Harpua phish video torrents

Опубликовано в Tsv sulzberg torrent | Октябрь 2nd, 2012

harpua phish video torrents

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Harpua was a very mean and ugly bulldog with brown spots all over his shoulders and his owner was a big package of death. Harpua looks like a tornado of saliva. So on this beautiful day…. Trey : Well thank you… So anyway, Poster Nutbag starts walking into the woods and suddenly he finds that there is a lot of different colors coming out of the sky.

Trey : No… [Trey plays notes up and down the neck of his guitar]. Trey : Harpua looks down at Poster and his drool is classic. He dives down at Poster Nutbag!! Bits of saliva fall onto lumberjacks! Poster is gone… [clown horn crescendos] Look! Sign in. Password recovery.

Forgot your password? Get help. LIVE music blog. Latest News. Latest Features. My 25 Favorite Tracks of Dec 19, The thought occurred: Here are 70, people enjoying music on the site of what had been an air force installation intended for wartime use. It was at the midpoint of Bill Clinton's two terms as president and this was a concrete example of the peace dividend.

Friday's final set would have capped an epic day's worth of music if it had ended there, but Phish wasn't done yet. In the wee, wee hours — sometime around a. The vehicle pulled Phish along the outskirts of the campground while they jammed. Startled from slumber, Phish-heads emerged from their tents as word got around. Awakening fans in growing numbers fell in silently behind the truck, Pied Piper-style, barely comprehending what they were seeing and hearing.

As the horses sped up from a walk to a trot to a canter, the musicians responded accordingly. Here's the quandary: Was the flatbed jam Friday's fourth set or Saturday's first set? Regardless, it ranked among the most exploratory music the band ever played. Just two weeks after The Clifford Ball, Trey himself recalled the impetus for the flatbed-truck jam and the sensation of playing it: "I wanted to play at all different times of the day at one concert to capture all the different moods you have.

I loved doing the three sets Friday night, then hanging out for three hours backstage and doing the four in the morning jam. We started to roll, and just playing while we were moving was so cool. We had some great jamming. It was amazing. That whole night I was walking around in a daze. Whereas Friday's first set had commenced at 7 p. The band had slept in trailers behind the stage.

Trey says he awoke around p. Drummer Fishman, who'd partied late into the night, awoke to find he barely had five minutes to slip on his doughnut dress and hit the stage. They eased into the day with a bluegrass number — The Dillards' "Old Home Place" — and then flexed their muscles with a raft of well-executed favorites that included brilliant renditions of "Reba" and "The Lizards. During "Run Like An Antelope," a female acrobat spun overhead from the rigging.

Phish again reached deep for Saturday's third and final set, which included an explosive "Wilson," a strong and well-jammed "Tweezer," and a dynamically dueled "Scent Of A Mule. But wait, there's more. The Clifford Ball had plenty of other eye- and ear-catching festivities going on to fill the hours when Phish wasn't onstage. Phish was the only band at the ball, but there were strolling performers, art installations, and antic sideshows that made the festival a kaleidoscopic feast for the senses.

For starters, the festival crew constructed Ball Square, a fantasy town square-cum-village green erected on a hill near the campground. Inside the faux stores, crazy conversation and anarchic interaction transpired among a shifting cast of Phish fans. A personal reminiscence: I'd been taking notes outside Ball General Store when I got summoned inside by friendly, inviting voices. About a dozen strangers sat cross-legged, knee to knee, on the floor of this smallish room, which had four walls but no ceiling.

Everyone was chatting and laughing and occasionally getting up and leaving, only to be replaced by new arrivals. Some entered and exited by hoisting themselves up and over the walls rather than using the door.

This scene went on at all hours here and in the other "stores" on Ball Square. The idea had been hatched in February, and by May a full-time crew of was at work on the festival. Paluska paused when some Phish-heads on a blanket began screaming for the pure unbridled hell of it. Their hollers were answered by distant, unseen voices, which were answered by still others. In the afternoon, stunt pilots flew overhead, trailing gag banners.

They flew the banner to help him find his way to The Clifford Ball in case he got lost. A perfectly sensible thing to do. Between the first and second sets on Saturday, a piece orchestra chilled out the assembled multitude with a soothing program of music by Debussy, Ravel, Stravinsky, and Chavrier. At one point, The Clifford Ball Orchestra — a one-time-only combination of classical musicians from the Plattsburgh and Vermont symphony orchestras — received highly unique accompaniment.

It was sublime and surreal — words that would apply to the entire weekend. Still there was more: A fully licensed hour radio station, dubbed "Ball Radio" and operating at Trey himself deejayed a guest set, playing favorite tracks by Pavement. Clifford had been a pioneer in the field of airmail delivery, and Phish liked both his name and slogan which they had encountered in the Pittsburgh Airport. Hence, The Clifford Ball. They even tracked down and flew his grandson, Michael Thomas Assad, to the festival.

Just because. The point is that imagination and ingenuity reigned supreme at The Clifford Ball. Finally, there was even some built-in downtime to allow Phish fans to kick back and get to know one another. The Phish fan community had largely formed on the Internet, and The Clifford Ball gave them an opportunity to physically congregate in a pastoral outdoor setting over a long late-summer weekend.

This was all part of the plan, according to promoter Dave Werlin: "The band had this whole philosophy of trying to create a bubble or shell for these people. They weren't herded in and out like cattle. We looked at every aspect of their experience and tried to cater to it in a way that was humanistic and fan-friendly. In doing that, we were helping to reinforce the community that sustained Phish and vice versa. It was like the pleasantest of dreams that you didn't want to end. Getting back to Lost Horizon, the crew of the plane that wound up in Shangri-La realized that life must go on.

However tempting it might seem in theory to remain at a civilized remove from the real world, they knew that ultimately they had to get back to it. Held captive by Mother Nature and the monks who feared they'd carry their secrets into the outside world, the downed passengers eventually risked life and limb to escape from the Valley of the Blue Moon, all to return to a world of ups and downs, laughter and tears, where blood flowed and blood got spilled.

Leaving The Clifford Ball required no such heroics, but there was a fleeting sense of regret at having to exit the bubble and reemerge into "real life " In the wake of The Clifford Ball the audience would grow and change, and Phish would no longer fly "under the radar" with quite such unbounded ease of movement. At the same time, the experience of having been there would be carried forward by the band and their fans in the years to come, providing a real sense of joy and possibility.

There would be half a dozen more Phish festivals, too, including the remarkable event known as Big Cypress, which ushered in the New Millennium. But there's nothing quite like the first experience of anything, and The Clifford Ball was where Phish's festival express came into being. The Clifford Ball was a near perfect event for the band and Phish-heads.

Trey made a speech, and it was a little bit tearjerking. He was saying it was the pinnacle of everything we'd been working toward as a band.

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