Friend of the Jam

Dark star crashes, pouring its light into ashes.
Reason tatters, the forces tear loose from the axis.
Searchlight casting for faults in the clouds of delusion.
Shall we go, you and I while we can

through the transitive nightfall of diamonds?

Last week, Robert Hunter– longtime Jerry Garcia collaborator, Grateful Dead lyricist, and early MKUltra test subject– flashed permanently to the linguistic plane in which, one assumes, terrestrial linguistics and DMT have no further use. He was seventy-eight and previously had written the lyrics for basically every Dead song not written by John Perry Barlow, which is to say the majority of them. Like Barlow, who was dispatched last year, Hunter embraced the nascent internet, through which one still may locate many of his uploaded journals that, unsurprisingly, reveal an active and introspective mind.

In the time since his passing, many writers have made reference to “Black Peter,” a song obviously about death, even as one recognized that the song bore meaning as a communication to or about Hunter’s partner, Garcia.

For purposes of this post, I suggest instead we turn to the band’s great suite, “Terrapin Station,” for words more self-referential:

Let my inspiration flow
in token lines suggesting rhythm
that will not forsake me
till my tale is told and done

The storyteller makes no choice
soon you will not hear his voice
his job is to shed light
and not to master

_____________________________________________

Previously
Ashes Jam

I Will Take You Jam

Twenty-nine years ago this week, the Grateful Dead performed “I Will Take You Home,” a Brent Mydland song written with Bob Weir friend and collaborator John Perry Barlow, for the last time in a concert at what then was known as Foxboro Stadium outside of Boston. Mydland, the band’s third full-time keyboardist and the longest-tenured in that role, would be dead less than two weeks later following a narcotic overdose at his California home. Mydland was a passionate performer, and his songs seemed to take a more raw, confrontational approach to emotional subjects like spousal separation and parent-child relationships than the often more opaque offerings of his bandmates. “I Will Take You Home” is a song about a father trying to protect and encourage his daughter, and its final performance is this week’s Jam (with bonus Jerry-in-shorts footage):

NFL Draft Jam

Yesterday, the NFL held round one of its 2019 draft on Lower Broadway in Nashville, which, predictably, meant the night’s biggest news involved a bachelorette party and a Taylor Swift song premiere.

Realistically, though, when you look back on this night a few years from now, all you’re going to remember is whether the leadership of your favorite pro football team found its generational franchise player of the future or continued to repeat the mistakes of its predecessors, only this time the Lions are unduly obsessed with tight ends instead of wide receivers. If you’re at the point where the thought of NFL roster construction makes you sick to your stomach, or maybe you’re seeing visions of Lombardi trophies, or maybe you’re somewhere in between and just thankful you were smart enough to plan your pre-wedding bar crawl for literally any time and place other than last night (a Thursday, I’ll just pause to note here) in Nashville and therefore did not appear on a now-viral piece of local news footage that may or may not send a tremble through the foundations of your anticipated marriage, this week’s Jam is for you:

And, if you just want T-Swift’s new video, I get that. Find it here.

Going Down So Many Roads Feeling a Little Bit Better Jam

Thanks to things like the Internet Archive and YouTube, the music of the Grateful Dead is widely and freely available online. While the band made about a dozen studio albums together during a roughly twenty-year period of active recording, they obviously are best-known for their live performances over thirty years of touring with the core ensemble and, including various partial lineups, over fifty total years.

A quick search suggests that, the second-most-viewed Grateful Dead YouTube video of a single live song (2.5 million views) is July 9, 1995’s “So Many Roads.” The popularity of this video is readily understandable. The night is recognized as the band’s final concert, and Jerry Garcia would be dead exactly a month later. The song itself appears in the middle of the second set and features a vocal performance from a weak, haggard Garcia that nevertheless translates as pleading, desperate, retrospective, resigned, and soulful over an undeniably emotional twelve minutes. It’s just extremely real. The hindsight of knowing makes it dangerously easy to project external narratives on a captured and preserved moment of the past, but one hardly can avoid the feeling that Garcia is in this moment conscious of his impending departure (cf. Warren Zevon, “Knockin’ on Heaven’s Door,” The Wind (2003) (live in studio)), particularly given the dark, desolate, windswept (probably just a stage fan on a hot Chicago night but still) nature of the visual shot of the video.

___________

“So Many Roads” was a 90s Dead product, debuting on February 22, 1992 in Oakland and appearing regularly in setlists thereafter. Garcia considered the song (auto)biographical:

It’s [lyricist Robert] Hunter writing me from my point of view, you know what I mean? We’ve been working together for so long that he knows what I know. The song is full of references to things that have to do with me . . . .

Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that’s the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. They’re actually biographical I guess. He’s the one writing them, but even so they express my point of view – and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up . . . . I can sing that song, feel totally comfortable with it.

Although the band performed “So Many Roads” fifty-four times between February 1992 and July 1995, until this week, the only version I could recall hearing was the one from that final night. I don’t think that fact is terribly surprising; as a general matter, mid-90s Dead tapes aren’t exactly in high demand.

On Tuesday, though, I heard a new-to-me version of “So Many Roads,” this one from the Boston Garden on October 1, 1994, and the relative differences are striking. It’s brighter, stronger (even if Garcia’s physical frailties remain noticeable), upbeat, energized, and about half as long as the final version. It also is this week’s Jam:

As the foregoing indicates, I am not an expert in this narrow channel; however, if you only ever hear one performance of this song, it needs to be the July 9, 1995 offering. If you hear two, though, then October 1, 1994 makes for a good and uplifting pairing.

Salty Jam

I really backed into this one, folks. Last week, chasing down a rumor that sprung from an Instagram meme about Bob Weir and the Grateful Dead (because this is 2018, I guess), I found a rabbit hole of a Dead blog that eventually led me to a historical chart of the band’s live performances of its original songs that plots every performance of each such song along a timeline. If there are two uncontested facts about the Dead, they are that they played for a long time and had a voluminous song catalog. One of the data points caught my eye for three reasons: (1) it indicated that the band played the song only once; (2) that performance came in 1995, the final year of the band’s active life; and (3) its title, “Salt Lake City,” was unfamiliar to me. In fact, besides “Unbroken Chain,” a famously un(der)peformed Dead song, “Salt Lake City” was the last original song the band debuted in concert.

As it turns out, SLC’s origins trace to 1977, when it appeared on Weir’s second solo album, Heaven Help the Fool. Like many Weir songs, John Perry Barlow collaborated on the lyrics, which discuss the Mormon settlement of Salt Lake City and read like a more buttoned-up version of the traditional “New Minglewood Blues” that Weir often sang with the Grateful Dead.

gd slc 95

On February 21, 1995, at Salt Lake City’s Delta Center, the band opened with “Salt Lake City,” the first and last time they ever played it live. The twenty-first was the Dead’s last of three straight nights in SLC. While that stretch wasn’t the Dead’s first appearance in the city, it was their first time back since 1981 (opener: “Alabama Getaway”), which was the only other time they played there since the release of Heaven Help the Fool (unless you count September 4, 1983 and August 20, 1987 in Park City). Perhaps the Dead saw it as a bit of a novelty, or an easy nod to a locale infrequently visited. Reviews of the night carry a generally positive tone, though many qualify or limit encouraging notes to the context of a mid-90s era regarded as low in energy, inspiration, and musical quality. Few reviews remark on the appearance of “Salt Lake City,” most preferring to mention the very good cover of Dylan’s “Visions of Johanna” that emerges out of a second-set “Space,” which both surges due to and is pock-marked by the almost cartoonish synthesizer of Vince Welnick, who was celebrating his forty-fourth birthday that day.

Technically, the Dead had played “Salt Lake City” live once prior, at a soundcheck in Atlanta in 1978. What follows and serves as this week’s Jam is the only acknowledged (and possibly the only recorded) performance, however, from 1995, less than five months before the band’s final concert:

Ashes Jam

John Perry Barlow, an advocate for an internet free of government regulation and longtime Bob Weir friend and songwriting collaborator died this week. I don’t know for sure where Barlow is right now, but if he’s on his way to Hell in a bucket, I at least am reasonably confident he enjoyed the ride thus far.

Waive that flag: The NFL returns with zebras on parade

nfl flag

The NFL’s back, and oh man is it boring. Last night’s Chiefs-Patriots game, the first of the 2017 regular season, should have been exciting. Kansas City hung close with the defending champions in Foxboro until they pulled away later in the fourth quarter. What should have been a compelling contest instead dragged. The third quarter alone took nearly an hour. Even if the NFL has eliminated the touchdown-commercial-PAT-commercial-kickoff-commercial sequence, the penalty flags literally are getting out of hand too often.

The last five minutes of the third quarter was comprised of fifteen plays from scrimmage. Officials threw flags on seven of them.

KC NE 09072017 3Q

If it seems to you like penalty flags are on the rise, you aren’t wrong. From the NFL Penalty Tracker, a website I just found:

nfl penalty flag data 9-8-17

The 2017 data comes from one game, of course, but the referees were significantly more active last night as compared to an average game last season.

Another interesting point in that penalty-flag data is the jump in total flags beginning in 2014. It isn’t immediately obvious to me why that happened (here‘s a list of rule changes heading into that season), so I’ll just quote from my Super Bowl XLVII preview post:

Call it the Efficient Breach Bowl. According to the Wall Street Journal, the Seattle defense is so successful against the pass, in part, because they just don’t care about being penalized for pass interference. They know that officials won’t call PI on every single play (and the number of penalties called in the playoffs is significantly lower than during the regular season), so they take their lumps with a few flags over the course of a game, disrupting receiver routes all the while. In a follow-up article in advance of the Super Bowl, the Journal suggests that Denver may look to combat Seattle’s aggressive secondary through so-called “pick plays,” in which receivers run routes designed to shed defenders by drawing them into collisions with another player. Though subject to recent controversy following a play in the AFC Championship game that resulted in a game-ending injury for New England corner Aqib Talib, picks or “rub routes” are not necessarily against the rules. As The MMQB’s Greg Bedard explained, the key question is whether the offensive player initiated the contact or whether the contact was incidental: “within one yard of the line of scrimmage, anything goes . . . but beyond that one-yard buffer it is illegal for an offensive player to initiate contact with a defender.”

The Seahawks won that Super Bowl (if you can name the MVP of that game without looking, I’ll send you some ALDLAND merchandise), so it isn’t unreasonable to speculate that other teams would mimic their aggressive defensive approach beginning in the next season, thereby triggering more penalty flags leaguewide, but I haven’t looked at an offensive/defensive breakdown of those numbers in the table above.

For years, people have been predicting that football would end as a result of its potential for dangerous, lasting injury, including brain injury, but we need to consider the possibility that a different and more immediate market force– boredom– might trigger its decline even sooner.

Sports Law Roundup – 5/5/2017

aslr - cinco

I used to write the sports technology roundup at TechGraphs, an internet website that died, and now I am writing the sports law roundup at ALDLAND, an internet website.

Here are the top sports-related legal stories from the past week:

  • NBA profiling: In 2015, Mike Scott, then a member of the Atlanta Hawks, and his brother were pulled over and subsequently arrested after a search of their rented vehicle turned up marijuana, ecstasy, and $1,684 in cash.  The deputy sheriff who made the stop later was found to have been racially profiling drivers as part of a forfeiture scheme and placed on administrative leave. Records provided by the Scotts’ attorneys show that the deputy sheriff “pulled over more than 1,400 vehicles in 2015 and 2016 but issued only eight traffic citations. He also arrested 47 people, at least 44 of whom were minorities.” As a result of the profiling, the judge overseeing the Scotts’ drug case this week threw out the key evidence against the defendants.
  • Baseball broadcast settlement: In early 2016, MLB settled a fan antitrust lawsuit targeting the league’s television blackouts and other components of its broadcast system. While the blackouts survived, the fans did win reduced-price single-team subscription options for MLB.tv (I am a subscriber, to varying degrees of satisfaction), as well as a price reduction for the full MLB.tv package. The agreement also included a component that would allow MLB to raise prices in the future in exchange for providing more live streams of in-market games by 2017. That component now is at issue in a new motion filed by the fan group demanding that the court enforce the terms of the settlement agreement. The fans allege that MLB raised prices without the required corresponding in-market streaming increase. They concede that the league may have agreements in place with local television providers to provide the in-market streams, but, the fans argue, “the obvious purpose of the settlement was not that ‘agreements’ of some kind be reached, but that the actual games be available.” The fans also argue that, contrary to what they were promised, MLB has failed to make the “follow your team” game broadcasts available when the selected team is playing the team based in the fan’s local broadcast market.
  • Cheerleader wages: The Milwaukee Bucks and Lauren Herington, a former cheerleader for the team who alleged that the team violated federal and state labor laws by underpaying her and her fellow cheerleaders, have reached a $250,000 settlement of Herington’s proposed class action lawsuit that provides for the settlement funds to be divided as follows: $10,000 for Herington; $115,000 for Herington’s attorneys; and unspecified shares of the remaining $125,000 to Herington and other would-be class members who opt into the settlement based on their hours worked during the three-year period (2012-15) at issue. While not insubstantial, the Journal Sentinel notes that Milwaukee’s $250,000 settlement amount is less than what other teams– for example, the Oakland Raiders ($1.24 million), Tampa Bay Buccaneers ($825,000), and Cincinnati Bengals ($255,000)– have paid to resolve similar lawsuits. Upon learning that Herington was wavering on whether to agree to the settlement, her lawyer, who wanted her to accept the deal, reportedly was overheard telling her that “it’s a Bucks dancer’s choice my friend, better take my advice.”
  • Minor League baseball wages: As predicted two months ago, the court overseeing  the minor-league baseball players lawsuit against MLB for higher wages and overtime pay will permit the parties to appeal its recent ruling certifying the case for class-action treatment. In doing so, the court also decided to stay the case pending resolution of the class-certification issues by the appellate court.

Sports court is in recess.

Haggard Jam

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Country legend Merle Haggard died on Wednesday, his seventy-ninth birthday. Without further ado, because Haggard didn’t seem to be the type who cared for any ado, here are two of his songs. The first seems a fitting choice for the occasion, and the second is a cover of one of his songs, the first one I remember knowing.


(Featured image from Alejandro Escovedo)