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Tag: PJJ
The House That Bill Built – Phish and Shoreline
In the mid 1980s Bill Graham worked with the city of Mountain View, CA to develop a new outdoor venue to serve the Bay Area live music fanbase. Located in the aptly named Shoreline Park, what resulted is now known as Shoreline Amphitheater, a (now) LiveNation venue that has become a common venue for various artists to visit when coming to this area. With an overall capacity of 22,500 and its large, sprawling lawn area the venue works quite well for Phish as they are able to routinely (almost if not fully) fill it up with eager fans. Add in the subtle architectural design nod to the Dead's classic Steal Your face logo and you have a venue seemingly built with fans like us in mind. Don't believe me? Check out this image, brah.
I know, right? RIGHT?!?
Phish's history with this venue stretches back to a time when they were not a big enough draw to play here, instead acting as opener for Santana at their first appearance in the Summer of 1992. Eventually, as the fanbase continued to expand Phish could sell out this place for more than one night which resulted in the relatively high number of shows we can now enjoy from Shoreline. And while the band has played other places in the area over the years they tend to come back here every few years or so which will hopefully continue for many years to come.
Phish has played a total of fourteen times at Shoreline Amphitheatre with a span between the first and last covering some 23 years, a feat that is not matched by very many venues we will look at in this project – if any others at all.
Here is your www.phishjustjams.com playlist for The Shoreline Jams.
08.29.1992 The first time Phish graced the stage at Shoreline they did so as opener for Santana. As such they only had time to play a five song set but managed to show off the brand of high energy speed jazz they were just starting to develop at the time in that 45 minute slot. It is a good example of how tight they were as a band back then, not yet into wide open explorations but instead focused on destroying minds nightly with intricate compositions and positively shredded takes on songs like Maze. That Maze and the YEM with its nod to Santana in an Oye Como Va tease (not to mention an Under Pressure 'tease' in the VJ) are the highlights from this brief bit of Phish. The band also sat in with Santana on this night but if there are tapes of it I have yet to find them.
09.30.1995 On their second visit Phish played here for the fourth show of the Fall 1995 Tour that would become legendary over the course of fifty-four performances. These days we are lucky if they play that many shows each year (spoiler alert! they haven't played even 52 shows in a year since 2000 and never more than 50 in all of 3.0) let alone over the course of 81 days. Between the time they played a single set here in 1992 and this show a LOT had changed in Phishlandia but the root of it all was still founded on the music. The first set is highlighted by the explanation of the Band/Crowd Chess Match (with the music of White Rabbit as background), a fast paced run through Reba, and a typically out there Antelope along with a bunch of set list standards including the first I'm Blue, I'm Lonesome of the year (acoustic of course). The second set starts with a punchy Jim and one of the few performances of Fog That Surrounds, the reworked version of the song Taste which would eventually be turned into the final Taste we know today once they hit the studio for the Billy Breathes sessions. There aren't any big jams in this set but the Mike's hits some wonderful dark space before dissolving into Keyboard Army which was thought to have been a relic of Fall 1995 until it was busted out as part of the THANK YOU encore at Dick's last year. This is a nice change to the normal Mike's Groove middle part and one I wouldn't mind hearing them tackle again. Speaking of songs I wouldn't mind hearing again, after a raucous Weekapaug we get Fish Fun Time for the debut of Suspicious Minds and the lighted cape that went along with it. This is a decent show that'll clue you in on a bit of what 1995 was but it lacks the big open jams that started to typify the best from that year so stick to the highlights unless you are a completist.
07.31.1997 Summer 1997 covered a lot of mileage even if you don't count the European leg though why you would do that to yourself I just don't know. The US portion of the tour started in Virginia and was out here in only a week before again working east towards our first time in Limestone, ME less than a month later. By the time they played this eighth show of the US leg the cowfunk was evident all over the place from the Ghost opener on through the end of show. The patient pocket of the Ghost gives way to a big time rock peak and then segues to a real live jammed Ya Mar (okay, it isn't quite the IT version or even the Gorge '98 one but still…). After DST the band works out a blistering LxL and then following a nice Dirt>Maze combo they bustout Glide after 50 shows on the bench. Coming back to the newer numbers they rip through Saw It Again and then cap the set with a big time YEM that has a mesmerizing full band jam that supersedes any need for the D&B section before they head to VJ land and end the set. The second starts out with a random Lynyrd Skynyrd tease (Sweet Home Alabama) before the band starts up a wonderful Jim that chugs along for over 23 minutes. In there you get some straight forward Jim jammery, a quiet blissful section, some power rocking groove, and a prolonged set up to the full segue into Circus. Following solid takes on Vultures and McGrupp they rock out Mike's Song, pushing the first jam into some rocking funk territory and then bringing it down to a quieter space, eventually ramping back up towards a bit of a forced transition to H2. The ensuing Paug jam covers a lot of ground even with a funk section that feels a bit forced though the end peak is a good payoff for this set. Right before the end peak (with CYHMK phrasing) Trey gives some thanks and nods to Jerry Garcia's birthday coming up the next day. Then there's the Cinnamon Girl encore which would be the last time that they have played the song to date, unfortunately. This is a show that probably gets overshadowed by others on that tour so if you, like me, were not as aware of it as others I would recommend you remedy that by spinning it forthwith.
07.19.1998 The next year saw the band play another single show for the summer tour though not the only show here that year as we will discuss in a bit. This one starts out with a funky Moma, a bluegrass slot Beauty of My Dreams cover, effing Sample, and Guyute before the real fireworks start. If Phish still (routinely) played first set Ghosts like the one in this show the world would be a better place full of understanding and compa… okay, maybe not quite that. But this is a damn good Ghost so go spin it. This (and arguably the preceding Guyute) kicks off an end of set sequence that really elevates with LxL peaking then dropping unfinished into Roggae, setting up the second straight first set closing YEM for this venue. This one isn't quite to the heights of the 1997 version but Mike teases Things That Make You Go Hmmm, something he started to do a lot around this time. Trey rides the wah funk as Mike leads the way in a version that is oh so cowfunky. Phish then came out for the second set by playing a shreddy yet wah'd out Llama and following it up with a Wolfman's that almost gets to Manteca space. After a quick run through Piper Trey blasts into Tweezer which quickly drops into a sparse funk jam that feels so comfortable and inviting that when they shift into JJLC it would be quite jarring were it not for the laid back feel of that transition. After the blues break we get McGrupp, another song carried over from the last time they played here. The difference tonight is that this one gets a '98 style jam complete with ambient outro. It starts with Page seeming to go down the Coil end solo route until bringing in the rhythm and melody of McGrupp which the band adds to in coming to the normal end for McGrupp but then instead of going into something new they stay in the idyllic space of this Trey-led section, hinting at McGrupp along the way before putting together a nice segue into the set closing shredder of a Disease before the Possum>Reprise encore. Take this show and the one from the previous year as a pair and you are shown how much changed with the band's sound in just one year's time. You can get a similar understanding of that by spinning the Ventura box set as that covers the two shows adjacent to these ones from Shoreline.
10.17.1998 Three months after their summer tour visit Phish was back at Shoreline for two sets as one of the headliners for that year's Bridge School Benefit Concert organized as always by Neil and Pegi Young. This was an all acoustic affair and the last fully acoustic sets by Phish until the amazing day set on 11.01.2009 at Festival 8. Being acoustic the vibe is a lot different than a "regular" set of Phish but still has a lot of the elements that make us come back time and again albeit packaged in a slightly more non-phan ears manner. And hey! There's some great video of the set for you to enjoy too! They get right to it with a Carolina a cappella opener (64 show bustout) before debuting two new songs in Sleep and Never. Sleep is one fans will know from the Farmhouse album as well as the sporadic times it has graced setlists (current gap is 190 shows…) but Never disappeared almost completely before resurfacing a few times on TAB tour over the years and then getting reworked and released on the 2015 Paper Wheels album (and yes, it was included on Trampled By Lambs and Pecked by the Dove but so were a lot of half-formed things…). After a fun take on Possum they went busting out again with I'm Blue, I'm Lonesome (195 shows) and then the big 338 show bustout of their unique (and beloved!) a cappella version of Free Bird. Driver got its debut next and then after a mournful Wading Neil Young FINALLY came out to help with a beautiful version of Hood that segues into the only Phish performance of Neil's classic Helpless (with Neil on vocals, of course). The highlight of the set is definitely that Hood>Helpless but the uniqueness of this set's format is something that elevates it all to a higher level. I don't see Phish ever doing an MTV Unplugged sort of thing (particularly since that show is gone, right? I have no idea. I haven't watched MTV in years) but this is perhaps the next best thing.
10.18.1998 For the second night at the Bridge School Benefit Phish came out with a similar structure in mind by opening with the a cappella Hello My Baby. Oh wait, here's the full set video for you first. Anyway, after HMB they serenaded the crowd with Billy Breathes, run through an oddly compelling stripped down version of Piper (about a third of it is the slow build intro we never get anymore), and then played a breezy version of Roggae. The midset gets three well known covers in the Phish world: Loving Cup, Albuquerque, and Old Home Place. Each of these fills a different space in our musical conscience ranging from the fun romp of Cup to the wistfulness of Neil Young's lyrical tale in Albuquerque to the pining bluegrass of OHP. Changing gears again we get the unique styling of our tale of the ugly pig Guyute (a world debut on acoustic guitar!) which kind of acts as a closer to the Phish-only portion of this set with Brian and Robert being the low key "encore" (stay with me here…) before the guests come out to help the band close the night's proceedings. First out is Canadian musician Sarah McLachlan who you younger fans may know as much for her tear jerking SPCA tv spots as for her music considering she has faded a bit from the mainstream pop scene though I'd recommend checking out her stuff. She joins on guitar and vocals for the Cat Stevens tune Sad Lisa which was on his highly lauded Tea For The Tillerman album. Neil and Kevin Hearns from the Barenaked Ladies then join in (that's three Canadian musicians up there now for those keeping count) for a cover of Ian and Sylvia's folk ballad Four Strong Winds before they all close with a stirring rendition of Bob Dylan and The Band's I Shall Be Released, capping the night with three debuts that have yet to be played by Phish again. All told this is another quality night of music with Phish even if not what we would expect from our jam heroes. It is a nice change of pace and definitely supports a great cause – and along with their Farm Aid appearance about two weeks prior was probably part of why Neil supposedly asked Phish to be his backing band for a tour, something which obviously never happened but could have been quite amazing indeed.
09.16.1999 The early part of the Fall 1999 tour brought Phish back to Shoreline for a pair of shows. Quite frankly, looking at this first one in comparison to some of the shows that surround it on this tour it is a bit surprising as even with pattern of some odd setlist choices and sometimes shaky play on composed tunes Fall '99 first sets were typically good for at least one big jam or two. This set lacks any of that really as the focus is on songs with a surprising fourteen played this night. Even more surprising than that though was the massive bustout that came about midway through the set with first performance of Little Feat's take on Allen Toussaint's On Your Way Down in 1,006 shows. This song reminds me of old tinny bar room show tapes with Page on the electric piano and Trey shredding the solo while patrons clink glasses and shout their conversations in the background and some of that is here but their performance has more emotion behind it after over ten years gone by. It seems to fit the band better than it did when they were young and still on the way up, you know? The change in the band over time is also quite evident with the set closing Lope which instead of being the frenzied psychedelic shredder of their youth becomes a mellow groove template showcasing the emerging Millennial Sound. That feel permeates the second set from the gooey 2001 opener (not quite the biggest or best from that year, but it gives a good taste of what '99 2001s were all about) and carries over into the Mike's Song that follows. There is no shift to second jam in this one as Trey solos above the menacing music the rest of the band pushes the song forward and then they transition to one of the more spacy H2's you might ever hear. The ensuing Paug starts out white hot with Trey in attack mode before they settle into another murky groove, toying around the Paug theme for several minutes as Trey solos above before they bring it around to the big close. A MitM breather brings us to another solid LxL from this venue and then after the closing Caspian>Julius they came back out for the encore with friend Warren Haynes in tow to help on their cover of Misty Mountain Hop, the second performance of the song that year (of four ever, all in 1999).
09.17.1999 The following night Phish opened up with one of the five ever Phish versions of Trey's instrumental Mozambique which found a more permanent home on TAB tour after this Fall. I've always been a fan of both versions but there is something about the stripped down aspect of the Phish version with Page taking the horn section's line that really works for me. Too bad it hasn't come back to the big show. They keep the energy going with Guyute and another slinky first set Ghost before Page croons for Lawn Boy. The rest of the set is fairly standard stuff for the time period including a solid old school double closer pairing of Bowie and Coil. The second starts with a Jim that is good but doesn't push through to the stratosphere like its older brother from the 1997 show here. A vampy, kind of static second ever Sand is next which dissolves into the slow build intro for Piper. This one starts out with a white hot jam as the band pushes the pace until almost suddenly they drop into a murky space jam full of loops and patient playing. In retrospect it almost feels like they were setting up the impending Roggae with that as the song flows effortlessly out of the wake of the Piper end jam for yet another patient take on the tune. Next up is YEM which has the '99 vibe flowing big time and then, hang on! Why are there three tramps?!? And is that? IT IS! (Don't mind the horrible camera work there…) Phil Phreaking Lesh comes out to join the fun, first playing at doing the tramps thing before quickly (and wisely) hopping down and then contributes to an electric jam where Trey is all over but still gives space to the two bass masters as they do bass battle in lieu of the B&D and VJ sections of the song tonight. Phil sticks around for a big bass take on Wolfman's, one of the songs he played with Trey and Page during those phenomenal Phil and Phriends shows from The Warfield in April of this same year (with recently released full show video of 04.15.1999 and 04.16.1999 AND 04.17.1999 you now have no excuse to be fully up to date on these magical shows even if you didn't have a good excuse prior). This Wolfman's is pure '99 styling with an unresolved jam that peters out into the intro of the classic Cold Rain and Snow that Phil leads on vocals. There's a bit of the video for that up on the youtubes too but again it isn't exactly "proshot" stuff. The jam here is fairly linear but gets to some fun peaking and no matter what it is Phil Lesh playing with Phish so yeah. Oh and that's a debut by the way. And just to cap it off they encore with another debut of a Dead tune, Viola Lee Blues, a song that Trey straight up destroyed with Phil in the spring. Here it gets a solid jam complete with a breakdown section in the middle that is more Phish than Dead before coming back to a more traditional close. This is one of the more successful sit-ins you will hear with Phish and we aren't done with that sort of thing yet…
10.06.2000 If you were around in 1.0, particularly in the latter stages of it, you had to know that by the time we got to 2000 the edges were fraying in a big way such that in the Spring of that year the band announced they would be going on Hiatus after the Fall Tour. This created a lot of stress for the touring set as they would now not have certainty about where they would be spending their summers, falls, new year's holidays, and other times of the year as Phish saw fit to tour. The shows along that fall Tour in 200 were therefore some of the tougher tickets of that era and in many cases people were going hard considering these might be the last Phish shows they would ever see. With the context of the looming Hiatus it is a tad surprising that this show is as "light" as it is… or perhaps it isn't that surprising. Since these are the last four sets Phish would be leaving us with it makes sense that the focus is somewhat on playing a wide selection of songs for all to enjoy rather than just going deep with jams or something. The upside is "yay! moar songz!!" but the downside is that it comes off as a bit of a jukebox show. The first set has a decent Stash and hot versions of Maze and Lope but none of those are top notch keeper versions you will be spinning any time soon. The second set is more of the same, with nothing played poorly or out of place but something a bit missing from the typical flying-by-the-seat-of-your-pants openness of the band playing without a net (foreshadowing pun intended). The Disease feels like it could stretch but instead dies out into the (admittedly very much appreciated) second to last ever Spock's Brain (for now! we can dream!) which is then followed by the last Inlaw Josie Wales to date on the Phish stage (the song lived on with TAB and more recently with Trey's symphonic gigs in 3.0). The one jam highlight in the midst of all the songs played in this set is a loopy, grooving Sand that provides the dance party many came to join which ends with a scorching peak run by Trey but then the set falls back into song mode once more. I'm a sucker for Bold As Love though so I'll forgive them since they closed with that Jimi classic. Tonight's encore holds another surprise similar to the one from the year before as Bobby Short Shorts himself trots out to join Phish for the only time ever! It is a bit head scratching that for one of their supposed final two shows (at the time) they bring out a guest but considering it is an OG member of the Grateful Dead I suppose we can forgive it. First up is Bobby leading on the Marty Robbins classic that he has pretty well made his own over the years, El Paso. Listen for Trey's playful teasing of Antelope as he is getting in tune with Bobby at the start. Next up is an odd choice with the rocking Chalkdust that seems to confound good ol' Bobby as he just kind of strums along considering the challenge of keeping pace with one of Phish's more rocking tunes. They extend the middle type I jam a bit with Bobby there but otherwise it is a fairly straight forward take on the tune. Bobby heads up the singing duties on the verses for the final song, West LA Fadeaway, which to me is another interesting choice considering that was a Jerry sung Dead tune but whatever. Trey has some nice soloing here and then we are off into the night. This show is definitely one where the focus is on playing a lot of songs as if to recap their career a bit up to that point so perhaps not one you will spin often but that sand is fun and the Bobby sit-in is unique at the very least.
10.07.2000 The second night and final show of 1.0 (or the main part of Phase 1 maybe? I guess it depends if you ask Trey or the fans…) feels more like a celebration than a funeral and is probably a better overall representation of what a Phish shows is than the one that preceded it. The opening sequence of First Tube>Mike's>H2>Paug is perhaps not top shelf worthy stuff but a lot of fun nonetheless. The Mike's in particular is a fiery little beast even if it doesn't ever get to a second jam or stray from the song itself. There's a solid Gin in the back half of the set too which is not surprising considering how strong the Gins of that time were. The second set starts with a fairly straight forward Twist and then Trey hops on the keyboard to glitch the intro build for 2001 which gets to a big dance-a-thon space before peaking out and heading into Tweezer. This final Tweezer of the era stays in the dance party vein like the 2001 before it, providing a solid send off for the song. They shift to a repetivie, rocking electro mode in the back half and it feels like it could go on in this vein for quite some time but instead they go to the old slow ending. Oh well. The balance of the set is fine enough with a T&R filled Bowie in the penultimate slot and then the almost too obvious YEM encore gives everyone a last bit of that Phish crack before the house lights come up and the Stones' This May Be The Last Time plays as the crowd cheers for the crew and tears and hugs are shared by all. It was a very bittersweet time to be a fan as our one certain thing – that Phish would come to your town and lay waste to all the bad vibes and shit that permeated life outside of those venues – was now uncertain. Hiatus sucked, man. Thankfully it was fairly short lived!
07.09.2003 When Phish came back in 2003 (2.0 yo) we got that New Year's Run that was more after the new year than before, an early tour in February, and then a Summer Tour that ended with the wonderfully out there IT Festival followed by those 20th Anniversary shows and the Miami New Year's Run. Shoreline got a pair of shows at the front end of that Summer tour and when the band opened with YEM it was a nifty nod back to how they had closed 1.0 here. This one goes unfinished as they segue into a beautiful but short Simple but the pairing from the outset shows the jamming is here in spades. The five song set closes with a big time type II Gin so yeah. If you are a fan of the wide open jamming potential of 2.0 this is one for you. If you aren't sure, try it on for size. It's a big'un. There's more in the second set too with the center piece Piper being the groove animal before a lovely Twist->SaSS combo and the Mike's Groove to cap the set. The Paug has a fun jam too if you are up for some funky rock out dancing. Shows from this time period may not be everyone's cup of tea but you really can't deny that they were playing loose and open here. There's some of the sloppiness in the composed stuff but that is easily overshadowed by where they take things here.
07.10.2003 The second night oddly opens up with the second (and final ever for Phish) Spices which segues into Waves and that is really only notable as the other appearance for the song a few days earlier went Waves, Spices. Outside of it being an odd opener choice it fits with the vibe of the times and would be a nice song to hear them tackle once again. Waves gives way to our gal Reba and she packs a lot into a short time frame tonight. Towards the end of the set Moma goes mellow funk, eventually seguing to the Lope closer which caps the six song set. The second set is kind of shockingly jam lite as outside of the DEG fun in Divided (it is a really good version) and an odd start to Free there isn't much depth here. The closer Disease is a straight forward rocker version and 2.0 jam darlings like Seven Below come in on the short, "single length" end of the timing scale. I suppose it just shows you never really know what you might get with Phish. Like maybe that would be the last time you could see the band play here for another six years…
08.05.2009 Which brings us to 3.0 and the first show back here on the West Coast, sandwiched between the four at Red Rocks and the pair at The Gorge which we have already covered. Expectations were pretty high for this one since it had been so long since Phish had graced the region with their music but seeing how this was still the band ramping back up after so long away it isn't really a surprise that the show is pretty stock in the grand scheme of things. The first set is anchored by Divided and TTE and gets a rote Bowie closer so nothing special there. They find some space in stretching out Disease, providing the one jam highlight for the night and then later bustout Oh! Sweet Nuthin' for the first time since its Halloween debut way back on 10.31.1998 (225 show gap) but the Cities->Maze never elevates and the ending Mike's Groove is straight up average stuff. Call it a factor of the time period or whatever but this show isn't a real keeper outside of that Disease.
07.24.2015 But wait! Don't discount the 3.0 performances here out of hand just yet! Just last year, in the beginning stages of what would become a quite memorable tour where the band found some amazing space – and a few new jam tricks and templates – en route to a show that feels like a throwback in its freshness. Okay, sure, fine, opening with The Line isn't what I mean here but after that the show starts to move in a decidedly upward direction such that by the time we get to the Reba everyone is nodding along and saying "yeah!" a lot and figuring out that just maybe this band knows what they are doing after all. But even with that and the crunchy 46 Days closer one could have been excused for not being fully prepared for the set to come. Starting with the second ever Blaze On the band takes it out for a space walk, stretching beyond the confines of the bouncy tune on their way to a segue into Twist. After some inbounds jamming there they head for the stratosphere, peaking it with a soul cleansing bliss run before coming back down to segue into a captivating Light. Three songs in here we are in rare territory in 3.0 what with everything getting the treatment from the band. There is a breather for Joy next and then they take Hood out for a soaring version before the end set Cavern and obligatory Zero encore. There is a lot going on here in this set as they are just starting to unpack a new sound that overtook this tour in the wake of Trey's time working with those Dead dudes for the Fare Thee Well shows earlier that summer. The impact is striking, quite frankly. Here we get the new(er) echoplex and mutron influenced stylings by Trey to complement the strong play of Page and Mike and the steady beat of Fish. This set holds up quite well to what was to come later that year (not to mention those that came before at this venue…) while still only being an inkling of where they would take us. It is definitely in the conversation of best shows at this storied venue.
And now, the tale of the tape for this classic tour stop…
Venue: Shoreline Amphitheater
No. of Shows: fourteen
Intangibles: like-minded inspiration and design fits with the Phish scene, all but annual tour stop through the band's peak years, well located venue serves the greater Bay Area region well, while always a hot ticket this is a venue where you are likely to get shut out due to its size, West Coast vibe permeates.
Recurring Themes: Mike's Groove and YEM are most common with six each in nine separate years here. Every show here has had a unique opening song. Ten songs have been debuted and only ever played here (for that one appearance). Overall, thirteen songs have been debuted at this venue. Sit-ins are more common than most venues with three including both shows in 1999 and the first night of 2000.
Key Jams/Songs: 1992 – Maze, YEM; 1995 – Lope, Mike's>Keyboard Army>Paug; 1997 – Ghost>Ya Mar, LxL, Maze, YEM, Jim, Mike's, Melt; 1998 – Ghost, LxL, YEM, Llama, Tweezer, McGrupp, Hood>Helpless, Free Bird, Guyute, I Shall Be Released; 1999 – OYWD, Lope, 2001>Mike's>H2>Paug, Misty Mountain Hop, Ghost, Jim, Sand, Piper, YEM, Wolfman's>CR&S, Viola Lee; 2000 – Sand, El Paso, West LA Fadeaway, Gin, 2001>Tweezer, YEM; 2003 – Simple, Gin, Piper, Twist->SaSS, Paug, Spices->Waves>Reba, Moma, Divided; 2009 – Disease; 2015 – Reba, Blaze One>Twist>Light, Hood
PJJ Ratio: I am adding a new qualifier for each venue (check back to the Gorge and Red Rocks posts for the updates there) using our friends over at PJJ's data to show another person's perspective for takeaway jams from each venue. This ratio takes the number of jams on their site for each venue divided by the total number of shows played to arrive at a jams per show played ratio. Shoreline comes in at a low 1.50 JPS rating (the average for all venues under consideration in this project is 2.48)
While perhaps a classic venue in many senses this venue lacks overall in comparison to other venues, mainly due to subjective factors and qualifications regarding the music played here. That said, this was a consistent stop on tours throughout the band's rise and main peak until the band opted for other Bay Area locales that we will be covering soon. There are some wonderful highs from this venue and something great to take away from each night played even if it ends up not "winning" the prize here.
By TIIIJPDin venue project October 12, 2016 October 12, 2016 5,781 Words5 Comments
Tales of the Giant Iguana – Phish and Red Rocks
The first venue to (randomly) come up in our review of the best venues in all of the band's history is Red Rocks Amphitheatre in Morrison, CO, arguably one of the most beautiful venues in the United States. This natural amphitheatre is part of 640 acres of parkland with trails and other sites besides the music venue to entertain those who visit. Opening in 1941, it has since been designated a National Historic Landmark and is characterized by the iconic dual 300+ foot monoliths that project upwards on either side of the venue, providing that amazing sound and allowing for 9,525 people to have a fantastic view of the band on stage as well as the surrounding area including the Denver skyline off in the distance. This is the type of venue that elevates the concert experience not only literally (elevation here is 6,450 feet above sea level) but also spiritually as for reasons that are obvious once you get into this wonderful place both musicians and fans tend to bring their "A" game most of the time. That 'venue magic' is evident in many of the shows that Phish has played here and is part of why seeing shows at this venue became a necessity for those able and willing to make the trek across the great divide.
Phish has played Red Rocks a total of thirteen times with the first appearance being a Friday night in the middle of one of the legendary months in the band's history and the final appearance to date being the capstone show of the four night run in the comeback summer of 2009. In between they have played two night stands in 1994 and 1995 as well as a four night stand on the brief US portion of the summer tour leading up to The Clifford Ball. There have also been several non-Phish visits to this storied venue including five TAB shows, one Mike & Leo Kottke show, a YMSB with Fish show, and one sit-in by Mike during a Gov't Mule show. But we're here for the Phish!
Since we are starting a new thing here let's talk a bit about what this will look like. Rather than give a full recap of every show at a venue I will be listing off each one, cherry-picking notable highlights and identifying the potentially iconic jams that each show birthed. From there we can debate how this stacks up against the other venues on the list.
Before I dive in forthwith, here is a playlist of all of the Red Rocks jams over the years from our friends at www.phishjustjams.com
08.20.1993 Opening with Divided Sky to nod to the rainstorms that passed through the area pre-show is a nice touch but following it with a mythos-building Harpua tale immediately takes this show next level. Trey espouses his adoration for the venue before even getting to the Giant Iguana Red Rocks origin story which is one I highly recommend listening to if you don't already know it. The rest of the first set progresses as most did in that era with crisp renditions of each song including some solid Page work in Ice, a nice acoustic Ginseng Sullivan dedicated to Brad Sands, and the final "slow" Wedge before it got shelved and reworked (returning 135 shows later just before another show detailed further down this page). The Antelope to cap the set is a wild psychedelic ride that departs the song for a bit before coming back to the big ending we know and love. The second set is full of highlights including a patient early set Slave, a frenzied and fast-paced Melt, and a YEM->Purple Rain that includes Mimi Fishman joining her son on the vac. This show is not the best from that legendary month but is a great example of what Phish was in this time as they began the move out of the 'speed jazz' era.
06.10.1994 The next year Phish returned for a pair of shows, again hitting the weekend with the first night falling on Friday as the second show of the summer tour after opening up in Salt Lake City on Thursday. Even in being only ten months since their last visit here it is clear that this is a different version of this band. The release of Hoist in March coupled with the spring tour supporting that release has brought out a ferocious side to their playing, a style that builds off of the speed jazz of 1993 but now includes the machine gun shred and regular dips into more open, psychedelic waters. This first night only offers us inklings of that as they are getting into this new tour but still has some interesting aspects such as the nod to the Iguana Tale in the intro to The Lizards (a song that almost never includes banter like this), a bunch of teases, an entertaining Fish Fun Time segment for I Wanna Be Like You, and a compact yet powerful Tweezer that resolves nicely into Lifeboy. When looking at this 1994 Red Rocks pair the second night is the one everyone points to (for reasons that will be obvious shortly) but this show also has most of those elements that made 1994 Phish so intoxicating for we fans.
06.11.1994 Now relaxed and comfortable in their surroundings, Phish came out for the second night of the pair with a show that is anything but a "Saturday Night Special". By that I mean it is not just a rock-it-out jukebox set but instead is often held up as a paragon of what Phish could be in this era. Some have called this a "perfect" Phish show which might be hyperbole but the argument for it is pretty compelling. The first set is all go for broke rock highlighted by a wonderful YEM and a short but peaky Stash to close the set. Then the second frame is more of the same with Antelope and Fluffhead cranking the energy up before they blow the metaphorical roof off in a nasty take on Melt and a Maze that gets strong solos from both Page and Trey. There's also a 332 show bustout for Frankenstein just for good measure. This may not have as many open jams as fans these days want/expect but it still holds as the type of show that you can give to a friend who doesn't know the band to provide a glimpse into this world of ours.
06.09.1995 Almost a year to the day Phish came back for their third visit to Red Rocks and second straight year playing two shows. Once again the band was working through newer material, this time working on many of the songs that would end up on Billy Breathes when that album was released more than a year later. Again this show fell in the early part of tour as this pair was preceded by only the tour opener in Boise and one in Salt Lake City ahead of these weekend shows. After a one year gap Divided Sky returns to Red Rocks and the first set includes three of those newer tunes in Strange Design, Theme, and Taste (but not the final version of that song). The set is capped by a quite peaky Antelope and then they come out firing with another second set Melt that goes sideways in that wonderful way. Bowie is the dark vehicle that carries this set in the first version of perhaps the best tour for the song overall. As with 1994 this first night is a bit of setup more than the peak of the pair but being summer 1995 it pops with the energy and swagger that the band had on display throughout that year.
06.10.1995 There's something to be said for a show that starts out with Trey pointing out his grandfather in the crowd before starting up Makisupa Policeman. It pretty much tells you how comfortable they were in their position as the rising stars of Jamlandia, particularly when that Maki keyword is "4:20. Dank" and the crowd goes wild before they dropped from a soupy outro jam into a power packed Llama. Here again we also get another solid mid first set YEM which evolves into a vocal HYHU segue to Fish Fun Time for the final version of Lonesome Cowboy Bill before it would return on Halloween in 1998. The second set is another rager with a Maze opener and a massive Mike's Groove that eats up more than 35 minutes from the 22+ minute Mike's through the CYHMK-tinged Paug. This Mike's is the sort that 1.0ers are always on about when the younger fans wonder why this song is held so highly by older fans and lives up to the billing in all its dissonant glory. For good measure this set is graced with the debut of ADITL in the encore. Between this show and the second night the prior year you can see why fans at this time had come to regard shows at Red Rocks as can't miss certainties.
08.04.1996 Following their first "real" tour of Europe in the early part of the summer of 1996 Phish returned to the US for nine shows leading up to the first big end of summer festival at the Clifford Ball in Plattsburgh, NY. Four of these nine shows were at Red Rocks and the hype surrounding them was unparalleled in the fanbase due to several factors including but not limited to the demise of the Grateful Dead, the explosion of Phish in the wake of 1995, and a limited US touring schedule for the summer of 1996. Once again hitting here in the early stages of tour after stopping in Utah first, the band comes out strong and rides the energy of the crowd. You can almost feel it listening back on the tape as the band and fans connect to elevate the music beyond the objective criteria one might set. This first set gets a lot of the fist-pumping anthems with the Chalkdust opener, Guyute, a really high spirited Melt, Sloth, Maze, and the Loving Cup closer. Then after a punchy Bag 2nd set opener they lay down a lovely Reba (just watch out for the super abrupt ending!) and take Bowie out for a ride. Page also breaks out his "new toy" theremin for a brief debut of the Theme from Star Trek in the encore. This show is a fun one for the start of the run, the first non-NYE time four show run at one venue, and an odd first night Sunday show taboot taboot.
08.05.1996 The second night in 1996 feels in retrospect like a Clifford Ball primer show with its solid if unremarkable first set and a second set that showcases a couple of different sides of the band in that time period. It also is a pretty typical show for 1996 in general. Starting out with 2001 (which happened in a show at every Red Rocks run except 1995) the band then goes into what will eventually stand up as the best Disease of the year (even including some of those wonderful ones from that Fall tour). This is an atypical take on the song in this era but moves through several phases (including Trey on minikit) before seguing into a wild Ice that you really should spin as it is pretty unique. They come up for air in Halley's but dive deep here as well until Page surfaces with Somewhere Over the Rainbow on theremin. Following the oddly placed mini-stage acoustic set (including the debut of Talk… yay?) and the a cappella Amazing Grace they wrap up with another strong Mike's Groove. This one is perhaps not as lauded as the one from the year prior but still will get you moving and grooving. Another thing of note with this show is that it includes one of the first example of fans actively trying to get the crowd en masse to "interact" with the band on our terms as flyers were handed out in the lots to try to initiate a few new responses by the crowd to what the band was doing, akin to the Secret Language responses that the band had employed for several years by this time. One of these ideas was for fans to sit down during the pause in Divided Sky which apparently worked to enough effect on this night to be noticeable above just a few folks getting winded from the lack of oxygen and needing to catch their breath. That one didn't stick but one from the next night sure has…
08.06.1996 By the third night of this 1996 run Phish and its fans had pretty well overrun the small town of Morrison. A contributing factor was the large number of ticketless fans who descended (or perhaps ascended if we want to get technical with the altitude here) upon the area and did not exactly cooperate fully with local law enforcement. There are several stories out there about what really went down but the impact would be felt for more than a decade (more on that later). The band clearly knew what was going on as they opened with Makisupa and then altered the keyword to the first set closing Lope to be "21 year old Phish Fan Marco Esquandolas" which is a direct reference to a quote from a local newspaper from an oh so clever fan. In between that Trey threw in a U2 (and 07.25.1988 Icculus that made it to the Electra release of Junta) reference by saying "This is Red Rocks. This is the Edge," in the Rift break section (you know, the part right after the "…slipped off the edge" line), and they played a straight but solid Simple along with everything else. The second set is carried by a strong Tweezer that includes a jam on Norwegian Wood (Trey is very much in charge in this Tweezer) but then the set turns towards the more humorous side of the band as they romp through BBFCFM and then nod to the rainy night with Fish Fun Time for Purple Rain. But with the next song, Harry Hood, the fans joined the band to add "Hood!" in response to the standard "Harry!" line in the song, spurred on by that flyer that circulated and forever changing the song once these tapes got out and spread to the wider fanbase. You may love it but I personally long for the days when the song did not include that crowd feedback. Call me crotchety or whatever but that's one of my few "back in my day!" things with this band so yeah.
08.07.1996 The final night of the four in 1996 continued the trend with another solid first set as they took Stash out for a DEG-tinged jam, thanked a recent medal-winning Olympian in the crowd, and brought out Colorado native Tim O'Brien for a few songs to end the set (all debuts). I still cannot figure out why they didn't play Nellie Kane with him but whatever. If you like mando-music this is good stuff for you. The second set starts off with a very engaging Jim that somehow morphs into a full Gypsy Queen jam before coming back to Jim and eventually dropping into a crunchy Free where Trey hits the minikit for a bit. Next up is storytime for another iteration of the Iguana tale (that makes three references in four years), a Life On Mars? that was both topical to current events and nodded back to the tale in Forbin>Mockingbird, and eventually a very nice YEM in the latter part of the set. This show is one of those celebration cappers to a solid run where it is as much about the feel in the room as the music they lay down. The scene was in full bloom at these shows and was about to take another major leap forward with the first true Phish-only festival about ten days away. Though no one knew it at the time this would be the last time Phish would/could play this venue for more than a decade as the poor interactions between fans and local officials made it such that the venue "banned" the band for what we could only assume was forever.
07.30.2009 Time has a funny way of softening people's views on things, of course, so when Phish returned after The Long Wait and started announcing plans for their summer tour there were rumors that perhaps we had all grown up enough to be allowed back to Red Rocks. Those rumors became reality and Phish came back for another four night run in starting up the second leg of the inaugural summer tour of 3.0. It was difficult to figure out what we might get musically but anticipation was high and tickets were as difficult to come by as any perhaps save the reunion shows at Hampton earlier that year. This was a venue that Phish had ostensibly outgrown in the years since their last visit which played into the demand (and is definitely part of why they have not returned here since, preferring the big crowd and easy venue logistics of Dick's Sporting Goods Park). Nodding to past shows here they opened with Divided Sky, giving everyone the chance to reconnect with this magical place during The Pause. This opening set is pretty safe as they go but the Stash goes out for a walk even with Trey working out some whale tone in there. The second set is anchored by a fun Ghost>Wolfman's pairing and the second set closing Bowie is a rocking good time but overall this is a pretty tame Phish show. That is understandable considering it is the first show in more than a month following the Leg One closer at Alpine and 2009 was mainly about everyone reconnecting.
07.31.2009 The second night found the band seemingly more in their element as they got to jamming pretty quickly with the third song Gin. Unfortunately, the energy built by the opening threepack of Jim, Chalkdust, and Gin was deflated when they dropped Time Turns Elastic in the four hole, resulting in a mass departure for the restrooms. The weather played a role in this one as well when the band started up Water In The Sky with rain starting to fall and eventually leading to a wild open jam in Melt during the windy downpour that felt in the moment like the band was 'playing the storm'. After an extended break to wait out the storm they came back with an on-the-nose Drowned that gets to some quiet space before a nice segue into C&P gets the crowd and band bouncing again. As in the first set they don't capitalize on the energy as they head into the then new Joy before pulling the yo-yo string again to crank into a much appreciated Tweezer. Unfortunately the ripcord is here too as they bail for BDT#L (let me tell you, it is really weird to be writing about these newer songs after so many posts about shows from eighteen or more years ago!). Pulling the string again they run through a raucous Fluffhead->Piper->ADITL segment to end the set and then after the encores we are left wet and weary and eager for more. There are more good moments here that I recalled but this show suffers from the yo-yo effect that disrupts any cohesiveness.
08.01.2009 By the third night of any run both band and crowd are now fully present and that holds true for this show. The second song in is the return of The Curtain (With) which while only having had a gap of 21 shows waited almost five years to be played again after the absolute trainwreck version from The Festival Which Shall Not Be Named. It was particularly fulfilling to see Trey nail this. Mound was a little bustout (83 shows) and then a fun Jibboo preceded Trey joking about the band using only hand signals to indicate what song would be next (something they continued throughout the set), followed by the high energy PYITE, Guyute section before they started up the end run with a punchy Tube that was big on Page with Trey bending his notes to accent the clav. Antelope punches through for another solid Red Rocks version and then the double whammy 2nd set opening pairing of RnR>Disease got the jams going for real. The RnR has some stop/start action and the Disease includes LA Woman teases which is always nice. There's an Esther bustout here (89 shows) and a quite heavy feeling Dirt which led to a fun Hood that included teases of both Dirt and Free. This show felt like the one where we were all finally comfortable in the surroundings and musically I think that holds true. The music here has been vastly surpassed in the intervening years since The Return but there are some great connected moments to be found in some of these jams.
08.02.2009 For the final night of this 2009 run the band played things very loose, even opening with the first Roses Are Free of the comeback and then playing a spirited if somewhat disjointed set of music from all over their history. The second set is the gem of this run starting from the jammed out Boogie On opener and working through YEM which dove directly into Undermind when Bill Freaking Kreutzmann came out to join Fish on a second kit. Billy K stayed on for the rest of the set which included a Drums segment that segued into Seven Below, a fantastically groovy 2001, and a quite interesting Waves before the Zero closer. A triple encore put the icing on this one and wrapped up the final Red Rocks show to date. Similar to the night before, the band really found connection in this set and unlike many times when a guest sits in did not lose anything for it. It added another chapter to the ever growing shared mythology of Phish and The Dead while allowing for some creative music as well.
So those are the shows and the base synopsis for each night the band has played this venue. What then is the tale of the tape?
Venue: Red Rocks Amphitheatre
No. of Shows: thirteen
Intangibles: unique, beautiful venue in Phish-friendly Colorado with great acoustics. band has long appreciation for the venue. small(er) capacity adds to mystique in it being a hard ticket to get but worth it if you go. added mythos with band getting banned after 1996 run. classic lot scene with multiple lots and entry points.
Recurring Themes: Trey wove tales of the giant iguana into almost every run in 1.0, adding to it and updating with topical references. Every visit has Antelope, Melt, Coil, and Yem. Rain.
Key Jams/Songs: 1993 – Harpua, Antelope, Slave, Melt, YEM->Purple Rain, slow Wedge; 1994 – Tweezer, YEM, Stash, Melt; 1995 – Antelope, Melt, Bowie, Makisupa->Llama, YEM, Mike's Groove; 1996 – Melt, Maze, Reba, Bowie, Disease, Ice, Halley's->SOTR, Mike's Song, Tweezer, Hood, Stash, Jim->Gypsy Queen->Jim>Free, Forbin's>Mockingbird, YEM; 2009 – Stash, Ghost>Wolfman's, Melt, Drowned>C&P, Tweezer, Curtain (With), Tube, RnR>Disease, Hood, Boogie, YEM->Undermind->Drums->Seven Below>2001>Waves
While I have a hard time believing that Red Rocks will win this competition, it is clearly a venue that holds some great history for the band and fans alike. I must admit that I used to live a short five miles from this venue and grew to love it even more with each show (Phish or otherwise) that I saw there. There is something magic in those rocks, something that you cannot fully explain but once you've been there you understand. That magic reflects in the experiences people have and in the music that gets played. It is the type of venue that you remember fondly even after the music fades away.
Where this venue ranks in the overall list is still to be determined. For now let's enjoy the music that was created in the cradle of the Giant Iguana. What is your favorite memory of Phish at Red Rocks?
By TIIIJPDin reviews, venue project September 20, 2016 October 12, 2016 4,038 Words9 Comments
With The Right Device You Can Make A Pattern Grow – The Venue Project
For a while there has been a smaller project that I have wanted to take on, one that seems to get hinted at and asked about in the various Phish social media circles though I have yet to see a full breakdown of the idea in any one place. It is a notion that flows into many conversations that you hear about the band with broad statements like "they always play hot shows at Deer Creek" or "I cannot wait to get back to the Mothership" or "hands down, Dick's is the best venue for Phish these days and they always slay it there" and the like being so common as to become part of the band's folklore. But just how true are those statements?
In order to figure out a somewhat reasonable answer to this question I propose to take a look back at the venues where Phish has played most frequently and put together some form of summary/breakdown of the music that the band played to see if there really is a connection between the setting and the music as we often think. This endeavor will require some heavy lifting first in breaking down all of the various names both corporate and otherwise to figure out the correct number of times played at a particular place and then diving in headlong to try to make some sense of the history there. We will go about setting some criteria in a bit but some of the considerations that I am thinking about include:
setting a minimum number of times played as a baseline – this will obviously exclude some of the fantastic "one timer" venues and places where they might've only played a couple of shows but if we don't cut it somewhere it will end up being a full history and a highly subjective undertaking at that
evaluating the music played – this is about as subjective as it can get but at a certain level all of this is so we will try to look at the relative "quantity of quality" in the performances including possibly using outside resources like PJJ to see how others have "valued" the music therein
special venues – while I could be swayed by a persuasive argument (nudge nudge, wink wink) otherwise my inclination is to keep festival settings out of the conversation though to be honest most will not qualify for the minimum number of shows if it ends up where I think it will
the venue-specific factors – what about a venue contributes to the whole experience? This could include acoustics, proximity of band to crowd and sightlines, slapback, whether they have good nachos or just that goopy fake cheese bullshit, and the like. While perhaps not as important on the surface, these factors can and do contribute to the overall experience.
intangibles – this is the stuff people point to that has no objective basis but has become part of the story. Stuff like the prevailing vibe of the crowd in a room, the hype surrounding the shows and venue itself, how hard a ticket might be to acquire, etc. There is some bleed between these factors and the venue-specific ones.
I'm not really looking to get too granular with it such that the overall intent is lost in the details so obviously the primary focus will be the music played. I think this can be a fun little project before heading into another full tour review and also so that I'm not overlapping my way back posts with the new stuff coming out on Fall Tour in just a few weeks. I'll have another, more detailed post to set about establishing the criteria and putting together the list of venues in consideration but until then let me know what you think in the comments.
What is your pick for Phish's best played venue throughout their history?
By TIIIJPDin Site Info, venue project September 7, 2016 September 7, 2016 651 WordsLeave a comment


If you're new to my blog you're probably wondering "what is crowdfunding?" and "where does real estate fit in?" These two very different markets – one being old and one being a baby in comparison – have somehow not only found their way to each other but have combined to create the mother of all investments. This very odd pair appears to be coupling nicely, giving hungry investors a new way to engage one of the most profitable markets to date – real estate. But don't take it from me, take it from the numbers. You know what they say, what can't talk can't lie.
2017 was a year for the record books for real estate. Now, this can be traced back to insanely low mortgage rates and tightening inventories but whatever the reason, the fact of the matter is that housing prices rose about 10%, and really, I'm being modest because in places like New York prices rose by 34.6%. You're looking at these numbers and you're probably wondering (rightfully so) if you should just throw your hat in the ring and give real estate a try. But wait.. we haven't even gotten to the good part, so before you make up your mind let me give you the whole story.
You might be thinking, "I can't deal with the whole landlord situation" – and let me just tell you that I couldn't either. It's a hassle and let's get real, who wants to deal with tenants and landlord chores? Well, if you (just like me) don't see yourself collecting rent, buckle up because what I'm about to lay down will leave you stunned. Not only is it the right time to be considering a real estate investment but there are ways of doing it without having to deal with any of the above 'nightmares.' Progress has been doing its thing, you know, finding new and better ways to riches and you've just hit the one post that will pretty much outline the journey.
I'm not saying you couldn't save up and eventually get there, don't get me wrong. What I am saying is that if you want to fast forward five to ten years, you have to do it differently. There are ways for you to invest in real estate without having to manage ANY properties and without having to be a millionaire before you get started. Today I'm going to talk about my personal favorite – crowdfunding.
By definition is "the practice of funding a project or venture by raising money from a large number of people who each contribute a relatively small amount, typically via the Internet." Reading this you're probably thinking, "hmm just like Kickstarter" and yes, it kind of is but only better. Using various platforms (not exclusive to social media) like Real Estate Affiliates, Facebook, LinkedIn, Twitter – the aim is to reach potential investors. The basic philosophy behind crowdfunding is that if many people are willing and ready to invest small amounts in a certain project, the money can be raised much faster. As a real estate crowdfunding investor there are many ways to approach this market but today, we're going to cover the two most popular. Let's dive right in.
This is the most common approach to real estate crowdfunding as it provides better returns than debt investing, (which I will talk about shortly). Equity investments provide better returns, but I'll be honest and say they do come with a slightly higher risk, but what good thing in life doesn't? Essentially, equity investments give investors a stake in a commercial or residential property making them shareholders. Choosing to approach the real estate market in this way means your returns are based on rental income. Should the property be sold, you'll benefit from its appreciation – just like ownership but without the hassle. Generally speaking, returns are released every quarter. Simple? Simple.
The sky is the limit – No really, the sky is the limit as equity investments don't come with a cap on them. Investors may see returns ranging from 18-25% annually with a distinct possibility for more. The more you put in the more you get to pull out.
Fees are no longer an issue – Don't want to pay monthly or upfront? Pay annually and still be a part of something great!
Equity investing is for the patient investors – the ones who aren't looking to make a quick buck and are here for the long-term. The holding period usually ranges from 5-10 years. But if you're in a rush, bear with me, I have something for you too.
It sounds scarier than it is so let me explain. Debt investing means that the investor is in essence, the lender to the owner of the property. You (the investor) would receive a fixed income based on two things: the amount you invested and the owner's mortgage loan rate. Returns are generally released every quarter or every month and your payment will be prioritized during the pay-out.
The returns are steady – You can easily predict what your returns will look like thanks to this straightforward investment structure. Potential returns range from 8-12% – STEADY.
Less risky than Equity Investments – two words: foreclosure action. The AMAZING thing about debt investing is that it's pretty much bullet-proof. If the owner can't pay the mortgage off to the bank, then you can recover your losses.
Debt investing is for the less-patient investors – the ones looking to make a quick-er buck than those partaking in equity investments. As a shorter-term investment, the holding period usually ranges from 6-24 months.
So, as you can see for yourself crowdfunding comes in many flavors, caters to any palette and has presented itself as the solution to individuals who want to be rich but aren't already rich. (Pretty ironic if you ask me) It's all about bringing real estate back to its rightful owners – the people, enabling them to get a taste of what was once reserved for the elite. Now, you get to build your profits brick by brick, online and away from traditional investing narratives. It's a win-win and I know it sounds unreal because one would assume in this day and age for one to win another has to lose, but that's why real estate crowdfunding is gathering so much ground by the day. No one is left with a frown and every party is happy – investor, developer, and real estate crowdfunding platform owner. For the first time, investors can finally have direct access to a large selection of investment opportunities which they can research, browse and MOST IMPORTANTLY make informed decisions about. Crowdfunding and Real estate is a match made in digital heaven and it certainly promises to be revolutionary. Only just having taken off, it has already attracted an impressive number of serious investors. What about you? Are you ready to get serious?


text:
Q: Check if element has child node by id name I apologize if this is an easy question! I'm pretty new to javascript.
I'm trying to check if a div has a specific child element (I'll name it 'child2'). I know about .hasChildNodes() but as far as I know it only lets you know if child nodes exist. I tried .contains like so:
if (parentDiv.contains(child2) == false) {

but even if the parentDiv does contain child2, it still returns false. It seems like such a simple thing to do and I've been trying to search around but I haven't had any luck in pure js. Thanks!

A: You can use querySelector():
var hasChild = parentDiv.querySelector("#child2") != null;

The querySelector() method lets you search the subtree beneath the starting element using the given CSS selector string. If the element is found, its DOM node is returned.

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text:
Home / Books / Non-Fiction / Philosophy
Iamblichus De Anima: Text, Translation, And Commentary
Iamblichus De Anima: Text, Translation, And Commentary quantity
SKU: 9789004125100 Categories: Books, Philosophy
Iamblichus (245-325), successor to Plotinus and Porphyry, brought a new religiosity to Neoplatonism. His theory of the soul is at the heart of his philosophical system. For Iamblichus, the human soul is so far inferior to the divine that its salvation depends not on philosophy alone (as it did for Plotinus) but on the aid of the gods and other divinities. This edition of the fragments of Iamblichus major work on the soul, ""De Anima, is accompanied by the first English translation of the work and a commentary which explains the philosophical background and Iamblichus doctrine of the soul. Included too are excerpts from the Pseudo-Simplicius and Priscianus (also translated with commentary) that shed further light on Iamblichus treatise.
Iamblichus has contributed to Iamblichus de Anima: Text, Translation, and Commentary as an author.The translator of this work, Thomas Taylor, is known for his authoritative translations of the Platonists; he was practically the sole source of Neo-Platonic thought in the transcendentalist movement of New England. Iamblichus ""Life of Pythagoras"" was a constant source of inspiration to the transcendentalists and a major influence on their writings throughout the Nineteenth Century. Taylors work was enthusiastically acclaimed by Emerson, who referred to the translator as ""a Greek born out of his time, and dropped on the ridicule of a blind and frivolous age.""
Iamblichus John M. Dillon
Brill Academic Pub
E-Government In Asia
Food Plants Of The World

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Nate Bargatze - The Be Funny Tour
Presented by Koger Center for the Arts at Koger Center for the Arts, Columbia SC
Comedian Nate Bargatze is stopping by Columbia with brand new clean and relatable material on his be Funny Tour! Make sure to join him at the Koger Center for the Arts Jan. 15 at 7:00 p.m.
Hailing from Old Hickory, Tennessee, stand-up comedian Nate Bargatze has been recognized this year as "The Nicest Man in Stand-Up" by The Atlantic Magazine and a "Rising Star" by CBS Morning. The 2021 Grammy-nominated comedian and podcaster Nate Bargatze is selling out shows across the world. Bargatze's comedy is both clean and relatable, which is evident in his ten appearances on The Tonight Show Starring Jimmy Fallon following four appearances on Late Night with Conan O'Brien. Both of Nate's
Hailing from Old Hickory, Tennessee, stand-up comedian Nate Bargatze has been recognized this year as "The Nicest Man in Stand-Up" by The Atlantic Magazine and a "Rising Star" by CBS Morning. The 2021 Grammy-nominated comedian and podcaster Nate Bargatze is selling out shows across the world. Bargatze's comedy is both clean and relatable, which is evident in his ten appearances on The Tonight Show Starring Jimmy Fallon following four appearances on Late Night with Conan O'Brien. Both of Nate's one-hour Netflix specials, The Tennessee Kid (2019) and The Greatest Average American (2021), premiered globally with rave reviews. In July 2020, the comedian teamed up with All Things Comedy to release his new podcast, Nateland. The world is a crazy place, and there are plenty of podcasts out there tackling the tough issues. However, Nateland tackles the meaningless issues that we face day to day to give listeners a much-needed mental break from fighting the good fight. New episodes release Wednesdays, with video available on Nate's YouTube channel and audio available everywhere you get podcasts.
Tickets range from $37.75-$67.75.
Koger Center for the Arts
1051 Greene Street, Columbia, SC 29201
For all parking information please click here.
Assisted Listening System
MORE FROM Koger Center for the Arts
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Presented by Koger Center for the Arts and Palmetto Opera at Koger Center for the Arts
Columbia City Ballet - Romeo & Juliet
Presented by Columbia City Ballet and SC Philharmonic and Koger Center for the Arts at Koger Center for the Arts
USC Symphony Orchestra - Appalachian Spring and Awadagin Pratt
Presented by Koger Center for the Arts at Koger Center for the Arts
Broadway in Columbia • Hairspray
Koger Center and ColaJazz Present Live in the Lobby Jazz: Wess Warmdaddy Anderson
Presented by ColaJazz and Koger Center for the Arts at Koger Center for the Arts


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Hobart rents hit record high, with online searches eclipsing those for Melbourne
By Rhiannon Shine
Updated April 12, 2018 07:48:01
Photo: Hobart, once in the doldrums of the real estate market price bracket, is rocketing ahead. (ABC News: Alexandra Beech)
Related Story: Tasmania's booming real estate market could be about to soften, industry warns
Related Story: Couch surfers skew Tasmania's homelessness data, service providers say
Related Story: 'No Tasmanians should be without a home': Crown land release to ease crisis
Related Story: Families searching for rental homes label Tasmanian housing summit 'all talk'
Hobart renters are now paying just $10 less weekly than they would be in Melbourne, with median house rents in Tasmania's capital surging to $420 per week, according to a new report.
The Domain March quarter rental report showed Hobart had the strongest annual growth of all the capital cities, with median house and unit rents at a record high.
Housing outlook for 2018
Australia's once booming east coast markets started weakening in the second half of 2017, and most analysts tip more of the same.
Domain data scientist Nicola Powell said Hobart experienced 15.1 per cent year-on-year growth.
"It was the only capital city to record double-digit annual growth," she said.
"There is a number of reasons [for the growth]. We are seeing the available rental stock levels become depleted. Tasmania and Hobart have also been subject to surging population growth which is also putting pressure on the housing sector.
"I think we are seeing investors sway towards short-term leases rather than those long-term leases. That really does put pressure on the long-term leasing private rental market.
"Annually, unit rents in the Tasmanian capital have been on the uptick since December 2013, and median house rents are now only $10 behind Melbourne."
Dr Powell said increasing the availability of affordable rental stock was the key to loosening Hobart's rental market.
"Further rental growth in Hobart is dependent on a rise in supply, as recent building approvals and affordable housing proposals offered by the Tasmanian Government start to take shape," she said.
Photo: A Government plan to ease the accommodation crisis in Hobart has been rubbished by the Opposition. (Supplied: Hobart City Council)
On Wednesday the State Government announced a pilot program that would pay homeowners up to $13,000 if they made their properties available to low-income renters.
The incentive package would match low-income households with suitable, affordable accommodation while providing landlords in the south with a payment of between $10,000 and $13,000, and landlords in the north and north-west with $10,000.
Dr Powell said the plan could help to ease the lower end of the market, provided investors were swayed by the incentives.
"What we have seen in Hobart is record-high tourism levels and so it is attractive for investors to opt for that short-term lease," she said.
"But what we are seeing is that when investors do offer those short-term leases, often the short-term gain in terms of dollar value is much higher than the weekly rent of a long-term lease.
"That is attractive for an investor.
"We are seeing one of the tightest rental markets in Australia in Hobart and I can see that those rental prices are likely to continue to rise."
Labor's housing spokesman Josh Willie described the State Government's plan as a "thought bubble".
"The private rental market at the moment is very lucrative for landlords and we also know that homestay accommodation is very lucrative for landlords," he said.
"There are serious questions here about the effectiveness of this scheme. We don't know any of the details, the Government doesn't know any of the details."
Hobart a hit with online searchers
In a separate report released by the realestate.com.au website on Thursday, Hobart was described as the most in-demand capital city, home to half of the top 10 most sought-after suburbs in Australia.
According to the property outlook report, Hobart listings on realestate.com.au averaged more than 4,500 page views per property, significantly higher than Melbourne's 2,267.
Photo: Accommodation in Hobart is tipped to remain expensive through 2018. (ABC News)
Realestate.com.au chief economist Nerida Conisbee said the combination of a changing economy and low levels of development had increased buyer and renter demand.
"While the rest of Australia has had a development boom over the past five years, the level of development in Tasmania has remained fairly low," she said.
"We are not only seeing very high demand from buyers but we are also seeing higher demand from renters. On one hand it's great news, on the hand you do need to provide adequate housing and I think that is the challenge for the State Government.
"Although there's great news for home owners, it is becoming challenging for those wanting to enter the property market, as well as for renters.
"Hobart is still the most affordable capital city with a median house price of $425,000, however it is starting to get expensive and this is likely to remain the case in 2018."
Topics: housing, government-and-politics, house-and-home, community-and-society, hobart-7000, tas
First posted April 12, 2018 07:01:15
Contact Rhiannon Shine
Tasmania's housing crisis
Push for inquiry into Airbnb as Tasmanian housing woes continue
Families unable to find rentals in Hobart are camping instead
Breakthrough for homeless families as Housing Tasmania urged to release empty homes
Government plays matchmaker with landlords and low-income renters
UTAS unveils $50m plan to fix 'unsatisfactory' student living arrangements
Airbnb spreading to Hobart's outer suburbs, tenants' union warns
'No Tasmanians should be without a home': Crown land release to ease crisis
Families searching for rental homes label Tasmanian housing summit 'all talk'
Joke's over — Tasmania is on the way back
'It's bedlam': Tasmania's economic boom leads to housing shortage
Hobart's new arrivals being greeted by a planning and housing crisis
Woman 'living in cave' among dozens of homeless at Hobart Showgrounds
Tasmanian Government stumps up $500k for emergency accommodation
Tasmania's booming real estate market could be about to soften, industry warns


Lithuania is a nation and the southernmost of Europe's Baltic expresses, a previous Soviet coalition country circumscribing Poland, Latvia, and Belarus. Its capital, Vilnius, close to Belarus' fringe, is known for its medieval Old Town. It likewise has Gothic, Renaissance and extravagant design, and the eighteenth-century house of God based on an agnostic sanctuary site. Ridge Gediminas' Tower, an image of the city and the country, offers clearing sees.
Lithuanians are a Baltic ethnic gathering, local to Lithuania, where they number around 2,561,300 individuals. Another at least million make up the Lithuanian diaspora, to a great extent found in nations, for example, the United States, Argentina, Brazil, Canada, Colombia, Russia, United Kingdom, and Ireland.
Despite the fact that the number of inhabitants in Lithuania is just shy of 3 million, various big names have Lithuanian legacy. From skilled artists to well known performing artists, creators, and even an anecdotal character tossed in for good measure, Lithuanians rank among a portion of the world's most perceived stars. This rundown incorporated Some of the Instagram VIPs from Lithuania.


Drawings of scorpions are tricky to create because this ferocious character is mostly colored in black! But don't worry! It is still quite easy to end up with a cute and funny character.
All you need to do is draw your scorpion using round shapes. Instead of adding only black and dark tones of colors, I prefer to color the illustration with a dark grey tone and add lots of reflection on the character to enhance areas that are hard to read. Simple, but very effective!
First, sketch the character using a simple piece of paper and a pencil. Work on it until you are 100% satisfied. All elements can be modified later on if needed!
Once you are finished, scan your illustration and open your vector application. Add black outlines on all parts. Unlike many drawings available in this section of the site, outlines of the scorpion will remain black once the tutorial is over.
Add a plain color to the character. Like I said earlier, a darker tone of grey can be a good option. Choosing a darker color can make the illustration hard to read while a lighter tone of grey won't be realistic.
Use the gradient tool to add a basic shadow to your drawing. Each element must be modified individually if you wish to end up with a result similar to this one. All drawings of scorpions cannot be the same, but it's nice to follow a similar path if you want this tutorial to be helpful.
To have stronger shadows on your scorpion, you need to create additional shapes and color them in black.
Use the transparency tool to partially hide the top part of each shape. Make sure that your light source is relevant on all parts of the body. Now we have good-looking shadows and the character already looks more interesting.
Shadows are nice, but adding reflection on the character is also important to give more depth to the illustration. To do so, simply duplicate all shapes. Then, scale them a little bit so that they end up slightly smaller than the original ones. Finally, color these new shapes in white.


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package org.lantern.event;

/**
 * Event created when we're shutting down.
 */
public class QuitEvent {

}

redpajama_set_name: RedPajamaGithub


Katcher- Robert A. Attorney (Corporate Business) is practicing law in Washington, District of Columbia. This lawyer is listed on Lawyer Map under the main category Lawyers - All in Corporate Business.
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You probably already know that beans are a frugal way to extend your grocery budget. Many people also know that they are healthy – they provide protein and fiber, are low on the glycemic index, improve disgestion to list just a few of their benefits. However, many people – especially children do not enjoy them.
We have been eating more beans lately for all of the above reasons. I was fairly skeptical at first but I am quickly becoming a believer in the tastiness and versatility of beans. I have found one way to make them more palatable to my children is if they are mashed. Recently I made white beans and mashed them up like potatoes, and they were a big hit. My children enjoy refried beans in tortillas. Of course, the cheese and sour cream probably doesn't hurt either.
Tonight we had one of our new favourites – Black Bean and Quinoa Burgers. Basically you use cooked black beans and then mix them with whatever you would normally mix with meat for making burgers. We also add quinoa – about a quarter to half a cup for every two cups of beans. You can use canned beans, but I prefer to cook ours.
Cooking beans used to scare me. I thought I had to soak them overnight which is a bit too much pre-planning for me. I have learned that I can measure out what I need cover them with at least one to two inches of water and boil them. After they simmer for a couple of minutes I turn them off for an hour. Then I drain the water, add more and cook them until soft. I used to do it in my slow cooker, but it recently broke so I've found that I can cook them almost as easily on the stove.
These burgers are so delicious. My children love them especially when I pair them with homemade baked fries. We don't often use hamburger buns. I consider them extra carbs we don't necessarily need, but we have eaten them buns. They are every bit as good as their meaty cousins.
As I try new bean recipes I'll let you know how they go down with our children. What is your favourite way of fixing beans?


Where are they? Another solution to Fermi's paradox.
Fermi's paradox is the most frequent objection to the idea that there exists intelligent extra-terrestial life.
Now there's appears to be a new solution to the paradox – perhaps the implicit assumption that populations of sentient beings will grow continuously and exponentially is wrong.
"The problem is that this kind of growth may not be possible and they look at Earth as an example. For any expansion to be sustainable, the growth in resource consumption cannot exceed the growth in resource production. And since Earth's resources are finite, it has a finite mass and receives solar radiation at a constant rate, human civilization cannot sustain an indefinite, exponential growth.
So we'll have trouble colonising the galaxy, if we ever decide that's necessary. At the very least, the spread of our civilisation will not be exponential, if it is possible at all.
Interesting idea. Certainly we can see how difficult it is to create sustainability in social organizations. Church congregations for instance seem to have at least four inherent population plateaus – at least in the Episcopal Church – according to research Arlen Rothage did back in the 70's. It's possible to overcome the plateau limit, but it takes a great deal of work.
Perhaps this same phenomenon is at work in the galaxy. Planetary civilizations might be limited in the degree that they can expand by technology and/or lifespan issues. Perhaps there are plateaus at the planetary, the planetary system level and at the interstellar level. Which would make sense – each scale involves multiple order of magnitudes scale changes.
I wonder if there's a ubiquity or fractal distribution law at work? I've wondered that for some time about whether that exists for congregation sizes. We know that it exists for city sizes. Seems like the same basic resource and scaling plateaus that exist here on earth would exist in the galaxy as well.
Nicholas, your reflection here reminds me a bit of the dialogue in one of the later chapters in Lewis' Perelandra, where Ransom contests the idea of a perpetual progressivism and unlimited growth for humanity. A finite universe must rule that out.
I had one of those early morning corrective thoughts, realizing it isn't in Perelandra but in Out of the Silent Planet that the dialogue takes place.
I think the aliens interface and evolve with thier nano, bio, info, technology and actually change states of being. They leave the cosmic egg, or fish bowl. All the talk you hear today about the coming technological singularitiy producing post-humans fits nicely with the fermi paradox, and Christianity. There is a better place in our future.


The regular monthly ASNC#25 meeting was held June 24, 7:00 PM, at the Centerpoint Energy Building, 12330 Bellaire Blvd.
Chairperson, Barbara Quattro, called the meeting to order at 7:00 P.M. Roll Call of Council members was done by sign-in sheet. A quorum was met later in the meeting (see attached).
GUESTS: Veronica Hernandez (COH Mayor's office); Catherine Le (Congressman Al Green's office; Richard Nguyen (COH District F); Alicia Hetz (Nextdoor,com); and representatives from AISD and several local HOA's.
HOSPITALITY:–Hospitality was provided by HCC for this meeting and a thank you certificate was presented to them. Hospitality providers are encouraged to volunteer.
CHAIRS REPORT HPD dropped off a police report on Alief crime to pass around. Barbara Quattro noted that there are errors at the ASNC Wensite and vandalism had occurred at the garden in the form of cars running over the plots. She invited District F Councilman to address the audience. In addition, she noted that the Candidates Forum would take place in September instead of October.
Richard Nguyen, City Councilman, District F- Mr. Nguyen expressed his support for the Alief area/community and asked for suggestions for help from his office. Mr. Nguyen stated that he voted in favor of the recent Houston Equal Rights Ordinance (HERO). There are repeal petitions circulating. Issues he addressed included: cameras for illegal dumping, gameroom closings, punishment for tagging, gangs, after school programs, matching grants, and that $1M will be given to each councilmember to assist in their district needs for improvements/maintenance.
Nell Bradley, HCC Ms. Bradley briefly discussed efforts to encourage METRO to place a bus stop near the Bissonnet campus. There used to be one which was removed in 2007. She remarked that there are no sidewalks, a two-mile walk from the closest bus stop, and HCC enrollment has tripled creating a definite demand.
Alicia Hetz, Nextdoor.com Ms. Hetz presented an overview of the nextdoor site. The site is a way to encourage neighborhoods to stay in touch with neighbors through restricted email service which includes announcements, security, items for sale, uploading of flyers of interest. She can be reached at 832-385-2403.


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Indonesian Minister Edhy Prabowo Arrested Over Lobster Seed Export
November 25, 2020, 08.04 PM
Dok. KKPMaritime Affairs and Fisheries Minister Edhy Prabowo was arrested by the Corruption Eradication Commission (KPK) over lobster seed exports in Soekarno-Hatta International Airport on Wednesday, November 25, 2020.
Writer Dezy Rosalia Piri
JAKARTA, KOMPAS.com – Indonesia's Corruption Eradication Commission (KPK) has apprehended Maritime Affairs and Fisheries Minister Edhy Prabowo in a sting operation held in Soekarno-Hatta International Airport near the capital on Wednesday.
KPK deputy chairman Nurul Ghufron said during the operation, which was held in the early hours, Edhy was arrested alongside his family members and other officials from the ministry.
"They were arrested early this morning at 1:23am at Soetta [Soekarno-Hatta International Airport] alongside the ministry's officials and family members," Ghufron said on November 25.
His arrest was related to an alleged graft case in lobster seed exports.
"Yes, KPK apprehended [him] for an alleged graft case related to lobster seed exports," he said but did not elaborate.
Also read: Indonesia Plans Rewards for Navy, Maritime Patrol in Stopping Smuggling
Later in the day, KPK acting spokesperson Ali Fikri said that the operation has arrested Edhy for alleged involvement in the graft case related to the process of choosing candidate companies to export lobster larvae.
Ali said 17 people were apprehended by the KPK investigators during a series of sting operations in Jakarta, Depok, and the Soekarno-Hatta International Airport on the outskirts of the capital city.
The 17 people include the minister, his wife, a number of ministry officials, and representatives from the private sector.
Also read: Foreign Ships Continue Illegal Fishing in Indonesia's North Natuna Sea
"Currently, the KPK is still undergoing intensive questioning of the 17 people," said Ali.
The KPK has also seized some items, including an ATM card that is suspected of being connected with the alleged corruption.
Previously, the export permits granted by the ministry had generated controversy.
Media reported that some politicians are said to have held key positions in the candidate companies for lobster seed exports.
In his response at that…
Maritime Affairs and Fisheries Minister Edhy Prabowo arrested
Lobster seed export
Corruption Eradication Commission (KPK)
a sting operation
Senior Indonesian Minister Doubt 2021...
Foreign Countries Express Condolences Over...
Indonesia Highlights: Government to Protect Shia,...
Indonesia Highlights: Indonesian Eximbank Receives $200...
Indonesian Covid-19 Positive Airline Passengers Entitled...
Indonesian Eximbank Receives $200 Million Loan...
Indonesian Soldier Disappears during Operation in Papua https://go.kompas.com/read/2020/11/25/195226174/indonesian-soldier-disappears-during-operation-in-papua https://asset.kompas.com/crops/V9cHtgshzffr2P_L3T3Bp3BVN14=/0x0:800x533/195x98/data/photo/2020/11/24/5fbd2e160127f.jpg
Indonesian Soldier Disappears during Operation in Papua
Indonesia Highlights: Jakarta Asked to Get Tough on Covid Fight | Businesses in Indonesia Suffer Major Loss | Young Indonesians Unaware of Regional Elections Candidates
Govt Urged to Work with Ulama Council to Ensure Covid-19 Vaccine Meets Halal Standards
Survey: 9 in Every 10 Companies in Indonesia Incur Losses due to Pandemic
Indonesian Police Nab Netizen Over Social Media Insult


The Ranger model RFJ-3000AL Aluminum Racing Jack is made of the strongest aircraft alloy aluminum available. Not only does it weigh in at a feather-light 39 lbs., but it gets any racecar or hotrod a full 17-3/4" off the ground in just four pumps of its knurled aluminum handle. With a low 3-1/2" profile front-roller, the RFJ-3000AL is perfect for working on ground-hugging, low ground-clearance performance vehicles. The Ranger R745 is a rigid tower tire machine designed to handle the needs of heavy volume tire shops. A sturdy body, rigid 45mm hexagonal vertical shaft, and hardened-steel horizontal outrigger support arm eliminates flex during all tire service procedures to reduce the chance of expensive wheels getting damaged.


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Deadly fungus spreads in N.J. with more than 100 confirmed cases
By Michael Sol Warren | NJ Advance Media for NJ.com
A deadly drug-resistant fungus is spreading in New Jersey.
Candida auris, which is typically found in healthcare facilities that take care of patients with ventilators like hospitals and nursing homes, is causing serious infections across the United States, according to the New Jersey Department of Health. The fungus is resistant to the medicines typically used to treat fungal infections.
More than one in every three patients that develop an invasive Candida auris infection — like an infection affecting the heart, brain or blood — die, according to the Centers for Disease Control and Prevention.
According to the DOH, there were 141 confirmed cases of Candida auris in the Garden State as of September 30. The state also noted another 22 probable cases of the fungus.
The fungus poses the largest threat to patients that have other health problems. Symptoms of Candida auris infection are not always noticeable, according to the CDC, because patients are often already sick with another illness.
A patient can carry the fungus without contracting an infection, a scenario known as colonization according to the DOH.
The fungus was first discovered in 2009, according to the CDC, and New Jersey has been dealing with the Candida auris for years now. In 2015, a patient who died of a brain tumor at Robert Wood Johnson University Hospital in New Brunswick was found to have had the fungus.
The CDC reports that there were 806 confirmed cases of Candida auris nationwide as of August 31. New Jersey had the third largest share of those cases, trailing only Illinois and New York.
The CDC warned hospitals to start looking for the fungus in 2016, and the number of confirmed cases in New Jersey has grown since then.
In May, Sen. Chuck Schumer, D-New York, called on the CDC to declare an emergency for the fungus.
Michael Sol Warren may be reached at mwarren@njadvancemedia.com. Follow him on Twitter @MSolDub. Find NJ.com on Facebook.
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The RapcoHorizon Company Announces Its "Outfit Your Band" Promotion
Grand Prize Winner to be Revealed During the 2012 NAMM Show
JACKSON, MO, NOVEMBER 28, 2011 ? The RapcoHorizon Company, a leading manufacturer of audio/video interfacing and cable equipment, announces its "Outfit Your Band" Promotion, the company's largest to date. One Grand Prize winner, to be revealed online and at the 2012 NAMM Show (Booth 4558), will receive a 16×4 snake and every mic, speaker and instrument cable needed for his or her band's performances. As part of the promotion, RapcoHorizon will also give away one i-JAM 3-n-1 Smart Phone Interface every Friday until the 2012 NAMM show.
To be considered for the "Outfit Your Band" Promotion, beginning Monday, November 28, 2011, RapcoHorizon fans must go to the contest tab on the company's Facebook page, located at http://www.facebook.com/RapcoHorizon. On this tab, contestants must enter their email address and local dealer store number, which can be obtained by visiting their local RapcoHorizon dealer and locating the store ID number printed on the promotional signage. The Grand Prize winner will be announced on Friday, January 20, 2012, during the 2012 NAMM Show — through Facebook and at The RapcoHorizon Company booth (#4558). The winner will also be contacted via email.
For a chance to win an i-JAM 3-n-1, users must become a fan of The RapcoHorizon Company on Facebook at http://www.facebook.com/RapcoHorizon. One winner will be chosen randomly each week from the company's fan list. Each weekly drawing will be announced on the RapcoHorizon fan page. Winners will also be contacted through their Facebook accounts.
RapcoHorizon dealers also have the opportunity to win an i-JAM 3-n-1. For every weekly winner who mentions his or her local retailer, The RapcoHorizon Company will also award one i-JAM 3-n-1 to the store that directed the user to the Facebook promotion.
For more information or to become a RapcoHorizon Company Facebook fan, please visit http://www.facebook.com/RapcoHorizon.
The RapcoHorizon Company, located in Jackson, Missouri, is one of the world's largest manufacturers and suppliers of audio, video, home theater, data and telecommunications cable in both bulk wire and assemblies. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, The RapcoHorizon Company's products provide optimal flexibility and premium performance. The company's state-of-the-art Custom Shop can modify existing products or build new devices to meet any need. For more information, please visit The RapcoHorizon Company's website at www.rapcohorizon.com.
The RapcoHorizon Company Extends Its "Outfit Your Band" Promotion
The RapcoHorizon Company Debuts First Full-Line Company Catalog at the 2013 NAMM Show
RapcoHorizon Announces Acquisition of Lava Cable Company
HARMAN's DigiTech Debuts TRIO Band Creator: A Band Inside a Stompbox
Buckcherry Rocks with The RapcoHorizon Company
The RapcoHorizon Company RoadHog Cables are the Go-To Solution for Rock Bands Around the Globe
The RapcoHorizon Company Rips Up the Stage and Raffles Off an i-JAM at Warped Tour 2012