The Grateful Dead at The Oakland Coliseum Arena and Stadium (1974-95)

Oakland-Alameda County Coliseum Stadium, 7000 Coliseum Way, Oakland, CA 94621
now: O.co Coliseum
First Grateful Dead show: June 8, 1974
Last Grateful Dead show: May 27, 1989 (5 shows)
Also: Bob Weir and Kingfish (June 29, 1975, opening for Doobie Bros/Eagles), and Nelson Mandela (June 30 '90, Mickey Hart part of drum procession)

The Oakland Coliseum Stadium always shared a parking lot with the indoor basketball arena. It was part of the thrust for "multi-use" stadiums that were popular in the 1970s. As such, it housed both the Raiders (from 1966-81, then from 1995-2019) and the Oakland Athletics (since 1968). Amazingly, although the Raiders finally departed last year, it still houses the A's. Once, the Coliseum was a gleaming new cement palace that was superior to cold Candlestick across the bay. Now, it's a rundown cement block that pales before PacBell Park or Levi's Stadium. The strange return of the Raiders in 1995 caused new centerfield bleachers (known colloquially as "Mt Davis") to be constructed, ruining the pleasant view of the Oakland hills. Nonetheless, the stadium perseveres, even if its tenants perpetually threaten to move.

The Coliseum Stadium was the primary spot for most of the huge outdoor rock shows in the Bay Area in the 20th century, save for the Beatles appearance at Candlestick (August 29 1966), which preceded the stadium. The few subsequent Candlestick rock concerts were only held there, grudgingly, because the A's or Raiders had prior bookings at the Coliseum,

The Dead played five shows at the Stadium, all pretty legendary. They headlined over The Beach Boys on June 8, 1974, they were double-billed with The Who on October 9-10, 1976, they played with Bob Dylan on July 24, 1987 and they headlined over John Fogerty (who was backed by Jerry and Bob, among others) on May 27, 1989. It's kind of like the A's: the Coliseum itself isn't that memorable, but what happened there remains etched in your mind long after you have departed.

Oakland-Alameda County Coliseum Arena, 7000 Coliseum Way, Oakland, CA 94621
replaced by: Oracle Arena (re-opened 1997), now the Oakland Arena (re-named 2019)
First Grateful Dead show: February 17, 1979
Last Grateful Dead show: February 26, 1995 (66 shows)
Also: Jerry Garcia and Bob Weir, Dec 4 '88 (Bridge Concert), Jerry Garcia Band Oct 31 '92

Ask a veteran Deadhead, perhaps yourself: what building did the Grateful Dead play the most? Go ahead, look it up on Deadlists. The Fillmore East (43 shows)? The original Fillmore Auditorium (51)? Madison Square Garden (52)? The Philadelphia Spectrum (53)? Winterland (60)? 1545 Market Street, the location of both the Carousel Ballroom (16) and Fillmore West (46--total=62)?

What building did the Grateful Dead play most often? The answer turns out to be the mostly unloved Oakland Coliseum Arena, which the Grateful Dead played 66 times between 1979 and 1995. The Coliseum complex, with the indoor arena and the outdoor stadium, was built in 1966 to house the Oakland Raiders and tempt the (at the time) San Francisco Warriors and Kansas City Athletics. It did just that. No one really loved the Coliseum, but it had and has a spectacularly central location, right off Highway 880. It had its own BART stop, it was near the Airport, you could get there easily from every Bay Area county, but it was just sort of--there.

As a result, the 15,000+-capacity Coliseum Arena was the prime spot for top rock acts in the Bay Area from the late 60s through the 90s. Initially, the Arena was too big for rock acts, but when bands like Cream, Blind Faith and the Rolling Stones had their most famous tours, the Coliseum was not only the biggest venue, but also the best located. Thus the roster of bands that have played the Coliseum Arena is like a Rock And Roll Hall Of Fame induction list. Even when Shoreline Amphitheatre came along in 1986 and superseded the Coliseum as the flagship Bay Area venue, the Coliseum still handled all the Fall and Winter shows, so everybody still played the venue regularly.

Most long-tenured Deadheads, myself included, have seen some Dead shows at the Arena. Some of them were pretty good, too. But they don't have the sense of place that the Oakland Auditorium had. Maybe it was the size, or the nondescript architecture of the building. Maybe it was just because I went to the Coliseum so many times, and have so many great memories, that the Dead are just one of many (Back in the early 80s, I saw 6'4 Adrian Dantley of the Utah Jazz drop 46 on the Warriors one night, mostly from the paint, and it was a thing to behold. Come to think of it, I saw Swen Nater do the same--don't get me started on Joe Barry Carroll's defense...Which just shows you that I don't even think of the Dead first at the Coliseum). There were actually a number of social connections between the Grateful Dead and the popular but usually underperforming Golden State Warriors. The most famous of these was the Dead's contributions to the 1992 Lithuanian Olympic Team (captured in the movie The Other Dream Team).

After the 1996-97 NBA season, the Coliseum Arena was fully remodeled into a much larger configuration, and now can seat just over 20,000 for basketball. It spent a decade as the Oracle Arena,  the home of the unexpectedly mighty Golden State Warriors. The Warriors, too, have now moved on, leaving just the A's. The answer hasn't changed, though--the building the Grateful Dead played the most was the Oakland Coliseum Arena.

(For a more Oakland-centric version of this material, see here)

Merl Saunders: Late 60s Highlights (Stairway To Jerry)

Soul Grooving, by the Merl Saunders Trio and Big Band, released on Galaxy Records in 1968

Merl Saunders (1934-2008) is now well-known for his famous association with Jerry Garcia, playing with Garcia and other members of the Dead in the 1970s, 80s and 90s. Once Saunders became part of the extended Garciaverse, Deadheads kept track of his musical doings. But Merl Saunders had an extensive career prior to Garcia. He would occasionally allude to it, but most interviewers wanted to turn the story back to Jerry, so all we got were bits and pieces. I am trying to put together Merl Saunders' pre-Jerry arc here, so we can see the components of Saunders music before the inflection point.

Merl Saunders, born Merl Washington, was San Francisco born and raised. I don't know exactly where he lived, but I'm pretty sure it was in the Haight-Ashbury or the Western Addition (which included the Fillmore district). Saunders went to San Francisco Polytechnic High ("Poly"), which was at 710 Frederick Street, just across from Kezar Stadium. All we really know is that Saunders had a band in high school, because he was the first one to offer singer Johnny Mathis a gig (Mathis went to Washington High, but I think they knew each other from sports). [update: Fellow scholar and regular Commenter Bill sends over an interview he did with Merl on KZFR-fm in Chico in 1999: Merl's high school band in the late 40s was called the Educated Men Of Music. It included singers Jean Turner (later with Stan Kenton) and Mathis, plus flute player Freddie Gene Smith (later with Smokey Robinson].[update II: fellow scholar JGMF reports that Mathis lived a few blocks from the Saunders family in the Haight-Ashbury].

Saunders was in the US Air Force from 1953 to 1957. Since getting drafted was all but inevitable, a four-year hitch often let the recruit choose his specialization, instead of just being a grunt. Since the US had a true citizen army in the 50s, I wouldn't be surprised if Merl spent much of his Army time playing music (certainly Mickey Hart did that in the US Air Force)[update: the KZFR interview confirms that Merl mainly played music in the Service]. After the Air Force, Saunders seems to have become a musical professional. I know that Saunders was a postman in San Francisco at some point, perhaps the early 60s, but many aspiring musicians (ok, well, not Jerry Garcia) take regular day jobs when they have to.

Since Saunders was an organ player, he most likely played more extended gigs at various places, rather than one-nighters. It's hard to lug a Hammond organ around, and it makes more sense to leave it in one place for a week or more. Organ trios were a distinctly African-American musical style from the late 50s onwards, based on the style of the great Jimmy Smith [update: the KZFR interview confirms that Merl toured organ lounges coast-to-coast on the "Chitlin Circuit." He hung out and played a little with Jimmy Smith as well].

There was a circuit of those kinds of clubs around the Bay Area back then, like Jack's (at 1601 Fillmore, across from the Fillmore Auditorium) or Minnie's-Can-Do Club (at 1915 Fillmore) in the Fillmore. Jack's, originally Jack's Tavern, and later Jack's On Sutter (it was at 1931 Sutter), had been one of the first and most important jazz clubs in the Fillmore district back in the 1940s. One of the house bands at Jack's was led by Saunders King, whose presence was so powerful that young Merl Washington changed his stage name to Merl Saunders. It had to be a kick for Merl to play Jack's himself, even if the club had moved to the new location at Fillmore Street (which is now The Boom Boom Room).

There was a circuit of other organ clubs around the Bay Area, too, like the Keyhole in South San Francisco (later the Monte Carlo), the Continental Club in Oakland, and various other now forgotten places. At some point, Saunders got to touring around outside of Northern California, but the exact art can only be discerned in glimpses.

An article in the October 18, 1967 Oakland Tribune notes a performance by Merl Saunders at the Jazz Workshop in San Francisco

In the October 18, 1967 Oakland Tribune, jazz critic Russ Wilson gave a good review of the Merl Saunders Trio's appearance at San Francisco's Jazz Workshop. The trio included Jimmy Daniels on guitar and drummer Eddie Moore. Moore was Merl Saunders' first cousin. From the description, it sounds like the trio was a quality band, but pretty much in the typical groove of organ trios of the time, jazzing up popular songs.

Wilson mentions some of the bookings for the Saunders Trio, including The Trident in Sausalito, Harvey's Wagon Wheel in Lake Tahoe, Caesar's Palace in Las Vegas and a gig in Chicago. So Saunders was definitely getting around by this time.

Russ Wilson reviewed the Merl Saunders Trio appearance at The Trident in the May 24, 1968 Oakland Tribune. Saunders was filling in for Vince Guaraldi

May 21-June 9, 1968 The Trident, Sausalito, CA: Merl Saunders Trio
Sausalito was once a fishing village on the opposite side of the bay from San Francisco. Ultimately it became a Ferry terminus to the North Pacific Coast Railroad. However, when the Golden Gate Bridge opened in 1937, Sausalito's waterfront declined rapidly. Sausalito had always had a colorful history, with bootleggers, rum runners and bordellos, and that aspect of the community was ascendant for some years. By the 1960s, however, the seedy history of Sausalito had made it a desirable bohemian enclave.

The Trident was owned by one Frank Werber, who had made a fair amount of money as the producer of The Kingston Trio. Under his Trident Productions banner, he produced a variety of other acts as well. In the mid-60s, he dipped his toes in the folk-rock waters, signing and producing Bay Area acts like Blackburn & Snow and The Sons Of Champlin.  In 1966, Werber and the Kingston Trio opened up The Trident Restaurant on the water (at 558 Bridgewater), which also regularly featured jazz. It instantly became the in place for upscale downsiders and downscalers with an upside.

In 1967 Frank Werber gave up the record business, a rare man who took his money out of the biz before he lost it. He kept The Trident, however. As the San Francisco bohemian underground became rock and roll royalty, The Trident was a main hangout for record company people, Bill Graham, rock stars, film stars and other cool people. The Trident was famous for having spectacularly beautiful waitresses, all reputedly braless. The Trident also booked jazz five or six nights a week, an interesting paradox in a club that celebrated the rock and roll life. Nonetheless, the quality of jazz performers at The Trident was uniformly high, whether local performers or recruited from out of town.

According to Russ Wilson's review in the Oakland Tribune, the Merl Saunders Trio was engaged when, per Wilson, "oddly enough... pianist Vince Guaraldi sprained a finger Saturday night getting off an airplane, and notified the club he couldn't keep his booking for the following Tuesday, according to club manager Lou Ganapoler" (Vince Guaraldi scholars take note). The peculiar tone of Wilson's explanation suggests that there was more to Guaraldi's sprained finger than he is saying, but no matter: Merl and his trio were on board. Apparently Saunders had filled in for a few days the previous year (1967) when another headliner had been unable to make it, so they weren't a complete unknown to The Trident.

Wilson names a few songs that the Saunders trio played, such as "Up, Up And Away," "You Better Love Me," "Little Bird" and "Sometimes I'm Happy." Wilson praises Saunders as "an organist who knows his stops as well as his keyboards, and who builds on this foundation with musicality, taste and a strong ability to swing..."[Saunders] perceptive use of these basics often makes his output superior to that of widely known jazz organists." The critic does add that "there are times when Saunders and his cohorts fall into a dismal swamp, as they did with the current pop tune "Up, Up And Away." These two points fairly sum up Saunders ability as a keyboard player: he is versatile, sticks to the basic and knows how to swing, while sometimes falling into unneeded noodling.

It is interesting also to read Wilson's comments about guitarist Jimmy Daniels. He says "on appropriate numbers he utilizes a blues vibrato that gets into the nitty-gritty and on ballads he plays with a full melodic sound that enhances the tune." A few years later, Saunders would play with another guitarist who would utilize even more blues vibrato and play with a full melodic sound, as well.  It is interesting to see that Merl Saunders's sound was well established prior to playing with Jerry Garcia and John Kahn in 1970.

From Russ Wilson's July 28, 1968 column in the Oakland Tribune

This brief listing in Russ Wilson's Jazz column in the Oakland Tribune of July 28, 1968, gives an insight into Saunders true breadth, and serves as a reminder to one of the forgotten markets of sixties music. The notice says

Organist Merl Saunders' trio is on a Far Eastern tour that has included Bangkok, Manila and Tokyo, where the group now is playing club and TV engagements.

While I would love to know more about this tour, it's a reminder that up to 500,000 American soldiers were in Vietnam, which meant that at any given time a lot of soldiers were in Manila, Bangkok and Tokyo. The perennial presence of American soldiers had in turn given Asian nations a taste of American music,  too, so there were many opportunities to tour Asia. Many groups toured Vietnam, too, under some quite weird conditions (for example, rock bands were always told not to play The Animals song "We've Gotta Get Out Of This Place").

Merl Saunders was interviewed many times, but of course almost all those interviews were Jerry, Jerry, Jerry, so I don't recall ever hearing about a Far Eastern tour. Whether Merl's trio played venues that attracted servicemen, locals or both, it had to be an odd experience to play American music in Asia at the height of the Cold War. Saunders himself was a veteran, so that too may have added a different perspective. It certainly puts playing the Keystone Berkeley for a bunch of hippies in a different light.

An ad for Meile Saunders Trio (sic) at the EXIT in Palo Alto, from the January 24, 1969 Stanford Daily

January 24-25, 1969 the Exit, Palo Alto, CA: Smoke/Merle Saunders Trio

By 1969, Palo Alto actually had a groovy little rock scene downtown. But it wasn't much of a jazz town. In the January 24, 1969 Stanford Daily there is an ad for an apparently new club called the EXIT. There had been a juke joint over the county line in East Palo Alto called The Exit Inn, but I don't know if they played organ music. In any case, Exit is a typical sort of hipster club name, and may have had no connection to the East Palo Alto place. 3489 El Camino Real was way south of downtown, not far from a lengthy strip of motels. So there would have been plenty of potential patrons, but it wasn't any part of the downtown bohemian scene that had been pioneered by young folkies like Jerry Garcia.

Although I don't know when Merl's Soul Grooving album had been released, it was sometime in 1968. In 1968, just having an album, even if no one had really heard it, was an important credential for a working jazz musician. Galaxy Records was a subsidiary of Fantasy Records, apparently created for musicians who were in the union. In the 60s, Fantasy Studios were in Oakland, on 30th Street and Peralta, near the Emeryville border. Creedence Clearwater recorded their early, famous albums there, and Merl became friends with the band. Thus when Tom Fogerty left Creedence in late 1970, he was already friendly with Merl, so it was a natural fit to join Jerry Garcia, Merl and John Kahn in their casual pickup band.

The cover of Soul Grooving is also the only photo I have seen of Merl prior to meeting Jerry. Merl has said he went from being a snappy looking dude in a suit to a casual guy with a beard and tennis shoes, just one of the many ways that Garcia influenced Saunders.

The Playbill for "Big Time Buck White," starring Muhammad Ali, with Merl Saunders as musical director. The show lasted a week.

November 15-December 6, 1969 George Abbott Theater, 152 W. 54th St, New York, NY

"Big Time Buck White"

First Preview: November 15, 1969 (16 preview performances)

Performances: December 2-6, 1969 (5 performances)

"Big Time Buck White" was a musical about a black labor organizer. Based on a play by Joseph Dolan Tuotti, it had been adapted as a musical by Oscar Brown, Jr. Although I don't know the exact origins of the show, Brown had starred in a San Francisco production for quite some time, at The Commitee Theater on 836 Montgomery, starting about February, 1969. At some point, Merl Saunders had become the musical director of the San Francisco production[update: JGMF sent over some remarkably detailed information, and Saunders seems to have been the musical director of the SF production from its beginning in February '69].

When the production moved to "Off-Broadway" in New York, however, it had a new star: none other than Muhammad Ali. Ali was banned from boxing at the time, so he tried his hands at, of all things, musical theater. Per the New York Times review, Ali had a real stage presence, and wasn't a bad singer.

The musicians roster from the 1969 Playbill for "Big Time Buck White." Merl Saunders played organ and piano and led the 10-piece band. Billy Cobham was the drummer.

I don't know whether Merl Saunders had played New York before, but what a way to debut. Saunders led a 10-piece band. The most memorable name was none other than Billy Cobham on drums.

Nonetheless, the show closed quickly, after just a week. Sometime shortly after that, Merl Saunders opened for Miles Davis for a week or two at a Manhattan jazz club--I think the Village Vanguard. Most likely, it was the same band from the show. Since "Buck White" closed quickly, and the band was in New York anyway, it made sense for them to play a club. When they were rehearsing one afternoon, Miles came by and listened, and apparently briefly sat in, a benediction for any musician

There isn't a Miles Davis concert history online, surprisingly, but I know Miles was touring in Europe in November and recording in Manhattan in December, so the timeline fits.

The debut album by Danny Cox, released in 1971 on ABC/Dunhill Records, produced by Nick Gravenites. Musicians on the album include Merl Saunders, John Kahn, Bill Vitt, Chepito Areas and the Tower Of Power horns.

By 1970, Merl Saunders was back in San Francisco. He was writing and recording "jingles for cigarette commercials" (his description) and playing some organ gigs around town. Thanks to the Fillmore rock explosion, however, San Francisco had a thriving recording studio team. Record companies were not only signing the local bands, they were sending in players from out of town to catch some of the vibe. One of the new producers was Nick Gravenites, songwriter, former lead singer of the Electric Flag and general all-around character. ABC/Dunhill Records hired Gravenites to produce the debut album for Kansas City-based folksinger Danny Cox, and booked Wally Heider Studios.

In those days, producers often recorded a "demo" version of the album first, with just basic tracks, so the record company could see what they were getting. Gravenites had hired John Kahn to play bass, whom he knew well from working with Mike Bloomfield. Merl Saunders was hired to play organ. I think Kahn knew Merl from seeing him at places like Jack's. In any case, Gravenites probably knew Merl as well. Bill Vitt, another Gravenites regular, was on drums, and future Stonegrounder Tim Barnes was on lead guitar.

Kahn had a casual weeknight gig at The Matrix, playing bass with Vitt, organist Howard Wales and Jerry Garcia. Garcia was around Wally Heider Studios a lot in those days, working on albums with Paul Kantner and others. So that was how Garcia and Merl Saunders met, in the hallway at Wally Heider, while Merl and John were working on the Danny Cox album. When Howard Wales decided he didn't always want to show up to Matrix gigs, Kahn suggested calling Merl, and Jerry assented. And so it began.

March 17, 1969 Winterland, San Francisco, CA: Members of the Airplane, Dead and Sons "Monster Jam For Olompali"

An article from the March 17, 1969 Berkeley Barb, describing the planned "Super Jam" at Winterland to raise money for the former residents of Rancho Olompali

March 17, 1969 Winterland, San Francisco, CA: "Super Jam" with members of Jefferson Airplane, Grateful Dead and Sons Of Champlin" Benefit for Rancho Olompali (Monday)

About a decade ago, I had found a reference to this show and speculated that a 1969 Benefit Jam for Olompali might include members of the Grateful Dead or Jefferson Airplane. Expert research by Ross turned up the goods, namely an article from the March 17, 1969 Berkeley Barb (above) promising that members of the Grateful Dead, Jefferson Airplane, Sons of Champlin and others would perform. The article says

A "Superjam" dance and concert will be thrown at Winterland this Monday, St. Patrick's Nite, to benefit the Chosen Family that was busted and burned out at Rancho Olompali in Novato.

Featured will be musicians from the leading Bay Area rock groups, according to Bob McKendrick from Olompali, the Airplane, the Dead, and Sons of Champlin are expected to show up; also jamming will be the Garden of Delights, and a blues-rock group new to San Francisco, Red Mountain. Glen McKay's Headlights will provide enlightenment for all. The Superjam is for a good cause . . . something like 18 to 20 people from Olompali haven't the bread to pay their attorney's fees, and they are all homeless, as Burdell Mansion on Olompall burned down after the bust.

The Benefit is being sponsored by the Deja Vu Foundation, Inc., in association with Crinkle Productions, and will happen at Winterland, Post and Sterner Streets in The City. That's Monday, March 17th, from 8:30 pm till 1 am; donation asked at the door will be $3.00 . . .for some beautiful people.

Rancho Olompali was the Marin County retreat for the Grateful Dead in Spring 1966, before they moved to 710 Ashbury (via Western Marin) in September.  It was owned by Don McCoy, who later lived across the street at 715 Ashbury. In 1967, McCoy started a commune called The Chosen Family. A fire caused by faulty wiring burned down the mansion, possibly connected to a drug bust at the same time.

Most San Francisco bands didn't work Monday nights, so a benefit for friends was somewhat easier to put together. Some will recognize Bob McKendrick (the Olompali resident quoted in the article) as a promoter of San Francisco rock shows in 1966 and 1967. Mind you, calling the event "Super Jam" and not mentioning the groups by name means that its not an absolute guarantee that the complete Dead or Airplane showed up. The show could very well have featured some combination of Hot Tuna and/or Mickey and The Hartbeats instead, although to me that makes the show even more intriguing.

Rancho Olompali, and the mansion on it, had a long and complicated history dating back to 1843, General Vallejo and Mexican California. The property had ended up in the hands of the University of San Francisco by the 1950s. In the 1960s, they attempted to sell it various times, but when various buyers defaulted, the property kept reverting back to USF. I assume Don McCoy gave up on the property as well. In 1977, the State of California purchased the property from USF, and turned it into Olompali Historic State Park. The address of the park is 8901 Old Redwood Highway, 3.5 miles East of Novato, CA.

Rancho Olompali had been an important way station for the fledgling Grateful Dead. In early Summer 1966, they had lived there for a month or two, throwing epic parties. Garcia recalled (in Signpost To New Space, via LIA:

It was a great place. It had a swimming pool and barns and that sort of thing… We didn’t have that place very long, only about eight weeks. It was incredibly intense for everybody… Novato was completely comfortable, wide open, high as you wanted to get, run around naked if you wanted to, fall in the pool, completely open scenes. And I think it was the way they went down and the way people responded to that kind of situation. Everything was just super-groovy. It was a model of how things could really be good. If they really wanted to be. All that was a firming up of the whole social world of rock and roll around here…all the musicians in the Bay Area, most of them are from around here, they’ve known each other for a really long time in one scene or another – and that whole thing was shored up…at those parties. The guys in Jefferson Airplane would get together with Quicksilver and different guys, 81 different players, would get together and get high and get loose and have some fun… That was when we started getting tight with Quicksilver… They came and hung out at our place in Novato when we had our parties. And a lot of people like the various filmmakers and writers and dope dealers. All the people who were into doing stuff. People who had seen each other at rock and roll shows…in that first year. Those parties were like a chance to move the whole thing closer, so to speak. It was good times – unselfconscious and totally free. After that we moved back into San Francisco.

In 1968-69, the members of the Dead were all over the North Bay, but they still hung out at Olompali. They regularly held jams outdoors there, with the likes of Jack Casady. Fellow scholar LightIntoAshes has a fascinating article detailing the complicated connection of the Grateful Dead to Olompali, with photos and eyewitness accounts. Most fascinatingly, the back cover photo of Aoxomoxoa was taken there, in early 1969. Besides the Dead, there are all sort of Chosen Family members, band friends and girlfriends, and even pianist Vince Guaraldi (a pal of the Dead's at the time) (no, Courtney Love is not in the photo). So the Grateful Dead in particular were very connected to the land and the residents, and it must have been no small thing when it burned down after a drug bust.

Ralph Gleason mentioned the benefit in his Monday night column of March 17, 1969

Ultimately, in the way of the Long Tail, an eyewitness turned up. "Terry Nails" said

As someone who was living at Olompali at the time of this concert I have vague memories of this gig. Most of the members of both the Airplane and the Dead showed up to play as well as Elvin Bishop and some of the member of It's a Beautiful Day and others. It was a good gig though not as successful monetarily as was hoped and the ranch was sadly closed not too long afterwards due to the drowning of 2 of the ranch's resident children in the unattended swimming pool...

Here's to hoping something good came of a bad event. Maybe someone else out there might realize the strange flashback they keep having really actually happened...