Chris Roberts, Ross Artese, Vincent Mitchell, Stephen Saunders
Chris Roberts, Ross Artese, Vincent Mitchell, Stephen Saunders
Ricky Enriquez- Guitar,Vocals
Joseph Negrette- Bass
Cort Stricker- Drums
Stephen Saunders- Percussion,Vocals
“The Deadheads are doing the dance of life and this I would say, is the answer to the atom bomb.”
“I had a marvelous experience two nights ago. I was invited to a rock concert. (laughter in the audience) I’d never seen one. This was a big hall in Berkeley and the rock group were the Grateful Dead, whose name, by the way, is from the Egyptian Book of the Dead. And these are very sophisticated boys. This was news to me.
Rock Music has never seemed that interesting to me. It’s very simple and the beat is the same old thing. But when you see a room with 8,000 young people for five hours going through it to the beat of these boys… The genius of these musicians- these three guitars and two wild drummers in the back… The central guitar, Bob Weir, just controls this crowd and when you see 8,000 kids all going up in the air together… Listen, this is powerful stuff! And what is it? The first thing I thought of was the Dionysian festivals, of course. This energy and these terrific instruments with electric things that zoom in… This is more than music. It turns something on in here (the heart). And what it turns on is life energy. This is Dionysus talking through these kids. Now I’ve seen similar manifestations, but nothing as innocent as what I saw with this bunch. This was sheer innocence. And when the great beam of light would go over the crowd you’d see these marvelous young faces in sheer rapture- for five hours! Packed together like sardines! Eight thousand of them! Then there was an opening in the back with a series of panel windows and you look out and there’s a whole bunch in another hall, dancing crazy. This is a wonderful fervent loss of self in the larger self of a homogeneous community. This is what it is all about!
It reminded me of Russian Easter. Down in New York we have a big Russian Cathedral. You go there on Russian Easter at midnight and you hear Kristos anesti! Christ is Risen! Christ is Risen! It’s almost as good as a rock concert. (laughter) It has the same kind of life feel. When I was in Mexico City at the Cathedral of the Virgin of Guadalupe, there it was again. In India, in Puri, at the temple of the Jagannath- that means the lord of the Moving World- the same damn thing again. It doesn’t matter what the name of the God is, or whether its a rock group or a clergy. It’s somehow hitting that chord of realization of the unity of God in you all, that’s a terrific thing and it just blows the rest away.” —Joseph Campbell (1986)
“The next great, proud moment was when Mickey Hart and Bob Weir come along and tell me I’ve helped them. Well, I never — the rock music never appealed to me at all. It was largely monotonous, it seemed to me. Then they invited Jean [his wife] and me to an event in Oakland that just became a dance revelation. I got something there that made me note that this is magic. And it’s magic for the future. . .
They hit a level of humanity that makes everybody at one with each other. It doesn’t matter about this race thing, this age thing, I mean, everything else dropped out. The wonderful thing was, compared to the Hitler rallies that you see in the film that were used to a political purpose, here it was just the experience of the identity of everybody with everybody else.
I was carried away in a rapture. And so i am a Deadhead now…” —Joseph Campbell, The Hero’s Journey
” …it seemed to me we had the kind of awakening that the great religions first intended, and that somehow it involved everybody. There were kids there. There were old people there, and in other parts of the building there were people just dancing and dancing… we had a chance to awaken our hearts, unbound by any particular cultural or religious commitments to this group or that. It seemed to me, and I’m meaning this very seriously, a prime religious experience that transcended all the bondages and definitions of who and what we are that are the curse of the world today. This, I would say, is the answer to the atom bomb.” —Joseph Campbell speaking about watching Deadheads at a Grateful Dead Show
This session features several regulars player to the SBE project, and it came out pretty interesting… YOU be the judge of that.
Stephen ‘Maji’ Saunders, percussion,keyboards,harmonica, vocals
Daniel Dominguez- Electric Guitar, Vocals
Cort Stricker- Electric Guitar
Greg White- Trap Drums
Paul Chun- Bass Guitar, Vocals
Fire on the Mountain,an instrumental jam by:
Cort Stricker = Lead/Rhythm Guitar
Stephen Saunders = Percussion,Samples
Danny Dominguez = Guitar Rhythm/2nd Lead,Vox
Joe R.= Drums
Vincent Mitchell = Bass,Synth
Scarlet Begonias by Big Train- (Cort Stricker=lead g,Ricky Enriquez=g & vox,Stephan Saunders=percussion,JoeR=drums,DR.=bass)
This was the 1st time in 5 years that we all played together.This was a warm-up jam using practice amps & minimal gear,thus the less then stellar guitar tones,etc.Fun was had by all during our mini-reunion!
(note from maj-) Buy direct from the artist wherever possible…
WIRED – A federal appeals court is ordering a university student to pay the Recording Industry Association of America $27,750 – $750 a track – for file sharing 37 songs when she was a high school cheerleader.
The decision by the 5th U.S. Circuit Court of Appeals reverses a Texas federal judge who had ordered defendant Whitney Harper to pay $7,400, or $200 per song. The lower court had granted her an “innocent infringer’s” exemption to the Copyright Actâ€™s minimum of $750 per track because she said she didn’t know she was violating copyrights and thought file sharing was akin to internet radio streaming.
The appeals court, however, said the woman was not eligible for such a defense â€” even if it was true she was between 14 and 16 years old when the infringing activity occurred on Limewire. The reason, the court concluded, is that the Copyright Act precludes such a defense if the legitimate CDs of the music in question provide copyright notices.
Harper, now 22 and a Texas Tech senior, said in 2008 interview that she didnâ€™t know what she did was wrong when she file shared Eminem, the Police, Mariah Carey and others as a teen.
“I knew I was listening to music. I didn’t have an understanding of file sharing,” she said.
Scott Mackenzie, the woman’s attorney, said Friday that “She’s going to graduate with a federal judgment against her.” The RIAA, which has sued thousands of people for infringement, labeled Harper as “vexatious” when she refused to settle the case.
Only two RIAA cases against individuals have gone to trial, both of which earned the RIAA whopping verdicts.
Washington DC Metro Station on a cold January morning in 2007. He played six Bach pieces for about 45 minutes. During that time approximately 2 thousand people went through the station, most of them on their way to work.
After 3 min. a middle aged man noticed there was a musician playing. He slowed his pace and stopped for a few seconds and then hurried to meet his schedule.
4 min. later:
The violinist received his first dollar: a woman threw the money in the till and, without stopping, continued to walk.
A young man leaned against the wall to listen to him, then looked at his watch and started to walk again.
A 3 year old boy stopped but his mother tugged him along hurriedly, as the kid stopped to look at the violinist. Finally the mother pushed hard and the child continued to walk, turning his head all the time. This action was repeated by several other children. Every parent, without exception, forced them to move on.
The musician played. Only 6 people stopped and stayed for a while. About 20 gave him money but continued to walk their normal pace.
He collected $32.
He finished playing and silence took over. No one noticed. No one applauded, nor was there any recognition.
No one knew this but the violinist was Joshua Bell, one of the best musicians in the world. He played one of the most intricate pieces ever written, with a violin worth $3.5 million dollars. Two days before Joshua Bell sold out a theater in Boston where the seats averaged $100.
This is a real story. Joshua Bell playing incognito in the metro station was organized by the Washington Post as part of a social experiment about perception, taste and people’s priorities. The questions raised were: in a common place environment at an inappropriate hour, do we perceive beauty? Do we stop to appreciate it? Do we recognize talent in an unexpected context?
One possible conclusion reached from this experiment could be:
If we do not have a moment to stop and listen to one of the best musicians in the world playing some of the finest music ever written, with one of the most beautiful instruments ever made ….
How many other things are we missing?