashdot website recently featured a clever posting titled, "Can You Spot the Real Scientist?")

After the article is a biography of Steven Milloy

From FoxNews:

Anti-Biotech Film a 'Crockumentary'

By Steven Milloy


The biotech scare is back – or, at least, a new movie is trying to bring it back. Playing in small movie houses, “The Future of Food” dusts off, and presents in ominous fashion, all the Greens’ long-discredited arguments against agricultural biotechnology.
Produced by Deborah Koons Garcia, the widow of the Grateful Dead’s Jerry Garcia, the movie’s overriding themes are allegations that biotech crops and food are unsafe and that a government-industry cabal is foisting dangerous products on an unwitting public.
Nothing could be farther from the truth.
Biotech crops and foods are among the most thoroughly tested products available. No other food crops in history have been so thoroughly tested and regulated. Before biotech products are marketed, they undergo years of safety testing including thousands of tests for potential toxicity, allergenicity and effects on non-target insects and the environment.
“The Future of Food,” for example, dredges up the 2000 scare involving a biotech corn that had not yet been approved for human consumption but that was detected in Taco Bell taco shells. A few consumers, egged on by anti-biotech activists, alleged the corn caused allergic reactions. But the movie glossed over the fact that the U.S. Centers for Disease Control and Prevention tested those consumers and reported there was no evidence that the biotech corn caused any allergic reaction in anyone.

Another long-buried myth excavated by Garcia was that biotechnology harms biodiversity. But so far it doesn’t appear to represent any greater risk to biodiversity than conventional agriculture and it actually seems to have some demonstrable beneficial impacts on biodiversity.
An infamous biodiversity scare featured in the movie involved Monarch butterflies. The scare occurred during 1999-2000 when the media trumpeted alarmist results from two laboratory studies reporting that biotech corn might harm Monarch butterfly larvae. Subsequent field studies soon debunked the scare, reporting that Monarch larvae actually fared better inside biotech cornfields than in natural areas because of less pressure from predators. Needless to say, Monarchs in biotech cornfields also did much better than those in conventional cornfields sprayed with insecticides.
The movie claims that once biotech crops are planted, control over them is lost and they “contaminate” non-biotech or organic crops. This is misleading since 100 percent purity has never been the reality in agriculture. Biological systems are dynamic environments, meaning that regardless of the method of production -- conventional, organic or biotech -- trace levels of other materials are always present in seed and grain. Since all commercial biotech traits are fully approved by U.S. regulatory agencies, their presence -- in large amounts or trace amounts -- is fully legal and safe.
With respect to organic farmers, the Department of Agriculture’s rules for organic products specifically say that the certification of organic products is process-based -- meaning that if the proper processes are followed, the unintended presence of non-organic or biotech traits doesn’t disqualify the product from being labeled as “organic.”
To date, biotech crops haven’t harmed organic farmers. The coexistence of biotech, conventional and organic corn, soybean, and canola has been effectively working since 1995, when the first biotech crops were introduced. During that period, in fact, both biotech and organic farming have grown remarkably.
Garcia wants movie viewers to overlook the fact that U.S. regulators -- including the Department of Agriculture, Environmental Protection Agency and the Food and Drug Administration -- have established a robust framework and rigorous process for evaluating biotech product safety. Developers spend years generating data for one product to be submitted for approval.
A major take-home message of the movie is that consumers should demand labeling of biotech foods. But this would only increase the cost of food production while failing to provide any meaningful information to consumers. Biotech crops have been determined by regulators to be essentially equivalent to those of conventional crops. Corn is corn, in other words, no matter what anti-biotech activists would have us believe.
While emphasizing “scare,” the movie overlooks biotechnology’s advantages. Biotech crops require less tilling. This reduces soil erosion; improves moisture retention; increases populations of soil microorganisms, earthworms and beneficial insects; and reduces sediment runoff into streams.
The movie mocks biotechnology’s potential value to the developing world, characterizing the argument as one designed for public relations use. But biotech crops such as “golden rice” could help with the severe Vitamin A deficiency that afflicts hundreds of millions in Africa and Asia, ­ including 500,000 children who lose their eyesight each year.
As pointed out by Greenpeace co-founder Patrick Moore, now a vociferous critic of the activist group, “Greenpeace activists threaten to rip the biotech rice out of the fields if farmers dare to plant it. They have done everything they can to discredit the scientists and the technology.
“A commercial variety is now available for planting, but it will be at least five years before Golden Rice will be able to work its way through the Byzantine regulatory system that has been set up as a result of the activists’ campaign of misinformation and speculation,” Moore said. “So the risk of not allowing farmers in Africa and Asia to grow Golden Rice is that another 2.5 million children will probably go blind.”
Garcia’s “The Future of Food” is steeped in the Greens’ tragic campaign of misinformation. Many long-time anti-biotech campaigners helped her make the movie, in which not a balancing thought or counter-opinion is presented.
The “Future of Food” purports to be a “documentary” – a movie that sticks to the facts. It doesn’t. Hollywood will need a new Oscar category for this one. How about “crockumentary”?
Steven Milloy publishes
JunkScience.com and CSRwatch.com, is adjunct scholar at the Cato Institute, and is the author of Junk Science Judo: Self-defense Against Health Scares and Scams (Cato Institute, 2001).

From SourceWatch:

Steven J. Milloy publishes JunkScience.com and is an adjunct scholar at the Cato Institute and a commentator on Fox News.
According to a biographical profile included in a report he co-authored, "Milloy holds a B.A. in Natural Sciences* from the Johns Hopkins University, a Master of Health Sciences in Biostatistics from the Johns Hopkins University School of Hygiene and Public Health, a Juris Doctorate from the University of Baltimore, and a Master of Laws from the Georgetown University Law Center."
[1] (http://www.cgfi.org/materials/key_pubs/fear_profiteers.pdf)
"Milloy appears frequently on radio and television; has testified on risk assessment and Superfund before the U.S. Congress; and has lectured before numerous organizations," his profile states.


Milloy the lobbyist
He has spent his life as a lobbyist for major corporations and trade organisations which have poisioning or polluting problems. He originally ran NEPI (
National Environmental Policy Institute) which was founded by Republican Rep Don Ritter (who tried to get tobacco industry funding) using oil and gas industry funding. NEPI was dedicated to transforming both the EPA and the FDA, and challenging the cost of Superfund toxic cleanups by these large corporations.

NEPI was also associated with the AQSC (Air Quality Standards Coalition) which was devoted to emasculating Clean Air laws. This organisation took up the cry of "we need sound science" from the chemical industry as a way to counter claims of pollution -- and Milloy became involved in what became known as the "sound-science" movement. Its most effective ploy was to label science not beneficial to the large funding corporations as "junk" -- and Milloy was one of its most effective lobbyists because he wrote well, and used humour (PJ O'Rourke was another -- but better!)
He joined
Philip Morris's specialist-science/PR company APCO & Associates in 1992, working behind the scenes on a business venture known as "Issues Watch". By this time, APCO had been taken over and become a part of the world-wide Grey Marketing organisation, and so Milloy was able to use the international organisation as a feed source for services to corporations who had international problems.

Issues Watch bulletins were only given out to paying customers, so Milloy started for APCO the "Junkscience.com" web site, which gave him an outlet to attack health and environmental activists, and scientists who published findings not supportive of his client's businesses. Like most good PR it mixes some good, general criticism of science and science-reporting, with some outright distorted and manipulative pieces.

The Junkscience web site was supposedly run by a pseudo-grassroots organisation called TASSC (The Advancement for Sound Science Coalition), which initially paid ex-Governor Curruthers of New Mexico as a front. Milloy actually ran it from the back-room, and issued the press releases. Then when Curruthers resigned, Milloy started to call himself "Director" (Bonner Cohen - another of the same ilk also working for APCO - became "President")

Initially all of this was funded by Philip Morris, as part of their contributions to the distortion of tobacco science, but later they widened out the focus and introduced even more funding by establishing a coalition -- with energy, pharmaceutical, chemical companies. TASSC's funders include 3M, Amoco, Chevron, Dow Chemical, Exxon, General Motors, Lawrence Livermore National Laboratory, Lorillard Tobacco, Louisiana Chemical Association, National Pest Control Association, Occidental Petroleum, Philip Morris Companies, Procter & Gamble, Santa Fe Pacific Gold, and W.R. Grace, the asbestos and pesticide manufacturers.

TASSC was then exposed publicly as a fraud. And so Milloy established the "Citizens for the Integrity of Science" to take over the running of the Junkscience.com web site.

Radioactive Junk
In August 2005
Media Matters for America reported that Milloy (who is not a scientist himself) had self-published a deceptive "study" purporting to show that radiation levels at the U.S. Capitol Building were 65 times higher than the proposed standards for the federal government's planned high-level radioactive waste storage dump at Yucca Mountain. [2] (http://mediamatters.org/items/200508120001)

Funding
Milloy also runs the
Advancement of Sound Science Center and the Free Enterprise Action Institute. Those two groups—apparently run out of Milloy’s home—received $90,000 from ExxonMobil. Key quote: The date of Kyoto’s implementation will "live in scientific and economic infamy." Connections to ExxonMobil-funded groups: at least five. [3] (http://www.motherjones.com/news/featurex/2005/05/exxon_chart.html)

Books by Milloy
Junk Science Judo (http://www.amazon.com/exec/obidos/ASIN/1930865120/qid=1098355858/sr=2-1/ref=pd_ka_b_2_1/002-5696567-9153624), Cato Institute; (September 1, 2001) ISBN: 1930865120

Silencing Science (http://www.amazon.com/exec/obidos/tg/detail/-/1882577728/ref=pd_sim_books_3/002-5696567-9153624?v=glance&s=books) with co-author Michael Gough, Cato Institute, 1999. ISBN: 1882577728

Science Without Sense: The Risky Business of Public Health Research (http://www.amazon.com/exec/obidos/tg/detail/-/1882577345/104-6771195-6034310?v=glance), Cato Institute, 1995. ISBN: 1882577345

Science-Based Risk Assessment: A Piece of the Superfund Puzzle (http://www.amazon.com/exec/obidos/tg/detail/-/0964746301/002-7820023-8896051?v=glance), National Environmental Policy Institute, January 1995. ISBN: 0964746301

Case studies
The Junkman's Answer to Terrorism: Use More Asbestos
CSR Watch.com

SourceWatch Links
Center for Regulatory Effectiveness
Jim Tozzi
JunkScience.com
Free Enterprise Action Fund
Contact details
Web:
Milloy's junkscience.com web site (http://www.junkscience.com/)

External Links


Biogrpahical profiles
Milloy's own CV (http://www.junkscience.com/Junkman.html)

Articles by Milloy
Steve Milloy, "
Series 1: Q and A With Steve Milloy (http://www.cato.org/askourscholars/milloy/milloy-020115-2.html)", Cato Institute, accessed October 2004.

Steven Milloy, "Katrina Kicks Up Storm of Global Warming Debate (http://www.foxnews.com/story/0,2933,168247,00.html)", Fox News, September 01, 2005.

Articles about Milloy
See
this site (http://www.electric-words.com/junk/milloy/milloy.html) for a more detailed biography.
Steven J. Milloy,
letter to Sharon Boyse (http://legacy.library.ucsf.edu/tid/qjm91d00), September 22, 1997 (tobacco industry archives, Bates #190204008). In this letter, Milloy requests $50,000 in funding for TASSC from the Brown & Williamson tobacco company.

Steven J. Milloy, fax transmittal to Seth Moskowitz (http://legacy.library.ucsf.edu/tid/qby20d00), September 10, 1998 (tobacco industry archives, Bates #190204008). Milloy alerts the R.J. Reynolds tobacco company about a new study linking maternal smoking to sudden infant death syndrome and adds, "Let me know if you need more info."

Notes of Meeting CA Legal Support (http://legacy.library.ucsf.edu/tid/tzy67c00), March 21, 2000 (tobacco industry archives, Bates #2078856239). This Philip Morris memorandum describes Milloy as a "consultant" who "tracks scientific studies. Reviews mainstream journals and obtains info from e-mail subscriber lists. Filters for tobacco/food/beer relevance and sends sends responsive material to DC."

Bonner Cohen, et al., ed., "The Fear Profiteers: Do 'Socially Responsible' Businesses Sow Health Scares to Reap Monetary Rewards? (http://www.cgfi.org/materials/key_pubs/fear_profiteers.pdf)", February 2002.

Stewart Fist, Article on Milloy (http://www.electric-words.com/junk/milloy/milloy.html)

The Junkman Exposed (http://www.no-smoke.org/Steven%20J_final.pdf) by Americans for Nonsmokers' Rights (http://no-smoke.org) describes the tobacco industry's role in Milloy's career

Tim Lambert, another critique (http://cgi.cse.unsw.edu.au/~lambert/cgi-bin/blog/2004/02#milloy)

Put a Tiger In Your Think Tank (http://www.motherjones.com/news/featurex/2005/05/exxon_chart.html), Mother Jones, May/June 2005.

Paul Thacker, "The junkman climbs to the top (http://pubs.acs.org/subscribe/journals/esthag-w/2005/may/business/pt_junkscience.html)," Environmental Science and Technology Online, May 11, 2005.

Josh Kalven, "Special Report hosted author of debunked radiation study to discuss Yucca Mountain (http://mediamatters.org/items/200508120001)", Media Matters for America, August 12, 2005.

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