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Saturday, February 13, 2016

Sound Storm Echoes

The Grateful Dead played a legendary gig at the Sound Storm festival on Mrs. Irene York's farm near Poynette, Wisconsin on April 26, 1970. As ever, Corry is on the case, as is LIA over at Deadsources.

I have a couple of obscure followups.

First, three years after the fact, a program called "Studio None" on cable channel 4 in Madison apparently broadcast footage of the Dead and Baby Huey from the gig. The listing refers to "the 1969 Poynette Rock Festival", but I think this must be 4/26/70. Mmmm ... wonder where that tape might be? (! listing: Wisconsin State Journal, November 26, 1973, sec. 3, p. 3.)

Second, the Little Brothers of the Poor, a lay group from Milwaukee, asked the Columbia County Board for permission to host a "Festival of Christ" on the York Farm August 6-8, 1971, expressing hope that Joe Cocker and the Dead might perform. Seems unusual entertainment for a religious festival planned to include prayer and meditation, with prospective participation by evangelist Billy Graham and Catholic Bishop Fulton J. Sheen, but Jesus Freaks will Jesus Freak, I guess. (! ref: "Charity May Hold Poynette Rock Fest," Capital Times, April 24, 1971, p. 13.)


Third, Sound Storm '72 happened in August of that year. The promoter accused advertised headliners the Grateful Dead of backing out of agreement to play the Festival, which the Dead denied, with Gail Hellund telling local radio stations and newspapers that they had never accepted Don Bobo's offer to play the gig. (! ref: Cosgrove, Howard. 1972a. Rock Fair Set to Swing. Capital Times, August 3, 29; ! ref: Cosgrove, Howard. 1972b. Poynette 'Rock Fair' Falls Apart. Capital Times, August 10, 27.)

Saturday, January 30, 2016

Alex Bennett interviews the Dead, September 16, 1970

Bennett, Alex, “Alex Bennett with the Grateful Dead. Interview broadcast on WMCA in New York City in 1970 [radio broadcast],” Grateful Dead Archive Online, accessed August 2, 2015, http://www.gdao.org/items/show/378659.

Nothing here is verbatim, but hopefully this can provide some markers if anyone else wants to go check this out.

A few things of interest.

First, the date is 9/16/70, just before the Fillmore East "An Evening With the Grateful Dead" run.

Second, this is the day they flew on the plane with Huey Newton.

Third, I love that Bob Weir was reading the Times.

Fourth, with Paul's passing I'd like to go back and see what they said about Kantner.

Fifth, some time-stamping on American Beauty, which is just being finished. I think we knew that, but anyway.

Sixth, note they say they are going to go out and jam somewhere this night. I wonder?

Seventh, already talking about playing the base of the Great Pyramids. Badass.

Sketchy notes follow.

~~~~~



Garcia, Weir, Lesh, Cutler, Mickey,

How do you like the Big Apple?

Plane flight.

0138 JG we were on the plane sitting with Huey Newton and David Hilliard.

0228 we just talked, we raved for the whole flight [with Huey Newton]

Q what did Huey Newton say?

JG 0245 he said a lot of things. They were all good. 


0457 Spiro Agnew in the newspaper yesterday about pop musicians and the drug culture

! ref: Naughton, James M. 1970. Agnew Assails Songs and Films that Promote a ‘Drug Culture’. New York Times, September 15, 1970, p. 18.

Perfect foil for us freaks. Nice and slow, dull-witted. 0545

Kantner and Croz

We just got off a 5 hour flight

0950 new GD album so well produced and so commercial. Why all of a sudden?

Phil we sold out

JG That’s what we started out to do, but we have been incredibly unsuccessful with that. Finally we’re good enough where we can get our stuff to be communicative to a large body. It looks like we’ve gotten simpler, more direct, etc. Starting off with the incredible, crystalline, baroque, Taj Mahal structure which we’ve hammered and chiseled down to a fine little diamond. After a long period of time we’ve come out with a sound that’s commercial blah blah.

BW 1115

Putting out a free record … 1200

Happy with the record?

We are just finishing the other new album.

1228 Workingman’s Dead is a nice lead-in to the new album. I like it a lot.

Bill Kreutzmann arrives

Reference to Marmaduke being in the room

Pigpen’s a no-show 1400

Messrs Cutler and McIntire are also present

Goofy chaos

1722 just gonna keep asking stereotype questions

1744 Bonnie radio station up in Canada story about Jerry

1857 How does your mother feel about your long hair?

Bob’s parents asked Phil and Jerry to keep Bob in school.

Highest gig was Haight Street 3/3/68 ca. late 20s over 30

The Be-In was a great one.

Haight Street crumbled right after that

Late 32 speed and smack brought down the Haight

3320 where do you draw your limit on drugs?

JG everybody can choose their own poison. Everybody can mess themselves up whatever way they want.

3354 if someone asked you

There’s no situation in which we would be considered to be experts.

3445 JG drugs to be one of the ways for a person to eliminate themselves from endless karmic recycling. You can think about drugs in the way you think about automobiles. … it used to be there were a lot of natural deaths. Now everybody is kept alive. So the automobile is an out for that. Drugs are that, too, maybe.

3555 life kills

3618 cyanide and cigarettes

3655 suicide in the widest, broadest … might as well be an act of freewill. Laws that have to do with preventing injury to one’s body. That’s a big Christian trip.

3819 are the Dead doing something about it

Traveling across the country making a film. No we didn’t do that film. Ripoff. Ripoff. WB was making a movie of a caravan going across the country. 3954 a whole bunch of other people and they were putting it together. It wasn’t our scene, we didn’t do it. Somewhere some money hungry lawyers. At the last moment they slapped us with some silly contract. 4028


Now it’s 8:15 they’re gonna go and jam tonight somewhere. This will be on 9/16. We’re doing the FE right now, Capitol Theater in first week of November. October on the east coast doing schools. 41:17

Boston 4200 in November on the 20th and the next weekend.

Chaos

4917 what trip would JG like to do musically?

Base of the Great Pyramids! 4930

5215 anything else you’d like to impart to the people?

Monday, January 18, 2016

Bill Cooper Interviews Jerry Garcia, May 1982

Here's a nice companion piece that really resonates with "Bob Coburn Interviews Jerry Garcia, November 8, 1982".

My notes/transcriptions are little sketchy, but here's what jumps out to me.

On Run for the Roses, with some anti-marketing:

I’ve been working on it for quite a long time. I’ve had to squeeze it in amongst and between lots of other projects. It’s been the project with the least [sic] priority of the things I’ve been working on, so I strung out the actual work on it over three years, which creates certain problems.” Does some work, comes back six months later, and thinks critically “I would just as soon do all of this over.” This project is one of those things that’s so far from what I originally started …
...
Select tunes, discarded them, I haven’t been working on it steadily. I’ve been working on it in an extremely fragmentary fashion. But it’s interesting for that, too. It hasn’t worked to the disadvantage of the music. On some levels it’s nice to be able to have the luxury to deal with something over a long period of time because your sense of perspective sometimes improves … So the record is pretty nice. … Because the tracks all come from different times and places … well, actually, they’re all from the same place, pretty much, but … that adds a certain textural variety to it which is, I think, OK. It has quite a range, from things that have an acoustic flavor, to … I have one thing that’s got a big massive horn piece, a big section of highly arranged sort of things. It has a lot of range as far as emotional content as well. To me that’s a nice quality for an album to have.
 On John Kahn: "All of the things that you hear of that are called the Jerry Garcia Band are, in reality, the John Kahn and Jerry Garcia Band” … simpatico, “with just enough difference to make it interesting”. That first line echoes something that Corry has said repeatedly - well done!

More on anti-marketing: "I’ll be coming east, and I’ll be promoting the album more or less incidentally, but not … I don’t really do the straight show biz formula, where you put out a record and then do a promotional tour"

Because of the priority of the GD over JG: "my solo career is not my primary thing. The GD is really the thing that I’m primarily involved in. My solo career is kind of like, it has to get what it can get. So, when time and space allow the opportunity, then I go out with whatever’s comfortable."

On the acoustic shows of the period:

I’ll also be doin’ some things that are solo concerts, just me and my friend John Kahn. 0550 I did a couple of them recently on the east coast, one at the Capitol Theatre and one at … [can’t remember the Beacon] the format was that the one at the Capital played all by myself, just me and my acoustic guitar. That’s a little too stark for me. I like the thing of having one other musician, at least. The bass gives me a little bit more room. But I had such a good time, and it’s something I’ve done very little. I’ve never really been a solo performer before. 0640 It’s something that’s exciting for me, and it’s challenging, and it’s also a chance to play around with acoustic guitar, which I’ve been doing at home a lot, but it hasn’t been my primary ... 0655 It’s really quite different from electric guitar, and so this is a chance to push off in that direction

Interesting contrast with how he'd feel about the GD nine years later: The Dead “hasn’t really affected my life in any negative way, to tell you the truth. It’s been really … It doesn’t impinge. I don’t feel in any way fettered or anything." 0955


Why? “Playing is my life. That’s what I want to do. If anything, I would play more. … It’s what I love to do. Personally, I can’t get enough of it.”

Listening notes, with other interesting tidbits, below the fold.

Saturday, January 16, 2016

California Earthquake

Garcia was endeavoring to bring Rodney Crowell's contemporary "California Earthquake" to the Dead just a little bit before the Loma Prieta quake struck. That is really weird.

! ref: Morse, Steve. 1989. Man with a Mission: Garcia is Back from the Dead, Back with the Dead. Boston Globe, October 29, B1.

Thursday, January 14, 2016

Great American String Band - May 5, 1974, Keystone, Berkeley

Sunday, May 5, 1974 found Garcia at the Keystone (typical), but in the background, picking some banjo in the Great American String Band behind its featured front line of Richard Greene (fiddle), David Grisman (mandolin), and David Nichtern (guitar and vocals).

Rather remarkably, we know a fair bit of very interesting stuff about this gig, despite the fact that there is no tape in circulation.

First, the band was billed as Great American String Band (GASB), which wasn't always the case - it sometimes traveled as Great American Music Band (GAMB), and it doesn't appear that things were particularly consistent in that regard. This testifies to the rather fluid nature of the enterprise, always of interest in the Garciaverse, which would become increasingly institutionalized as time went on. Garcia is listed first, natch - capitalists gotta capitalize - but that's pretty standard.

Second, an anonymous commenter at Hooterollin' reports special guest appearances, including, a week after Old And In The Way's abortive swan song --"no sweeping exits"-- at the Golden State Country Bluegrass Festival, the last known stage shared by Garcia and the great Peter Rowan:
I saw Great American String Band show at the Keystone on May 5, 1974 and can attest to the fact that Peter Rowan and Jack Bonus were brought out for two songs - Midnight Moonlight and Hobo Song and the show was recorded professionally for what folks at the gig were hearing would be a future album.
Third, as the commenter said, the gig was being recorded for release, one presumes on Round Records, the "side band" companion company to Grateful Dead Records. While the Dead outfit had been up and running since the previous autumn, Round appears to have been born later, perhaps even in this very spring 1974 timeframe. A review that I have just discovered (Silver 1974) confirms that Bear (Owsley Stanley III) was recording the show with a female assistant, I presume the same Vickie Babcock who helped him record Old And In The Way the previous October.

Fourth, between the Hooterollin' commenter and Sam Silver's review, we can also reconstruct some of the setlist. The show started around 11 pm with what the reviewer called "Dog's Bone", which I assume was "Dawg's Bull", a Grisman original. They played "Bud's Bounce" ("mistakenly credited to Buddy Emmonds, really belongs to Buddy Spiker"), "Midnight at the Oasis", at least one Carter Family tune, and Django Reinhardt's "Swing '42" (about which Silver raves). Anonymous commenter adds "Midnight Moonlight" and "Hobo Song" to the mix.

Fifth, Silver took and the Barb published a picture of the GASB in action, one of only two of which I am aware (the other from 5/25/74 in Santa Barbara - h/t Bob Murphy).
Sam Silver's photo of the Great American String Band, live at Keystone Berkeley, May 5, 1974. Published in the Berkeley Barb, May 10-16, 1974, p. 17.

Silver is over the moon about the band, with "the best of all possible pickers for the unique job of creating a new music". The review is well worth a read, really capturing the vibe of a show where Garcia is the draw but the other players are the virtuosi, and the audience seemed ready to rock but proved able to appreciate acoustic brilliance.

All of this raises a few essential questions. Are these tapes in possession of the Owsley Stanley Foundation? If so, who can spare whatever it would take to sponsor their preservation? Why didn't the GASB record ever materialize? Most importantly, given the amazing musical direction the band was taking - it was an early germ of Dawg Music, Grisman's brilliantly distinctive alchemical blend of dozens of traditional musical forms - why didn't the String Band last?

! listing: Oakland Tribune, May 3, 1974, p. 30;
! listing: Hayward Daily Review, May 3, 1974, p. 44;
! listing: Oakland Tribune, May 5, 1974, p. 2-R;
! ad: Oakland Tribune, May 5, 1974, p. 2-R;
! Ref: http://hooterollin.blogspot.com/2011/10/april-10-1974-record-plant-sausalito-ca.html?showComment=1329237485261#c7438213843279921015;
! review: Silver, Sam. 1974. Waiting for Jerry Garcia. Berkeley Barb, May 10-16, 17.

Jerry and Merl in the studio, 1975

Found this item in the LA Free Press (June 27 - July 3, 1975, p. 14): "Danny Selwell [sic] has been buzzing 'round the studio scene, putting time in with Art Garfunkle [sic], Steve Marriott ... Jerry Garcia and Merle [sic] Saunders".

Having found nothing on Danny "Selwell", I wrote
So interesting. Jerry and Merl working in the studio, right around the time (like, within a week or two) that GD Records and Round Records call it a day and join up with United Artists, right around the time (like, within a week or two) that Legion of Mary calls it a day. Curioser and curioser.
But Corry points out in comments that this probably refers to the Keith and Donna Godchaux record, to which Danny Seiwell indeed contributed.

JGMS backing Maria Muldaur - Berkeley Community Theatre, October 12, 1974

Well, well, well ... just found a review of a Maria Muldaur show at BCT on Saturday, October 12, 1974 in the Berkeley Barb (Wikarska 1974). Maria worked with three bands this night.

1) David Nichtern (I presume "and the Nocturnes"): Nichtern, Hank DeVito on steel, Larry Jones on bass, and Claude Pepper on drums. Nicolette Larson sang some.

2) Great American Music Band: Maria sang and played violin with the main band of Richard Greene (fiddle), David Grisman (mandolin), Ellen Kearney (rhythm guitar, vocals), John Carlini (guitar) and Joe Carroll.

3) Maria's band: Merle [sic] Saunders, Paul Humphrey, John Kahn, Jerry Garcia, Martin Fierro.

Beyond being new to The List, this is the earliest confirmed Garcia-Humphrey shared stage event, supplanting the next night at the Santa Barbara County Bowl. No mention of what this act played (some songs are given for the other acts), but either way, JGMS serving as Maria's backing band certainly tickles the imagination.

! ref: Wikarska, Carol. 1974. Maria Muldaur's Body Song. Berkeley Barb, October 18-24, 14.

Friday, January 08, 2016

Reading Notes: Goodman 1989



Goodman, Fred. 1989. Jerry Garcia: The Rolling Stone Interview. Rolling Stone no. 566 (November 30, 1989): 66-68, 73-74, 118

Garcia says he has “vacillated furiously” over the years as to whether he wanted to stay with the Dead or not (Goodman 1989, 68).

“The most cogent example of how my life is changing is that when the GD wasn’t working, I used to go play in bars. Low profile, not many people were interested. Now this has escalated along with everything else. And the stress level has skyrocketed” (Goodman 1989, 68). JGMF: This is one way of understanding the arc of Garcia’s solo career. Garcia had the Midas Touch, and when even his bar band started playing Madison Square Garden (11/15/91), the bullshit quotient is moving into the red. That said, I am coming around to the idea that maybe it wasn't as bad as all that, that it remained a refuge until the end.

Here he advocates drug legalization. “Accept the reality that people do want to change their consciousness, and make an effort to make safer, healthier drugs. When you take the greed out of it, all of the damage starts to fall away” (Goodman 1989, 68)

Says of JA “they’re all so amazingly argumentative”, notes that “sometimes it’s the chemistry that makes you fight and that makes the music good” (Goodman 1989, 68). Could be said about the GD.

“I can call up Kantner any time. And certainly Grace [Slick] was very helpful when I was going through my drug trips” (Goodman 1989, 68). Also mentions how much he loves Pete Townshend.

“What the Acid Test really was was formlessness. It’s like the study of chaos. It may be that you have to destroy forms or ignore them in order to see other levels of organization” (Goodman 1989, 73).

#politics Garcia didn’t vote. “choosing for the lesser of two evils is still choosing evil” (Goodman 1989, 73).

Visual art: “I think of notes as objects that have perspective. They have the front part of them and the back part of them, the attack and the release. To me, it’s very visual. If I had the time, I would illustrate all my solos. I could do it – I have seen them that way (Goodman 1989, 74).

“The members of the GD really have a complex relationship. At this point it’s gone beyond even blood. The GD has been the most intimate kind of relationship I’ve ever experienced” (Goodman 1989, 74).

“I spent a good long time trying a drug world that was pretty closed” (Goodman 1989, 74).

Q: why did that happen? “It’s just wear and tear more than anything else. It’s kind of like I needed a rest. … I stopped because I care more about the GD than I do about myself, ultimately” (Goodman 1989, 74).

"The Grateful Dead has become the focus of all of our lives, even though we have families and children. The GD - that's the center" (Garcia ca. October 1989, in Goodman 1989, 74).

Why did you end up with such a bad drug problem? “Self-indulgence, pretty much. I mean, I liked it too much, and the more you like it, the more it likes you, and pretty soon that’s just about all there is. I’m glad I’m not involved in it anymore. … But I haven’t come to any conclusions about drugs at all on any level. I don’t think I’ve gained any particular insights, but I do know that I’ve always basically been an addictive personality. That’s just who I am. And so, for me, it’s one of those things I always have to watch out for” (Goodman 1989, 74).

Good discussion of Neal Cassady over pp. 74, 118. “He blew my mind hundreds and thousands of times” (Goodman 1989, 118).

About the kids coming to shows: “Grateful Dead stories are their drug stories, or war stories. It’s an adventure you can still have in America, just like Neal on the road. You can’t hop the freights anymore, but you can chase the Grateful Dead around. You can have all your tires blow out in some weird town in the Midwest, and you can get hell from strangers. You can have something that lasts throughout your life as adventures, the times you took chances. I think that’s essential in anybody’s life, and it’s harder and harder to do in America. If we’re providing some margin of that possibility, then that’s great. That’s a nice thing to do” (Goodman 1989, 74).

Reading Notes: Henke 1991

I wasn't paying attention at the time, but my sense is that these September 1991 interviews (I think there might have been some separate remarks in the Boston Globe) caused a good deal of consternation in Deadlandia - and why not? The golden-egg-laying-goose sounds like he'd love to leave the reservation at this point.

Lots of good stuff here.



Henke, James. 1991. The Rolling Stone Interview: Jerry Garcia. Rolling Stone, October 31, 34-40, 103, 106, 108.

Two September 1991 afternoons, hotel room overlooking Central Park.

July 1991 was release of JG DG, August 1991 was release of double live JGB. Meantime, JGB was a stone-cold junkie, waiting in line for methadone like everyone else.

“solo jaunts are often more entertaining than his work with the Dead, and one gets the feeling that if he felt he could easily extricate himself from the Dead and his attendant responsibilities, he might just do it. Still, when pressed, Garcia claimed the Dead take precedence. … We’ve all put so much of our lives into it by now that it’s too late to do anything drastic” (Henke 1991, 37).

Two separate interview sessions September 1991 NYC. In a family way with Manasha and Keelin.

“recent” meeting in which Garcia told the other band members that he wasn’t having fun anymore, that he wasn’t enjoying playing with the Dead. Garcia confirms this. “The band is the board of directors, and we have regular meetings with our lawyers and our accountants. And we’ve got it done to where it only takes about three or four hours, about every three weeks. But anyway, the last couple of times, I’ve been there screaming ‘Hey, you guys!’ Because there are times when you go onstage and it’s just plain hard to do, and you start to wonder, ‘Well, why the fuck are we doing this if it’s so hard?’

We’ve been running on inertia for quite a long time. I mean, insofar as we have a huge overhead, and we have a lot of people that we’re responsible for, who work for us and so forth, we’re reluctant to do anything [38] to disturb that. We don’t want to take people’s livelihoods away. But it’s us out there, you know. And in order to keep doing it, it has to be fun” (Henke 1991, 37-38).

we’re … going to have to construct new enthusiasm for ourselves, because we’re getting a little burned out. We’re a little crisp around the edges” (Henke 1991, 38).

They are trying to work up to taking a long break, a la 1974, “aiming for six months off the road” (Henke 1991, 38).

p. 38 Gar talks about how he dislikes trying to write songs. “It’s like pulling teeth.”

They saw Brent’s death coming. “About six or eight months earlier, he OD’d and had to go to the hospital, and they just saved his ass. … I think there was a situation coming up where he was going to have to go to jail. He was going to have to spend like three weeks in jail, for driving under the influence or one of those things, and it’s like he was willing to die just to avoid that. Brent was not a real happy person. And he wasn’t like a total drug person. He was the kind of guy that went out [39] occasionally and binged. And that’s probably what killed him” (Henke 1991, 38-39).

Getting older, people dying. Rick Griffin just died. “[F]or me at this point, I’m just happy if someone dies with a minimum of pain and horror” (Henke 1991, 39).

“I’m not a religious person” (Henke 1991, 39).

The Grateful Dead is not where you’re going to find comfort. In fact, if anything, you’ll catch a lot of shit. And if you don’t get it from the band, you’ll get it from the roadies. They’re merciless. They’ll just gnaw you like a dog. They’ll tear your flesh off. They can be extremely painful” (Henke 1991, 39). Note that one word from Garcia could have put a stop to that, but he didn’t roll that way.

“Brent had a deeply self-destructive [40] streak.” (Henke 1991, 39-40). Talks about Brent lacking in culture.

“My life would be miserable if I didn’t have those little chunks of Dylan Thomas and T.S. Eliot” (Henke 1991, 40).

#drugs “I’ve been round and round with the drug thing. People are always wanting me to take a stand on drugs, and I can’t. To me, it’s so relativistic, and it’s also very personal. A person’s relationship to drugs is like their relationship to sex. … For me, in my life, all kinds of drugs have been useful to me, and they have also definitely been a hindrance to me. So, as far as I’m concerned, the results are not in. Psychedelics showed me a whole other universe, hundreds and millions of universes. So that was an incredibly positive experience” (Henke 1991, 40).

Still dabble with mushrooms: “It’s one of those things where every once in a while you want to blow out the pipes. For me, I just like to know they’re available, just because I don’t think there’s anything else in life apart from a near-death experience that shows you how extensive the mind is” (Henke 1991, 40).

“as far as the drugs that are dead-enders, like cocaine and heroin and so forth, if you could figure out how to do them without being strung out on them, or without having them completely dominate your personality … I mean, if drugs are making your decisions for you, they’re no fucking good. I can say that unequivocally. If you’re far enough into whatever your drug of choice is, then you are a slave to the drug, and the drug isn’t doing you any good” (Henke 1991, 40).

“I’m an addictive-personality kind of person. … with drugs, the danger is that they run you. Your soul isn’t your own. That’s the drug problem on a personal level” (Henke 1991, 40).

Says he was doing H on and off for 8 years.

Hard to quit H, but real problem now is smokes, that last thing left. “My friends won’t let me take drugs anymore, and I don’t want to scare people anymore. Plus, I definitely have no interest in being an addict” (Henke 1991, 40).

“I still have that desire to change my consciousness, and in the last four years I’ve gotten real seriously into scuba diving.” Also gives him some physical exertion (Henke 1991, 40).

With Keelin “I have a little more time to actually be a father. My other daughters have all been very good to me, insofar as they've never blamed me for my absentee parenting. And it was tough for them, really, because during the sixties and seventies, I was gone all the time. But they've all grown up to be pretty decent people, and they still like me. We still talk. But I never did get to spend a lot of time with them." (Henke 1991, 40).

Garcia got together with Heather (daughter of Jerry and Sara Katz) for 18 or 19 years at one point (Henke 1991, 103).

At this point, JG and MG are in the process of getting divorced. “She’s real glad to get rid of me. We had a great time, a nice life together, but we went past it. … We haven’t really lived together since the 70s” (Henke 1991, 103).

Joe died when Gar was 5. Joe played clarinet and other woodwinds, in a big ol 40 piece jazz orchestra. “My father’s sister says he was in a movie, some early talkie.” (Henke 1991, 103).

“I remember him playing me to sleep at night. I just barely remember the sound of it” (Henke 1991, 103).

Jerry watched Joe go under and drown. “It was horrible. I was just a little kid, and I didn’t really understand what was going on, but then, of course, my life changed. “ (Henke 1991, 103).

Ruth was an RN, but after Joe died she took over his bar. “He had this little bar right next door to the Sailor’s Union of the Pacific, the merchant marine’s union, right at First and Harrison, in San Francisco. It was a daytime bar, a working guy’s bar, so I grew up with all these guys who were sailors. They went out and sailed to the Far East and the Persian Gulf, the Philippines and all that, and they would come and hang out in the bar all day long and talk to me when I was a kid. It was great fun for me. I mean, that’s my background. I grew up in a bar. And that was back in the days when the Orient was still the Orient, and it hadn’t been completely Americanized yet. They’d bring back all these weird things. Like one guy had the world’s largest collection of [106] photographs of square riggers” (Henke 1991, 103, 106).

His third grade teacher Miss Simon hipped him to the possibility of being a creative type. “’You mean you can spend all day painting pictures? Wow! What a great piece of news’.” (Henke 1991, 106).

Dwight Johnson was another teacher, “he’s the guy that turned me into a freak” (Henke 1991, 106). He was a motor cycle guy, 7th grade teacher.

Talks about liking Dylan songs: “they speak to me emotionally on some level. Sometimes, I don’t even know why. Like that song, Señor. There’s something creepy about that song, but it’s very satisfying in a weird sort of way” (Henke 1991, 106). “This is talking about a kind of desperation that everybody experiences” (Henke 1991, 108). Songs-S

More fun outside the Dead. “that’s always dangling in front of me, the thing of, well, shit, if I was on my own, God, I could … “ (Henke 1991, 108).

Bruce, Branford, Rob Wasserman and I have talked about putting something together. I had this notion of putting together a band that had no material, that just got onstage and blew. And maybe one of these days we’ll make that happen” (Henke 1991, 108). Him saying this is the verbal equivalent of gazing forlornly out Grisman's picture window.

Garcia listens to Django, Art Tatum, Charlie Parker, Coltrane. “Michael Hedges is great. And my personal favorite lately is this guy Frank Gambale, who’s been playing with Chick Corea for the past couple of years” (Henke 1991, 108).

“Living Colour is a great band … Jane’s Addiction is another band I like” (Henke 1991, 108).

“I feel like I’m a hundred million years old” (Henke 1991, 108).

Why kids keep coming to see the Dead: “There must be a dearth of fun out there in America. Or adventure. Maybe that’s it, maybe we’re just one of the last adventures in America” (Henke 1991, 108).