Venues not attached to specifics

So I have been trying to cull information from the Big Steve show, which is just amazingly rich with all kinds of wonderful little anecdotes and tales. They don't always line up with the historical record precisely, but the man has an amazing memory and it's all right even when it's not strictly correct.

A few venues have popped up that he discusses for which we have no known specific dates, all mentioned in the context of Garcia On The Side (GOTS). I would love to hear if anyone has memories of Jerry playing these places, or any additional information. Will probably post more as I come across them. update: I have started adding venues thought to have been played, reportedly played, not form the Big Steve Show, but from everywhere.

Belly Up Tavern, Solana Beach, CA: experienced and reliable SoCal Deadhead "Paula S. Morgan" said on twitter that she recalls seeing Jerry Band play here in ca. spring 1980.

Frenchy's, Hayward. Big Steve came into the scene in the late 60s, so he is not referring to Warlocks playing there. He seems to discuss it in context of GOTS. But we have no GOTS dates for this venue at Jerrybase.

Paul's Saloon, San Francisco. Grisman had said that Old And In The Way played here (Forte 1979a, 34). It was the center of the Bay Area bluegarss universe for a minute, when bluegrass had its first really huge moment right at the time OAITW was happening. I think a weekly bluegrass show was broadcast from here, as well. But no specifics have ever emerged. Update: in a 2010 correspondence which I just rediscovered, David said "I think Jerry & I dropped in there one night and played a few tunes (in the early days when the back of the stage was in the front window) but the band never had a gig there"

Sand Dollar, Stinson Beach, mentioned in the same breath as the Red Whale (later, The Brigg) and in the context of Old And In The Way and the Stinson period.

Scoreboard, San Rafael: Just seen on FB: "Jerry and Merle would play at the Scoreboard [bar/club] when the Dead were not on the road. The Dead office was two blocks away in downtown San Rafael. This was mid to late 70's." My money is on January 3-4, 1975. More on that eventually.

Stepping Stone, Willits, CA. JGBP has hipped me to a youtube comment indicating that Great American String Band played its first gig at the Stepping Stone in Willits, CA. An online piece says that JGMS played there ca. early '74, and an attendee recalls such a thing.

"Whitey's Place", San Rafael: JGMS "play at some little clubs around Marin, but mainly at Whitey's place in San Rafael" (Scully 1996, 201). This is Whitey Litchfield. Not clear if he is referring to Pepperland, or whether there was a bar attached to the uber-seedy Bermuda Palms (home of a large number of events figuring on the local police report over the years - lots of prostitution, robberies, stabbings, drug deals, etc.).

Woody's Tavern, San Francisco. Harry Angus has sniffed around this one for me, and has found Woody's Tavern, 41 Powell Street, Owner Joe Francisco, listed in the Polk's Directory 1969-1973, then gone.

xxx Rehearsal space next to Red Tillman's automotive shop, Jacoby Street (now a different street name), San Rafael, ca. September 1971 when Keith was being rehearsed.

Stinson History

Stinson Beach Music Scene Time Line: 1960s to the Present

The site above was just brought to my attention. I can't find an email for anyone in the organization based on a cursory search, so I thought I post some reactions here.

The prompt for all of this is the newly digitized source for the OAITW gig at the Stinson Community Center on September 30, 1973, same source tape as an older source I have sketchily blogged. I haven't had time to look back at this in detail, but I also want to pin Corry's post on an early OAITW gig at a Stinson Beach bar.

The point of this post is to post some corrections and ask some questions about entries in the Stinson Historical Society page that heads the post. If anyone knows any of the principals and wishes to draw their attention to the corrections, they might be interested.

“Blows Against the Empire” and “Mexico” (1969) - Jefferson Airplane

Recordings for BATE started in July 1970, just to be clear. Not sure what the Stinson connection is supposed to be here.

1970 – Peter Rowan moves to Stinson Beach from Mill Valley, where he had been playing in bands such as Seatrain and Earth Opera. Also recently been spending time playing with bluegrass legend Bill Monroe. He moves into a house on Calle del Ribera and pays $100/month in rent. He ends up writing one song inspired by Stinson Beach: “Riding the Rainbow in the Sky,” which was never released on a record.

The liner notes to Breakdown say PR arrived in Stinson Beach in October 1972.

8/27/71 - Jerry Garcia and others play at the club known as “The Red Whale,” which is located where the current Stinson Beach Water County District is located on Highway One just past the turn off for Calle del Arroyo. It would later be renovated and renamed “The Brigg.” Still later, it would be renovated again and renamed the “Over the Hill Bar and Grill.”

Mmmmm, a specific date which I don't have. I would love to know the source of this information! In the meantime, I will add it to my spreadsheet. I am presuming this would be the NRPS warming up earlier in the day before gigging at the Longbranch this night, but of course I can't be sure.

One rumor has it that the only time Jerry Garcia met John Lennon was during this time period in Stinson Beach.

Sounds familiar, but I will pin this possible crossing here.

Autumn 1972 – Jerry Garcia & David Grisman play bluegrass music several times, with Jerry practicing his banjo whenever he can after they bumped into each other at Ed’s Superette as Garcia was buying cigarettes.

I thought the story of their hooking back up in Stinson was that Pete Rowan walked Dawg (or vice versa) up the hill to Garcia's. This doesn't rule out that they bumped into each other at Ed's Superette, of course.

January 1973 – ... After playing at “Avila's Barn,” Jerry Garcia names David Grisman "Dawg" after he saw dog following Grisman on the beach at Stinson.

Avila's Barn doesn't ring a bell to me, though I bet that if I check Corry's "unknown bar" post it's mentioned there. update: I think the name is not "Avila" but Avella - so, Avella's Barn. I have changed it in my tag.

1973 [sic] - Goldie Rush starts Round Records above Ed’s Superette in 1973

First, the name "Goldie Rush" was new to me, and it shouldn't be, because apparently she was heavily involved in Round Records. Second, though, 1973 is too early, at least for "starts" in any formally institutionalized sense. Round Records was incorporated in the state of California on January 22, 1974.

1977 [sic] – David Jenkins (guitar) and Cory Lerois (keyboards) move to Stinson Beach, both members of the band Pablo Cruise. Lerois buys Mountain Girl/Jerry Garcia’s old house, and does a major remodel.

No. This was early 1978.

1979/1980 – The band “The Edge” is formed by Lorin Rowan, Mark Stein, Jim Dillon, Keith Glanz and Ozzie Ahleve [sic]

Correction: last fellow's name is Ozzie Ahlers.

Reading Notes: Signpost to a New Space and Stoned Sunday Rap

These are "reading notes" - little stuff I cull when I read. I copy and paste the quotes into thematic documents (e.g., drugs.docx), so all of this has been "processed" out of the book, and up one level, into thematic or other kinds of buckets.

You may not find the quotes of greatest interest to you. Obviously I am doing this for my own purposes.

Reading Notes - Loren 2014

Loren, Richard, with Stephen Abney. 2014. High Notes: A Rock Memoir. Demariscotta, ME: East Pond Publishing.

When I read a book that I will need to be able to cite chapter and verse, this is how I arrange the chapters and verses. I just pull out quotes and other observations, I effectively tag them, and I sort them into the relevant files. So these aren't really reading notes, just cullings.

That said, I think Richard Loren's book High Notes is nice, well-written, informative, warm but also suitably dispassionate and detached. I learned a lot. Some of the many things of interest to me are David Grisman, Rowan Brothers, Stinson Beach, OAITW, drugs, banjo, Hells Angels, official releases, John Scher, John Lennon, Europe, The Movie, Nicky Hopkins, James Booker, Sirens of Titan.

Notes below the fold.

OAITW at Homer's Warehouse - March 4, 1973

This started off, and can still function, as a post with the setlists for the 3/4/73 OAITW gigs at Homer's Warehouse. But now there are a few other fragmentary thoughts.

Jerry Garcia lived an idyll at Sans Souci (18 Avenida Farallone, Stinson Beach, CA, 94970, map). It was his most domestic period, living with MG and their daughters Sunshine Kesey and Garcias Annabelle (b. 2/2/70) and Trixie (b. 9/21/74). I have lots to say about Sans Souci, but not here/now. Idylls pool time up, and idyllic Sans Souci hearkened pretty deeply to the past, in some ways the counterbalance to the amazing professional growth Jerry was living with his side projects (the first big one of which, Garcia, had bought them the house) and, especially, the Dead.

Breaking out the old banjo, which he hadn't played in a sustained way since about 1963, is of course a throwback move, both in terms of Jerry's biography and, of course, in the tapestry of American music. With old and new musical friends David Grisman, Peter Rowan and often involving Chis Rowan and Lorin Rowan [a.k.a. "The Brothers"], OAITW formed a pretty pure roots project, a deep dig into rural white American musical canon, Garcia on 5-string banjo, an ancient African instrument which was one of so many to cross putative racial divides. The pull of the past is strong in OAITW.

But it also has a real fresh taste of ambition and hard work, even leaving aside stuff like starting a record company (which would happen on July 15, 1973). Just musically, picking up the banjo in ca. late 1972 and getting serious about it in 1973 is really grasping the nettle. Once before Garcia had walked away from banjo because it just demanded too much self-discipline, too much time to do right, an instrument which could only be attacked with a single-minded fury, rough on the dilettante. It posed a real challenge, he knew this, and he tackled it, again, practicing not only religiously at home, as Mountain Girl recounts, but bringing his banjo on tour with the Dead ("You know that banjos act funny at weird altitudes? Why, my banjo sounded just great in Salt Lake City" – Jerry ca. 3/13/73 [Tolces 1973]).

In Garcia's world, you know it's getting good when it goes public, from sitting on the edge of the bed to standing onstage, with an audience which may well be paying for the privilege. After a particularly tasty take of Grisman's "Old And In The Way" in a Stinson Beach living room, Garcia made these boys an offer they couldn't refuse. "Beautiful. We've got a full band. We can go down and take over Sweetwater. ... We'll just work up a few tunes and take it on down there. Kreutzmann owns the place."[1] The fly on the wall reports that this is the birth of the idea of taking the band out in public, gigging around. Playing Sweetwater is not getting paid, in all likelihood, maybe some beer and coffee. Playing the bar in Stinson Beach, maybe not any different. But when the curtain draws and things go public in the Garciaverse, Mr. Price Mechanism shows up soon enough, and these young go-getters tear out of the gates like bats out of hell, with six live gigs and a live radio broadcast in four days! They certainly didn't lack for energy.[2].

Table xxx. Old And In The Way but Fast Out Of The Gate.

The band's third night out found it the newly up-and-running and frequently rocking Homer's Warehouse in Palo Alto, at 79 Homer Avenue (map). This is a nicely burnished picture: Garcia hadn't played the banjo regularly in ten years, and he hadn't played Palo Alto regularly in a decade, either. Between times, there were a few visits to Stanford, with Jerry and Merl opening for Big Black at the Frost Amphitheatre on 10/3/71 (Grushkin 1971, JGMF), and the Dead playing Maples Pavilion on 2/9/73, but Garcia's last gig in a Palo Alto club had been a flurry of woodshedding arrangements at the Poppycock in late 1969. Before that was probably with the Mother McCree's Uptown Jug Champions and, as pre-Dead, falls beyond my scope. "This would be a homecoming of sorts for Jerry", Bernstein notes. "He'd not been around Palo Alto for a while, and we wanted him to feel comfortable. Perhaps he would return for more appearances if it felt right to him. We knew this was a great opportunity to make a splash. All fingers and toes were crossed" (Bernstein 2013, 114).

It sounds like Mr. Price and Ms. Vibe danced well together this night. Some color:

["Peruvian Marching Powder"] was making its way around the Purple Room-not copious amounts, just enough to keep things lively. The band all wanted coffee, no beer or anything stronger. Of course, there was always a joint going around. At the bar, we had sold more beer than anticipated and thought we'd run out of kegs because Lou, the driver, had not completely filled our order. I called the president of the Coors franchise, a nice Italian guy, and told him the driver cut me short on kegs. He apologized. He couldn't take a truck out of the yard, but he would leave his home, pick up six kegs with his Lincoln, and bring them over to us. Midway through the dynamite second show, he arrived with his son and brought all six kegs through the back door. He said the keg driver was cutting everyone short, just to make trouble in anticipation of a teamsters' strike in the Bay Area (Bernstein 2013, 116). 

Color is great, but we can also engage the subtleties of chiaroscuro,[3] maybe a sepiatone of a simple day-in-the-life of an ambitious, engaged, super-talented, successful thirtyish professional, Jerome John Garcia. He rolls up at 1 in the afternoon for two Sunday shows, smokes and picks some, plays protean video games for two hours while drinking black coffee, plays two sellout shows (three encore calls at the early show, "the audience went wild after the second" one), plays another hour of games and drives Pete Rowan and himself home (Bernstein 2013, 113-118). Not too bad, all told.[4]

Setlists follow.

Old And In The Way

Homer's Warehouse

79 Homer Avenue

Palo Alto, CA 94301

March 4, 1973 (Sunday) – 3 PM and 9 PM

no known recording

--3 PM early show (main set + encores) (10 songs, max 90 minutes)--

--main set (7 songs, ca. 60-75 minutes)--

The Willow Garden

Going To The Races

Wild Horses

Soldier's Joy

Land Of The Navajo

Lonesome L.A. Cowboy

Blue Mule

--encores (3 songs, ca. 15 minutes)--

Panama Red

Till The End Of The World Rolls 'Round

White Dove

! setlist: The set and encore structure are not made explicit on AB's setlist, but he recalls "After an hour and a half, the band finished [a] third encore to thunderous applause", and lays out this list (see Bernstein 2013, 116-117).

--9 PM late show (12 songs)--

Going to the Races

Katie Hill

Till the End of the World Rolls 'Round

Panama Red

White Dove

Knockin' on Your Door

Fanny Hill

Land of the Navajo

Wild Horses

Blue Mule

Lost

Hard Hearted

! ACT1: Old And In The Way

! lineup: Jerry Garcia - banjo, vocals;

! lineup: David Grisman - mandolin, vocals;

! lineup: John Kahn - bass;

! lineup: Peter Rowan - guitar, vocals.

JGMF:

! JGC: none as of 12/28/2014.

! db: none as of 12/28/2014.

! map: https://goo.gl/maps/vR7s7

! metadata: solid as a rock, via Bernstein 2013, 113-118, ads in the Stanford Daily.

! ad: Stanford Daily, February 23, 1973, p. 6; bills"Bluegrass music with Old And In The Way featuring Jerry Garcia [name was larger, prominent] plus the Rowan Bros." This ad also had some other gigs, Nick Gravenites and whatnot.

! ad: Stanford Daily, February 27, 1973, p. 6; this one is just OAITW. "The New Homer's Warehouse ... presents Old And In The Way featuring Jerry Garcia formerly with The Warlocks, David Diadem formerly with Earth Opera, Peter Rowan, formerly lead guitar with Sea Train. Special guests The Rowan Brothers."

! ref: Arnold, Corry. 2013. February 1973, unnamed bar, Stinson Beach, CA: Old And In The Way. Lost Live Dead, June 6, URL http://lostlivedead.blogspot.com/2013/06/february-1973-unnamed-bar-stinson-beach.html, consulted 12/28/2014.

! ref: Bernstein, Andrew J. 2013. California Slim: The Music, the Magic, and the Madness. Xlibris LLC.

! ref: Grissim, John. 1973. Garcia Returns to Banjo: Splendor in the Bluegrass. Rolling Stone, April 26, 1973, p. 14.

! ref: Grushkin, Paul D. 1971. Garcia, Saunders Impressive at Frost. Stanford Daily, October 5, 1971, unknown page [JGMF].

! ref: McNally, Dennis. 2002. A Long Strange Trip: The Inside History of the Grateful Dead. New York: Broadway Books.

! ref: Tolces, Todd. 1973. Jerry's Bluegrass Boys. Melody Maker 48 (April 28): 35. [JGMF reading notes].

! seealso: JGMF: URL http://jgmf.blogspot.com/2011/07/oaitw-19730305-inn-of-beginning-cotati.html.

! seealso: JGMF: URL http://jgmf.blogspot.com/2012/04/ln-jg1973-05-04jgmsallsbd.html

---

[1] "Bluegrass at Grisman's" (sound recording).

[2] Note another pattern that we have often had occasion to observe: new band = off-the-beaten path, smaller, and/or off-night gigs. The Share in San Anselmo, Homer's in Palo Alto, and the Inn in Cotati certainly qualify.

[3] As, e.g., on display at http://jgmf.blogspot.com/2014/12/free-caravaggio.html.

[4] Morbidly, contrast with Pigpen, who is on his deathbed and would pass away on Thursday, March 8^th (McNally 2002, 447).

Zimmy at Sans Souci

Many counter culture luminaries found their way to Sans Souci in those days. On one memorable occasion, Grisman brought Bob Dylan along for a rehearsal at the house. "It was kind of exciting," [Mountain Girl] remembered. "I baked chocolate chip cookies, and they all seemed to be having a rousing good time, playing together in the living room for hours."

I don't think I knew that Zimmy picked with Jerry and Dawg at Sans Souci. Did you?

! ref: Liberatore, Paul. 2013. Lib at Large: Grateful Dead icon Jerry Garcia's first Marin house for sale for nearly $4 million. Marin Independent-Journal, November 1, URL http://www.marinij.com/marinnews/ci_24437404/lib-at-large-grateful-dead-icon-jerry-garcias, consulted 11/29/2014.

The New National Anthem of Bluegrass: OAITW, Stinson Beach Community Center, September 30, 1973

 LN jg1973-09-30.oaitw.all.aud.11862.shnf

Old And In The Way
Community Center

32 Belvedere Avenue

Stinson Beach, CA 94970
September 30, 1973 (Sunday)

This old fileset (shnid 11862, probably created around September 2002) has always interested me. The format of the info files was very distinctive around a whole big batch of the iffily-lineaged OAITW shows. The material was obscure and remains, I am persuaded, almost wholly unlistened-to (though widely collected). The tapes tend to be a little rough around the edges. Information is sketchy. But whichever grizzled old OAITW fan(s) preserved and digitized these tapes, I thank you. Because they capture some fantastic music.

Case in point: Sunday, September 30, 1973, at the Stinson Beach Community Center. Stinson Beach is very evocative for all kinds of reasons. First, if you’ve ever been there, well, you understand it’s appealing. Second, of course, the principals in Old And In The Way (Peter Rowan, David Grisman, Jerry Garcia) all lived in this little town. Garcia’s place, Sans Souci (“No Worry”), has its own deep importance. It’s the house that Mountain Girl wanted that led to Jerry’s first solo album, Garcia. It’s where the Signpost to a New Space interviews were conducted (see reading notes and dates). It, and especially through about 1973, seems to embody a very brief moment of relative domesticity for Jerry. I don’t know when he’d move out, but my notes say that by end of 1975 he and MG had basically split up. Anyway, this is a brief moment when life is good at home and at work. Garcia’s playing around like crazy and living life to the fullest. Nice.

update-20150103-It gets even nicer feeling: this was a benefit for the Bolinas-Stinson School District's music programs - 2 p.m. start. Way to give back to the community, young men!

So this hometown gig, from an unknown (to me) audience recordist, is just a whole lot of fun. The tape isn’t perfect, and neither is the gig. But it’s one I find myself listening to with fair regularity. In a circumstance in which listening time is the dearest commodity, that really says something. It feels good to listen to this. I don’t have the energy to do a full-blown analysis on this, so let me just go shotgun style.

1.     Vassar Clements is a genius. Check out “Lonesome Fiddle Blues” or “Kissimee Kid”. (By the way, I have no idea why it’s spelled with only one ‘m’, when the town in North Florida which is being referred to –Vassar’s hometown, or close to it—is properly spelled Kissimmee. I see it spelled “incorrectly” in the liner notes to Breakdown. I wonder if this is a stoned Deadhead thing that has just lived on forever? Sheesh.) And it’s not just the fiddle tunes that he tears up. He tears everything up. Right on, man.

2.     David Grisman introduces “High Lonesome Sound” [Allan | Scofield] as “The new national anthem of bluegrass music.” I am surely reading too much into this, but we know that David Grisman was a very ambitious young man. I wonder if this was, indeed, his ambition? We have often heard that Old And In The Way was the best-selling bluegrass record of all time, for a time. We don’t really know if that’s true, at least I don’t. But it’s not hard to imagine David seeing the band as fixing to conquer the world. And if that’s the case on 9/30/73, and if they play some incredible shows through October 8^th (which they do) and things are going really well, then why did OAITW end so suddenly? There’s the makeup gig at Sonoma State and a 20-minute reunion on April 28, 1974. That’s it. (I show a Nov. 8^th date with no other information. I have no idea where it comes from, but I doubt it’s anything other than a phantom.) I am just trying to reconcile in my mind the sense of ambition and possibility that I hear with the knowledge that it would end very, very quickly from this point.

3.     The performance is just lovely. “That High Lonesome Sound” is a fantastic song (a Peter Rowan original). “Land of the Navajo” is beautifully done. Hell, all of the Rowan songs are really, really good. As are all of the bluegrass songs. Etc. You get the idea.

4.     The little bits and pieces of things we know about OAITW said that they played some really local gigs such as this one. It’s nice to have one tape of neighbors getting together for an evening of music like this, Jerry just Jerry and not Jerreeeee. Indeed, the fans seem more crazed for Vassar than for the bearded freak playing the banjo.

Listening Notes, not real elaborate, follow.

Old And In The Way

Community Center

32 Belvedere Avenue

Stinson Beach, CA 94970

September 30, 1973 (Sunday)

93 minute audience recording, shnid 11862

Disc 1 (11 tracks, 47:00)

d1t01 - [0:04] /Going To The Races [2:12] [0:10]

d1t02 - [0:13] On And On [3:42] [0:06]

d1t03 - [0:30] (1) Lonesome Fiddle Blues [2:45] [0:06]

d1t04 - [0:17] Land Of The Navajo [8:43] [0:21]

d1t05 - Eating Out Of Your Hand [2:28] [0:06]

d1t06 - [0:33] Panama Red [2:47] [0:37]

d1t07 - Pig In A Pen [3:02] [0:09]

d1t08 - [0:10] Hobo Song 5:18] [0:20]

d1t09 - [0:12] Lonesome L.A. Cowboy 4:26] [0:10]

d1t10 - [0:42] (2) White Dove [4:36] [0:05]

d1t11 - [0:12] Workin' On A Building// [1:57#] [0:02]

Disc 2 (10 tracks, 46:23)

d2t01 - [0:02] //Swing Low Sweet Chariot [#3:29] [0:15]

d2t02 - [0:35] Kissimee Kid [3:17] [0:16]

d2t03 - dead air [0:08] [1:26] Wild Horses [5:24] ->

d2t04 - Midnight Moonlight [5:12] [0:38]

d2t05 - [0:35] Drifting Too Far From Shore [4:39] [0:03]

d2t06 - [0:13] I Ain't Broke But I'm Badly Bent [3:12] [0:17]

d2t07 - [0:12] Wicked Path Of Sin [2:23] [0:13]

d2t08 - [0:10] Lost [3:34] [0:40]

d2t09 - [0:30] (3) High Lonesome Sound [3:28] [1:01]

d2t10 - [0:08] Blue Mule [4:39] [0:38]

! ACT1: Old And In The Way
! lineup: David Grisman - mandolin, vocals;

! lineup: Peter Rowan - guitar, vocals;

! lineup: Jerry Garcia - banjo, vocals;

! lineup: John Kahn - bass;

! lineup: Vassar Clements - fiddle.

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! TJS: http://www.thejerrysite.com/shows/show/977

! db: shnid 11862 (this fileset).

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/community-center-32-belvedere-ave.html
 

! R: Definitely an audience recording. L channel is out for the first several minutes, until about 2:16 of LOTN.

! R: Given lineage: "AUD (DAT: MAR > D > CD)"

! R: Given Comments: "This sometimes is listed as a SBD, but I believe there is just one source for this, a really nice FOB audience recording."

! d1t01 Going To The Races clips in

! d1t03 (1) Vassar Clements ("from Nashville, TN") introduced by David Grisman.

! d1t04 Land of the Navajo is very nice

! d1t10 (2) DG: "What would you like to hear? ... Sunday ... hymns ... hers"

! d1t11 WOAB cuts out

! d2t01 SLSC cuts in

! d2t09 (3) DG: "The new national anthem of bluegrass music, better known as 'The High Lonesome Sound'."

! preview: "Bluegrass Group To Play Benefit," Independent-Journal [San Rafael, CA], September 29, 1973, p. 4.