New tattoo every Tuesday. I’m so glad that I get a new tattoo on every Tuesday because I learned about all the different fonts that contain awesome semicolons. I chose Gastada because it is the manliest. I also learned about the very awesome Semicolon Tattoo Project. #tattuesday
Here is an advertisement for Day’s Jewelers and Appliance store from the late 1960s. Days is still running in Portland today, though they only sell jewelry now. Back then a color TV was $379.95 while a diamond ring was $150.00
Holy wow. It was an exhausting week filled to the brim with great new plays.
Standouts include Dolphinephilia, a trippy farce based on the true story of Margaret Howe Lovatt. It was presented by the mysterious Marine Mammal Communication Project. Also in the realm of the absurd was Aliens vs. Beckett, a spin on the classic Waiting For Godot, and presented by the always slimy Crowbait Club. And The Green Room, a hilarious one-man show featuring a man arguing with his sock puppet.
And those were only from the shows that I saw. The festival featured dozens of acts, and after soldiering through this week, I commend all who gave the effort for their art.
Megan, as per her usual mode, outdid herself. She acted in three plays, and wrote/directed one as well. I really enjoyed the perky conversations of Take the Long Way home, and the excellent set designed by Carl Currie. And Megan’s performance in the poetic Boy Come Home was perhaps the best of her career.
I also acted in my first PortFringe show. I shared the stage with my wife, as well as the talented Adam Ferguson and Kristina Balboa in Allie Munier’s comedy I Can’t Take You Anywhere. It was an honor to act in such a well-written and humorous play. I hope Allie submits it to more festivals.
I shaved my beard for my art. Most people liked it, while others, myself included, found it strange to see my bald face. One person said that I looked like a creepy pedophile, and that hurt a bit. I’ve never quite understood that comment. How does one look like a pedophile? Perhaps it says more of the describer than it does of the described.
I’m glad the week is over and that we can get a break. Enjoy some photos.
In this post, we’ll look at the band in their post hiatus days from 2009 – present. They are of course more mature, as you’d expect them to be after creating music together for 30-ish years. They’re also fresh off a break in which they’ve had time to do their own things and reflect. It’s impressive that they can still inject energy into their old crowd favorites like this “Cavern” from 2009.
Or this “Twist” from 2014 with a fantastic long-form jam.
They were also writing some great new music. “Kill Devil Falls” sounds like it is about a person fresh out of rehab, reflecting on addiction. Here is a ripping version from 2010.
And it’s always nice to hear from Page on the keys, who rarely writes songs with words. Here is a beautiful “Halfway to the Moon” from 2014.
They also debuted an album by playing 8 of its tracks for the first time live on stage before it ever hit the record stores. Here is the title track “Fuego”.
And finally, one of my favorite new tunes from this era, “Alaska” from 2011.
I hope you enjoyed post-hiatus Phish. As always, Phish is best experienced by listening to an entire concert. Here are a few great, full-length shows from the post-hiatus era.
In this, the second in a series of writings to express my love for the band Phish, I present favorite songs from the late 1990s. This is their epoch of super stardom, when they were playing three days of music for 85,000 folks. This era was a bit different from the early 1990s which I covered in a previous post. You should definitely start with that article if you haven’t read it already.
They were still playing their standards, becoming classics now with the passage of time, with more gusto and with tighter precision. Take for instance “The Curtain” from 1996 at their first multi-day festival, The Clifford Ball.
Or this epic Julius from later the same year:
And they were also creating a great deal of new songs. Try this “Cars Trucks Buses”, a keyboard driven instrumental from 1997.
Or this “Birds of A Feather” from the same year:
And finally here is one of my favorites from this era, “My Soul” from 1998. I was lucky enough to catch it at The Great Went.
I hoped you enjoyed Phish from the late 1990s. As always, to fully appreciate the band and their endurance, you should try listening to entire show in order. Here are a few reccomendations on Spotify.