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80dcUvmVWzM
|
Jerry Garcia 1976 interview
|
Garloo
|
https://youtube.com/watch?v=80dcUvmVWzM
|
2021-02-06
|
PT26M13S
| 321,173
| 5,837
| 934
|
en
|
auto-generated
|
Yes
| null | 25,348
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a contemporary music critic has suggested that the four greatest musicians who ever lived in alphabetical order are bach beethoven the grateful dead and mozart in that order and we're delighted to have with us however accurate that music critic may be we're delighted to have with us jerry garcia the founder and and lead guitar and vocalist of the grateful dead who's spoken of is one of the most prolific musicians uh today and jerry explains that that's because he's crazed he's obsessed we'll find out in a minute when we meet jerry garcia the grateful dead and find out what he believes we'll see [Music] jerry garcia the the the question i guess that the program asks at the beginning and the end and most of the time during the middle is who are you and uh what turns you on so just for a change instead of sneaking up on you can i come right in straight and honest and say who's jerry garcia and what turns him on well i'm somebody who plays music or tries to and i can i think of myself as a person who's a music student and and what turns me on is being able to to play and being able to continue developing i think you know that's that's pretty that's it fairly simply and then there's concentric circles of you know greater and lesser turn-ons i mean did you mean i read at one point where you said uh i'm i'm a slow learner i'm not very talented so i really have to work to learn yeah and to grow and i uh you put a lot of emphasis on that on the growth on the experimentation on the change you said i don't want to end in the cul-de-sac of success right exactly yeah i agree well my my feelings about that are that uh that there is uh a convention in uh what you could broadly describe as entertainment that states essentially once you have your act down once you have it together keep on doing it that's what the people want you know they're coming back to see judy garland for the empty billionth time and you know whatever you know they're they're there to see you do your little dance and and i i feel that's what a serious limit on uh anybody who you know feels that they're an artist you know rather than an entertainer not to say that being an entertainer is no good but yeah but i would rather think that i'm involved in something that's more open-ended than that you know i'd rather not be able to see the end that clearly right and it's probably a thing of level it may even be i don't know this but one of the reasons that the grateful dead now are are actually playing in four different groups um that you do this they even encourage this i mean you're doing solo work yes uh albums with the group partly it's explained by the cost of the of travel and just putting the show together and putting it on right there are other other less obvious reasons that i think that have a lot to do with our attitude toward what we're doing and our feelings about what it is and and what it should be and we felt that by having reached that the end of a certain level of the that cul-de-sac that that we were talking about that uh in terms of for us or for a rock and roll group for a performing musical group uh the end of that really is the colossal the what we call the mega gig in a the huge stadium you know yeah that we we played in those and that's where we ended up in terms of the largeness of our audience the greatness of demand for what we were doing and so forth and so on we felt that that was a dead end and there was no place to go from there and that at that point the experience for us got to be one that was totally controlled in the sense of airplanes to motel motel to gig backstage heavy security nobody near the stage you know and yeah and and what's worse is that it's also reflected in the way those very large venues deal with people they deal with them and it's that sort of cattle prod methodology you know lots of cops lots of frisk lines lots of tightness you know and we felt that what we were doing and what we wanted to do was definitely not that you know that was clearly not it so then it became a question of well what do we want to do and since that represented the end of the line developmentally you know of what's there in america you know what what exists that's it that's the end of the line you can't go anywhere bigger there's no place bigger than those you the astrodome or whatever right that's it so from there it's a question of what we would like to do is improve the quality of the experience both on the level of what we're doing amongst ourselves and how we interact with the audience and what the audience experiences when we're there in that sense we're we're the don coyotes of rock and roll you know we're we're uh you know we're doing something nobody else cares to do which is trying to figure out how to make the experience what which we value and which are audience values something that's more in line with what it what it feels like which is a positive sort of outpouring of good energy and uh that's that's that's the reason we stopped was to think about it and to not have to continually be meet you know just crank it up and yeah we didn't want the neatest thing that you you said about the uh the big amphitheater thing i was reminded of this it's so expensive to travel that you said we ought to do one of two things either develop a space a huge uh astrodome or whatever that would be our home base that the grateful dead would play in and then other groups could use the part of the year right and i was going to suggest the candlestick park might be available for you that's too big and secondly i like your other idea that they declare you a national resource right government could that would be very sensible in my opinion go back i want to know more about you but first while we're talking about the grateful dead in the beginning it wasn't always uh at least my recollection now it's hard for me to go i'm going back to the 6768 when you guys were playing with um jefferson airplane and quick silver messenger service in these groups i there's one story at least about uh a drug experience now i know that you were a friend of ken kesey's young that you talked about taking acid and even playing on acid yes there's a story about a kool-aid thing where acid was dumped in is that the truth yeah you guys were playing yeah freaked out it's true it's definitely true it happened more than once but it was you it was the sort of thing where rather than we didn't that wasn't what we did you know what we did was always pretty much the same which was to play music and that's been our main concern no matter how weird it got you know but because of the times and because of what was going on there was all the inevitable dealer you know who would come and feel that you know in an altruistic gesture would say well here's this jar of apple juice you know and i have a convenient 300 hits of mescaline here and i'll just pop it in treat everybody well yeah right you know something along those lines and then of course you know i mean if you didn't know what was going on and you drank and this happened to me countless times you know what i mean it's not like something that happened to innocent victims in the audience it happened to everybody you know i mean i was i numbered myself amongst those those uh victims victims yes and uh it would be that sort of thing you know you there was no way to gauge really what there was because the whole thing is uh was you know enveloped in secrecy how much jerry was were drugs is it blown up how much there certainly was a counter culture you are very much a part of it you yourself are even spoken of as the guru the the leader the spokesperson for that rock counter culture and how big a part of that whole movement was drugs i think it has kind of a happy ending it certainly does for you all well i think the drugs were important in so far is that they were a way for people to find out that there was more going on than what they had previously considered to be reality there was another level of reality or maybe many lots of levels i think that that experience in my life that experiences proved to be more valuable than most of the other things that that have happened to me in my life remember that i'm a person who leads us a sort of limited existence i'm i play and a lot of my time is devoted to practicing and and i'm focused and it's fairly singular you know what i mean that's what i do i don't really do much else you know so in terms of what's available to me is experience not too much and being able to uh back in the days when lsd was legal you know and it wasn't uh wasn't a crime to take it or it wasn't a crime to change yourself you know for me it was an incredible opening up i mean it it made me realize that there was a lot more than what i even suspected and i suspected a lot you know isn't that amazing with all of the travel with the reading and you're into art you're in the filmmaking now you're sure you've cut over 40 um albums you know or been involved in them you're into engineering you all have the the most famous in any case sound system in the world right all these interests and this what most people would think of as a variety of experience you think of yourself as somewhat insulated or isolated right because well basically i'm i'm functional you know i i do the things that i'm supposed to do you know and and i'm i'm interested in doing them and and always intended to do them you know so i know i don't feel bad about it but i realized that it's somewhat limited you know are there other ways when you talk about the high now i know that uh you're more concerned about health and yeah you've talked about consistency things that drugs won't do that oh yeah again so you're not into the drug thing now how do you get these highs is the spiritual a part of this spiritual consciousness yeah yeah it is of course i think i mean that's part of the whole consciousness i i mean really my i i'd like to make one one point clear about drugs first of all i don't feel uh a way a certain specific fixed way about drugs i think the worst thing about drugs is that they're illegal you know i think that's the real thing that creates problems on all those levels and that's just my own observation and it doesn't mean that make all drugs legal or anything like i'm not saying that but that's what i think that leads to i think that's what's really wrong about it more than anything else no worse than drinking coffee say you know what's a drug you know what's a drug we have drug stores right yeah right so you know all that yeah um i think the thing of getting high is really what we were all sort of into at the time the the what that means is something that i can't really i can't really say what it means i can't i can't put a name to it other than getting high and the people who know what i'm talking about know what i'm talking about i'm assuming anybody who doesn't know what i'm talking about either they haven't gotten to go yeah oh we'll be right back okay with you all and jerry garcia and the grateful dead and we'll get high oh great we're just sitting here in the old studio at kpix exchanging altar boy stories from the good old days and uh finding out that even jerry garcia the elevator of the dead has a few altered how does this older boy how does a nice roman catholic boy like you jerry i should be more serious we we ended the segment talking about turning people on and from a spiritual vantage point or within a spiritual consciousness-raising context yeah and that kind of ties in with the fact that you were born and raised a catholic or maybe it doesn't i think that has something to do with your with the beauty and your music and your art the drama of your religious hearings have something to do with it yeah it probably has something to do with the thing of uh running intensely wanting not to blow it you know i don't want to be guilty you know do you still feel that oh a certain amount but no not really so i was sort of a lazy fair uh catholic you know my parents were were loose catholics rather than devout catholics and so it was the kind of thing where they would send me to church you know that doesn't last now it didn't it didn't it didn't you know it didn't take really and i did i wasn't exposed to to the real heavy stuff catholic chur catholic school and so forth my brother got that but i missed it [Music] your parents your dad left when you were very young your mom raised you and worked and i heard her death in what 69 70 had a real impact on this she was very important for you well yeah yeah it was uh it was very it was just strange you know i mean it's it's like once they're gone that's it you know that it's that flash which i was aware of really but i was never really very close to my mother so i felt that well you know that there's something that i wasn't able to complete you know there's something that i didn't really do i didn't really i didn't i never felt i never was able to say to her like i thought you did okay you know i was never able to finish that idea but i don't feel that really our relationship i don't feel as though it's gone forever i feel as though uh more like that was underlying throughout you know what i mean she always respected what i did and liked the fact that i was a musician and liked what i was doing and so forth and she never judged me even through things like involvement with drugs and stuff like that you know she was always pretty good and so i don't feel really too badly about it but it's a shock you know like those things like things like that always are and but on another level of course it it's it's interesting how once your parents are gone you know you know like the foundation you know that's that's what you plug into yeah it's very it's it's strange on some levels it's liberating on other levels it's very uh sad you know yeah jerry one thing i i have to make this comment may sound like a departure from where we are but um i think people would expect jerry garcia of the grateful dead who does not appear on on television they would expect a meeting you this close of a much more sort of i don't know far out flamboyant uh you know heavy dude type swinger i i don't know i think we have stereotypes of musicians and stereotypes of the certainly the grateful dead jefferson airplane there's a whole mystique about the dead end about jerry garcia and you're very um you're very real very believable very uh normal dare i say am i blowing your holy nature no no i don't think so are you conscious of that a kind of disparity between who you really are and what people expect of you well sure because it works both ways too i mean on some on some levels the media relation to the reality is it's always wrong i think i believe you know i believe it never is very accurate because of just everything you know language itself is one heavy bias you know so it's but uh you i've i've been uh what described both ways you know more radically than i am more conservatively than i am so there's a discrepancy on either level you know what i mean i don't really feel that i don't i don't relate to that for one thing i sort of taught myself that early not to not to believe that that's who i am you know that's not me yeah and so i don't relate to it and luckily uh my my the kind of fame that i'm involved in whatever such as it is is low enough of a profile so that i'm not constantly being reminded of it you know i know people don't run up right now no it's much cooler than that the and and yet people talk about and maybe there's a difference between you uh when you're on stage performing communicating musically and you sitting here as you said using words right uh they're because people talk about the saint-like quality or whether people put it there and it's like the thing you were saying before i thought very meaningfully i i said to you how my churches are empty i need this crazy tube to reach young people right you don't you can go to winter land and fill the place up with tens of thousands of young people and you said yeah and i i feel responsible yeah i am concerned about that i think it's it's that kind of a leadership not an ego mania but a a concern hey here i am because of my talent because of timing because of you know i know that you put words down and say well words are often lies because you can never communicate the whole feeling the whole meaning and music does it better you you've said that many times because it's more it's freer it's more open and it allows for people to come in at different levels right different backgrounds right so what but you are communicating something you're well i try to make an effort to certainly you know what is can you describe that or talk about oh well it's difficult since the things that concern me tend to be not verbal in nature you know they they tend to be experiential the the the fact is that most of my life is uh has to do with certain kinds of experience that have been repeated you know like many times the the high energy experience of playing uh for a large body of people and for the purpose of reaching some some level you know and so that that energy and that uh that thing is something that i know about but can't really i can't say what it is so what i talk about if i can talk about things i try to i try to make it so that what the content of what i'm saying is you know reflects something that i know on that level i can't say it so i have to not say it you know i have to talk around it or something you know your music does that too doesn't it and i sort of throw out little snatches little phrase thought things there isn't a whole neat package yeah it's just there is bother you bother your bottle right right you mean i have to think i i have to yeah i i think i personally feel that that people like that i mean i know i do you know and it's just it's on some levels it's all very simple and on on other levels it's difficult to talk about yeah you're very conscious of i i think the grateful dead probably have done more certainly they're one of the most generous major groups in the country they've done more free concerts and spontaneous gigs and fundraising things and stuff but um you're very much aware of this continuous sort of feed and be fed the interaction between you and the audience which you say can't be captured obviously in a record or even in the film you're doing a film now right uh what on the last five shows at the winter land and uh to see i mean maybe some experience can be communicated in film it's a cam and television that's why we tried it yeah can it happen you know maybe you can or maybe you can you know yeah it might work well it's not working too well on tv the uh midnight specials and so forth even with all their cameras you can't i think it reduces it too much you know that particular kind of experience i think it just makes too small you know that's uh that's one level of it the hard thing is that you don't get any kind of feedback then because you're not into fame and money no but i'm into a more direct kind of feedback i like to be in a situation where i can really talk to the people who like our music you know and we have a pretty good two-way flow that they write to us pretty freely and by and large they're pretty articulate they they know what they know what we're doing and we recognize them by the way they speak to us you know what i mean so we know that what they're talking about is what we're talking about yeah and so that that we know we're aware of that reciprocal thing that's amazing i know you send out you have a mailing list of 35 000 or something and you send out a preview what are they called samplers you know audition copies of the albums before they right for the records i think and they send stuff to us too and they talk to us and tell us about what it is that's a part of you that collaborative effort because i know in the beginning your music was eclectic you started with the jug band kind of the bluegrass sound banjo guitar and then got into the whole thing blues and jazz and which is a great thing and you kind of explored all those ramifications and now you're into a whole new form for creating right there you do listen to all at all different levels right well it's uh because it's more interesting uh from the standpoint of uh a person who's involved in lots lots of different kinds of energy that that that's what that is what's interesting to me and on a certain level that's that is what i do also i deal with lots of different kinds of energy and i i feel that i'm essentially someone who who works in to things you know rather i'm not an artist in the solo or in the the independent artist in the garrett mold you know i'm not that sort of problem right i'm you know part of dynamic situations and and that's where i like it and that's where i feel i function best and and the grateful dead is a collection of people are all people who have come to that idea yeah all through various different ways and and it works you know that's that's really all we have to say about what we do you know if you want to see it work if you want to see a situation work that doesn't have any leader that doesn't have any plan or doesn't and is utterly formless really from moment to moment then and you know you don't have to guess about whether something like that will work we have it and it's working yeah and you know how can you do that without bumping egos well we bump egos but uh i think but everybody has learned that the best things happen when everybody agrees and feels that that's the right thing to do rather than one person has an idea and everybody else feels a little funny about it so we go on that level if somebody doesn't like it we don't do it and we've learned to trust each other after a long long enough time of fiddling around with this idea we've learned to trust each other to the point of saying well if you know if courseman doesn't like it it's no good and that that idea comes from the idea basically that no idea really makes it if you can't include everybody in it if you can't bring everybody you know what this sounding like marriage or a good marriage or a good family well it's i think it's just a good way to to for people to work together yeah right and of course it depends on what they're doing i think you probably run into trouble if you're trying to build a bridge you know you know you can't improvise on that level too well but i believe that if you had people that were all really skilled at that particular world that they could do it because on another level i mean on the mathematics level architecturally that's musically that's what the grateful dead does is we're creating architectures you know architectural models if you will of kinds of music and they work and each person adds their own personality to the whole thing and it works you know somehow and i think that everything could be that way really jerry when you talk about energy to talk what's the source of your own do you you know i think energy we have the old-fashioned word we used to use a lot was faith or the spirit uh grace life enthusiast whatever but what is the sword where do you go to prime the pump well enthusiasm that you were almost said but then and through enthusiasm i think i mean the thing of uh feeling good about it is like really as far as i'm concerned that's the gold in the situation that's the payoff if there is one on the level of why am i involved i'm involved because i like it and because it feels good and and the enthusiasm of feeling good about something you know i think that's that's the most important thing about about it is you know yeah on a personal level like what do i get out of it that's what i get out of it and i don't think that i could do anything for any other reason you know i couldn't nothing else would be that you know nothing else would be that kind of a payoff i don't i don't uh riches fame power that just it well it shows it shows in you you've also thought describe music as your yoga is your meditation right and and by that i just i just mean that uh i think that it's a good thing to have some one thing that you can work on on a more or less a daily basis and be able to see improvement in your own terms that is a result only of your own energy being put into the thing you know what i mean it's the kind of thing anything that you decided to do if you did it every day and it was something that you could notice yourself improving even if it was whatever it was you know cats cradles you know you know crossword puzzles prayer sure they're all forms and they're all and i think that the things that keep opening in front of you that's the more you do them the better you get at them you know that idea i think is really a nice idea to have in your life it keeps you centered to something you know yeah you don't have to be worried about how you're being judged in some absolute sense but you can judge your own progress on a day-to-day basis and you and when you're doing something like that you know when you're off and you know when you're on you're on yeah we're off thank you children for the discipline and the sharing and the growing thank you all we'll see you next week believe god bless us all
|
NVkkbJ_KI2Y
|
Jerry Garcia Interview "The History of Rock 'N' Roll"
|
Matthew Ziegler
|
https://youtube.com/watch?v=NVkkbJ_KI2Y
|
2013-08-14
|
PT52M44S
| 1,281,409
| 12,552
| 2,045
|
en
|
auto-generated
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Yes
| null | 50,994
|
[Music] we'll start with Cam roll number 17 this [Music] is your name who you are what you really do who I am and what I really do let's see uh I'm Jerry Garcia and I play the guitar for the Grateful Dead amongst other things and uh your own musical influences when you were growing up who did you listen to as a as a kid uh do you really want you really want to hear that well well me I can more country music essentially the whole you know I I had lots I had eclectic influences let's put it that way I I I heard virtually every kind of music my father was a musician you know my mother was a was a um a coloratura uh you know soprano and I just you know I mean I heard every kind of music my mother my grandmother loved uh country music at the Grand Old opery and Harry ens and his Royal Hawaiians I mean I heard all kinds of my ears were full of music you know so I plus the popular music of the time the 40s and 50s you know when I was growing up but I was on at the the Inception of rock and roll I listened to rhythm and blues I had an old older brother who was a rhythm and blues nut and so I I got rhythm of Blues from him and then rock and roll as it developed in the 50s was like my music that was my native music so to speak and uh that was the thing that made me want to play was rock and roll the first thing I heard when I heard the electric guitar and Chuck Barry and all the great you know licks the rock and roll licks and just the sound of the electric guitar I thought God I really want to do that and I got my first electric guitar when I was 15 and that was it and what did you play at first uh well I first played electric guitar uh I I took piano lessons as a kid but it didn't take So guitar playing was really the first thing I took where I really wanted to do it I didn't I didn't know that I wanted to do it I just couldn't stop doing it and but the first thing I got really serious about in the sense of uh being rigorous uh was the five string banjo and I I heard bluegrass music and that that that that got to be something very important to me and uh so I I swung off into that for four or five years and and really started to work hard hard at the five string banjo and that's where I slowed records down and you know I wanted it to sound exactly right you know not just approximately right and uh I did that for a while and then then the the rock and roll wave came up you know with the Beatles and stuff like that hey that looks like it'd be fun to do and besides I know this music you know and so having a preference for the kind of more um like the Chicago sound the blue sound the Marshall chess sound uh that sort of thing uh our band when we started a band it was kind of more like the Rolling Stones say and so far as it was that that kind of music uh we started playing not quite a blues b band you know sort of a blues band and uh with kind of folk and country in western overtones so that's you know that's that's my background pretty much but it really there's there's nothing I haven't heard I mean you know so apologizing for the question in advance the the way that the uh the sort of dead got together in the sort of early stages perhaps somehow I mean you you really want to hear all this stuff it's just it's so okay well I mean well the The Grateful Dead uh is really a collection of friends people that were around at the time and uh and who played some you know I mean not everybody was really really uh the in the when the grateful Dad first started we were called the warlocks we used to we we had one strong suit we had Pig pin in the band and he was this guy from paloalto whose father had been a rhythm of Blues disc jockey so he for him the blues was was very natural uh and he played harmonica uh and he sang really well you know and uh he really had no real wish to be a performer we sort of forced him into it because we knew he could do it and uh so he was kind of the front man for the band he he was he was our he was our Powerhouse guy and the rest of us could play better than him but he could sing better than or anybody else so that he would that he got to be the front man for the band and uh uh it it it worked well we eventually we ended up kind of uh playing the divorce clubs up and down the Bay Area you know down the peninsula and East Bay and San Francisco we ended up playing Broadway in San Francisco which was about as far as you can go as a band in those days you know we had uh we were working for the local uh uh agent the guy that booked all the bands in the Bay Area and worked with the Union this guy did his name was Al King and he used to book the strippers and dog acts and magicians and anything you can think of you know he was like the guy in the Bay Area and so we were doing that that's that was our circuit we played typically we played six nights a week five five sets a night that was what we did we just did it and did it and did it and then and we we got we got good dude I mean it it was a great way to get good and we love we were young enough to love it you know and it was also we made enough so we could quit our day jobs you know that was what we did that happened immediately that was the first thing that happened to with us so we were we were already you know like burning out on the professional level that was was available to us about the time the the acid test came to our attention but we were already from palal we all knew key and we all knew friends that of ours that were involved with him we'd all take an asset ourselves and so it seemed natural to go we got invited actually to to one of these parties this is before they were AET tests even there was just parties and we got invited to one of these parties we went down to we plugged all our stuff in and played for about a minute and then we all freaked out but we made a good impression on everybody in that minute you know so we we were invited to the next one and so we just started playing these things they were great fun for and they were very liberating for us because after all I mean we' come we'd come to our uh like Sunday night shows that you know and after having spent the day Stone on acid up in the woods somewhere and we come down to the bars and play you know Sunday night it was like you know we were playing like sort of maliciously you know CU it was so lame you know at that time we were pretty burned out on it and so we were ready for something completely free form it kind of went along with where we were going which was we were experimenting with psychedelics as much as we were playing music so that uh those things got were had a a happy new home in the acid test which was exactly free for enough and where we we were we had no significance we weren't famous nobody came to the acid test to see us particularly we got to play or not play depending on how we felt we could play anything we could think of which meant that we didn't have any constraints on our performance we didn't have to be good even or or recognizable even so we got to do we got to we had an opportunity to visit experiment highly experimental places uh under the influence of Highly experimental chemicals before a highly experimental audience you know it was ideal you know and and that was something that we got to do long enough to get used to it you know and uh that that's you know the kind of territory that I don't I think very few people have been lucky enough to have that kind it was like a gift uh very few people have been lucky enough to to get that not only that we had the peripheral uh perks of of getting to hang out with key and Ken Babs and Neil Cassidy and uh you know a lot of interesting people an awful lot of interesting people and meeting more each time you know the acid test would perform the way gravy and so on all these people are people that we met through the the U the ages of the acid test so to speak and uh it you know the AET has started started uh develop expanding at an incredible rate I mean it started from about enough people to fill a room this size to uh enough to fill the Long charman's Hall in San Francisco and and it was just it was had no virtually no advertising or anything you know and uh you you had a you had a sort of be detective to even find out where they were going to be you know but but even so they got to be immensely popular and more and more people came to them more and more people got high it was an incredible situation I mean it seemed like after about three or four months it seemed like the ASD was going to take over the world in about a year it was totally fun and it was uh it was a great um it was it was a wonderful multimedia event is is what all what I can say it it really worked it was absolutely entertaining it was uh it was uh 100% fun you know that's all I can say really and it was utterly Cosmic to boot one thing it was interesting to me about the aest is that it does it's a breakdown between the audience and the performer something you try yeah there there really was no audience you know to speak of I mean there was no per uh there was no Entertainer entertained thing everybody was entertaining everything there was entertaining every event everything that happened was entertaining and he didn't need to uh you didn't need expertise you know what I mean so you you didn't need the uh the um the the musician chauvinism you know you you know the artist chauvinism like I can do something you can't do you know now all that stuff went up in smoke which I think was very good you know was good for everybody everybody learned a lot from that that process uh I think everybody who ever went to an acid test came out a different person you know and and loved it I mean that that's the sort of thing it was were you involved in the or were you to have been involved in the SS graduation that that bill gr pulled the plug up he's talking about the mic you know the story of that yeah I remember it was there was kind well see that that time we had regular shows so the acid test there was a conflict there we had a regular show and the acid test graduation was happening that night now it's possible that somebody was trying to use it as a kind of a power play you know well you know I don't know but but by then we we had we knew that if somebody was going to pay us to play we had a responsibility and the acid test was not that kind of scene it wasn't about getting paid you know what I mean it wasn't really about that everybody paid to get into it everybody you know we paid each a dollar to get into it you know so it wasn't that kind of thing and then all the money went into a plastic sack if somebody was hungry they took a couple of dollars out and went got some you know what I mean went it was totally know roll out we rolled out totally dot dot dot it was like totally totally I don't know communistic do it Mar wonder if you comment on um on on key Cassidy wavy I mean and the kinds of r mainly Cassidy actually well Cassidy is one of those kind of people that you you you know it's he's so such he was such an overwhelming um trip Cy I don't know I I it's hard to even know what to say about Cassy he was so singular I mean it's just well for one thing he was like the best uh the the ultimate uh sight gag person you know what I mean physical comedy person you know uh plus he was also the world's best stand-up comic too uh he had an incredible mind that he would do this thing he did to everybody everybody has reported on this he did to everybody you might not see him for months you know and he would pick up exactly where he left off the last time he saw you you know like in the middle of a sentence he would pick up and you you first of all you go what what the hell and then you'd realize oh yeah this is that story he was telling me last time you know and you it was like so mindboggling you couldn't believe that he was doing it he used to do this thing that was this this was something that used to that killed me and I see saw him do it a lot of times he'd take a a dollar bill you know from anybody you know take a dollar bill and he would he he' put his hand on it like this and he he and they and they say the numbers you know this this serial number and you know I've saw saw him get it right like two or three times the serial numbers you know what I mean he just had this he had this thing you know and his driving if you go for a drive with him it was like the ultimate Fear Experience you know that you you knew you were you knew you were going to die there was no question about it and it was something so unbelievable he he loved big uh Detroit irons you know big cars and he like driving in San Francisco he would go down those Hills you know like 50 miles 60 M an hour and do Corners you know blind Corners going down those Hills if you can imagine like going down uh Franklin you know like top speed you know what I mean you know disregarding anything stop signs signals all the time talking to you and maybe fumbling around with a little teeny roach you know trying to put it in a matchbook you know and also tuning the radio maybe and also talking to whoever else was in the car and never seeming to ever put his eyes on the road ever you know and this like it would be you'd be just dying you know you'd be you'd be dying and and he would just he would he it would effectively take you past that whole fear of death thing you know it's like a a difficult experience because there's nothing else like it apart from like almost like surviving an airplane crash possibly or something I don't know what but and I mean it was just so incredible you know just his output you know what I mean uh and he he felt he was he was the first person I met who who he himself was the art you know what I mean he was an artist and he was the art also and he was doing it consciously as well you know so he had he did things he he worked with the world I remember one time after a u a party after the Watts acid test which which was particularly strange and we drove the bus over to the Watts Towers uh for a minute or two and we got out and looked at him you know and we were you know it's Dawn we went over to Wy gravy's house which was down in like oh off of Western you know way the hell off somewhere funny in Los Angeles and he had a little house and we had the bus there and a bunch of us are sitting on the lawn and we're all kind of crunched from have been up all night Stone on acid you know it's like the dawn it's Sunday morning now the Dawn and and the bus is parked across the street from our point of view we're on the lawn and it's Sunday morning early early and uh here's Neil you know and he's he's ripped his shirt off he has no shirt on now and now he's he's no shirt no shoes and these these funky old chinos you always have they're always like just about to fall off you know and he's first of all he he George Walker is driving the bus so George George is driving the bus and and Neil is like the guy directing him into the parking place you know a little to the left a little to the right he's doing all the signals and he directs him right into a a stop sign an arterial stop sign and knocks it it Shear it off boom and the stop sign falls down so then NE gets up then the bus is parked Neil gets up and he's got the stop sign you know and he's like kind of trying to put it make it stand up you know and so he's there with this stop sign and down the street come like two really straight little old ladies you know they're on their way to church Sunday morning you know and here's Neil he's like the cosmic Village drunk you know what I mean he's like and he's got the stop sign you know they're they're trying not to see him you know and he's doing this whole whole series of uh kind of like good morning ma'am you know kind of panim you know this extravagant thing all the time with he would kind of like stand up the stop then walk away from it it start to fall and he' grab it just as I'm about to hit you know and all this stuff happened it was like amazingly great it was just beautiful perfect timing you know it's just extraordinarily beautiful you know and he he his the way his body moved the way he looked and everything like it was just absolutely his face is so expressive he would go through millions of Expressions just millions of them and just his whole body language and everything was so communicative it was just amazing it was I I I was dying I thought I was going to die it was so hilarious it was so and it was absolutely perfect you know it was like a little silent movie a silent ballet you know you know in the morning lasted about maybe a minute and a half you know two minutes but it was perfect you know it was like a perfect moment it was just great and I mean Neil Neil was that guy I mean he he he just could do that you know that's that's who he was you know he was that guy in the real world you know he was this this something he was he scared a lot of people a lot of people thought he was crazy you know a lot of people were afraid of him and lot most people I know didn't understand uh at all you know and but he was like a musician in a way I mean if you're he liked musicians he always like to hang out with musicians that's why he sort of picked up on us and me and we hung out together a lot and he like he liked the company of musicians when you were living in the hate was he around yeah he was off and on he stayed up in our our attic when we were in 3 710 he had a little little Camp up there you know with a mattress and his his old chinos his old jeans and stuff like that were up there and he would come in and hang out for a week or so every month or so you know every couple of months maybe you know he'd come in and uh yeah about the the he when you were um During the period of time when you would do uh pre concerts in the Panhandle I mean you give us a little context on that what why you would what the community was like and and how the dead well there wasn't really we were you know there were a lot of people there that were like us they were they were um people whose whole whole lives they'd been a little bit different you know from everybody else they were the people that were looking for something different they they they would have been they would have become beatnicks you know what I mean they were all people who were like uh influenced by the beatnicks in a sense and they were artists and they were poets and writers and all kinds of people uh but all they were all people whose life experience had been that they were a little out of whack with everything else you know during high school or you know their whole lives and they sort of sort of came together and uh and it was it just an ideal place for it because the the rent was real cheap the houses were wonderful they're beautiful old victorians you know and you get a you know four or five people and you can rent a huge a wonderful Victorian house fix it up any way you want and it was it was great it was a great way to live um and you know it was there was no community in the sense of we are a community but then after after the first uh thing called the human being that thing was like yeah there is all these people that we're all you know it's like yeah there is a community there is this whole big Community you know it's all these people who are who potentially are know each other we're all those people who are the weird ones you know and it was all of a sudden you discovered all these people who were like you you know and that was the neat part about it first that was the first thing that of course that disappeared immediately I mean as soon as it started getting to be uh uh publicized you know then then it all of course it evaporated immediately you know and and it no longer be it no longer was uh it no no longer was uh important you know it no longer had any uh Power re I mean really you know it did for the first couple of minutes and then it went whoosh you know and it was gone you know it was it wasn't relevant anymore not to the people who started there you know and and as soon as that happened everybody started to just disappear you know they disappeared over to Marine County and other places and because nobody want nobody wants to be in the center of the spotlight you know not not in your life maybe in your work but in your life and you know those of us who were performers like the Grateful Dead and stuff we just performed and we we at that time we started going National we started touring the whole United States so it was no longer uh it was no longer Community to us in the real sense in the real sense that America became our community and uh you know that was it it was it was really a moment there was like a breath there for a moment that was like an open door you know it's like oo look you know then bam It Slam shut again immediately and everybody finally MO moved out of the original people there everybody left when the tanks came down the street the National Guard came I mean the hate Ashbury you know like what was more harmless you know was totally harmless and and they the the reaction ultimately was the National Guard fixed bayonets you know tanks on on ha Street it was like come on you know this is like something of an overreaction you know and it was it was it was so completely uh um skewed you know it just it didn't make any sense anymore that was it you know everybody any everybody who had any uh anything going for them really left after that that was it that was the end of it but there was there was something that everyone took with them I mean something did happen well there was a moment there you know there was a moment there where there was a vision there was a very clear wonderful Vision that that that but see it had to do with everybody acting in good faith it had to do with everybody uh behaving right you know what I mean it it had to it it you know sorry there was a lot to it it was wasn't a simple thing you know it was a deep it was there was a lot to it that that that thought that's because that's speed speed so more on the point of essentially what happened at that one moment when it was together well I what happened was that everybody got a glimpse of something you know I I don't I can't I can't say what it is I don't know what it is I know to me it was like might have been something like Limitless possibilities you know what I mean something like that maybe you know but I mean the thing was that in the meantime in my life what had hap what had happened to me just a little before that was that IID had you know some incredible psychedelic experiences that were so Cosmic that were so uh so huge in scope you know what I mean that I knew that I I I knew that it uh all of a sudden I had to revise everything that I thought I knew knew about anything you know I I had a you know I said this stuff is coming from somewhere if it's coming if it's if it's not out there it's coming from me it's coming from my mind my brain that means my brain has an infinite amount of capacity in there that I had no no sense of I didn't know I didn't know anything about it but there it was and I've seen it you know I not only saw it but I walked around in it I had a million incarnations in it I lived and died in it you know what I mean I had experiences beyond anything I've ever experienced more real than anything I ever experienced in this world you know and I mean I was packing that knowledge around with me you know what I mean so the thing of that this this door opening was like it was one of those things that we were all inducing it as well as perceiving it you know what I mean it was I don't I mean it's hard to say you know I I think it was probably everybody saw what they wanted to see or what they needed to see or whatever it was you know they'd all been been brought there somehow for that moment you know for that moment and you can't even say what it was or when it was or what it what it boiled to or anything like that it wasn't even like that it was just something you know and uh but for me it's been enough energy to keep me going this long you know and I I don't see any end you know at least for me in terms of uh my work you know of of information in uh in terms of do I need to go looking for for uh material you know no I don't I don't need to go looking for material I have like an infinite amount of material has been posited it you know and and all I have to do is like tune into it which is really easy to do cuz it's always there you know so so it's you know uh I mean you know I don't know how to say it except that it's real to me you know what I mean that that those experiences were real to me and and nobody can take that away from me the realness of it you know what I mean so it it doesn't doesn't matter to me whether it has any historical value or whether it's measurable in some objective way I don't care you know it doesn't matter for me the subjective reality is what counts I mean what I experienced is what what what happened to me and that that was uh that that uh like there's a lot I know a lot of people who shared something like it their own version of it you know and who are still moving with the that energy that energy is propelling us and that energy it was also had enough gained enough momentum over the years to to to do everything I mean it is partly responsible for all the things that have happened historically since then in some way you know it's part of it it's part of the of the gain in Consciousness that the last half of the century is represented and that includes all the things that go go with it you know all the the the hardware the technology the um the BrainCraft you know that that uh that has subsequently sprung up and it's it's still rolling you know it's it's still happening and people are still still sort of that that experience is now available you but what was incredible for me is that I felt everything that you just said you know pH differently in my own way in Vermont yeah through the music I don't think it's place it's not a it's not it's not Place specific you know what I mean it's not sight specific in terms of rock and roll music that was the music that flowed around on the on the albums that that made people like me in different locations feel the same thing we were doing you know psychedelics at the same time which well once you were touched by that you know was like dog on your shoe you know you couldn't get it off for you know I mean it was it's part of everything you did you know and I mean you know you're sort of touched by this wand you know ding okay you know now some percentage of everything you do is going to have that thing in it you know and it it'll communicate it to anybody who's can can dig it you know so when you toured in those in the 60s then uh and going to town probably we've never seen anything remotely like you or that's for sure I mean how are people responding were they into the group or were they well uh the audiences caught on always they always caught on the people in the world you like not here you don't you know you walk into a like a you know holiday in or you know some place to say oh no you know not here you know that we got that kind of reaction the first couple of years we were out you know was like because people weren't used to seeing freaks then you know and that was still a big novelty you know so that was fun for us cuz it was the last of the the last chance you had to shock people just by the way you looked just by the way you were you know you didn't even have to think about it or work at it at all you can just walk down the street people go oh my God you know that was fun that was we we got in on the last of that probably uh the the the music music well the Greatful Dead has always been like a a very much very chancy musical experience and back then what we were doing had the the nature of it was that some nights it would be just awful and some nights it would be wonderful you know and and if people caught us on an awful night they went away going what was that you know and if they caught us on a wonderful night they enjoyed it and they came back again you know it's like totally a roll of the dice you know we something we never had any control of we still don't have any control over it but now our bad nights are are accomplished you know now we could now we can at least sound decent you know if we don't if we don't if we were not experiencing authentic inspiration if we're exper you know authentic inspiration then something magical sort of takes over but if we're not now we can at least sound professional you know it's in tune you know everything is like supposed to be you know it's it's an okay performance the songs that you were doing at that time you were doing some covers like TR be good but what what and some of your own music I mean how did you decide what to play we we always had a problem with deciding what to play We we've never been able to decide what to play at all you know so back then we were much more free form because we we we just were not able to decide what to play so somebody would just start something and uh the way we've handled it since then is that we we still can't decide what to play but uh but now at least we have a lot of stuff to choose from um your songwriting with with with Hunter I mean that is that a I mean my haha songwriting uh it's one of those things it's a default situation you know what I mean it's like somebody in the band's got a you know like one of those things are well who's going to play who's going to play bass the guy that plays guitar worst that's the way it is in most bands you know there's like certain things so this the writing writing songs got it was a default thing you know but all of us do some writing so so that that I didn't never felt that bad about it but for me it's one of those things it's like a craft you know it's like uh throwing in a pot you know it it's a craft you you there's a certain craft to it it's not uh for me I don't know whether my song writing Rises to the level of art there's one or two songs I think I've written and Hunter and I have written that I think are truly wonderful and uh but you know whether anybody else thinks that I don't know and and I don't certainly don't feel like I'm a wonderful songwriter my output is very small you know I mean I I'm not prolific by any means Hunter's output compared to mine is like it's about I'd say about 50 to one he's like so prolific uh but Hunter and I have a wonderful working relationship so it's a it's always a happy experience erience writing with him and and that's usually I don't write unless I write with him you know and David is another collaborator David uh David grisman is another person I collaborate with comfortably for me that's pretty much what I do I am pretty much a collaborator I'm pretty much a person who who works with other people not a person who works alone well the the Greatful Dead is one of the most collaboration and musical groups there is I mean I don't know if collaborationis what is that coll collab never mind what would that word be you you work so well as a as a team you understand each other maybe was it partly through the the kind of free form work you did in the 60s that you developed more you weren't doing songs so much you're actually making music well you know what what it really has to do with it it the people in The Grateful Dead are are uh pathologically anti-authoritarian so uh so it's just you I nobody can tell anybody what to do ever under any circumstances so uh so that Pro produces a certain amount of uh also if you ask somebody to play something they'll never play it uh so it produces the kind of uh music music by um by Confluence you know or uh by by friction or by opposites by by U you know it's it's conflicted it's it's uh and that makes interesting it has a great deal of tension you know because everybody plays so differently from each other I mean it's like uh nothing on this Earth will make me play like Bob you know nothing on this Earth will ever make me play like Bob and I'll be damned if I'm GNA play like Phil you know what I mean it's like you know what I mean it's one of those kind of things each one of us experiences some version of that you know and it's just it's not even something we consciously do we just do it it's like as it's as as pure as mother's milk you know what I mean it's pure innocence it's like no there's no premeditation it's just something that's there you know we don't we never decided it we don't we don't inspect it we don't deal with it it's just there you know and I've never in my never once in all the years we' played together have I ever been able to predict what Bob will play or what Phil will play in a given situation or the drummers for that matter you know I mean I just have no idea you know I have I don't have a clue and it's it's to me that makes it really interesting you know what I mean it's just there's something the band always has this quality that is totally unpredictable and there's just no way that you can say what it's going to sound like I mean it just it changes completely its character completely you know from night to night and uh you know it just I mean there's just no way to stop it you know so it's one of those things it's not not like how did we arrive at it it's just like how how can we escape it you know you know that way I don't think I don't know I don't think so you know and our our liy designer works that way too so I mean the whole show has to work what are they going to do she I don't what happen what happened to the I like we're actually we may use a clip of I know your writer from the old avone that um do you have any what was the history of that song of the song I mean how how did you bring Jesus well it's an old folk song I mean it's it used to be like a standby really in the in the uh coffee houses and stuff like that and I never performed it as a Bluegrass person or as a uh I never was a foky very much you know um I just wasn't that good you know I I mostly played in bands with other people but I I always like that song and no matter who did it you know and there was like all kind of these folk versions of it and stuff like that there were really I mean there were really modern versions of it really I I always like the song so I I just you know I just uh of the ones that I could remember the arrangements the versions of it melodically and as far as this chord structure and so forth that was the one that I sort of called from my own memory I really don't have I don't remember where I learned it I don't remember who who taught it to me or why I even uh why I chose it except it's just a nice song and I thought it would be ideal to do uh with electric an electric band I viewed an electric band as really um well it's strings you know it's a still a String Band fundamentally even though it's electric uh so that and the addition of the the drums and that made it sort of more like Bluegrass which is a more intensely rhythmic kind of music so for me the elements were there it was like a I viewed the the band The Grateful Dead or or or the warlocks or whatever from the very beginning it's like well this is a blue blues band in one sense in other words the the instrumentation and everything is is traditionally what what a blues band has had and in that sense this is a traditional band but it's also a kind of mutated like a kind of like a Bluegrass man on a certain level I mean you could approach it Bluegrass is a nice metaphor for how music can work as a group in other words uh blue grass is a conversational music and I thought it'd be nice to have an electric band that was that way it was conversational where the instruments talk to each other you know uh and it's a way to organize music so for me I know your writer and the arrangement particularly The Grateful Dead Arrangement that with Grateful Dead uses is is has a lot of conversation in it and the instruments kind of talk to each other and uh that was that was the sense that I thought that was a model for how a band could work you know what I mean and it's extracted from all kinds of things but that's fundamentally an early model of how how a band could work so which is my my my throw out you know it's what I threw out say okay how could a a a five piece which we originally wear a five piece electric band work how could it how could it relate how could the instruments relate to each other what would their roles be you know you know and so forth uh so that was you know that was it with bits and pieces of regular stuff like in blues one kind of style of Blues the two guitars like Jimmy Reed say uh two guitar and harmonica style of Blues the way the instruments work there is there's a conversation between the guitars one guitar plays low runs and the other guitar plays little high licks less frequently but they work they stay out of each other's register they stay out of each other's range and it's a very pretty sound and the base plays you know just simple stuff in the bottom and that the and the harmonica plays like over the top and it it has there's a sense to it you know and it makes it very transparent because the instruments are are open their discussion is like open you know there's a lot of air in there it's a it's a pretty way to work so we sort of patterned the way we work the way we approach things kind of extrapolated from that idea I mean you have to decide somewhere along the line when you're playing you have to decide are we all going to play the same or are we all going to play differently I mean the Greatful Dead always had the disease where we played differently so that's what we had to work with but luckily that approach is not un totally unknown I mean it's it's a way a lot of musics work that way either they work that way because the instrumentation is different like in a string quartet or they work that way because uh uh the music demands it you know like in I say a mandolin Orchestra you know where everybody's playing the same instrument but but they're all playing different parts your your own uh guitar style involved over the I mean you you have so much confidence in Ian you don't feel like you have to you know go berserk in order to make people hear what you're getting across well I I'm hoping to not have to go to berserk at all I mean I will if it the situation really calls for it but really I my model for playing is is based on a psychedelic experience also my my model for like when I go on stage what am I trying to accomplish okay here's the story there's one time we played it was we playing at the old Filmore and it was after Bill Graham wasn't running it anymore so it was some independent like a hippie some some hippie local hippies rented it for some cause or another or whatever anyway we were playing there it was with but Bill Bill wasn't running it so it it's a little a little bit strange and uh there like some weird bands were playing on the same build with us like maybe like at that time say like the Flaming groovies or something like you know what I mean some of the bands that were happening back in that time this like the late ' 60s uh or the middle late 60s um so somebody some this guy who was like sort of a famous freak in ran around the scene in those days comes in and he's got this big birthday cake he's got this huge big birthday cake you know you'll look I'm looking at thinking that that thing has got to be dosed I just know this this suck I know I know it's dosed you know I'm looking at it and looking at looking at it and thinking yeah that's sure it's then I said but it it looked good you know it was beautiful this beautiful big you know so I thought I well I'll just I'll just take a little a little of the frosting here you know just you know I'll just take a little snack so I took this and then somebody comes in and says yeah we put uh about 800 hits of acid in that frosting you know and I go oh God you know I'm gonna oh Jesus Christ I'm G to be totally wiped out with this you know and and by this time I didn't really enjoy playing uh you know under the influence of psychedelics cuz I didn't have the freedom to quit if I wanted to it wasn't really that much fun to play when you when you don't have the option you know when you don't have options so I mean it it uh it it wasn't something I was looking forward to and and so I'm sitting there and I'm waiting to play and we're we're later get getting later and later and later and I'm coming on now I'm going down all the place is swimming and and I start to hear the overhear people you know I'm all going off in this paranoid space I thinking God this place is full of Mafia guys and they're all trying to kill me you know I got that notion in my head you know this guy you know this guy comes in he's he looks he looks exactly like a mafia guy you know he say here he want something to drink I look poison you know that no no no thanks you know it's like everybody is armed to the teeth they're all trying to kill me okay so and we're I'm waiting there to go oh I'm this is it this is my last night night on Earth you know I'm convinced of this now still in this Psy like a roar you know and so we're going down on stage you know to go and play and I'm I'm going out there I thinking oh God you know J what have I done to deserve this you know I'm going to go out there and play and they're going to kill me you know you know so I and the only thing I could think of to do was I I I said okay I'm just going to play for my life I'm going to play for my life that's what I'm going to do you know and so I played for my life and they let me live ever since then you know I mean that so that you know ever since then I thought that works you know for me is to to play for my life you know so you know that that uh you know when I forget what I'm doing or why I'm doing it I I play for my life wonder what what comment you have on some of the newer music um you know uh Punk and rap that kind well rap is not music for one thing I mean it isn't music you know it's it's talking that's what it says rap rap means talking it's not music it's talking in meter it's got rhyme and it's got it has meter it has Rhythm it's not music um it's uh you know it's okay I mean there's nothing wrong with it I I have no no problem with it it just isn't music you know and people who get to be great at rap are not great musicians they're just great at rap you know it's not there's no no Road from rapping into music you know what I mean you know and and music is something that you can get better and better and better at I don't know if you can do that with rap you know I I don't know whether it has that kind of space in it or that kind of go leads off into Infinite numbers of possibilities music does rap I don't know whether it does rap also has the problem this language specific so uh you know if you don't understand English you know rap I mean you know it doesn't communicate except it sounds neat um as far as the new music goes there there the there isn't a whole lot in the way of new music there's some stuff which is very derivative you know what I mean it's like uh people who are copying people who copied people who copied Robert Johnson say you know what I mean it's it's it's far removed and its derivative it's it's removed enough from the original Source uh that the people who are playing it don't actually know where it came from and it it it's like all like everything else it's a Way Station anybody who's who's young and playing is going to either they're going to get better or going to quit playing you know they're they're probably not going to get worse you know so that that that means that somebody is on the ride you know somebody's on okay somebody decide to get on the music ride and I look forward to seeing them get improve you know with age if they have anything going for them at all uh otherwise you know I don't know the exper the but the level of expertise that's available now to to any Young musician is wow it's incredible they can they can all play I mean technically speaking the in most instruments have have enjoyed an incredible increase in technical skill uh and that that uh that that skill that virtuosity is available to everybody in the in the old days forget it you know there would you just you know I mean if you're going to get good you pretty much had to teach yourself pass beyond a certain point and now now these instruments have uh you know there's a whole there are whole new levels of play playing ability which have made it more well now it's got the thing that every other everything else has which is dividing the technique from the the uh from the substance you know what I mean it's like uh It suffers in a way from technique music does because technique you can get caught up in it and uh and lose the substance for me music is a is a emotional it's emotional in nature it it communicates emotionally that's one of the things that does really well and I think that if you don't if that isn't the sense of what you're doing then I don't know what what it is [Music] hi my name is Dick lotala and welcome to a grateful Dad Vault right here is some live tapes from uh 1972 and 71 era the Europe 72 tour actually which is one of our better tours and and um back over here on the other side there's uh all the 7in tapes from uh 69 through 81 so how long have you I was hired in 1985 uh and I uh been basically organizing the tape since then but I I had a a previous experience I have a home collection like I was collecting tapes since time began so I already had some experience of organizing using the name de how how long have you been doing your home tap my Grateful Dead uh collection started in 1974 I started collecting tapes and uh then I did nothing else for about 10 years I have a huge collection at home and um now being responsible for this this many tapes is just uh overwhelming I should say so could you describe where we are how many tapes there are here we're in uh one of the Grateful Dead vaults the main one where most of the live stuff exists um which is the important stuff from my perspective uh and we have it on all different formats and there's stuff existing from 69 through the present so um this is basically the main Vault there's other vaults with stuff from solo projects or other record projects and things like that but what about other band members texes that's what I was saying solo projects there's downstairs there's Mickey's area well actually this is Mickey's area right here and then Jerry's area is over here and um then Bob has an area downstairs and you know Hunter has an area there's a whole bunch of different uh people solo things that are exist downstairs so how many live recordings do you figure there are um geez that's really almost impossible to determine you know I mean there's thousands and thousands of tapes uh there's one group of people that you know got into uh estimating how many shows and documenting them and there's you know a couple thousand shows so each show generates a lot of tapes just the live stuff that exists yeah uh the is it are they how many tracks different T during different years you take us through that uh I'm two track oh well uh in the beginning they only recorded two track except when they were recording for an album or something like that and then it would be multi-tracked some of the live shows when they were doing a live album um but basically there's just two track tapes from the 69 through 81 and then digital happened right after that so our tapes were put on digital but that's still not multi-track you know uh so most of the stuff is basically uh two track and a few shows on multitrack what we have here that you're looking at is one of the better Grateful Dead tours in 1972 Europe uh it's multirack tapes um and there's about 25 shows um some of which will eventually release on as part of our live Vault release program but um this is just one of the awesome tours that we hopefully get to hear someday some of the shows what album did this become oh this would be on under the live Vault release program you know we have like a dick piic which is this two track stuff that's uh you can't mix or mix down in any way and then the multirack stuff is more special stuff that is we call the From the Vault series that was started a couple years ago so that's uh that's basically the same live Vault release stuff but not multi-track it's just two track shows of which there's lots but there's a lot of problems with them you know like uh the shows weren't recorded for posterity they were just recorded to hear the next day so you get a lot of missing parts of the show so there's and there a lot of problems with two track multitrack on the other hand you can mix down and make it sound very very decent so there one two three what do those numbers mean on the that's just a a cataloging system according to uh uh uh you know putting them in a book this um doesn't refer to any particular thing uh the shows are what you know I look for like the dates are right here here I mean the the it says Bas drum FL Tom if you could oh those right in here these are the what's on the multirack um this is the uh 16 tracks and what's on them like the first track is the Bass Drum Floor Tom and snare and overhead high hat base bass lead guitar rhythm guitar and then the vocals and then an organ on4 and piano on 15 and uh I can't read that last thing who the vocalist on that t um well Bob and Jerry of course and uh Phil uh might have sang a song or two and um then Keith might have no he didn't sing and pig pen pigpen had a vocal too all right what you're starting to look at now as contrasted with dick PX is Dick's mess this is an area where uh I need to fix up a lot this is uh one of the band members areas where he has all his projects this is Mickey Hart's area and U it goes along on the other wall here and then the next Al Cove and um this boy generates a lot of music this is some more of Mickey's tapes here and now you're going to be seeing the 7in tapes in the back there those are live shows which is very good stuff there and just on the right is Jerry's uh section where some of his live album work is uh documented here on 2in multitrack tapes what you're looking at now is some of the multitrack tapes this is Jerry 14in M mul track this is Jerry Garcia band uh live show and a couple other shows coming up here and then the winterland 1974 winterland shows are down here further and if you go a little more down you'll see the 1972 Europe live tour uh there's some 25 shows that exist from that tour and there's some of the better shows that the Grateful Dead have ever performed roll away roll away
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SafPFpDNvpw
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Jerry Garcia - Grateful Dead Guitarist - Last Film Interview - April 28, 1995
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Silicon Valley Historical Association
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https://youtube.com/watch?v=SafPFpDNvpw
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2019-01-19
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PT48M30S
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en
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manual
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Yes
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native-born there everyone thank you very much for forgiving me some of your time and this is for the Valley Historical Association you can give it back to me just before I die I might want that like 15 20 minutes you ask your permission that we can use this in our upcoming video and maybe you put it out in cyberspace what news well I don't care I don't care what you do as long as you don't do something incredibly embarrassing no I wouldn't do it if I really mattered to me about you know we quit doing those porno movies last week so if the lights get to you say something and we'll shut them on first second sorry kitty former oh man just kill me hey so so hot did they actually burn my neck I think I really burned actually but I came on stage I have teeny-weeny blisters all over I couldn't believe it yeah I mean those suckers do they when they crank them up yet I don't know how you play I remember I saw you years when I was long ago at the Iowa State Fair fairgrounds and I just thought that was the hottest day on earth and oh [ __ ] one time we played Kansas City the big yeah we played that place and it was like the 4th of July or something like that it was so humid at haunt and it was it was like it was measured believe that believe it or not it was amazing at 130 degrees it's inside the stadium on my floor all right we were playing there playing and in passing unconscious bodies it's like you know like like a bucket brigade I mean the whole shits like it's like play to the death champ you know I mean it was like you know I was yeah everything was wet it was everything that they had then but we had an easy after us Willie Nelson played you know first I think I think code and it started raining then you know and it was that kind of rain that doesn't have any direction you know it's just water in the air I mean you can swim up and still like so like hot enough work where the water was they didn't steam okay okay let's talk about let's get on to the real stuff that's right okay so this is a history of Palo Alto and it's actually growing into more of a history of Silicon Valley and you know we're looking at well I'll tell you I mean this plate you know it was there was a lot happy I found some interesting connections what I lived down there as a kid I I went to a little school called memo pardon me memo ups yeah it was the first year that this school would just be built as a a junior high school that means some of the ninth grade down the peninsula on the the good side of the freeway you know the bad side of the field was East Palo Alto now are you singing out there and I went to school there too everybody did and you know it's just you know that's where all the black people live you know so then they they put this new new junior high school and it it's you know we were we were in the first class or so the first first two classes of it and you know it had that oh don't think about it being so close to Stanford the the the education of the School of Education and stuff like that you know the educational the people that were studying education or one thing or the other we're constantly using our little school as a place where you experiment with programs of one sort or another yeah so I was involved in this thing they had this thing when I was going there called a fast learner program where the brightest kids first aid tested everybody and the brightest kids we're all all like two times well three times a week went to college level classes in any of you know about maybe half a dozen classes or maybe maybe eight or nine classes that you could choose whatever you wanted so I I used to take a class and a science class and and got to basically just got to do it and you'd study just that subject all day long you didn't do any other stuff it was great fun I mean it was like so you know being there but anyway when I was down there I I had this teacher tremendously he got in trouble all the time this guy did first of all I was with all the wiseacres here I was a lot of smart kids from this this other school that I'd been in right my little school you know and they put all the bright kids together it was dangerous you know because we're a little smartass along with it so we had this kind of unsteady Second World War vet as our male teacher over and over in East Palo Alto for the our first year of junior high school seventh grade I named mr. Greene perfectly nice guy but you know this little hey get a little bit of battle fatigue in there Oh Oh whatever the euphemism they had were the post-traumatic shock syndrome anyway he's a little unsteady and we kind of distinct of bathing him you know and do you know cuz we're pulling weird drinks out of him dear Louis somebody finally cracked right up and just Eve quit he beat up some kid he left his like not last net last time I remember seeing was he was checking the counter at the counter and the Safeway hi mr. green by this time he's like his mouse is moving but nothing's coming out anyway so as a replacement now for this this this class got the replacement we got next was an extraordinarily read neurotic woman from somewhere God knows where who is like one of those women who dress over dresses for you know junior high school you know like big boobs but one of those like tied down yet down the middle the day she's like and she's like furious you know she's operating just under furious oh she's got fury free-flowing fury for anything yes she also snapped yeah she finally yeah that was it so finally we got this Sunday guys last guy knows everything in that okay this guy's gonna be bombed this [ __ ] right out mr. Johnson but mr. Johnson turned out to be great he turned out to be really amazing and he got eats talk to the class like they were like we were adults just a seventh grade you know you talked to us like a dull so mr. Johnson with mr. Johnson I learned lots and lots about every kind of fake I mean they're all kinds things by the time I that that grade it was over I was starting to get seriously I was starting to learn things you know and he he was incredible he'd come to school he had an mg TC one of those old beautiful and Jesus tonight with a big square hood it's not you know not not the little pointy confident shaped ones but the ones does it be long straights where you know it's nasty grout you know and he also had a Vincent Black Shadow the fastest accelerating motorcycle of the time you know it's like a real monster motorcycle I need a motor the teacher on a motorcycle whoever and he'd come out to school his motorcycle was a black leather jacket yeah this is like 1954 I mean you know he was really really outrageous and he and everyone once in a while his wife would come and she was like beautiful she was a real peach you know she looks really great and mr. Johnson recognized that I had a certain amount of facility of withdrawing I could draw pretty well and so he had me you know wisely but he also didn't knew that I was a confusion artist you know like you know if he good secret say it you know and but he got me involved in doing all these things that you know murals and you know supervising all kinds of stuff and doing the class plays and all that stuff and you know so I ended up being that guy and he fed it back to me and his wife who was an artist lost herself she was real great they were very helpful this guy mr. Johnson I dry Johnson was his name it turns out at that time cake Easy was like you know you know like like a freshman at Stanford and I didn't know this is the later of course but she's he and she was totally about how he used to hang out at White Johnson's house and why Johnson's the guy that taught turn easier to pot now that's that's what I heard are you I mean you know in terms of like what kind of a place was Palin I mean deeply subversive you know I mean but in a visionary kind of far out way you know what I mean because I was ready for anything after I met Dwight Johnson I was ready for anything you know I mean I was truly ready for anything and my further experiences did I move back up to the sea my experiences from beto were just more reinforced you know but but I got to be quite a you know I guess a bohemian you know this is before they started the word beat maker that's the you know beat generation area that was like out you better ask me some direct questions wrong you know we talk to guys like wozniak you know and in jobs well much younger you know sure but what they say is that because you know of the place of the counterculture that came before them that you know inspired and drove them to pull the computer out of the mainframe yeah I think yeah I believe it you know I believe it because it was hot it was a happening scene there you know really sure I don't camp birds yeah nice guy really really nice yeah excellent yeah excellent great why do you have my permission I'll try to be more sovereign leave more pregnant pauses advice on Thursday Willy legate I'll just make a statement I'll make a bit resin yeah you know keys he was at Stanford take an acid for crying out loud I was Hall later I mean this much later I'm talking about another brand I was talking about before was when I back when I was I was a kid I mean this is like 50 50s you know and but it was a short hop from there to what I went back there to about 1960 59 to 60 when I went went back after I've been in the army and you know it was I still went to the same I still found it friendly and I went to two East Palo Alto where one of my friends from from junior high school actually somebody I'd known for a long long time was stayed at a guy's house in junior in a party in East Palo Alto because it didn't cost him anything he says I said hey you think I could stay there too he said sure sure bring your car I just bought a car my first car which was a nice 50 Cadillac 50 get like sedan I bought from a cook in the army and so I took it and I brought down to talk I just did I suggest to get it down there and then it died it died in the parking lot pass just behind the kind of the building where my friend was staying so I just you know I just may be comfortable in there that was became my house that was my apartment so the first step but I would go over to to my friend Laird this is this is guy Laird who I've known almost all my life I mean he's still he's lived the lives on some land I bought up in Northern California is still up there he was a guy who was tremendously fascinating with all the beatnik stuff and be literature and all that and as was I and I so I I made my car you know and then some of the time I would sleep inside in the in the apartment on the on the folding bed you know one morning got there steamboats Lee and this guy comes in he says Jesus Christ he says Wow I bet you have to shave three times a day he says this black guy named David and hey crack me up I said you have to save the day so I had to hang it out with this guy David McQueen a real great guy and we and I would go out looking for odd jobs you know and I mean really like we were like that Laurel and Hardy of East Palo Alto we would get we'd Freddie's a little you know like 20 bucks a day job yeah I'm moving Fraser here here you take the heavy end no God no no look out for that like totally silly but he was there like the first I did sort of like befriended me a lot you know and then some time or another somebody brought a guitar a little acoustic guitar over to this guy's house and I I played a little and david mokuba he heard me play the blues he just killed it me says why man with the soul like he was so like what you got man and I was a tremendously flattered you know and he'd say she's like come on I gotta take you rock you take me around to all of his friends places and I played play the blues and people would go blue everybody feed me you know I'm pretty said I got to be I was totally comfortable there you know I was just you know I didn't think anything of it really you know I mean it I didn't I guess it was exceptional but it didn't to me it felt very very normal you know I mean I I didn't really know anything about the Blues but my brother had been a fan of rhythm and blues and I've been listening to it you know all my life I mean at least as far as I can remember you know I mean this is back in the days when guys like John Lee Hooker were had hit you know in the rhythm blues world I mean this foggy got country blues guys you know and the Bay Area had lots of blues cats old-timers you know you know all these guys they were I mean they're they're a lot of and they're they're around and and and it was like a sort of distinctives style in the Bay Area and then there was all that there was all those the Chess Records you know that the Chicago blues Muddy Waters and all those those guys are so wonderful I mean that that music I grew up on you know I I didn't didn't occur to me then I mean that was the music that I I heard that and my grandmother was a nut for the grand ole opry she played the grand ole opry every Saturday night so I got that sound in my ear the fiddles you know and you know sometime around here was the funk music things started was happening the Kingston Trio and all that stuff and so the thing of having an acoustic guitar you know and being able to pick a little bit was like you know I you know I wanted to I got fascinated by that I heard this guy play figure style guitar finger-picking you know I said jeez I gotta do that that sounds great you know I could still learn how to do that yeah and I added and things got to be that way I might be I would hear something and I would just love it you know and I feel like I was getting closer and closer to kind of the golden soul of what I wanted to do you know the thing about music you know and it music got my attention and art stopped having you know I mean their art so I just I didn't even think you know I just I just want to do this and so I spent all day picking at the guitar you know listen to records and slowing them down and do that you know that's definitely what to do well I'll tell you man it was the people that were George perfectly kind I mean I never had to worry about eating I never had to worry about a place to stay I I never had to worry about money I never had a job people looked after me and I didn't I didn't ask him to you know they just did I was always so delighted you know I sighs so far happy died I all I said what could I do I can I do any detail sometimes I can help out in some way but more often than not it was just having the kind of their hearts and also over there by Stanford you know when I got hip to that I mean there were these like all these Stanford girls you know there's different girls and they would always bring me I got great stuff to eat you know and I met Hunter of course who was when I first met him Robert hire when I first met him he like I had just gotten out of the active service part of of the service he was a he was a weekend warrior though where I was a regular army guy and so and what I when I got kicked out that was it I was out a hundred when he got kicked out he had to go back every you know like a one weekend a month you know and all that say Horizonte keep his hair short you had to do all these things he couldn't be he couldn't get totally weird he always had those national guard okay Bob national guard to know that he'd be you know out there like counting the moths on the moon or something you know totally bizarre if he'd have to come way back from that you know okay Bob come on Maggie I get your uniform on Vegas right so when we first met each other his car like mine had died he moved it right next to mine East Palo Alto you know so we were there we were we were automobile natives in this empty lot and the other interesting coincidence was his car had he had like two or three great huge you know ten gallon cans of crushed pineapple that he boosts that I guess from mess hall you know and I I had thousands of plastic spoons and forks I don't remember why I took them I sigh I thought I should have them though they were everywhere they were in life glove compartment they were stiff stuff those are the seeds they're everywhere you know every nook and cranny in the car in plastic spoons and forks and so we would have these you know that was like breakfast you know hey how about some how about some fresh pineapple today bobgoblin that would that was it so we were able to we were able to make do with that for a pretty long time that was how we got to know each other really that was fun and but see and also see socially you power off there were there a couple of coffee houses like like continental style coffee houses they were you know had a nice informed menu you know and a lot of nice good good coffee you know you get wired to the idea for 25 cents and all the children the kids of the of a lot of the Stanford you know the the the people that worked at the university the the the staff you know and the you know of all of the various departments you know they're the kids we're all terrifically precocious and there was this one kid who there was a San Francisco newspaper columnist of the time named Paul Spiegel a justice Mel's name SPE eg like Springsteen Spiegel and then Paul Spiegel and his son I know this scent for I noticed that actually since back when I was in you know junior high school that I was like a year younger younger than me or so and he was kind of like the lion of the little this little social scene so I met him you know and we hit it off pretty well immediately and we got off on each other we were both heavy readers and we both had shared the same sort of cruel sense of humor pretty much a soul and we had a good time together but very shortly after we got to get we were getting to know each other one night after a party somewhere it was gonna be a little accident and Paul was killed and I and some of the other guys there was four of us in the car we were all injured some and but Paul was Paul died so in the aftermath of that that whole little scene kind of pulled together and kind of gained a kind of sense of purpose you know because he was like a really gifted he was a gift he was a painter and he had the touch he had the thing you know what he would have become good so that was that was like kind of one of those little kicks of the as you need to get you going you know that was one of one of my kicks it works pretty well and I mean really for me it just then I started to get really serious about music I understand here why didn't you go like back to New York I had no interest in going in New York you know I really didn't I mean I liked it here and I also I the people here I love them you know I cared I cared about the people that I would there were like you know my little my social set you know I loved him I thought they were that's what there was a lot going on there you know and I thought I have time to go to New York New York New York some other time you know and you know I just did - did their New York was he calling to me yeah I really you know we say about that time do people New York were starting to come out here you know got from the West Coast you know it was just starting to light up a little out here you know and and that one then you know things started really rolling that this is still early 60s early like 60 to 61 62 63 right around there I mean I still had a few years to go as a during the folks care you know to get to be a real confident bluegrass player and that was my connection to New York that's where I met the New York guys cuz they were that was they were the first serious folkies and so the bluegrass players the first ones that I met there could really cut it or from the East Coast yeah and they were amazed that I was out here in the West Coast although there was a couple of us out here that could play well and so that that that started happening you know that reciprocal thing and you know like that and it did start once you got rolling it started moving really fast you know all this stuff started moving really fast I mean within the space of a year so then of course Kennedy got snapped boom yeah yeah oh all in the world you know new reality you know put on the brakes you know to check things out girl you know what I mean it was like that was another impetus it was like now what okay [ __ ] you you know thank you you know if you're gonna shoot there if you're very done there's something that's good it's gonna get shot [ __ ] it you know we're not gonna let you have it anymore you know see everything changed then yeah and also that's about the time we started to leave the phone the started ceilings too small and other things we're calling this well the city yeah was it was the vastus actually is what goddess which was like a like we went to the Moon or Mars or something like that we went to another reality rather than this one and it served better you know you know it was truly cosmic kind of entertainment but you know that actually it actually brought a lot of kind of all along with it it's strange you know I mean you know it'd be hard to it's hard to sort of separate one thing in and out and it was the lifestyle the way of life there was easy be weren't afraid you get on to be on the streets in the middle of night hollering and the police wouldn't think there was somebody being killed I mean there wasn't you know it wasn't worst-case preparation you know they weren't they weren't ready for the most horrible thing to be happening and it really was horrible it was almost always innocent and pleasant even and it was just a great great way to live you know it's a great place to live a great way to live and the people were nice and we we were lucky enough to get to be able to get weird at a time when as far as sight notes were concerned they were still legal for one thing and the other thing was that nobody knew what the [ __ ] you were yeah yeah so if you're if your behavior defies description you know what I mean what's the guy doing wanna know he's standing up seizo upside down by the lamppost over there he's got one leg Raptors this the telephone pole and he's arms out and he's screaming something about Merry Christmas I don't know what that was you know it's like you know your behavior so weird and you know and but you're not harming anybody or scaring anybody I mean the people realized its place harmless you know it really it's okay you can be as weird as you want it's like in England they have this thing where as long as you don't bother anybody it can be as weird as you want and they kind of they kind of treasure they're mad people are they kind of like if you're if you're crazy no problem less uptight more fun time or just a period oh yeah well for us that we had as much time to be young and carefree and and having a wonderful time sort of that sort of life we had as much of it as anybody could possibly want I mean it was it was really great really was it was also enough time to to develop the skills that you needed like for me from being able to spend enough time working on my playing so that it wasn't developed in a frenzy it was developed out of love my own personal love for it you know and you know well stuff I don't know any other way to say it really because I did meet people who learned on their other way other ways you know there's sort of other envelopes and it's not that that they could do I mean to do what they did technically was any better or anything but sometimes it had a a darker purpose to it sort of I mean it was good and everything was well I skied it but but sometimes it lacked that the thing of heart you know how music I should have should always have it even mechanistic be that music promised him though I don't think that I don't think the Pow Wow I had a clue the reason anything at all might have happened there was because there was a lot of people there and it's a college campus always kind of protein m'as not that anybody welcomed any of it you know nobody welcomed any of it really and it really it was a couple of doctors that opened up the place to Hanjin the top of the tangent and they were slightly visionary you know just slightly you know and they like the music and that was it it wasn't wasn't because there any part of say the university or the the hierarchy of the community itself you know any not a clue you know I mean not I don't know whether it would have been possible for it to do anything would scare it you know what I mean it wouldn't have been helpful and the nature of all was happening was so delicate and so bizarre and had a kind of it had a kind of unfocused diffuse well I mean it's the sort of thing that it's difficult to talk about even now because there was the the point about it was that it didn't have a sitter it wasn't directed from by outside forces or by the normal history as we normally perceive it it was not about those things you know that's that's that wasn't what it wasn't that wasn't what it was about and it was about possibilities I think and they were in the air they were just in the air and everybody was also waiting when the sense of something is about to happen was so imminent you know I mean it was just like everybody knew it you know everybody was waiting for this thing to happen something was gonna happen and it was just so obvious and everybody did what they could to make it happen you know people would try weird [ __ ] you know I mean I mean everybody was everybody got turned on to pop during this period and loved it everybody tried other other forms of other kinds of drugs crystal and so forth and didn't like it so lore liked it a lot but it made him crazy did lots more you know and really what it was was everybody was waiting for psychedelics everybody's waiting for LSD because of what we'd heard about it when everybody had heard about it it seemed like you know it seemed like that thing of the sense of losing faith in this reality like this reality is not it is not that great you know this is just it's not that good can't beat all there is there's just not enough to it there's not enough to it it's not that interesting it isn't it isn't enough fun it doesn't it doesn't require enough of me it's not a challenge you know Derrick gotta be it's gotta be more well LSD hit the streets finally that was like it yeah yeah you were looking for more here it is this is for this is more than you can imagine I mean and for me that's what that's what that was I mean I it's not I realized that drugs are not politically correct right at this moment but you know psychedelics for the people that were waiting for them they were exactly the thing they're exactly the thing you know I mean because they have that way of being individual they're not nobody people don't experience exactly the same effects they experience themselves and themselves sometimes themselves it turns out to be utterly delightful sometimes it turns out to be a total bummer but either way you you've got more of it to work with well you've taken psychedelics and seen the bigger picture you know so sometimes it meant that I gotta get to work or I'm gonna be this way all my life you know sometimes that's what I admit sometimes it meant no more psycho dogs they're they're too weird for me but I think I'd better go and join a monastery somewhere guess the only way to work this out is the long slow way yeah I'm panicked unhurried some people it was like something those yes okay where's the next terminal you know I'm ready you know yeah I'm ready to move to the next square you know and you know it hit people where they needed to be and it was the thing that everybody was waiting for and it was and everything opened right up right in front of the boom like that it was it was truly amazing and that that that hole lasted for about a year year and a half maybe it was like this magic kind of oh where the honesty was still legal it had been made illegal yet and the idea of being high was so new that nobody recognized it and you were freedom to freak out completely get as high as you want to do out in the open and they could take it to jail for it and that was really a wonderful thing to have experienced you know that was like yeah I mean after that there's that really I mean for me in my life there's no turning back there was no back but not just a matter of turning back but the idea of backtest was gone like all directions were forward from there you know I mean and as far as like information and material you know it's like having so much material I mean and it stays with you too like the experiences that I experienced back back in those days the psychedelic days they were more real than anything I ever experienced in this on this level you know they were there way more real you know they had they were so much more detailed and lifelike and and beautiful and horrible and everything else in every and all the way you know down to the teeny tedious medias smallest iota of discriminant material every bit of it was you know was it was incredible I don't know yeah that that's just one of the reasons I started disqualifying yourself from this discussion about a serious levels because there simply is conventional wisdom won't accept this subjective of a overview you know for me that's the point that's what it well that's what it was about it was it was most subjective and you know I I'm so glad that it happened in my lifetime and I got to experience it at its purest you know I've just I feel like I'm luckiest person in the world really their game and hey that's it you know I don't remember the first time I met him when he was working with a friend of mine named Troy widen heimer we played the band together the band was well we played the band together I played bass and he played drums but he was 17 years old and you know he was like the teenagers that's the kid yeah and I played a few shows with him stuff like that and then one when me and big van and weird talked about putting together a you know like a like electric blues band there's something that sort the only German that I'd really played with around that area that I felt really had a nice feel was Bill who was 17 or 18 right now by now he's 18 so I talked to over the he was he was just as weird as ever and I really really didn't understand anything he said he was like what okay I asked him he wanted to play he was delighted he was just all over the place in any you know so we played it was great you know he'd worked out for it I didn't realize what it's truly strange Presley was until we started getting tied together then that was a no-no a whole other bill jumped out you know that that bill is a total a total remember seeing you played the tangent upstairs yeah told him so Pigpen I know I remember when I met him he was like 14 he's like a grubby little kid you know from dad lived down there and near Los Altos and you know he played a little harmonica and a little a little guitar he used to ask me to show him some guitar licks blues licks and I would show up stuff and he picked up the guitar by himself and in about a month about a couple of months he was playing you know tonight pretty dice he had a real feeling for the music and he it was in his ears it was his father was the first rhythm blues disc jockey in the Bay Area so he been here in the music all his life and he had a real feel for it it was very natural to him he's a great guy he was very funny - he had big big big head up a real pixie quality it was just love really lovable really fun but I tried tweedle maybe you know a bar or a loader a computer Oh his Silicon Graphics a rig that I could screw around with I like the power it's got well I don't know about the music itself adjust the approach you know we well that's just it's just part of that's what you is we're just moving into the 90s I mean you know or actually moving into the the next millennium it's our music wants to its have as much as many possible ways to express itself as it can it just it's just another tools more tools no not really III can not to be I'm not so far let me put it this way my ideas tend not to be musical I don't want really want to be in the musical part of it I'm much more interested in the graphic part of it you know it's possible that sometimes I'll do and I mean I'm converse with it I've got versa but it isn't isn't my favorite way of working yet yeah dum Delhi yeah Mori yeah yeah he's a nice guy it's way inside I used to work at datum organs and then me and Bob used to go over and work at this place called good though good talk maybe it was Draper's know what's the rapers it was it was guitar city or something like that it was what the hell it's the kind of tree in it I don't remember wasn't rapers I don't think no it was up on El Camino and this very nice guy agree on the place was a good little guitar store but uh weird I both taught up there you know like after hours kind of was our moonlighting job yeah that was our first gig no well yeah the close to it mighty early yeah yeah I something like I don't even know if we got pizza to tell you the truth we didn't charge anybody anything to get in or anything but the place was packed it was packed to the rafters the second we played on Mike on Tuesday night or something like that the second Tuesday and I only played the place was absolutely floor-to-ceiling I mean it was out on the street it was just totally you know it was amazing it was incredible I mean the first time we played it ended up that way second night we played it started that way you know I just got more and more intense you know they didn't let us play the third night that was it too much you know too much going on well Jack Casady Neal Cassady I don't think so I think you'd have to be around a bay area but you also had to be a fan of the world oh yeah we don't help they help to read and have read the books and you know who know you know and I mean Neal Cassady was always around in the world that I was in he was like peripheral to it somewhere when I was at the artist he was somewhere around North Beach there you know new people who knew him and I knew people who knew them all over the way funny I got to I got pretty close to it myself I got to be good friends with him he was one of those guys that was truly was a very special person you know and one of those one of those things I mean it you know for me I my life is I mean psychedelics and Neal Cassady are almost equal in terms of influence RP and because Neal Neal III don't even know how to say it I don't even know how to say he was his own art you know it's like he wasn't a musician neal cassady I mean he was like a a set of one yeah and and and he was it he was the whole thing top bottom and beginning everything and people do it you know and people would be drawn to it and destroyed or else they would be repelled from it you know everybody people reacted every conceivable way I thought he was hilarious I thought he was just the greatest thing in the world you know I really loved him and I had no fear no fear I never worried about whether I was going to lose my life riding in a car with him I knew I was gonna lose my life I didn't worry about whether I was going to I do I was going to do but learning how to give everything up like that as a wonderful thing it's a little tool and I don't know how I could have learned it like nothing else would have made me learn it yeah just like racing over San Francisco you know like the service to say that Pacific Heights yeah at like 65 miles an hour you know making those hills and those quarter isn't going the six Ellison in the middle of traffic just yeah I'm doing things where you can't possibly make this Carter don't even try it and the meal is like not even he doesn't even look like he's paying attention to anything to the road or anybody or anything any he's like and he just whips it and you you you look out the window you know you realize you're on the sidewalk you know you're like a half an inch away from a telephone pole over here and he's I mean it just it just it's insane totally believed that he did it all the time as he was that was the thing that he was truly great at there was other things that he was barely very very good at he was enough to boggle about you know quite a few people I mean Neal was very taken with uh I mean Jeezy was very taken with him and obviously Jack Kerouac was and it was an unbelievable human being the energy that he had and the the vocabulary that he had of of gestures and expressions oh boy he was funny and he also had a trip in his rap do you yeah yeah I mean I don't know I don't know what to say about deal some people just thought he was crazy he's crazy get him out of here I don't wanna be here yeah a lot of women he frightened him he was too too out of control a lot of men travell that they had to somehow get with all the contests with him that doesn't work out good they'd always I don't know what they'd always try something good yeah the thing about a deal was people wanted to compete with him without having any sense of what stayed up all night I don't know what is competing with it was one of those things it wasn't obvious anyway if you want any more than that you're gonna have to talk to somebody else you
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OmFQMwPKGxQ
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Grateful Dead's Jerry Garcia And Bob Weir On Why They Let Fans Record Their Shows | Letterman
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Letterman
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https://youtube.com/watch?v=OmFQMwPKGxQ
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2022-02-01
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PT6M9S
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and my first guest for more than 17 years the grateful dead have been making rock and roll history with very few personnel changes and uh ecstatic fans known as deadheads they are truly a cultural phenomenon but the grateful dead are more than just a band they are a community of about 100 people whose energies go into their albums concerts and films would you please welcome two members of the grateful dead jerry garcia and bob weir [Music] welcome welcome to the program gentlemen let me uh ask you just a question you're probably tired of hearing of uh hearing uh you probably more than anybody represent uh uh san francisco and uh all of the bn and that sort of thing in those days and what what year what this is what year would this have been 60 uh um somewhere between 64 and 67. now that seems like it was it was 66 and 69 wasn't it yeah that's about right this is close enough it was was that it seemed like a very romantic exotic time was that fun uh exciting yeah nothing but fun yeah yeah uh can you describe uh your favorite memories from that era well i thought it was the acid test and that was a barrel of fun yeah and uh more fun and a frog in a glass of milk and you were you were about to say hey wait i was going to apologize for not having any memory [Applause] i'm pretty sure it was fun though uh did you have any any sense that things uh were forever going to be changed after that well i guess your memory oh you're taking a hike yeah the thing about the the thing it seemed as though that uh at the time it seemed as though things were gonna change real fast you know because because there was this amazing momentum i mean it started out like when the acid tests were happening they started with uh you know 50 60 people or something like that in a matter of weeks there was it escalated to 3 000 or something like that it had this amazing effect of uh you know this juggernaut quality of uh picking up lots of people as it went along so it seemed like things were happening uh with tremendous uh there was a sense of history going on there you know at the time everybody was conscious of it now i mentioned in the introduction here that you uh you have your own self-sustaining community uh of about 100 folks that go into the production of films and records and so forth do you still have that same feeling in in your little community yeah sort of yeah pretty much yeah do you find yourselves isolated to a certain extent yeah yeah is that good uh probably well it depends you know good it's probably good for us yeah yeah we we would probably meet more different interesting people if we weren't so isolated but we are maybe yeah that's true this is the phenomenon of the the phenomenon of your fans of people who enjoy what you do the dead heads [Applause] we got an ash string an entry yeah i think we can get you one we can certainly send out another one yeah uh what what does that name typify ashtray no no i'm kind of new here so am i um we're all doing our best yeah uh what does that mean exactly grateful yeah no no no the dead heads is it just a catchy phrase or um yeah i just sort of turned up really i mean uh well there were acid heads you know and there were you know speed heads and uh grassheads and now it turned into a deadhead yeah is that that generally thought of as a flattering term though we uh you gentlemen just finished uh two nights in uh over in new jersey and um i'm sorry nasa and uh uh you you just continue to do a lot of big concerts but you don't sell as many records as other uh traditional concert groups yeah yeah and as a matter of fact you don't mind people taping your music in concerts not particularly now why that seems to be defeating the the idea of selling records well if we ever make a real good record then uh then probably they'll rush out and buy that anyway yeah yeah i mean and besides the tape spread bring back memories to him and all that kind of stuff and the shows are never the same ever yeah i mean not even ever you know i mean and uh sometimes they're remotely the same yeah sort of uh and and when we're done with it they can have it you know [Laughter] i was reading articles about your uh work today and uh the phrase x chemistry came up yeah and it was in context of something which occurred on stage what uh what would that be x chemistry i've never heard this uh i've heard it i've heard it at least one of you has heard it yeah right right there are very various different versions of what it is but what it really has to do with it it just has to do with being on or uh the thing of uh it happens with anybody who works together uh in some sort of a group situation like bill walton used to tell us that it was something that that would happen that happened when he was playing basketball or linkage yeah it's just just it's gestalt linkage yeah there you go right a union might say that uh it's uh the thing of having some more happen than uh then strictly cause and effect you know but also that's you're placing yourself in a great deal of jeopardy uh potentially right yes yeah it's taking a chance i mean it used to be that we failed way more than we succeeded but you sort of mastered that energy not really yeah i couldn't say that you couldn't say that we mastered it it's an interesting notion nonetheless you
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dnIGtHNBL4g
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Jerry Garcia's funny acid story / Grateful Dead LSD story (WAY DEEPER MEANING) [2160p Rescale]
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Christopher Hazard
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https://youtube.com/watch?v=dnIGtHNBL4g
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2020-11-03
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Could not retrieve a transcript for the video https://www.youtube.com/watch?v=dnIGtHNBL4g! This is most likely caused by:
Subtitles are disabled for this video
If you are sure that the described cause is not responsible for this error and that a transcript should be retrievable, please create an issue at https://github.com/jdepoix/youtube-transcript-api/issues. Please add which version of youtube_transcript_api you are using and provide the information needed to replicate the error. Also make sure that there are no open issues which already describe your problem!
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ytXCROlis5s
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Jerry Garcia Interview [1080p Remaster] October 13 1989
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Christopher Hazard
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https://youtube.com/watch?v=ytXCROlis5s
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2022-07-10
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PT30M37S
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okay you ready all right jerry 24 years together when a fan looks at the 24 years they see hits they see concerts they see tours when you look back what do you see oh god i see uh well a large part of my life i've spent doing something which has turned out to be more fun than i thought it was gonna be and it's lasted way longer than i imagined it might and it's taken me places that i would never have ever imagined you know so it's i mean uh it's it's hard to uh to separate myself from you know what i mean from this from the experience i mean after all it is my life you know that's like for me it's 24 years of all kinds of stuff of of you know like everybody goes through you know life and death and kids growing up and um and you know stuff happening and the grateful dead has been this one constant uh continuous source for the during the whole thing so it's it's a big uh big chunk you know it it it stopped being stuff like a career or a band or even a family and that kind of stuff a long time ago it's gone way past that you know by now you know when you first started i i wouldn't exactly call the grateful dead mainstream no but now here it is uh i mean don henley's got lyrics about deadhead stickers on a cadillac you've got a top you've had a top ten single are the grateful dead mainstream in 1989. uh i don't know whether we're mainstream or not but we've certainly become a kind of a cultural artifact of some kind you know i mean the uh yeah it's hard to tell whether or not our music is accessible to uh the large america but we always thought it was you know i mean it uh i i'm the wrong person i asked that question really you know we'll see if this next record does really well then it's uh it's yeah then then we're some somewhere if we're not in the mainstream we're pretty close to it you know how did touch of gray that success changed the band or did it it didn't really change it very much no uh mostly it made it so that that now having lunch with record company guys very comfortable they're really nice yeah and you know that that that's probably the main in terms of the quality of life you know it it really uh it we it's hard for us to separate our our regular slow continuous success with the you know what i mean that where that record by the time that came out we were already doing pretty well you know so it's really hard to gauge it whether it's added lots of new people to our audience or you know it's just there's no way to measure it so it's it so it uh it it's more a kind of a a surprise a kind of a left field thing you know but it does it hasn't really affected us too much i think if anything it's given us more confidence about making records and i feel like well i mean you know hey you know you know i read a lot of definitions of uh or the definition of deadheads what's jerry garcia say what's a day dead hands yeah oh god you're really getting me today uh deadheads uh well my experience with them is like is again it's hard to characterize it's been a long time now and there's been lots of them and they come in all shapes and sizes and forms and they're they're everything from uh street people to uh uh solid professionals you know they're all over the place they're they're on capitol hill you know they're they're in part of heart and lung team you know out in sacramento they're everywhere they do they're they've permeated society you know they've they've become a mainstream in a way i mean there's a lot of mainstream deadheads even the new york city police department's got a lot of deadheads in it they're all over the place so it's like that's kind of fun you know uh we meet people who are uh you know the mayor of milwaukee you know you know it was comfortable enough to bring his wife and his wife come to the show you know hey i'm mayor of milwaukee you know sure you know yeah yeah me too no i am really he says he brings that he breaks out the car the other guy really was the mayor of milwaukee and a really nice guy and it's kind of i mean that part of it is kind of encouraging that uh it's not something that's just uh it's like there is this there is this little culture that of people people who identify themselves by what something that they like and something that's a good thing in their lives like i mean all right there it it's it's it's broad you know that's the dead heads are not they don't fit into a category real easy you know one thing you take care of your fans in terms of the way they can get tickets through the mail newsletters there seems to be a love a genuine love for the fans of the grateful dead from the band yeah well they they they they're paying the rent you know i mean uh they're the ones who keep this happening as much as we are you know what i mean so they've invented us just like we've invented them in a way i mean you know it's it's a mutual there's a mutual thing happening there i mean it's uh but that's true with every band really it's just whether or not the band chooses to deal with it or not really it's i mean you don't exist without your audience it's that simple really so i mean our audience has has been uh particularly giving uh in that they they aren't it's not like a showbiz audience you know what i mean the the the the they come as much to for the to be there and enjoy each other probably as as for any specific concert i mean they don't come to hear us do our hits you know we don't have any kids they come to hear us do whatever we're going to do and or to try stuff or to hear something new or to hear us do old stuff or to hear us even have a bad night you know sometimes and it's still the experience is still rewarding for them for reasons that may not have anything to do with the music but just the idea of being someplace and celebrating their own existence or something like that in the early days uh uh the grateful dead there were times they were saying that you guys were i won't say broke but weren't rolling in dough broke is good says it but somewhere in there you're very organized uh with the tickets with t-shirts with newsletters where did that organization how did that begin well it evolved very slowly from that thing of being broke you know i mean it would work bro you know uh somewhere back there actually from very early on we we were doing pretty well and supporting ourselves i mean it really uh i mean once you're making a living you know everything above and beyond that is just is extra so for and we started making living before we even made our first record we were doing pretty well and playing at the ballroom scenes in san francisco that fillmore and the avalon in those days so we were you know we're doing it we're making a living uh going through the thing of um of starting to uh we got into trouble in a couple of situations because of stuff like spending too much money producing a record now when you're not making all that much but just making enough to get by and all of a sudden there's a you have a a a record a bill but back in those days like of 150 000 to make a record that's you're broke you know then you're in the hole and that that then that starts to look scary because it looks like more than you can and then then there's all the tax stuff and everything that goes along with it so everything is compounded by just complexity so after going through a couple of those kind of scenes is it's it got to be uh important that we at least make keep our scenes straight as far as the taxes are concerned and all the rest as far as the the way the outside world deals with us you know and we don't definitely don't want to have to go to jail for stuff like taxes and so it it just makes sense you know you're dealing with that world you can't avoid it so we've just made an effort to try to keep that as together as possible and then the rest of it we've just evolved i mean it used to be that we would try we would have managers and so forth that would say well manage us you know or you know manage our affairs or whatever but it doesn't really work not for us they're stu we're all too it's finally it we recognize that we need to have a hands-on kind of relationship to it so we have meetings where we talk about all the stuff that comes up and everybody hates them you know i mean everybody you know we complain about them and moan and groan and everybody hates it but we do do it you know and and it's it doesn't it isn't really too hard but you you do you have to do it so that's one of those things that just experience you know that's the greatest the best teacher of all in these things and after you know you make the same mistake 10 years in a row you know oh i get it you know it's been kind of like that for us really you know this stuff is mostly stuff errors it's a comedy of errors really and eventually you learn do things the right be more thorough and so forth all stuff that we don't want to do but you know it seems like with many bands in concert they reproduce the record exactly it seems like the word for the grateful dead in concert is improvised yeah that well we would probably do we would probably reproduce the record exactly if we were disciplined enough to do it but it's just you know it's just uh forget it it's out of the question it doesn't you know so what happens instead is i mean by now our fans realize that's they're not going to hear the record they may hear the songs but they won't definitely won't hear the record so that but that's okay i mean really from a musician's point of view a record is kind of like a a painting you know it it's you have a chance to really study every all the detail and you can you can be sure that everything that happens in the song uh has the benefit of um supervision so you can pay attention to incredible detail when you're playing live it's uh a whole lot it's a whole other experience it's it's like a snapshot you know it's like a polaroid it it what what what's there is what's there and the moment provides new things sometimes sometimes they're better sometimes they're worse but they're they're really it's really two different things like apples and oranges almost you know it's uh it's it just for us that's been our our big trouble making records really is we've never been able to get that live energy into the grooves you know and we go in the studio and we might be able to get it to sound superficially okay but it's just no life you know people like you know uh that's been the big mystery for us and but we're starting to get to where we can do that now we're starting to understand what it is what it takes to make that happen many bands they hear the words bootleg tapes they go crazy but the dead sort of promote the trading and the hoarding and the passing around of bootlike performances well i don't know about the hoarding trading advantage the thing is that we don't discourage the tapers but it's just because it's a reality you know that even if you even if you try to prevent people from taping they're going to tape anyway it's just there's just no way to stop it really so for us it's one of those things of uh first of all they're coming they're paying to hear the music you know and i mean after we're finished with it you know it's gone you know so why why shouldn't they take the music that they paid for home with them i mean i don't see any problem with that really and i uh i i think that probably there's a superstition anyway in the music business that if you let people tape your music somehow they won't buy your records i don't think that's true i mean at least it hasn't seen it doesn't appear to be true as far as the grateful dead is concerned that is to say that if people buy buy tickets they also buy records uh what whether they tape or not and the fact that there are enormous numbers of tapes down there in circulation i mean it's just it doesn't seem to affect you know it doesn't seem to affect us in any kind of serious way except that we have a reputation for being people who are lenient about taping you know that's about the most serious repercussion and of course there's the thing of that i mean if you're worried about concealing your mistakes then you might have a legitimate thing about preventing people from taping like if you decide that uh your experience your performances have to be absolutely perfect before you want them you know but i mean realistically you know nobody is has absolutely perfect performances it just doesn't have not in this world you know so so since people are going to be taping i mean it's just i i it's one of those things where i disagree with the traditional approach to it that's all you know and and it's we've been doing this for a long time it doesn't seem to have bothered anybody tell me about the new album built to last uh it's pretty good it um it's got some good songs on it uh this it's really it's kind of hard to talk about it's just uh i hoped that they would have released it by now but they're releasing it on halloween which is i guess cute you know uh it this is our first record that where it's truly a studio record it isn't partly live and partly studio like in the dark was we approached it as though it were a live record even though it wasn't in front of an audience or anything we still our the methodology was basically live recording this record we approached it just as though i mean totally from the studio so it's totally from the it's really constructed from the songs out so it's it's uh a different approach than what we've used in the past but it seems more musical and it seems like it's uh it it has more energy and more discipline so from my point of view from a producer's point of view this is a really good record from the grateful dead i mean by really good record i mean this will hold up compared to anything else in the the world of you know professional recording you know it's it's at that level so this is like one of those ones where i don't have to go don't listen too hard to these cuts because you know this everything on this record is is really nicely done and i i'm pretty happy with it whether or not anybody likes it or not of course that's a whole other matter into a foolish heart the new video yeah tasty video yeah it's nice a lot of old images mixed in with the new and there's a dedication or a thank you at the end yeah tell me how you mix the images and tell me about the thank you as well well the idea came from i guess uh gary gutierrez who's the director and the hunter who wrote the lyrics of course were uh got together and talked about it what kind of imagery they thought they wanted well 100 wanted to avoid any specific tie-ins with the lyrics he didn't didn't want it to be literal and gary had a sort of a notion about a kind of uh the the little a proscenium stage a kind of an old-time victorian stage setting and and also about stage craft just like the look of the old malays films which is which are used in the in the video uh this these are a pair of french guys who who made movies around the turn of the century and they were the first guys to actually do special effects in movies they had explosions and disappearing stuff and they did actual camera tricks you know backing up the camera and ghosts and people disappearing and all that stuff they were the first ones to take advantage of that part of cinematography they sort of invented really the early vocabulary of cinema magic and so this is owes a certain amount of its flavor to this sort of victorian late victorian uh kind of naive you know theatrical you know stuff and it's it's just it's just one of those things that we hunter has always loved this kind of stuff and gary gutierrez is also a fan of it too and and me too you know and it's just it sort of tumbled into place and also with gary when working with him we always give him ridiculous restrictions you know it's like okay gary you can make we want you to do the video but you can only have the band for 20 minutes you know so you know he has to work within things like that you know you know really limited situations um so he doesn't get as much cooperation as probably would be makes sense but we the band is like very difficult on photographers and in any of this any kind of situation that requires performing you know it's it it's not our forte so so he has to put up with all this stuff but he's very good with us and we've worked with him before he did touch a gray too uh so everybody's has has a lot of confidence in his work so and he also did uh the animation for our grateful dead movie from the from the 70s which is uh real neat stuff yeah so everybody trusts him so he's an easy guy to work with and anyway it came out pretty good most of the time they don't like to have to cut to smoke ready okay with the growing even bigger popularity of the band with some of the deadheads there have been a few problems along the road but the band has really responded to that well it's again it's it's uh it's it's there's no there's no problem that's that's specifically the audiences or specifically ours it's always all of ours you know what i mean the responsibility is always joint right yeah so uh when stuff happens like if there's any confusion at a show or violence or anything that upsets the local populace it always falls on us anyway so we i mean we have to deal with it it's unfortunate to have to start to try to to tell people what to do outside of the concert you know what i mean it's um i mean we're not the government you know it's we're just musicians and it's enough to try to control what's going on inside the show you know that in itself is difficult and uh just the idea the ideas repel it to the idea that we're gonna now start telling people how to behave you know i mean you know who has the right to do that certainly not us you know so it's one of those things where really all we can do is open it up like into turn it into a dialogue of some kind and say here's what they tell us the police in this town say unless something that happens in relation to the camping or the vending scene that goes on outside the grateful dead shows be grateful that it's not going to be able to come back to this town anymore it's that simple it's really you know so our choice is to let you know about it and you have the choice of either willingly uh um you know stopping that's that kind of stuff or avoiding that kind of stuff uh or or else it's just there's not gonna be nothing you know so the choice is it's dire like that you know it um some places are d deal with it better than others and it's not one of those things is an entirely black and white situation it's it only it really seems to be area sensitive so some places where uh there's a lot there's residential zones near a concert facility that's kind of the worst stuff and in the kind of places where we're playing more than one day so like a one-shot deal is no problem it's just like a sporting event you know the audience comes they can be as rowdy as they want they're gone the next day but when it's two or three days then then then that's when problems start so it's it really is partly us juggling the places that we appear based on um availability and what what kind of uh facilities are available and coming to grips with this in terms of the taos on a kind of a one one-on-one basis that's really the only way to do it so some of the towns have people who are are pulling for us say hey we want the grateful dead to come to come to town it's it works out good for us and maybe another part of the town of saying no we don't want them back here no matter what so sometimes it's that kind of thing it's a complex deal but we try to address them individually you know each each place each venue and and and we expect for the fans to be sympathetic to whatever whatever is required there you know it's one of those you have to i mean we've never had to deal with this kind of stuff before it's like you you can you can get so successful but then now it's a whole other you know so we're at the level now we're topping out in terms of success and uh it turns out that there's a whole bunch of new problems there you know so either we have to define how we're going to do this um by either some really incredibly creative solutions or else we're going to have to restrict where we play or something like play in certain centers so that we play like on the east coast for say three months at some place and everybody from the whole area could come you know you know i mean it's it there's any number of possible ways to go but we do have to deal with it you know so video becomes an alternative and all these things you know all these other things so we're trying out what we can because we don't want to find ourselves out of existence because we're too successful you know it seems silly when you were a young man just getting into rock and roll did you have any idea of the road that was before you and are you pleased with how it's turned out oh yeah it's turned out a million times better than i could have imagined you know i mean yeah it's i mean i i hoped i think uh when we started playing i i hoped for something better than just uh or something more interesting than just uh say like conventional success you know and it's always been more interesting and it hasn't been at all conventional so it's it's uh yeah i'm real happy terry thank you you're welcome thank you very much that was a treat i think so the big bands then were the allman brothers the grateful dead bruce was just coming i'd heard of you before that but that was my first real experience of of living the grateful dead experience and and deadheads i remember a guy named frank ursa lacrosse player lived across the hall for me and he was like from new york new york you know and he's like we're going up to see the dead here then we're going up to uniondale the nassau i'm like wait if you see him why are you going to see him again deadheads one word answer right and that was the first time i ever heard of that he he was fanatical about you guys and um and that was the beginning and all through my radio career and all that sort of stuff uh the thing i said in radio and when i first started it was what casey jones right you know there were about four or five songs they'd let you because lee abram's a name you know very well i'm sure came in and just started paring things down because when i got into radio i got into it for hey let me play this record i found last night at a party that's what it's all about yeah yeah and then you come in and the records had grease marks across the the the songs you couldn't play i'm like this is you know what is this stuff here so but exactly and we're watching too and we are watching so but it used to be so much fun to get in there and you'd play anything yeah you know well it used to be really entertaining to listen to it yeah i'll be back because you leave here stuff you've never heard before that's it you know that that's always i mean that's interesting yeah this whole style of music i never even knew existed well there's a station down in bethesda it's not even in bethesda anymore whfs in maryland which was a station i grew up listening to and they would play anything anything and you click it on like i said you'd let it go for half an hour or an hour and think and they sometimes they tell you what they played sometimes they would but it was always entertaining and it made you think a little bit too because it wasn't like oh yeah led zeppelin oh yeah rolling stones you know it wasn't like that right and that's the way radio should be should make you think a little bit yeah you know yeah well there was a good that good there was a good period of time back there i don't know maybe he'll come back again or something well you know what i surprise everybody that's it they're going to go free for them tremendously successful yeah they'll say free form what a concept right right tom donny there's a name i haven't heard in a while yeah like this okay well my neck is fucking killing me yeah so uh police sit like this yeah so uh let me any w i came to new late in the game of freeform radio it was like six years ago now i was on with him for three years scott great guy the professor i love him scott so it's happening incredible yeah and dave herman might you know dave as well yeah yeah all those guys yeah but to me it was like hey going to the vatican the vatican of rock and roll you know with scott being the pope because every dj in the country you aspire to hit any wfm that's the one that was really he's an amazing guy yeah i'll be seeing him sometime this week probably yeah yeah he's one of the first guys to really start just supporting us and the big apple yeah well give him my best when you say i will you know he's uh he was also the first guy i ever saw who was like like the consummate pro you know i mean he would he used to drink those tumblers that's right he doesn't do that anymore he doesn't he's yeah and it's standing up and he queue up turn teams yeah that voice yeah he's interviewing you at the same time he was unbelievable it was incredible to watch him he was jerry when i auditioned so to speak for the show they called me up from another radio station and so he calls everybody fats hey fats how you doing with that and so he said let's go out to dinner and so we go out to dinner and what we did we went from bar to bar to bar and i'm thinking i was drinking heinekens just trying to lowball it a little bit there and he's drinking scotch by the end of the night i thought i think i have the job but i have no idea where i live i was smashed it's amazing interviews and stuff like this that's about it really what do you like to eat oh uh well last night we stopped and we were going to stop at nathan's me and mickey did john our sorrows and some hot dogs but please closed at 10 o'clock 11 o'clock yeah i couldn't believe it it's not right in new york you shouldn't be able to get 24 24-hour a day hot dog that's right in new york hey yeah all right well new york is a great place to eat oh that uh i i i go i go down to umbertos too and uh little italy you know the clam house down there they wanted me to get a pictures there with frank sinatra and pope and stuff the crosby stills and nash and pictured them down there oh god yeah that's a great place to eat i mean new york shit it's this is this is it for eating mm-hmm yeah this is it okay let me start asking questions here and just say whatever you want as it comes out um for years you've never done reverse questions sure we do oh yeah we do them yeah sorry i'm sorry i thought they did no we do that all the time okay you ready yeah okay when you started out the grateful dead okay okay that's okay that's it okay when you started out the grateful dead weren't exactly mainstream are the grateful dead mainstream in 1989 no no we never were okay etc i've read definitions of the deadheads in time and newsweek you're jerry garcia what's your definition of a deadhead well there are little tiny people about this big bulbous heads and long feet i'm doing this as a two shot is that a problem what do you mean a two shot it should should be just the back of his head and basically me yeah yeah sure okay okay you're right that's okay here we go um there they go yeah i have two things and then we're out of here okay okay two questions and we'll get you out of here um it's just the fbi yeah that's okay as long as it's not the irs you seem to take care of your fans there seems to be a genuine love between the grateful dead and the grateful dead fans we need each other one jerry i've seen a ton of fans and they're the best okay okay here we go when you were a young man just getting into rock and roll did you know of the road that lay ahead of you and are you happy with the way it turned out no and yes thank you okay make it fast because he's got to go shot he can go oh he can go
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i7IjVJmPq1Y
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1974. An Interview with Jerry Garcia about the Hell's Angels
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Geraldo Rivera
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https://youtube.com/watch?v=i7IjVJmPq1Y
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2025-01-26
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PT2M33S
| 13,911
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auto-generated
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Yes
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let's take a look at an interview I did uh with Jerry Garcia the lead guitarist of the Grateful Dead uh in California in Northern [Music] [Music] California Jerry Garcia met the Hell's Angels in the middle 60s when writer and counterculture hero Ken ke had them all over to his place for a party there not too many people you meet that you can like say wow there's somebody who's like you know real really serious about what they're doing whatever they're doing you know like there's a lot of people who are doing doing things halfway or doing them talking about doing things but Hell's Angels are people who are real serious about what they're doing they they're doing it for what about if what they're yeah but what about if what they're doing is is antisocial you know the general image well what is an antisocial man let's start from there you know I think this is an antisocial Society I think the world is antisocial the Oakland Tribune headlines for the year that that Sunny bger Went to went to prison uh the horror stories they told about the Hell's Angels on an almost daily basis wild allegations some sometimes sensationalism other times uh uh but some residue of Truth at least at some level they aren't the 4 club and they aren't the Boy Scouts of America the Hell's Angels are uh uh a motorcycle club that is generally known as an outlaw motorcycle club and that has had numerous brushes with the law uh does any of those kinds of things affect the way you feel about them no because I'm sort of an outlaw space myself you know what I mean I'm no heavy duty Outlaw but you know I mean I'm a bust I've been busted I've been in jail you know I know where all that stuff is at that's and and and I'm doing that because I feel strongly enough about it to do it and I don't care if I have to get popped for it you know there like might be a point where I would care you know I might not want to die but I would be willing to get popped anyway you know what I mean it's like it depends on how committed you are but H's angels are committed on a very heavy level I can really appreciate that you know what I mean are you afraid of them ever sure sure why because they're scary man you know they're they're all big you know and strong and and good in in in all the violent spaces you know they got that covered you know I mean scary is what one of the things Hell's Angels Are
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-jw1ZDCtgto
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Grateful Dead & Jerry Garcia interview on LSD & live show 1967 at the Dead House, SF
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MJ
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https://youtube.com/watch?v=-jw1ZDCtgto
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2022-05-03
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PT7M14S
| 70,862
| 1,255
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en
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auto-generated
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Yes
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[Music] the hippies are capable of extremely hard work even though they tend to approach work as the rest of us do sport some of them are very successful this is the house of a popular local band which plays hard rock music they call themselves the grateful dead they live together comfortably in what could be called affluence there are many other similar houses or apartments in haight ashbury maintained by hippies who work in places where employers do not mind bizarre dress or long hair their concept of a new style of life unites them and that concept is in most cases drawn from the drug experience the grateful dead themselves acknowledge they have used lsd warren wallace asked them what they thought the hippie movement was trying to accomplish uh what what we're thinking about is a peaceful planet we're not thinking about anything else we're not thinking about any kind of power we're not thinking about any of those kind of struggles we're not thinking about revolution or war or any of that that's not what we want nobody wants to get hurt nobody wants to hurt anybody we would all like to be able to live an uncluttered life a simple life a good life you know and like think about moving the whole human race ahead a step or a few steps yeah or a half a step or anything or at least not more positive at least not going around in circles like it is now do you think that your movement or your idea the hip idea is essentially connected up with drugs yeah i would say that that that's uh a large part of the framework i think that most of the people who are hippies now came to it through drugs yeah but it's not a dope movement we're not trying to spread no we i think for personally that the more people turn on the better world it's going to be we were talking before about a way of being and and and one of the ways of of achieving that being is through through uh drugs expanding your uh consciousness consciousness changing yourself but like most of us have given up uh the psychedelic drugs anyway uh yeah right well we've learned something from them and now we're kind of playing around with that knowledge and what have you learned well it's you can you can point out the example that the people that live in the community and uh you know play around with dope and stuff like that they don't have wars you know and uh they don't have a lot of problems that the uh the larger society has uh in essence and the scene has grown up with us and we have grown up with the scene we've all grown up together and uh we feel more like children than ever right uh we're cause we know what we're trying to do we're trying to grow up [Music] the way the hippies want to live seems in the end to consist of childish postures they claim they want to be left alone but they are masters at setting up public occasions which are bound to draw attention if not interference just as an unruly child will act up in a way that attracts adult intervention and then complain about it nearly every sunday there is some such event here music is blurring forth from the open windows of an apartment on the corner of hate and ashbury while in the street below a crowd of hippies celebrates the sunny day traffic stops the crowd grows finally the police roll in with paddy wagons and nightsticks [Applause] the crowd parts clearing the street everyone waits to see what will happen [Applause] [Music] [Applause] today there is no violence and there's a reason for this the band called the grateful dead have announced they will make music in the park well merry christmas folks let's go and the crowd moves along provided with a place to go something to do the grateful dead are playing a tomb called appropriately enough dancing in the street [Music] oh [Applause] [Music] is [Music] [Applause] [Music] most of these people are young most of them come from middle class homes on the average they are well educated or could be if they wanted to but they do not want that nor much else in our civilization except on their own terms in many ways their terms have the glitter and the attraction of the bright and bold and noisy but it appears to be style without content [Music] [Music] [Applause] [Music] they object to the ills which beset society war social hatreds money grubbing spiritual waste but their remedy is to withdraw into private satisfactions [Applause] when one thinks of the problems of our day which cry for attack and imagination and youthful energy this seems like the greatest waste of all the movement appears to be growing use of drugs appears to be spreading there is the real danger that more and more young people may follow the call to turn on tune in drop out [Music] [Applause] [Music] [Applause] you
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0HWq-kHC6Zg
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Interview with a Millennial Deadhead - Erica Reacts to the Grateful Dead
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Erica Retro Gaming
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https://youtube.com/watch?v=0HWq-kHC6Zg
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2025-07-11
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PT1H23M
| 383
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en
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auto-generated
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Yes
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All right. Hello. Welcome to today's episode of Erica Reacts. Today we have another dead head interview. And I think what's cool about this one is that this person is in my age group. Like he's a millennial like me. So I'm curious to hear this experience just because we've had a boomer, we've had a Gen X, and now we're having the first younger person. So yeah. All right. Well, why don't we just start with like tell me about the debt. Tell me how it all started. Well, um I was in undergrad and one of my friends knew that I was a big fan of psychedelics and um which led me into like Terrence McKenna and Allan Watts and Timothy Liry and I was a big fan of of you know all these philosophers and and thinkers and um he's like hey ever listen to the dead and I like, ""No, no."" And he's like, ""Oh, well, you got to you got to check them out."" And he's like, ""There's this music festival. It's coming up. Um, you know, would you like to go? You know, it's pretty cheap and, you know, it' be fun."" And it's a dead cover band called The Swag. And I was like, ""Yeah, sure."" This was 17, 18 years ago. And it was pretty mindblowing, for sure. Um the the experience, the the people that were there, it was um not only was being weird like accepted, but it was ex, you know, celebrated, you know, it was the weirder your costume or whatever, it was like, oh, that's that's cool and fun. And and so it was like like the outcasts and weirdos, which I always kind of like, you know, fit in with. and um just had a great great time and that was kind of the the beginning of um my journey into the Grateful Dead. That's so cool. And so what state was this festival in? I was uh I grew up in Memphis, Tennessee and this was about 3 hours away um in Salem, Missouri. And it was small, maybe four or 5 thousand people. Um, and they they did four or five every year. Um, down south it's warmer, so you could, you know, extend into like their last their first one was in uh, April, April 20th, and then their last one was Halloween spooktock is what they called it. And um so it it was just uh for down south, you know, there's not that many jam bands that come through. Only Widespread Panic was the only like big one that would come through and so I've seen them more than any other jam band just because they were here. Um but I also love them. I mean, they're one of my favorite jam bands. But um I don't know if you listen to them at all, but they Yeah. Yeah. They're good. I mean is amazing. It makes sense because they're from Georgia and then the south because a lot of I mean like fish is from the northeast and so I feel like they are very concentrated in the northeast. I mean their fan base and then they the northeast gets a lot of attention and then now even goose is from the northeast because they're from Connecticut I think. So again, another like northeast and then you get all the California bands. But yes, I feel in terms of the south, you guys probably have more country music and then like hip-hop, R&B, maybe some EDM now that's really popular with everyone I feel like. But it sounds like there was some jam band activity. I mean, there's always going to be like, you know, some jam bands are always going to be represented, you know, wherever you are, but it's just how often they're going to come through town, you know. Um, something I've been thinking about recently, I have a 14-year-old, so I've been kind of introducing him to this this scene and everything. And, um, I remember the Dead played one of their final shows in the Pyramid in Memphis. It was like one of their four or five last shows before Jerry died. And I was a little kid, so you we're the same age. Uh, I never saw him. Um, but uh I remember there's a ticket master just like right near the Walmart that we used to go to and I saw people like months in advance camping out camping out just to get the ticket to the show and I'm like I hate the fees and everything as much as everyone else and there is like it's gotten way out of control and like it's kind of funny that Taylor Swift has to be the one that like tries to change everything. It's like, hey, us jam heads have been dealing with this. If you go to 20 or 30 shows a year, you know, that's a lot more, you know, that well, you go see Taylor Swift twice. Okay, cool. Like, you know, so you have to, you know, worry about the fees a couple times. But, um, but yeah, I would never go to a show if I had to camp out for the ticket. Like, I would never do that. And I And I've been to hundreds of shows now, you know, but it's Yeah. So, well, it's crazy because like now that I've been talking about people through the generations, it's like the really early dead, they would just write into a PO box and have to mail in a mailing order and a return stamp. I mean, that's crazy to me that there wasn't even maybe they put a radio ad or it'd be in some newspaper. It's like, oh, the Grateful Dead are going to be playing and then people just somehow figured it out. Like nowadays, I can't imagine we just go online and we're like, oh, step up, cool, use tickets. Like, it's like such a convenience thing. And then yeah, and then the kids today, you know, I also have a teenager. I have two teenagers. Um, so they don't even understand like even just the ease, the fact that we had to obtain physical albums, like we had to get like CDs and they're like, ""What do you mean just stream it?"" You're like, ""There wasn't streaming."" And the fact that we can just watch these videos of old performances whenever we want. It's like a And they were growing up with that as for granted whereas we actually appreciate it. So I think that's also Absolutely. And then how did you you know how like when people introduce their kids to Star Wars they're like do you do it one through nine or do you start four five six you know what I'm saying like so how did you introduce music to your kids given that you were into the you got into the dead in college and then you know probably you were able to raise them in it versus you who had to find it out as an adult. It's slowly um just in general. Um, I went and saw Dead in Company several many times and so I would play like some of the shows in the background just you know and and just kind of have it on and now that he's getting older you know and like able to go to shows and stuff with me I've you know been talking about and he plays an instrument so he's he plays trombone so I've been showing him like tab with with the horns you and um trombone and shorty and you know these these kinds of uh musicians and just like he's interested in the music and so I'm and because I'm interested you know I it's my biggest passion it's always on there's always a jam band on in the background and so I'm I'm kind of like showing them that aspect of it like hey let's appreciate the music let's worry about the other stuff later right like you know, we've been having to talk about this kind of, you know, drugs and stuff and so it's I'm just like, man, you're not going to know like anyone's no one's going to be behaving odd like, you know, it's not going to be over the top like someone really drunk is going to be more apparent and more inebriated like physically than like someone like tripping or whatever. Yeah, that's true. and then teaching them about but then there's going to be some people who are like doing the bad kind of drugs and those people could be dangerous like the people want the meth and all that like but yes the trippers and the downer people and the marijuana people are just going to be chill probably. Yeah. Yeah. Yeah. And I and I think you know being I I went to grad school out in Philadelphia and that for me is where like it really I I live next to the Ardmore Music Hall which is kind of gotten some you know steam over the last several years but um they are a small like maybe 500 person venue but it's like some dead heads obviously own it because it's all jam music. They have a resonant like jam uh Grateful Dead um tribute band called Splintered Sunlight that I saw many times and like if no big band was coming in then Splintered Sunlight was playing that night and Splintered Sunlight you could see for like if you bought this ticket in advance it was $10. Wow. If you bought it on the day of the show was $12 and it's like that's cheaper than a movie. And like I would much rather go see live music than go watch a movie, you know, like although I do love film and television, don't get me wrong, but like if I'm going to go spend my money like and have a have an experience, but I would rather go do that. Um, but yeah, just uh showing like I've known many dead heads throughout the years that, you know, didn't smoke, didn't trip, didn't do anything, and really were as passionate about it as I am. and they were like really into music, you know? And so I I think that like everyone has their own connection to it. And that's like what's special about it is like when you meet a dead head, then it's like, oh, you're part of this like special club, you know, like that anybody's available to enter and join. But once you're there, you know, you have to still do certain things, I think, to be like fully accepted. Um, and you know, that's I think the biggest division like of Den Company and like this newer kind of generation. Um, especially like the first couple years of Denco, it was I would say pretty split like as far as what John Ryer brought and what Den Company brought. Um, I think now he's like fully accepted, but um, that was like the biggest, oh, has John tripped? has John tripped that everybody was talking like, ""Hey, has John tripped?"" And I think at the end of the day is like he gets it. Like I I saw your interview from with the other guy. He's like, ""He doesn't get it like Jerry."" Of course he doesn't. He like Jerry was there like for the creation of it. Like he was there in the acid test. Like they were there, right? As they're developing the drug and it's a new thing and they're all experiencing together. No one can be there if you weren't there, right? And like if and John Mayer like for me like similar to you was like a pop star, right? Like that's all I and so I was like, no, I'm not watching do John Mayer play Grateful Dead music and the dead and co came through on their second tour and I was like, you know, I can't call myself a dead head if Bobby Weir, Bill Krooksman, and Mickey Hart come to town and I don't go and see them. Like I'm not a dead head. I don't do that, right? And I so I saw him like 2016 uh the second year summer and blew me away. I was like absolutely stunned. Um and then saw him many every year at least once or twice um from then on. Um, but whether he's G I've been there and had the full experience, let's say, and he's given me like some of my most memorable moments in my life. So, I don't care if he's done it or not, he understands like how to get me there, you know, the same way. Like, and I think that like I love Otil. I've met him and he's signed my hat. Like, I've I've met him many times. He's a really nice guy. He's no Phil Lesh. Like Phil Leash is like how the the the little sprinkle that like kind of plays off Jerry more than Otiel does with uh Bobby and and and John Mayer. And I love Jeff Kinty. Seen him many many times. Um big fan. Love Bobby of course. Um, and uh, yeah, I think they do justice. You know, my son and I have been talking about this a lot. Like, I think they do justice. Like, are they're not imposters up there. I'm like, Bobby would not stand on the stage and and play in front of thousands and thousands of people and and embarrass himself, you know? like he's you got if you respect Bobby Weir and the Grateful Dead, then you know that he's not going to just go up there and mail it in, you know? So, well, and obviously because they're they clearly are very popular enough to sell out the sphere multiple weekends. They're doing tours. They're coming to San Francisco soon. I'm excited to see them. Like, it's going to be great. I can't wait. And now with like this community that I've met so many people, I'm sure I'm going to run into people and it's just going to be like a great time. Um, so I think you're right. They wouldn't be in it if they thought it was complete BS. But this is also part of the problem. And I'm sure this will be a good topic since you're also my age and got into the dead later. But there's definitely those gatekeeping older deadheads who don't no matter what you do, no matter how much you love it, no matter how many old shows you listen to in their entirety, they're going to be like, ""You're never going to get the dead."" Like, ""You're never going to get the dead in company's not the dead."" That's what they kept saying. And I'm like, ""Yeah, I know. But Jerry's dead by the time I was old enough to understand, like I was like nine, you know, like what am I supposed to do? But they treat it as if like sorry, like it's not for you. It's only for me. I I definitely Yeah. Yeah. Oh, absolutely. Absolutely. Um it is there. you're going to have like 75% of the dead heads are going to be the the same kind of nice just open, hey, come on in, give you a hug, and and and enjoy the experience. On either side, you're going to have this like, hey, like the like you said, gatekeepers. And it's you I I realized pretty early on like don't mention how many It's almost taboo to mention how many shows you've been to because that opens the door for like oh you've been to 14 I've been to 37. I've been to 120. And so it becomes a contest, right? And it's like it and I realize that like it it doesn't really matter how many shows you've been to if it's in your blood and you love it and you listen to it. It really says more about how much expendable income and like uh free time you have more than anything, you know? It's just like, hey, are you like you live in a city that has, you know, like I said, I live to two blocks from there's shows every week, you know, so that I just live happen to live there, you know, so I don't live there now, so I don't go to shows every, you know, week. So I it's I but yes, there are going to be those people like you said, those gatekeepers that are like, hey, like you either you're not into it as much as I am, right? and like, oh, you never saw Jerry. You ne then you're not a part of this community the same way I am. And I respect that to a certain extent, but I also think that like it's also open for everyone, right? And like it I've listened to Jerry and like had profound moments that like I don't think that if you were standing right there could be any more profound than what I've witnessed. and like experienced just with a speaker next to my ear. You know what I'm saying? I know I've been so in tune with it, you know, that like it that but that's my experience and and there's going to be some people that say, ""Oh, well, you know, you know, you never saw Jerry."" But I've also talked to like dead heads over the years, too. They're like, ""Man, I saw him in 93 94 and I remember like your last interview, the guy was mentioning about like, oh, well, he still brought it."" Like you asked him if they could tell like oh that like they the guy that saw him in 77, right? He uh he was like, ""Yeah, he still brought it every night."" Well, the the greats are are going to have great moments every night, but I've also talked to dead heads that like were like it was sad, man. He was like nodding off on stage. Yeah. And it's just like and you could see him just like so sick and ill and addicted to these drugs and it was just like it they were like it made me sad like seeing him you know. So like if I you know even if I would have saw him by chance I you know I wouldn't have appreciated it for like what it is and then I also probably would have saw like been like oh this is weird. I don't like this guy, you know? Yeah. You've been kid, you're like this old guy and he's looking all sick and old and it's not just age isn't just as you know now as we get older. It's like your health is not necessarily your age and then as you get older you see the people who are your age but look terrible and then there's the people who are older but look great and it's like it's more about the health. So he was already in like a really bad place like you know what a sick person looks like. Like people know. So, yeah. I mean, and I think later I think I have a follow-up interview with that guy and then he goes, ""Yeah, he was it was suffering."" So, I do think they knew and I think it's a denial thing, too. It's like it's your favorite band. You get so much out of going to the shows. They didn't want them to stop. They as much as they figured, oh, Jerry should probably take off a few years and get sober and get healthy, they also were like addicted to go, you know, like no one wanted them to take a break, right? So it was it reminds me of like a professional athlete that is just like even like Kobe Bryant his last years like every few games he could have a really good game but it's just like that consistent like if he's great if you're one of the greats you still have it but it's not going to be on that consistent basis you know so that's why Tom Brady retired finally because Tom Brady because Tom Brady he had to be playing at the highest level right and then he's like I'm going to be. I mean, he sacrificed everything. He sacrificed his marriage, you know, like he gave up everything to be the best football player, but then he even him he'd have like these great games, but then he's like, I can't maintain this. Like, because even if you're even if you're eating green juice and whatever else he did and working out 50 hours a day, I don't even know. He had some crazy regiment. But, you know, you get over a certain age and no matter what, you're not going to be the same as when you're 25. So, it's just it's like the facts, right? So, and he decided to retire before it got too bad because he still had a good ending season. He just was like, I don't want to go down as the guy who like the washed up quarterback who like starts to miss all the plays and everything. So, absolutely. Absolutely. Like, quit while you're ahead basically. Yeah. And Jerry was like, ""Nah, I'm just going to go till the end."" So, and he did, you know, um I mean it's unfortunate. I think it's just more about fame and you know it's just like a story as old as time you know like once you it's so isolating when you can't even walk down the street without you know people following you you know and um it you know it's just sad that it ended like that and I think once you hit a certain point of like drug addiction you never like you know they say once an addict always an addict you know it's like when you're when you're doing that hard drugs. It's like you're always there's always going to be you might leave it for a little bit, but you're going to always come back to it, you know? Yeah. Well, heroin and then I guess someone told me he was doing the thing that's like a combination of cocaine and heroin, which just sounds like a disaster. Like an upper and downer at the same I'm like that's just like you're doing the worst. Just like briefly talking about that though, like you were talking about like meth and stuff like that. like those drugs I like they're not acceptable in this scene, you know, like it's you see like pins or like t-shirts that say like f heroin, you know, like because of like Jerry and like and so many others that have died from from this drug like you would never like my son was asking he's like would there be a needle and I'm like no son like there would never like if we saw somebody you would be like thrown out like that's not acceptable And I've never seen it, you know. It's just And we know how to like behave around kids and stuff like we're not going to talk about like drugs or like, you know, around kids, you know, right? It seems pretty mild. Yeah. It's And like Yeah, we're going to be smoking, but that's Yeah, that's everywhere now. I mean, I live in California that's like it's legal just everywhere. Like it's like in California it's like it's like going out to smoke a cigarette. No one would know the difference whether it's marijuana or not. just in some states it's still like illegal. Um I was just at the fish concert in Austin and there was tons of kids there like there were little tiny kids like people brought young children but that's only the parents wouldn't have done that unless they felt it was a safe environment. So even though a lot of people were probably on shrooms and like you know marijuana and all that and probably some on psychedelics. I it's Texas. I don't know what they were able to bring in and whatever but Oh there they were there. They were there. So, I'm just saying they were like little kids. Like I saw not just I saw multiple families with young children under 10 years old that parents brought. So, again, people wouldn't and these were fish head parents obviously, but like they wouldn't have brought their kids if they thought it wasn't a safe environment. And it's really and I and I feel safe there, you know, like I don't no one it's not like a mosh pit like rowdy like you know because some concerts have that like mosh thing and absolutely like it's just uh people smiling having a good time you know just like I love that camaraderie around and then you see like the same people if you live in this town you know it's like oh are you going to this show? Oh yeah, cool. And you know, you'll just kind of bump into people and it's just you find this like it's very like church-like. It's a community. I mean, that's really the word. It's a community. It's not just jam band fans. It's a jam band community. And that's the thing. The Grateful Dead was a community and the Dead Heads. And that's why I think part of it as much as people I think people were more upset about worrying that that was no longer going to exist when Jerry died. Like because that's really the morning. It's like you know this man's sick. You know that he wasn't well. But then you're like oh no what's going to happen to my community now? And that's why historically people say everyone went over to fish, right? Like and it wasn't because the music of fish was the same. It's not like they all they have in common is that they jam and they have like a scene. Okay. Other than that, the music thematically is like completely different. Like it's Yeah. Yeah. Yeah. It's And but like I think at that even when Jerry died, I mean, I wasn't in the scene. Uh so you could ask, you know, somebody a little older than us, but I think at this at that point like there were enough jam bands like that uh you know the the scene would exist, right? like it was just uh you know everyone bends the knee except to Fish um to the dead. They all cover the dead and it's just like they pay homage to you know the the originals like and I've heard great renditions of basically every dead song played by a different band, you know. Um I I love Jamgrass. Like I'm a big big Jamgrass fan. I like Billy Strings now. I'm like a Billy Strings is like my person. I I heard. Okay, so here's my Billy string story. All right, so he opened for the Traveling Mercuries, which uh came through Ardmore and they did a Grateful Ball and it was all dead music. So I'm like, of course I'm there. Um so I were outside and we're chiefing up and there's this woman comes out and she's like, ""Hey, are you guys going have you seen the opener?"" And I'm like, ""No, no, no. Who's it?"" And they're like, ""Billy Strings."" And I'm like, ""Oh, cool."" You know, this is 2017. So, I was like, ""Cool."" Um, ""No, I haven't, you know, never heard of him."" They're like, ""Oh."" And she was like so geeked up about it, you know. She was like, ""Oh, like he's the best, you know."" And I was like, ""Okay, like we're in this scene. Like, if we're about to go watch him, like I I think we're we can we can make our own judgment, you know?"" And so I was like, ""Cool, cool."" And so we we go in there and see him. And it was just him and his guitar. he didn't have a band. And I was like, ""Oh man, he's amazing."" Like, as soon as he finds musicians around him that can, you know, elevate and like support him, he'll he'll do a great job. And he and he is doing a great job. Um, and so they came out for the second set and played the whole second set with uh Traveling Mccur's All Dead Music. Great great night of music. And at after the show, we're out again out front and Billy and his and the woman came out end up being his wife and like I was like that's super cool. I I I I don't have any hard feelings. Like she was she was hyping him up. She's going in the crowd like so she's like going around the crowd being like hey have you guys heard of the opener? He's really good. Like you guys should make sure not to miss it. Like don't hang out here too long. Right. And you're like okay. And then it's like that was the marketing grassroots. That's right. blue grass grass roots and then it became the new and then people tell me it's not it's not blueg grass it's new grass and I go oh okay whereas you call it I we call it jam grass I think you know that's what we we kind of call it like leftover salmon's great uh you know I think though Billy's drinks green sky blueg grass cabinet there's lots of lots of great ones traveling mccur's um but Billy though I think I was just talking the other night um I went salt eggy got a signed poster there. Um, but uh that was just last week. But they uh I was I met some people and we were talking about Billy Sturrings and I was like I think he's one foot in one foot out of jam. Like he if you see the like a set list it's like 15 16 songs and it's like there's like a a jam artist is going to consistently jam for eight to 10 minutes. Like there's going to be six to nine songs. I mean, they might throw in a 20 minute song, right? Goo Deuce consistently does this, but they might have a four song set, right? So, um, he he has these shorter songs and I was like listening to him like consistently and I was like, well, he's doing so much in that small amount of time that like I'm still going to give him a jam artist, but now I really I think he's not a real jam artist. And you can see like once a set he'll give like a hideand seek that's like 18 19 minutes or like away from the meer or like he'll give you like one song and they'll do a little tease. I think I I think he teased Inspector Gadget when I saw him or something. I don't know. So he doesn't do the same set list but like so he's like one foot in one foot out you know like he still has consistent like three to four minute songs and like if you see like widespread panic or Eggy or Goose or anybody they have a 4minute song that's like an aberration. It's like wait what? I agree especially now that I've seen I' I'm already you know I've only been in this for a year and I'm already my numbers are so good now. Now it's like I saw Goose this year. I saw the Billy Strings set with Bob Dylan and Willie Nelson. I'm going to see Billy Strings soon with Dead and Co. I'm going to see all three days dead and co. I just was at fish. I've seen four fish shows this year. I'm going to see five more I think this summer. So I'm like getting my numbers up really quickly. Heck yeah. Which is great. But this is would be my assessment as just someone who's I'm more like pan music, right? I'm not just jam band person. Like last night I saw Kesha. Okay. I went to the Kesha concert at Shoreline. It was so good by the way. I mean she's she's great. So, um I think it's because for Billy Strings to be loyal to the tradition of Americana and bluegrass by nature, they are folk songs. And folk songs are simple. Folk songs are meant to be kind of these like pure simple. They tell a story. There's some kind of thing. And I think that he has so many folk songs he wants to tell. And a lot of it's and he's more lyric driven because for example the goose songs are like you know it sounds like kind of like a poppy rock song and then they'll just go on some psychedelic jam and it's really psychedelic but the song itself isn't that meaningful. Like the words to me aren't like wow. It sounds like I mean no offense but some of the goose songs sound like honestly any like poppy rock goooo dolls like but with jamming, right? Like they could Yeah. Right. So, I think that they can then take a simple song and then they go psychedelic and they go I think Billy Strings is sticking with the simplicity of the folk song and it's it on purpose. I don't think he wants to be a jam. I think it's very purposeful, right? And that's because he plays the extended jams and so you know that like he's that's why I'm saying he's like one foot in one foot out but it's obviously done a very good like promotion like he rose like to like he just came through Memphis and sold out the our our biggest venue the FedEx Forum which is like 19,000 sold out two nights in a row. So like there's not jam bands like that really can sell out two nights. But he's also was a Nashvillebased I mean like again I don't like people hate when I say that bluegrass is within the country banner but it is in the sense that I'm not saying it's country like Gar Brooks. It's under there's like Nashville production and there's LA production and then there's New York. Right. You've been watching the the dead uh the Grateful Dead documentary. Yeah. I'm on episode three. I'm at the part where Donna joins the band and everybody's like, you know, there's there's a moment that like Jerry Garcia's like wife talks about the bluegrass beginnings and how she's like it's very restrictive. Yes. And I I like you're trying to hit a certain note. Um they you this is why it's like you you have jam grass now which is like you could take the same ideas of improvisation and yet and apply it to any style of music like um funk like pigeons playing pingpong is like one of my favorite bands. I don't know if you ever seen I've heard of them and people are talking about it. It's going to be on my list pretty soon. Trust me. Everyone's like oh what about this one? Pigeons playing ping pong and people keep saying it. So just a matter of time. We'll be seeing them soon. So, I went to Peachfest 2016 2017 and 2016 they um one of my friends was like, ""Hey, you know, let's check out this band called Pigeons Playing Ping Pong."" I'm like, ""All right."" So, it was like 3:00 in the afternoon. So, we go um hang out and they're jamming out and I'm like, ""Yeah, this is a good time, you know. Yeah, they're fun."" And they go from one of their original songs, Julia, to Under the Sea by Little Mermaid, and jam it out like they are freaking just jamming out any regular old song, but it's Under the Sea. And I'm like, what is happening right now? And they sandwiched it back to their original song, but they jammed out for like eight, nine minutes. And I was like, ""Okay, this is something that like speaks to me."" And I it's just like there's so many different interpretations of of Jamgrass or like whatever is like any type of of jam music and like there's EDM jam. There's like like is more metal jam. Um so like Billy Strings is I'm saying he's intentionally doing it and I think he's an underrated lyricist. Like I think he's amazing lyricist. I cried when I heard away from the meer. And then my favorite song is turmoil and tinfoil. And I love that one. And and then I also cried when I heard the wait. Away from the meer. And then the other one that's slow and sad. I forgot. But I made me cry. Yeah. Oh, he's a beautiful like beautiful liy. The guild the lily. That one. Gild the lily was when I cried on camera and everybody was like, ""Oh, wow. This girl's real."" And I was like I didn't know what to expect. They're like listening to the strings and I was like, ""Oh my god."" And I do like the purity though of all acoustic instruments with no it just it there's something different about it. I mean I like all the music obviously I like jazz and funk and whatever like what fish does versus what goose like I like it all but there's something when you hear the bluegrass and it's that pure acousticness and it just really it touches your I love the violin like Yandere String Band is like one of my favorite bands. Ali Crawl is probably the best violinist I've ever seen and I don't think it's very close. Sam Bush is also very very talented violinist. But that's what's nice about you being in the south though because you get more of the blueg grass. I think down there you're going to get more proportionally like bluegrass stuff than we're going to get in like California. Ironically, they all had like the run of like always has like a run of jam grass just like like I saw yonder mountain every year and green sky blueg grass colored Williams one my favorites cabinet always so like I I think you know I I don't know like if if you live in like in the northeast or like out west Colorado there's like certain like you know like hot zones for just live music in general, but um m like they say Memphis is home of the blues. Like when you drive into Memphis, it's home of the blues. So, but I mean it I don't know. There's Yeah, it's not as much variety. Like especially now that Nashville has like expanded more for like than just country that like if you're going to come Nashville's like two and a half hours away. So like if you're going to come down south, you're going to go Nashville, not Memphis, right? So, uh, you know, that's but they they have a Brooklyn bowl in Nashville now that like string cheese comes down, you know, like they they've, um, they've definitely expanded. Uh, in Metho, like there's a organization called Metho that um does like jam music and they have a Metho Fest that they started some years back and like last year um Goose was there, Trey Band was there. This year, Widespreads two nights. Um, Leftover Salmon, Flaming Lips, like they're really It's a big deal. When is that? Uh, it's always in October. It's the first weekend in October. I think it's like festival season is winding down and like it's still warm enough down south that they could still host a festival and like everybody else is kind of like on the end of their like summer tours so they found a good a good spot. Um it's the first weekend in October but uh sounds good. Yeah. Yeah. Anyways. No, it sounds good. I mean I and that's the thing with also jam. I mean what I've now learned about this because it's like coming into this but it's really about the live improvisation that makes it so special. Oh and it's something you can't and yes it's nice to listen to old recordings of shows but it's a completely different experience than people who've never under like people who've never understood the power of the improvisation. like they don't even they're just like oh yeah I like music you know but they're not like wow listen to what they're okay they're going on this whole tangent and then they're coming back it's like it's a whole it's a totally different experience and I think until you understand that it's like the first time I listened to fish on my reactions I was like 23 minutes I was literally like I was like are you fing kid I was literally like and now I'm like oh it's only now I'll be like oh it's only 14 minutes I'm like that's so short you know what I mean like my perspective has completely changed whereas Before I would have thought like I used to think eight minutes would have been a long song, right? And now eight I'm go oh that's nothing I can get this like I'm like oh easy someone wants a reaction to an eight minute song I'm like easy because after my 30 minute Dark Star I was like okay like I think I've I think I've earned my chops and the only thing I haven't yet is I'm not reacting to three-hour content yet. So to up a level on your reactions what like so you're you've gotten to lots lots of live uh like songs right? So I what I would do is like usually do like 30 45 minutes. I would do a a show and split it up into like four different set like half set and a half set and then this have like three set four pieces of a full show. Yeah, that's what people are saying. I should do a whole set. You personally are like sitting down and you're breaking it up so into smaller chunks for the viewer, but I'm saying you personally are sitting down and listening to the whole thing. And so what you you can see the es and flows of the show, right? So like you hear this 30 minute dark star, but what what happened two songs before that to get you there, right? And so what that's like what the dead did and what the dead we've we haven't really talked about the dead all that much but um the what the dead did is like they know exactly how to tickle the the spot in your brain because they have done it so many times and that's like why I love it is it keeps me in that connection Mhm. of like of memory of like, okay, I know the psychedelic experience and this even if I I went and saw Eggy and I wasn't on I was just chilling, you know, having a good time. But I was so locked into the music that like they're going to get me I'm going to get myself and they're going to get me there as close as humanly possible without actually taking psychedelics, you know? And that's what, like I said, if you sit there and you do like you imagine that like, okay, you're going to a show, a dead show, and like, okay, they're starting the first set, and I'm going to dose up. So, like, you have an hour and a half, two hours of music, and then a set break of like 30, 45 minutes, and then they come back out. So, by the time they start your second set, you are like peaking, right? you are like and so the second set is like wild right and so if you so that's how I've sat down and listened to many times shows like that like many many times and they know exactly when to drop that loser in there and like make you cry or that morning do dew where it's like you didn't know that's what you needed and it gave it to you, right? Like and and and like you said that like that live improvisation like if you add it add add the actual experience to it, you know, it lasts, you know, like seared into my memory, you know, like Deno Alpine Valley 2018. Like I have Standing on the Moon, but I'd rather be with you tattooed right on my leg here. And I mean, John Mayer, I mean, it was second set. They came out of drum space with all along the watchtowwer and then a standing on the moon and it was like one of the best moments that I'll never forget, you know? And like so like I said, even if John Mayers's never tripped, like he's given me the experience that I wanted, you know what I'm saying? When I when I was so it doesn't matter. I agree. And I think I like what you're saying about being locked in and you really just have to let go of the other things in your mind. Um, and just be in the moment of the music and that I totally get that. Like cuz sometimes I am locked in and when I am I'm like whoa. And that happened like look the this thing about you're talking about these second sets where they have these like crazier things. That happened to me two times recently because Goose Night One San Francisco was the only I only went to that one, but the second set was only a four song set and there was an hour there was an hourong jam and I remember being like that's awesome. Oh my god. Like they're still going but I was I was pretty locked in because again Maya my friend she got me in the third row and I was just there. So I was just like all right I'm just gonna I'm like they're and I didn't know that many goose songs so I was just like all right I'm just going to lock in. And then also Austin just last weekend the first night they did second set like a 30-minute fuego in like kind of the first half of that second set and then it kind of got back to more like song song. But I remember thinking and now you just told me about like you take it the the timing the dosing at that moment is like the point when you're really in it and you've like let go of like everything. I was like, ""Oh, that makes a lot of sense."" Cuz I did have that experience twice. And again, I wasn't on anything, but I I when you really lock in and you get rid of all the um the noise and I have ADHD, so a lot of it's just like when I cannot feel ADHD and I can feel hyperfocused on something, it's a good feeling. So that's why sometimes with the music, I can just focus on that and focus on like, whoa, what are they doing now? And like, oh wow, I didn't expect that. I don't know. Did they just tease that? And it like actually is stimulating for the brain, right? It keeps me locked. Absolutely. And there's so many different like strands like that are like each instrument, right? You can pick out each instrument and like they're talking to one another, right? So it is, like you said, very stimulating, right? It is. And so you can find like your favorite songs of your jam artists and then you can go oh what is you know you can hear I went like on relisten as an app on on Apple if you have an iPhone. Uh but it's like where all the the um tapers put their stuff on now. And so you could listen to like literally thousands thousands of shows, you know, and I went and like listened to probably 300 versions of Mississippi, you know, I just got locked in, you know, and just like I was like every day I went and listened to like three or four new versions. And then you're comparing all the differences between them. Exactly. And that's what makes it interesting. Yeah. you see like the deviations, you know, you're like, ""Oh, man. This one like was really good, you know, and so um and and I love that the scene is like alive and well, you know, there Oh, it's alive and well. It's big."" And uh to go back to the dead though, I will say that what's been different about my experience lately is like when I first started listening to the dead, I was like, ""This is overwhelming."" Because it was so many instruments at once versus like fish is four, right? So I'm like, okay, like I could understand fish because it's only four things for my mind to follow. Then I started listening to the dead and I'm like, wait a minute, there's like multiple guitar lines and the bass is doing a lot like oh the the the Grateful Dead bass is its own little world and I'm like, okay, so that's the bass and then I'm hearing like the drums and then there's sometimes keyboard or synth and like sometimes there's multiple keyboards or synth. So it took me a while to kind of understand that. But now as I'm listening to the dead, it's a lot easier for me to hear the two guitar lines dance around each other and I can hear and I can differentiate because one will usually be super super treble. Um like Jerry is usually playing like really high and kind of very melodic and then the other guitarist is um it's really counterpoint. And so since again like I studied classical music and in Baroque music there's um there's like the there's like the voices work together counterpoint is like the voice that's like working in conjunction with the voice but then in the dead it's not just two. It's like they're working in like six part counterpoint, but then it's also like what I hear in the dead as well, which is very distinctive that I was like, ""Oh, that's interesting."" And now it's I'm thinking about it for my own composing, is that the singer, they'll like have us a line of text that's sung and then in the blank space before the next line of text, it's completely filled in with like a whole another thing. So, it's like there's the song that was intended as the melody. Like I just was learning. I just listened to Sugary this week. I listened to Altha. So I'm like getting through the catalog because again I have the book. Let's see. Here it is. The book. Okay. And I realized these are the songs I need to listen to before the Den and Co. because every one of these is basically like the best, you know, the most popular hits, whatever. And as I'm listening to these, I'm like, you know, every time there's like especially all the ones that are uh Jerry Garcia and Robert Hunter, they all have a very similar structure where the there's always something in between and it's always guitar. It's always filled in. It's never just vamp music because vamp music is like, you know, musical theater. It's like it just vamps in between the verses for no reason. There's no vamp space in the good. Every single moment is used and utilized. And then most of the songs they write that are always the part I like is there's always a bridge that uses a different chord progression that usually goes to a related key, but it's not the key started in. And I go, ""Oh, that's interesting."" And it also raises um there's like a thematic the bridge usually has, especially the Robert Hunter songs, they have like a it's almost like a moral. It's like this is a fable and then this is the moral that's presented in the bridge part and then it comes back and that bridge is always highlighted by being in a slightly different key, a new chord progression, something and now I'm seeing that and it's kind of consistent in the songs I've heard. So I was like, ""Huh, that's interesting."" So now I can actually understand it. Whereas before everyone's like, ""You're never going to understand the dead."" I'm like, ""Actually, I will. just let me listen to some things and stop telling me I'm never going to understand the dead. This is this is like what's so fascinating about, you know, like music, but like jam music and the Grateful Dead is like you can find so many different aspects of it to appreciate, right? You don't have to have a certain one type of experience to be able to appreciate it. I went to grad school and undergrad for creative writing, so I and poetry specifically. So, I'm very much into, you know, like Robert Hunter's lyrics for sure. And, um, like you said, like musically, you're breaking down from your background, right? So, there like you can appreciate, like I said, so many different aspects of it. Um, which is why it's so rich and why art in general is just rich is like the rich art is like you can come back to it and you know throughout your life and like decades later and you know centuries later I'm sure they'll still be talking about the same music you know the way we are and it'll never die like as long as there is music around like the Grateful Dead will be represented you know like there will be someone playing in an altha somewhere you know like it uh and like that's like I I also realized like how like how much your like breaks like matter. Like there's that Splintered Sunlight is a great a jam band. Like they're an amazing band. Like really really talented. Like you can like I guess it's like what I want to do is like appreciate what you have. There's so many battles between like when you really get into it too like fish and widespread panic like they don't like each other, right? And and like and I'm like man that's like not how this scene was was created. Not why it was created. Not like it's cool that we have widespread panic that has like a southern rock jam band and we have Fish that is very very different and unique in its own way. It's cool that we have Dave Matthews and it's cool that we have String Cheese, my favorite jam band. Like you know so like it's cool that we have all these different interpretations. I don't want to hear the same thing over and over, but there's always going to be this scene now forever, you know, as long as there's music. Um, so it like that's that's what's cool. Like you were mentioning earlier about the casual like most people casually listen to music. They don't like closely listen to music, you know, active listening versus passive listening. Yes, absolutely. For sure. They don't care that much. It's just like, oh yeah, it's cool. Like whatever. That's catchy. That's a good hook or whatever. It's fun to dance to. Makes me Yeah. Yeah. So, it's And there's nothing wrong I guess there's nothing wrong with that. It's like you can have whatever passions fill your cup up, you know, as as Jerry as Robert Hunter said, you know. So, whatever fills your cup up and and it makes you into a good person. It doesn't really matter how you get there, you know. So, like I just I love the community, you know, that that it's formed. Um, and it's not saying that everybody I've ever met was was cool or not not saying I haven't had bad experiences with people. Like there's always some bad eggs, you know, but just genuinely speaking, like generally speaking, like people are are nice, kind, compassionate, um just open, like genuine, you know, authentic, you know, those are the people that speak to me, you know, like that, you know, that I want to surround myself with. So yeah, I think that's great. And I but also like I think when you're a happy person with yourself, you are happy with other people. And people who are not happy with themselves, they tend to project out a lot of the insecurity and anger and jealousy. So trust me, this is what I learned as becoming a public, you know, at first I was kind of made fun of in the fish community at first when I first was like my Tik Toks, whatever. And then now I pretty much won over the entire fish community. But it took me a long time and I had to actually go through the steps and but it was interesting just to see how there were but there were some welcoming people there were at first but it was just there was so much toxic culture. I don't want to say it was toxic male culture but it kind of was toxic male culture. It was very like it's mostly male fans. And um I think as a woman you're kind of a minority in that community anyway. And then I'm coming in as someone who doesn't look like I'm a jam band person. And I don't have the typical hippie look, you know? I don't have because there's all those fish chicks that have like, you know, they have a vibe, you know, the the Grateful Dead girls, the spinners, whatever. Like they have a vibe. I'm like nothing like that. They're like, who is this girl and like what is she why is she attacking our, you know, they're very protective. But then it's the same thing I see though where like people, the fish fans insult the goose fans and the goose fans, you know, oh, goose and fish and which one's better? I'm like, guys, stop. It doesn't matter. Like you can like goose and you can like fish or you could like fish and not like goose or you could like string incident and wise her pay and not like either. It doesn't matter. But it's like having that kind of exclusive like that uh you know what it is and I this is with everything in life. I was saying it's um I call it the scarcity mindset versus abundance. So people in scarcity mindset they believe that there's a finite amount of resource whether that's like love or music or whatever. And they think that if well I if I'm now a jam band fan I'm taking a piece away from their pie, right? So they get very protective like one more person to buy tickets. That's scarcity mindset. When you live in abundance, you realize that it only grows. And that the more that people embrace each other, there's an unlimited amount of resource. And so when you live in abundance, you don't need to be angry towards people or say things like, ""You'll never understand the dead."" Or like, you know, literally people on my YouTube comments were like, ""I gave you two chances. This is the last video I'm going to watch of you because you clearly don't get the dead yet. I thought I had high hopes, but now no."" No. And then the one where I'm like folding clothes and they're like, ""How dare you?"" Like I'm like, ""Don't you ever like live your life not just on camera reacting to music."" Oh yeah, cuz I have a life besides just like sitting down recording YouTube. Like they couldn't like wrap their head that like maybe I'm just trying to be organic in everything I do and be honest. And I I don't want to be one of the reactors that listens to something. They make millions. I mean these women there's some of these people that have like 200,000 views or whatever, like 500,000 views and they're like and they always like have the same kind of reaction like, ""Oh my god, wow. mind-blowing like, ""Oh my gosh, I can't believe,"" you know, I don't want to be fake like that. Like, if I'm like, if I'm like, ""I don't like the slow blues."" I'm like, ""I still don't like the slow blues."" People got mad at me because when I relistened to Beatles Help, I still don't like um the whatever. I don't like the Ringo song on that. And there one person just wrote the comment like, ""I really thought you would like change your mind on it and the fact that you didn't like it that much and that you zone it was disappointing that you zoned out during that song."" And I'm like, I've never liked Act Naturally. I never liked Act Naturally. I'm never going to like Act Naturally. I think it's a stupid song. I don't connect to it because it's just a stupid hook. All you got to do is act naturally. I just think it's a stupid song. It's just not for me. They were upset. They're like physically angry at me like, ""How how dare you zone out?"" I'm like, ""Because I don't like it."" Yeah. like Beatles fans like are are as as like t Well, so this is like I I don't do social media stuff just because I even You're better off. You're so good. This is like the the most I ever interact with people online is like a few like YouTube comments. But like it that I realized years ago that even within like dead head communities like the way people interact online is not the way that people interact at shows, you know. And so um it's just better like for me I guess just like the to ignore that that kind of stuff. And you know, I met, like I said, fish fans just the other the other day and I I had my Fish Spiel and it's like I mean I they're all talented. They're individually and collectively like and I when I first heard like really listen to Fish I was like why does more people not talk up Fishman? I think he's like one of the greatest drummers like ever. Um, and like Paige McConnell too, I think amazing amazing on the keys, but they're not psychedelic at all. Like it's not any like there's no psychedelic experience like in their in their music. And so I personally don't like it, but I I can still respect something and appreciate something and be like, ""Hey, that's not for me."" You know? Um, yeah. I mean, their song simple is like we've got a symbol cuz we've got a band symbol in the band, but I love it. But it's stupid fans are definitely going to jump down right now. They're like, well, you know, they're they're definitely going to be in the comments, but um you know, it's like you can appreciate or not appreciate or you know, whatever. Like you don't have to just because I like Grateful Dead is like the most important band I think that's ever existed and especially in my existence in my life doesn't mean I like every single freaking song, you know? It doesn't mean like Looks Like Rain, I could I could leave, you know? Like I if I see that in a show, I could probably skip that, you know? But it doesn't mean that I like every single one. But I it was funny that uh Sugary like my get on the bus song is May 28th 1977. They uh it's called two terapin. It was the first time they played terapin station and the it's Bertha good loving so they warm you up pretty good and they drop into a 20inut sugary and it is still one of my favorite sugaryies and I've heard hundreds of sugaryies. It is one of the most beautiful songs you'll ever hear. I want to hear that. Wait, what date is it? May 28th, 1977. It's a very famous show. Like I said, Hartford, Connecticut. Okay, cool. I have to listen to that now. Um, yeah, and that Sugary is like one of the most beautiful things you'll ever hear. Um, but uh, but yeah, it was funny that you just posted that yesterday. I was like, ""Oh yeah, like I love Sugary. It's like my get like I said my I was like okay what like what else do they bring if they can do that what else are they bringing to the table and I just went off you know and listened to every dead show I could after that but um I mean this was like years and years ago but um but yeah for for me Sugar is like is a perfect song it's a there's the lyrics everything about it the just everything is just a perfect, perfect song. Um um it's nice and it seems to be very popular and I bet I'll hear it in Golden Gate Park and John like that John I think does an amaz like I've I that was the one I I realized two years ago like you don't if you start hoping and wishing for a song then you're missing the point because it's number one it's really all just one long song but um if you hope and wish for it and then you get it and It's not as like it's not going to be as good as what you thought, right? So like just let it come, right? But roll with it. Not make any predictions. Don't try to guess set list. Like just enjoy it and experience it as it happens. That's the beauty. Exactly. Improvis like you're saying, like being there in the moment, seeing that improvis improvisation and like I I'm more of a 70s head. I love all all the 70s but um so I don't listen to like you know as many althas as probably other people have or like Standing on the Moon for example because they hadn't written it right. So, um, you know, I I saw, like I said, in Alpine Valley and it was just like a perfect moment in time where they played the Standing on the Moon and, um, so you've had like I didn't know that's what once again I needed that right then in that moment in that time, right? And so you you you will miss if you're anticipating or wishing or hoping for a certain song, then you'll miss something that actually you needed more, right? Like so. But Sugary is like now that I never I Sphere is just like probably like I could go see 20 shows for the price it would cost to go to the sphere for a weekend, you know, like so I I probably won't ever go to Sphere, but I I've seen them enough. I've seen, you know, enjoyed all my time with them. Uh but like Sugary is probably the one that I wish that every Sugary that I've ever heard Dead and Co play is like absolutely amazing. And I think John does an amazing interpretation of of that. I still think though statistically, if I'm there all three days, they're going to play Sugary Once. Like they have to because it's like the 60th anniversary. They they have to. It's a three-day thing. I mean, like I'm not not that I'm hoping for it. I'm not going to have any expectation of when it's happening. I just think realistically. But if I know if I listen to every one of these songs, but I don't think about it, I'll just be like, ""Oh yeah, I listened to that one before. I know this one."" But I'm not going to be like, ""Oh, I really hope that they play, you know, like whatever."" You know, like, right? I'm just gonna go in and just I like also just absorbing the energy of the people. I just like being in crowds. I like extrovert things and just walking around and people watching and that's just my thing. So, it's like I I don't even It's whatever it is. I'm not there just because I'm like locked in. But, it's been a cool sequence of events that just kind of happen to happen. And I'm lucky also I live in San Francisco area. So like we have so much music come through. I live I live 10 minutes from Shoreline Amphitheater. So that's how I ended up at Kesha last night because Kesha played at Shoreline and my friend and I were just talking cuz we went together and she's like do you realize we live near one of the most like famous venues like in America and like it's like I was like wild. Yeah. So, I took a little video outside as the sun's coming down over the mountain and you see the like shoreline sign and you see the shoreline in the background and you're like, ""Yeah, so many great bands have played here."" And I'm like, ""And it's just right here."" Which just made me realize why anytime I miss a concert there, why? Like, why should I not go? Yeah, the seat was only $40 like Yeah, I was going to say like and people want to talk like I I don't know. Once again, I I never I in in inflation and everything else, like you have to think like there wasn't even a minimum wage till like the late7s, right? So like yeah you're it's just you know people talk about so much like I always saw D and go on the lawn ticket 50 bucks that's a that's a fair price to see legends you know and and have a great experience like 50 bucks like well you can waste 50 bucks on a lot of things you know like cigarettes are expensive and like alcohol is expensive like people who are drinking alcohol every day that's expensive so if you just think like okay and instead of eating out I'm going to cook this meal prep stuff and make a soup. You know, if you really want to save money, you make like one beef stew. You last the whole week. Really budgety. It's like, you know, just make some beef. Absolutely. Like you can I I I don't, you know, any show, you know, 40 50 bucks like I'm gonna go see Green Sky, you know, 40 bucks, you know, it's like, man, I you can scrape up I I don't know like minimum wage in my state is like $12. So it's like three hours of work. Yeah. So for three hours of work or four hours of work, you can basically see you wake minimum wage. Yeah. But most people are making more. Yeah. No, I agree. Hopefully it be more and and then also like people get creative and I think part of America is having the side hustle, you know, like have a little side hustle to make some concert money, you know? So absolutely. I think it's great. Yeah. But yeah, I mean overall I need to come out for a show. I need to bunk up at your place for sure. I know. Soon I'll be like hosting everybody. It's like it's like I have like seven people sleeping on my floor. Like you I can't believe I've never been to San Francisco. I would love to come out there and uh Oh, you got to you got to plan a hate Ashberry. Yeah. Well, there just watch for when tickets get cheap cuz like different times of the year when it's like low season, I feel like tickets are sometimes really cheap. So, what I like to do is they have like Google flight alerts and you can just like set up a notification and it will tell you when like prices drop and stuff. and they also predict what times of year um there's the cheaper tickets. And so I just think there's there's times where like it wouldn't be as expensive to come to San Francisco. And the and hotels really aren't that expensive like because there's there's all levels of them. So there's like basic stuff too. I'm just saying it's not as crazy as people think. Like it's I think it's cheaper here than New York City. Like in New York City you step outside your door and I've spent like $50 in 10 minutes. Like a bagel in New York City now is like $25 for like a bagel sandwich. And you're like, ""Oh my god."" Like I'm just going to eat out of this. I'm just going to eat out of this like drugstore and grab a loaf of bread and a can of peanut butter. Like cuz like it's like literally like you just can't do it. So but yeah. No, I mean that's there's music every night in San Francisco whether there's just everywhere. It's it's it's it's really nice. Like I used to live in LA also. So it's like living in those cities you just kind of get spoiled. Um, but it's good that even though you're in the south, you take every opportunity like to go everywhere and you guys can drive everywhere. That's the thing about like I remember I went to Nashville once and I'm kind of like Nashville's not near anything but it's also not far from everything. Like every southern city is like 3 to 5 hours from the next city. Like so you go that way, this way, you and and the other weird thing I find about the south is that the nothing is like gritted. It's all like spread like this like spider legs, right? So like every city I noticed the highways kind of go out like in like a spider and everyone goes to a different city. So it's like Houston goes to New Orleans, Houston goes here and then like you know Nashville goes to Memphis but you can also go to Kentucky and you can also go to Indiana and then you can also go down to Alabama. I'm like whoa that's crazy because in California we just have one direction. Yeah. Gold Shores is like four or five hours away. New Orleans six hours away. Uh you know St. Louis is four hours away. I mean, I win. My last time seeing Dad and Co was in St. Louis, the final tour. Great show. They came out second set with a 24minute eyes of the world. That was like just mindblowing. See, you live by everything. You literally can get to anything. Yeah. Yeah. Yeah. I mean, but but it is also like every time you have to like go for a hotel or something, you know? I guess St. Louis I could drive and come back, but that's that's exhausting. I see that as a kid. I'd go to like cuz I lived growing up I lived about three and a half hours from San Francisco and two hours from Sacramento. So we would do that like I remember in high school when I had a car senior year like no doubt was playing Sacramento and we went and saw it on a school night and because we were already seniors we didn't give an F. We were like college applications already in you know. So, we were like out driving home late, getting back at 2 a.m., you know, like I don't think I'd let my kids do that. But it was like back then I was like, I'll just like me and my friend were like, ""Yeah, let's just go see No Doubt and then we'll just hang out with these boys in this like parking lot after and then like we'll make we'll make it home eventually, you know, and like we'd roll in at 2 a.m. Same thing. I think I saw Tori Amos a few times in the Bay Area in high school, too. And I'd come back at like 2:00 a.m. from Oakland, like 3:00 a.m. I'm like, I can't believe I did that. Now, I would just get a hotel. I'm way too tired and old. Like, I can't be driving at midnight to 3. Like, no way. No way. But yeah. Anyway, any other things or we can always have some some interviews I have to do in two batches because it like people remember things later and then Yeah, I was gonna say I'm sure there's like certain things that like I haven't came up and I'll No, you can always email me and sometimes I just do episodes where I just read comments and so sometimes I just like today I'm going to read all the emails I get, you know. But yeah, I think D and Co will be cool. I hope to like get a lot of, you know, I'm not going to like sit there taping or anything, but I just want to get a sense of the scene, take videos of like all the people and like this is the setup and then like a few of the like highlights and I think it's going to be super cool. Also, Billy Strings the first day. Does that mean Billy Strings is also going to play with them? You think? Like special guest? Okay. Oh, yeah. Okay. So, it's gonna be epic. I I would be shocked if he's if they if he doesn't. Wow. So, that means Sunday Trey Anastasio. It's gonna be crazy. Oh, Trey. Yeah. Yeah. That That's going to be an crazy that that is that's going to be awesome. I'm lucky I got the pre-sale day. I was just on Ticket Master and I just waited it out and it was like three-day ticket. It was $600. I was like, honestly, three days of music like, man, that's not six sets of D and Co., you got Billy Strings, you got Trey and Serg Sturggle and Simpson. Sturggle Simpson. Yeah. Yeah, that one. So, that's the that's the Saturday. So, I was like, that's probably worth it. So, I just did it and I was like, I'm just buying it. And I was like, I'm sure I'll make back the money from my YouTube channel. Like, I was like, it'll all work out if this is like my concert budget. All the little money I bring in, like it helps pay for my tickets. So, um, there's that. What I I would say uh just a couple more things on the dead like 1980s like for me the although Brent Midland is like by far the best keyboardist. Um it has the 1980s has a very distinct sound that synthesizer sound and I and so you could place it immediately and I think the 1970s has like a timeless sound. It doesn't it could be any any decade. You could listen to it in a hundred years and you're still gonna have it has an old natural very like just uh a different sound than the 1980s. Although you could argue that like they were better in the 80s, right? Well, so far I've also gravitated towards the earlier stuff. Like I the first thing I listened to that was 89, the Help Slip Franklin I listened to was I was like I don't like this. And then they're like you listen to the wrong Help Slip Franklin, you know. I was like okay fine. But then when I listened to the 1969 St. Steven 11, I was like, ""Oh my god, this is so good."" And then the 72 stuff, I'm like, ""Yeah, this is so good."" That's my that's my jam. Okay. So, I'm already like very um my ear is already towards that. But it's funny because in music school, we had to do the same thing, but it would be like Baroque or like Mozart or like we'd have to like listen to stuff and then know what it was and we'd have to be able to identify it by the features. And so, and then we also had to transcribe music based on hearing it and we had to site readad music we've never seen. So, it's like every skill set that like I was I was made to do this. It's just that I didn't know about it before. You know what I'm saying? Like life just happens and you don't expect it. And like if you had told me two years ago I was going to be a jam band reactor. Even a year ago, I wouldn't have even thought I I would have been like, ""You are crazy."" Because this all started September when I made my little like fish rant and it was like a dating channel. I was like, ""What's the deal with this band?"" Besh, all the the guys are all Gen X and like they're obsessed. You know, I didn't know that I was going to be like, ""Oh, she became a jam band reactor."" I would have never never and anyone who like knew me from, you know, my when I was in my last relationship for six years, they would I'm sure if any of my ex's friends like found my channel, they're like, ""What has happened?"" Like, ""What happened to Erica?"" But we like it, you know? Like it's just like no one would have thought. So anyway, what else besides the 80s versus the 70s? any other little the the movie the so pretty divisive as well. Uh I think that I think it's top-notch. It's it's really really interesting. I've read a lot of like every book that you could read uh like just kind of throughout the years, but also like people who have who are like famous deadheads and like crew members and stuff have have written books and I've I've consumed it all over the years. But um the the film it was in Sundance. It premiered in Sundance, which I can't imagine sitting there for like five and a half hours. They broke it up to like six episodes or whatever. But like Mickey Hart famously like left and was like, ""Oh, this is just a Jerry Love fest."" And is that the movie they're filming during the documentary or is that I'm saying the documentary? Sorry. The documentary is Well, they do. Which one? There's a lot of the train strange crazy trip or the long strange trip. Okay. The one I'm watching that I'm three episodes in. Okay. Which is very well done, by the way. It's very well done. That's what I was saying. I think it's great. I I think it's a really good job. the the episode five is Dead Heads and I think it's really it does a really excellent job of of breaking down like the obsession of of jam music and and the Grateful Dead. But so hurry up and get through that. But the uh I do the the the controversy though is the uh they kind of gloss over some of the darker sides of it. Like they don't really say how like Keith and Donna left the band. They just say, ""Oh, Keith and Donna left."" And they don't really even really say how Jerry died. They just say Jerry died. And like there's a I'd say the biggest one is like that they don't even mention like either they kind of brush over or don't even mention uh they don't even mention how Mickey Hart's dad was their manager and like stole a bunch of money and like and Mickey Hart was actually kicked out of the band for a while and they don't me even mention that at all. They Bobby Weir in fact like they discussed kicking him out of the band as well. Um and like replacing him pretty early on and they don't ever mention that. And Bobb's like one of my favorites ever and I think has proven he's one of the greatest ever. But that's not to say that starting out he he definitely needed a lot of practice, a lot of work. Um, so they do kind of gloss over or like I said, don't even mention some some I wonder if it's because the director was trying to tell a certain story and it's kind of it's it's not lying, it's omission. It's lying by omission, which is like another way of crafting clay. It's like you can kind of tell the story you want to tell. And I think that's probably why they did it. Um, I'll probably know more when I get to the end to figure out like what was the whole point. I mean, I like how so far it's organized because I can follow it. But what was also useful is everyone kept telling me these things in the comments before I watched the first three episodes. So, someone already told me about the dad stealing the money. Someone already told me about Donna joining the band. And then, by the way, when I first heard her sing in the documentary, I was like, that's bad. I was like, she's not a good singer. I'm like, I could have like hello. The most controversial, I would say, aspect of the Grateful Dead is Donna Jean. either like you love her or you hate her and um but she is like the most controversial figure like so there's people who like her who thought it was I love I'm a big fan of Donna it's like the best dead but no but you but you only like 70s dead was she only there in the end 70s so that's why yes yes she but she is very screechy and like she's it's she's not a soft voice I'm not saying she's like a great singer I'm just saying I enjoy enjoy that even though she's not a very feminine voice either. I do just enjoy that extra layer and when she's not going all the way out like this the very like shrieky stuff like when she's just kind of supporting Bobby a little bit more. Um I think she does a great job. Right. It's good to have like a solid dedicated singer, a dedicated backup singer for harmonies. I think those are always good things. I just think it depends. So yeah, I'll have to get through the rest of that because I got to the part where it's like and then they joined the band and uh but yeah, it's it's good. I mean, so far I can tell it's a very quality uh documentary. And then someone said there's like the original Grateful Dead movie is going to be played in theaters this summer. Yeah. Yeah, they just announced that. Uh it's I mean you could find it on YouTube. Uh it's free. It's right. I don't know. It's it's kind of uh my my son and I were just talking about it. I I've seen it and multiple times, but now that we have like nugs and just like YouTube and we have all these, you know, formats where we can watch live shows, like I would it it's basically a live show that they kind of put um just animated uh pictures over. Yeah, that's kind of weird. I mean, I would see it just to see. Well, if I go to a theater, it just is going to force me to pay attention because it's the kind of movie that I'd probably end up watching in the background and then like go on my phone. You know what I mean? Like, no offense to that. If it's like animated stuff, I'm like, can I just listen to the music without the animation? But if I'm in a theater, I'm going to be like, well, I guess I'm locked in. I can't get my I'm stuck here for the next two hours, so I might as well just watch it, you know? So, I've never done that, but they do have that every like the the movies like once like they call it like something something at the movies, but like once a year they'll typically do like a full show and they'll just put it in a select theaters. I like that. I mean, look, they stream operas from the back. I think it's I think it's I think hearing like the dead on a, you know, sound system like a movie theater would be super impressive, you know, but I don't know. Like like I said, the the movie itself, I don't really think it's anything like what it's Well, the documentary is better. That's the thing. I think Oh, the documentary. Yeah. I think it's like versus like the Grateful Dead movie. But they're filming the Grateful Dead movie in the documentary, right? Those are the people who are like a meta a meta aspect of it. So that's what's cool because they're like, ""Oh, we were dosing the filmmakers."" I was like, ""This is a crazy story."" So like just to now that I know the backstory of the movie. One more thing. I just think that like just one more little cherry on top. I think the the biggest mistake that like with psychedelics and the Grateful Dead, they thought like everybody should be turned on and you can read this and and throughout, you know, different literature and history. Uh but like they thought everybody should be turned on. And I think that like not everyone's brain works has enough depth to I've tripped with people that like hey um they're not getting the same experience that I'm getting. You know what I'm saying? Like you can just talk and and realize that like what their their experience and mine and it's just very similar in life. Like some people have the depth of of life and some people don't. And so it's if if you have it and you are interested in anything like that, then like go for it. Like do your research and then like hey by all means do it. But I don't think that like any anyone can just be turned on and like all of a sudden they just have like a completely different life experience now. Everyone's going to bring their own chemistry to things. And also, not everyone should be doing every substance because some people have predispositions to things that can make it dangerous for them. So, it's this idea that like, oh, well, everybody, oh, it's safe for me, so it'll be safe for you. And I had a great experience, so you're going to have a great experience and not everyone's going to have I mean, there's such a thing as a bad trip. If there wasn't such a thing, there wouldn't be a word for it. Like, you know what I mean? I've seen that the very first time I tripped acid, I saw my best friend have a really like in a a terrible ter terrible trip. So, man, I've I've never, knock on wood, never had a bad show. Right. But it could be that for you it's fine. And I know people that they can't smoke marijuana because they're predisposed to bipolar disorder or something like that. And that it can actually make them manic and it can make them become uh have psychosis. So, that's the thing of people being like, ""Oh, marijuana is safe. Pot safe. Pot safe."" Like, it's totally fine. It's not safe for everybody, but for most, but even so, you should. And then there's people who shouldn't be drinking. They have the alcoholic gene, right? And it shouldn't be like like people who always like force people to take drinks like oh you're not drinking. It's like no I'm not you know it's like no this whole that whole culture needs to die because it's so some people just want to be sober because it makes them feel better. They feel healthy. They're into their like fitness whatever. No one should ever be like oh well you're not you're not tipsy. episode. It's like just that whole idea of like forcing other people to be on something I think is another one of those insecurity things I was talking about like just kind of like scarcity mindset like well are they does it say something about my choices? You have to be so secure in your choices. If someone else doesn't like the thing you do or doesn't do what you do that doesn't mean that your choice is bad but if you're that insecure that you need everyone else to follow everything you do and that's with everything. That happens in religion too. Absolutely. That's how some Christian people are or other religious people. They're like they're so they get so insecure because they're not really strong in their faith. And so then if they see someone else who's not following their values, they get really judgy. I'm like I think that's the opposite of what religion is supposed to be. Right. Exactly. My art I I've made that argument so many times. But um Yeah. No, I I I Yeah. But you're a thinker now that I know. You're a creative writer. You're an artist like me. You're like you're like into the writing. So that's why you get it. So it's like different people are artsy and deep and some people just aren't. They're very surface level and they don't want to think. They they don't want to feel. They don't want to, you know, so it's just a different level. But yeah, great. Well, again, you can email me if you want to ever think of something. I I had So, the first the guy who was the boomer, his second episode's coming out soon because he did we did an hour, then I had to cut off. So, I had like a lesson to teach and then we met again for an hour 45. So, we have a followup of an hour 45 after. Let's check it out. Yeah, it's coming out soon. I think in a few days. That's why he um because also with him, he's been following them for so long and he's older, right? So he had so many memories and once you start talking about it, it triggers more memories and so then it like got him writing and so it's actually a really good thing that we took the break because then he started writing down stories and calling his friends and being like, ""Oh wait, did we ever do that?"" And it's great and that's the only way to remember is just to because we bury things unless we think about it. There's only so much space that in your brain, you know. So, but like you said, like once you start think like, you know, once you start thinking about it, it kind of uncovers things that you, you know, like forgot about. But yeah. Yeah, it was it was great talking with you and great meeting you and great. Congratulations on all of your like cool experiences you've had recently and I'm excited. Have fun at the Den and Co. I know. I'm like 27 27 days away. So, here we go. You gotta text me or email me some pictures or something. I will. And I'm gonna post stuff, too. So, I'm gonna Yeah, I'll send you stuff. Don't worry. We're gonna be in contact. I have your email. So, we'll talk. Okay. All right. Well, have a great day. Happy 4th of July.
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bzxYXOWQ8tQ
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Jerry Garcia : Best Interviews on Video (LoloYodel)
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LoloYodel
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https://youtube.com/watch?v=bzxYXOWQ8tQ
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2016-05-15
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PT41M34S
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en
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auto-generated
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Yes
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[Music] Warren Wallace asked them what they thought the hippie movement was trying to accomplish uh what what we're thinking about as a peaceful Planet we're not thinking about anything else we're not thinking about any kind of power we're not thinking about any of those kind of struggles we're not think about Revolution or war or any of that that's not what we want nobody wants to get hurt nobody wants to hurt anybody we would all like to be able to live an uncluttered life a simple life a good life you know and like think about moving the whole human race ahead a step or a few steps and step yeah or a half a step or anything well they they more Chase each other around it's kind it's like it's like the serpent that eats its own tail you know and goes and around like that and if you if you can stand in between them uh they they make a big figure eights on their sides in your head I don't think I'm going to stand between them I think I'll stay back a little late but I noticed that the guys are near their instruments here and the kids have kind of settled down I wonder if we could get you to um to do a number for US absolutely not good well [Music] second there's no relationship that I've ever been able to here on tapes between the way I feel and the way it it went down you know what I mean doesn't matter how I feel it doesn't no I haven't been able to hear it matter it matters how I feel to me of course cuz that you know I feel that way you know I come out with the stage boy sometimes really really upset you know and when I was younger I would get even more upset I get more crazy I would want it to be really good you know and I think wow it's not it's not where it should be it's almost there but it's not there and then I get really angry I remember one time we we did the Carousel and we recorded I got really upset at the end of the set I thought cuz I thought it was just horrible for some reason I thought it was it seemed like everything was a struggle and uh I got real pissed off at Phil and grabbed him and threw him down this little flight of stairs you know I was like man I've never done that and Phil is I'm been really tight with him for years I was that freaked out you know and high too you know flipped out him music was [ __ ] you know and then we listened to these tapes months later and ended up using them on our album man they were you know they were you know they were crackling with energy they were amazing but you know that's what I knew that wow [ __ ] I just got to learn to keep my mouth shut you know and just not even think about what whether whether it seemed like it was happening to me or not yeah this in a way see like doing all this stuff is an accident I mean ending up professionally playing music and all this it's it's it's like some lucky dream I didn't ever expect to uh I didn't I mean that wasn't even working yeah right you know it's like I get I get to play music and not only that but you know I yeah get paid for it too that's incredible you know cuz I would do it you know either no matter what whether I got paid for it or not you know and it's not even that ain't even right I met Bob Dylan man yeah yeah so you know I mean [ __ ] I don't know I don't know what it is or anything about it I just I know that I that where I'm coming from it doesn't matter too much I would I just dig do I'm into doing it guess it's you and me bub uh Bob I'm ready rolling who are you people anyway I mean uh traving musicians oh yeah oh there is another reason too there's another reason I remember dig this there's another reason we're playing in theaters you know these are theaters like normally we play Arenas in these colossal gigantic places where if you had an acoustic even an electric acoustic guitar it would feedback horrendously and the technical problems involved are just they're hopeless in a really big place I mean at least they're hopeless for us somebody else might be able to I think we could do it I think we could do it now first the idea of the hall or the idea of the acoustic set uh no well no that's kind of like a that's a non- question I mean we we've played acoustic music before we used acoustic instrument on records you know what I mean it's like we're not strangers to it so I mean you have to say the acoustic music came first you know but on the other hand radio C the Music Hall was built before we were born you know I mean what's the question say it again real slow it puts us all physically a lot closer together so it's easier hit the other guys in the band right without having to get up and move around a lot anything that we really can't stand you know uh well that elevator music gets annoying that's true even that gets Ruby someh yeah I've heard some stuff that was really Soul wrenching elevator true makes a tear to your eye I was choked up I had to get I missed my floor I could well anybody got any intelligent questions we tried those have we that [ __ ] never works okay can we call this meeting to a CL thanks thanks a lot you bet those cars are still coming at us but it was in the air uh there was all those books out like doors to perception all this there was tremendous curiosity about psychedelics and there were some people who had who even had uh who were able to get peyote buns in those days before uh manuf factured LSD was around and so the Psychedelic experience was known in certain circles I think and there were a lot of people who were just really curious and interested in finding out what it was about and what it was like you know it was a matter of it was like the space shuttle yeah it was something to try yeah that's exactly right he's right it was a technological Improvement you know something yeah or a fast car it went to Jupiter yeah that's right it was the passage back that we had trouble with understand is that all were you able to function playing music while you were on LSD uh well not in a conventional way I mean uh uh you know that is to say that a lot of you certainly lose a lot of stuff it's something I wouldn't want I wouldn't do uh professionally you know what I mean now now I feel more of a sense of uh responsibility to at least be able to to be in command to be able to play physically you know and there's this uh nice thing about the acid test was that we could play or not in the acid test and a lot of times we would get just too we'd be too high really to play and we'd play for maybe a minute that's what we and then we lose it you know and we'd have to leave to weird for me you know yeah and but on the other hand sometimes we would play and since there was no pressure on us I mean people didn't come in to see the Grateful Dead they came to the acid test it was the whole event that counted so we weren't in the spotline therefore we the pressure wasn't on us so when we did play we played with the certain kind of Freedom that you rarely get as a musician I mean we didn't have not only did we not have to fulfill expectations about us but we didn't have to fulfill expectations about music either so in terms of being you know being able to experiment freely you know it was amazing amazingly great for that on that level also their leader Jerry Garcia has been called by the Los Angeles Times one of the most intelligent and articulate of all rock stars 15 years still going strong five originals still with the band look how healthy they look here treat for us this morning is Papa Bear himself Jerry Garcia good morning howdy you go to sleep last night no when's the last time you were sleeping what year is this sorry how do you play at that at that frantic volume and sustain any kind of rational mind it's like a dog hanging his head out a car window you love it yeah what would happen if you played music without all that sound would the music sound totally different well only the first three or four people would hear it in the country why do these kids travel thousands littleit of miles to he your concert um I think it's I think because we make an effort to uh uh to treat them decently and uh to play honestly for them rather than put on a some sort of packaged pre-arranged predetermined show or some for some show biz formula that might be that might have something to do with it but but uh I don't know I mean I can't I can't say exactly what it is if I knew that I'd uh you know I'd be running the world one thing that your favorite memories from that era well was that wasn't very F yeah and you were you were about to say I was going to apologize for not having any memory I'm pretty was I think that's healthy stuff that's okay with me as long as the people who are doing the taping aren't obnoxious about it I mean and that's I I have to view it from that point of view cuz uh at the worst there's uh you know uh somebody will complain that there's too much uh hassling for the best spots and that kind of stuff you know I saw as far as I'm concerned those those matters don't really happen to me experientially but I hear about them and when I if I hear that somebody in the audience is unnecessarily rude or or comping an attitude of some kind or you know it's the thing of uh that everybody who's doing it should just be aware of everybody else who's there that's all something like that and respect their space if possible sure understand that yeah um you can dig that can't you sure about the uh The Grateful Dead Bob Dylan Tom Petty tour that uh we just finished how did it go for you what were the highlights well I was dying other other than that other than that other than my decay H yes right the rest of it was pretty fun if I remember correctly but you know hey [ __ ] I'm still a little mushy you know I mean I found myself in the weird position of teaching Dylan his own songs you know what I mean yeah that was interesting really strange it was funny he was great he was so good about all this stuff and we were do we were going to do we wanted to do Desolation Row with him you know he got a million words and uh so we says are you sure you'll remember all the words Dylan says I'll remember the important ones he was really great he really was it was it was fun to do it it was fun to it was fun well we we talked Now with uh on video with both Phil and Bob and they both said that they expect some those lion sons of [ __ ] wait a minute you I want to invite them to a dog show so uh Jerry Garcia Fan's going to be going solo for a while huh so but they both said that they expect some changes in The Grateful Dead's concert format um like the maybe more improvisational stuff changing songs around a little bit maybe drums not necessarily occurring before space and maybe then it's starting a show with drums or sparting starting with space or not I mean whole whole weeks have gone by when I didn't know what the hell was going on but I mean but you don't have a choice you can't opt out you know you can't hey [ __ ] man I'm confused I'm leaving you know it's it you know the thing to do is to stand there and Slug It Out and and uh The Grateful Dead's music is successful on lots of different levels sometimes it's successful when when we don't agree you know MH uh when the band doesn't come to some understanding during the course of the evening sometimes that music is extremely interesting sometimes it's not yeah but sometimes when we're playing and thinking we're doing really great it's terribly dull you know I mean it's just it's one of those things that there is no way apart for me the experience is way too personal uh to me for me to make any kind of real honest generalizations about it and certainly to predict anything is hopeless do you have a favorite facility to play in is there one that you like more than any other facility I like the feeling in the Oakland Auditorium although I don't know whether the sound is any good I've never heard I've never heard us anywhere you know what I mean right I you know so I don't I really don't know I only know how they feel a Masson Square Garden is a great place to play because it's so Juiced yeah right actually the easier question is are there any places I really don't like to play okay are there any places you really don't like to play yeah there's a couple places I really don't like to would you like to name them I I don't remember what they are I only know that when we get into I go oh God damn it we're in this place again they sound like [ __ ] you know that's how I mean I don't try I don't retain those memories you know what I mean it's like I'm on to the next one as much as possible it's it's that's what happened to me is I woke up in a hospital I really don't know what happened I don't know uh uh they tell me it was bad you know but uh they also tell me that that my recovery is remarkable mhm uh and I think really that the just the thing of H of lots and lots of dead heads putting good energy into me while I was uh uh laid up really helped me come out of it you know I really I really I think that had a lot to do with it I'm not a believer in that kind of stuff you know what I mean I uh but I feel I have some evidential proof you know what I mean that healing Vibes have something I mean the doctor said they never seen anybody as sick as me who wasn't dead you know so that I mean if that's any indication yes yeah so I mean apparently I was real sick although I I got to tell you I didn't didn't experience any pain or any discomfort really apart from the thing of just being wired you know what are you trying to do here you take my word truck and you add the letters i n that's not a word Ching no it's not a word I am sick of this it happens every time I am tired of this argument we could play Monopoly if you'd let me be the top hat in terms of Commercial Success this is your biggest moment right now huh what time you got proudest moment of my life yeah I'm quietly proud at this moment yes but you you in pop music we played badly there they want you remember well that was one of our classic bad scenes we we came on the stage just after the who finished smashing their equipment for the first time in America you know what I mean this is ah the audience is devastated you know who were beautifully theatrical and this stuff this clouds of smoke and explosions and they're clearing away the debris you know so we come out and play our little set you know ding ding ding and uh and then Jimmy Hendrick comes on after us and annihilates any remnant of any you know I mean if anybody noticed this that was it you know it was R from existence I was like come on you know that was where we were on the show it didn't didn't pan out for us Jerry 24 years together when a fan looks at the 24 years they see hits they see concerts they see tours when you look back what do you see oh God uh I see uh well a large part of my life I've spent doing something which has turned out to be more fun than I thought it was going to be and this last way longer than I imagined it might and it's taken me places that I would never have ever imagined you know so it's I mean uh it's it's hard to uh to separate myself from you know what I mean from this from the experience I after all it is my life you know it's like for me it's 24 years of all kinds of stuff of U of you know uh like everybody goes through you know life and death and kids growing up and um and you know you know stuff happening and the Grateful Dead has been this one constant uh continuous source for the during the whole thing so it's it's a big uh big chunk you know it it it it stopped being stuff like a career or a band or even a family and that kind of stuff a long time ago it's gone way past that you know by now how did Touch of Gray that success change the band or did it it didn't really change it very much no uh uh mostly it made it so that that now having lunch with record company guys very comfortable you they're really nice you know getting me today aren't you uh dead heads uh well my experience with them is like is again it's hard to characterize it's been a long time now and there's been lots of them and they come in all shapes and sizes and forms and they're they're everything from uh Street people to uh uh solid professionals you know they're all over the place they're they're on Capitol Hill you know they're they're in part Heart and Lung team you know out in Sacramento they're everywhere they're they do they're they permeated Society you know they they've become uh uh mainstream in a way I mean there's a lot of mainstream dead heads even the New York City Police Department's got a lot of dead heads and it's there all over the place so it's like that's kind of fun you know uh you meet people who are uh you know the mayor of Milwaukee you know you know was covered enough to bring his wife him and his wife come to the show you know hey I'm Mar Milwaukee oh sure you know yeah yeah me too you know no I am really he says he brings he brings out the car the guy really was the mayor of Milwaukee a really nice guy and it's seems like the word for the Grateful deaden concert is improvised yeah that well we would probably do we would probably reproduce the record exactly if we were disciplined enough to do it but your record is kind of like a uh a painting you know uh it it's you have a chance to really study every all the detail and you can you can be sure that everything that happens in the song uh has the benefit of um supervision you can pay attention to incredible detail when you're playing live it's uh a whole lot it's a whole other experience it's it's uh like a snapshot you know it's like a Polaroid it it what what what's there is what's there and the moment provides new things sometimes sometimes they're better sometimes they're worse but they're they're really it's they're really two different things it's like apples and oranges almost you know it's uh it's it just for us that's been our our big trouble making records really is we've never been able to get that live energy into the grooves you know and we go in the studio and we might be able to get it to sound superficially okay but it's just no life you know it be like you know uh when you were young young man just getting into rock and roll did you have any idea of the road that was before you and are you pleased with how it's turned out oh yeah it's turned out a million times better than I could have imagined you know I mean yeah it's I mean I I hoped I think uh when we started playing I I hoped for something better than just uh or something more interesting than just uh say like conventional success you know and it's always been more interesting and it's hasn't been at all conventional so it's it's uh yeah I'm real happy what do you think accounts for the band's Vitality which has become even more so in the last couple of years isn't that amazing yes it is a Yeah clean living that's it that's it we live by these words roll I mean it's not as though we take home huge bundles of gold you know and big S oh here's my share of the 25 million you know it's uh it costs us a lot of money to do what we do so it's uh really everything kind of stays about the same and we make more money and hire more people because we need a larger production to be able to reach the amount of audience which we now have and so on and so on so while the earnings go up so do all the expenditures and everything else and it's it really doesn't uh it it it hasn't uh I I don't have my goldplated Rolls-Royce yet yeah [Music] first of all rainforest why did you get involved in in the rainforest effort uh well for well for us it's hard for us to find anything that we all agree on so uh the rainforce is one of those things that's see that's uh falls into the uh realm of General social responsibility and none of us could say that it doesn't matter you know and I mean anything else political we can disagree about but uh but uh the rainforest uh and other other environmental concerns are something that we can all relate to we all have kids we all we all live in this world and you know yeah let me let me ask one Grateful Dead question for boys back uh first of all I noticed you scuba diving your black t-shirt it's my special scuba shirts the uh in between chin cat sunflower into know you Rider where you break into where you break into did you that out like did you work that out and take that to somebody in rehearsal or did that just evolve on stage it evolved on stage I I would say 80% of what we do evolved on stage yeah in fact I'd say it's probably closer to 90% uh I mean in terms of the things that happen instrumentally yeah that's interesting thank you uh I'm Jerry Garcia and I play the guitar for the Grateful Dead amongst other other things and uh your own musical influences when you were growing up who did you listen to as a as a kid uh do you really want you you really want to hear that I had lots I had eclectic influences let's put it that way I I I heard virtually every kind of music my father was a musician you know my mother was a was a um a coloratura U you know soprano and I just you know I mean I heard every kind of music My Mother My grandmother loved uh country music and the grand old opery and Harry ens and his Royal Hawaiians I mean I heard all kinds of my ears were full of music you know so I plus the popular music of the time the 40s and 50s you know when I was growing up but I was on at the the Inception of rock and roll I listened to rhythm and blues I had an old older brother who was a rhythm and blues nut and so I got rhythm of Blues from him and then rock and roll as it developed in the 50s uh was like my music that was my native music so speak and then then the the rock and roll wave came up you know with the Beetles and stuff like that hey that looks like it'd be fun to do and besides I know this music you know and so having a preference for the kind of more um like the Chicago sound the blues sound the Marshall chess sound uh that sort of thing uh our band when we started a band it was kind of more like the Rolling Stones say in so far as it was that that kind of music uh we started playing not quite a blues b band you know sort of a blues band and uh with kind of folk in country and western overtones so that's you know that's that's my background pretty much but it really there's there's nothing I haven't heard I mean in the when the Grateful Deads first started we were called a warlocks we used to we we had one strong suit we had pigpen in the band and he was this guy from paloalto whose father had been a a rhythm of Blues disc jockey so he for him the blues was was very natural uh and he played harmonica uh and he's sing really well you know and uh he really had no real wish to be a performer we sort of forced him into it because we knew he could do it and uh so he was kind of the front man for the band he he was he was our he was our Powerhouse guy and the rest of us could play better than him but he could sing better than or anybody else so that he that he got to be the front man for the band and uh uh it it it worked well we eventually we ended up kind of uh playing the divorcees clubs up and down the Bay Area you know down the peninsula and East Bay and San Francisco we ended up playing Broadway in San Francisco which is about as far as you could go as a band in those days you know main mainly Cassidy actually well Cassidy is one of those kind of people that you you you know it's he's so such he was such an overwhelming um trip cazy I don't know I I it's hard to even know what to say about Cassy he was so singular I mean it's just well for one thing he was like the best uh the the ultimate uh sight gag person you know what I mean physical comedy person you know uh plus he was also the world's best standup comic too uh he had an incredible mind that he would do this thing he did to everybody everybody has reported on this he did to everybody you might not see him for months you know and he would pick up exactly where he left off the last time he saw you you know like in the middle of a sentence he would pick up and you you first of all you go what what the hell and then you realize oh yeah this is that story he was telling me last time you know and you it was like so mindboggling you couldn't believe that he was doing it he used to do this thing that was this this was something that used to that killed me and I see saw him do it a lot of times he'd take a a dollar bill you know from anybody you know and take a dollar bill and he would he he' put his hand on it like this and he he and they and they'd say the numbers you know this the serial number and you know I've saw saw him get it right like two or three times the serial numbers you know what I mean he just had this he had this thing you know and his driving if you go for a drive with him it was like the ultimate Fear Experience you know that you you knew you were you knew you were going to die there was no question about it and it was something so unbelievable he he loved big uh Detroit irons you know big cars and he he like driving in San Francisco he would go down those Hills you know like 50 mil 60 M an hour and do Corners you know blind Corners going down those Hills you if you can imagine like going down uh Franklin you know like top speed you know what I mean you know disregarding anything stop signs signals all the time talking to you and maybe fumbling around with a little teeny roach you know trying to put it in a matchbook you know and also tuning the radio maybe and also talking to whoever else is in the car and never seeming to ever put his eyes on the Road ever you know and this is like it would be you'd be just dying you know you'd be you'd be dying and and he would just he would he it would effectively take you past that whole fear of death thing you know it's like a a difficult experience because there's nothing else like it apart from like almost like surviving an airplane crash possibly or something I don't know what and he was the art also and he was doing it consciously as well you know so he had he did things he he worked with the world world I remember one time after a um a party after the Watts acid test which was particularly strange and he's first of all he he George Walker is driving the bus so George George is driving the bus and and Neil is like the guy directing him into the parking place you know a little to the left a little to the right he's doing all with signals and he directs him right into a a stop sign an arterial stop sign and knocks it it shears it off boom and the stop sign falls down so then gets up then the bus is parked Neil gets up and he's got the stop sign you know and he's like kind of trying to put it make it stand up you know and so he's there with this stop sign and down the street come like two really straight little old ladies you know they're on their way to church Sunday morning you know and here's Neil he's like the cosmic Village drunk you know what I mean he's like and he's got the stop sign you know they're trying not to see him you know and he's doing this whole whole series of uh kind of like good morning ma'am you know kind of panim you know this extravagant thing all the time with he would kind of like stand up the stop sign and then walk away from it it start to fall and he' grab it just as I'm about to hit you know and all this stuff happened it was like amazingly great it was just beautiful perfect timing you know it's just extraordinarily beautiful you know and he he his the way his body moved the way he looked and everything like it was just absolutely his face is so expressive he would go through millions of expressions just millions of them and just his whole body language and everything was so communicative it was just amazing it was I I was dying I thought I was going to die it was so hilarious it was so and it was absolutely perfect you know it was like a little silent movie a silent ballet you know in the morning lasted about maybe a minute and a half you know two minutes but it was perfect you know it was like a perfect moment it was just great and I mean Neil Neil was that guy I mean he he he just could do that you know that's that's who he was you know he was that guy in the real world you know he was I mean you you have so much confidence in I mean you don't feel like you have to you know go berserk in order to make people hear what you're getting across well I I'm hoping to not have to go to berserk at all I mean I will if it the situation really calls for it but really I my model for playing is is based on a psychedelic experience also my my model for like when I go on stage what am I trying to accomplish okay here's the story and there's one time we played it was we were playing at the old Filmore and it was after Bill Graham wasn't running it anymore so so was some independent like a hippie some some hippies local hippie so somebody some this guy who was like sort of a famous freak in ran around the scene in those days comes in and he's got this big birthday cake he's got this huge big birthday cake you know you know look I'm looking at thinking that that thing has got to be do I just know this the sucker I know I know it's do you know I'm looking at it and looking at it looking at it and thinking yeah that's sure it's then I said but it it looked good you know it was beautiful this beautiful big you know so I thought well I'll just I'll just take a little a little of the frosting here you know just just you know I'll just take a little snack so I took this and then somebody comes in and says yeah we put uh about 800 hits of acid in that frosting you know and I go oh God you know I'm going to oh Jesus Christ I'm going to be totally [ __ ] wiped out when this you know and and by this time I didn't really enjoy playing uh you know under the influence of psychedelics cuz I didn't have the freedom to quit if I wanted to it wasn't really that much fun to play when you when you don't have the option you know when you don't have options so I mean it it uh it it wasn't something I was looking forward to and and so I'm sitting there and I'm waiting to play and we're we're later get getting later and later and later and I'm coming on now I'm going on like the place is swimming and and I start to hear the overhear people you know I'm going going off in this paranoid space I thinking God this place is full of Mafia guys and they're all trying to kill me you know I got that notion in my head you know this guy you know this guy comes in he's he looks he looks exactly like a mafia guy you know he say here he want something to drink look poison you know no no no thanks you know it's like everybody is armed to the teeth they're all trying to kill me okay so and we're I'm waiting there to go oh [ __ ] I'm this is it this is my last night on Earth you know I'm convinced of this now yeah still in this psychedelic you know and so we're going out on stage you know to go play and I'm I'm going out there I'm thinking oh God you know J what have I done to deserve this you know I'm going to go out there and play and they're going to [ __ ] kill me you know you know so I and the only thing I think of to do was I I I said okay I I'm just going to play for my life I'm going to play for my life that's what I'm going to do you know and so I played for my life and they let me live ever since then you know I mean that so that you know ever since then I thought that works you know for me is to to play for my life you know so you know that that uh you know when I forget what I'm doing or why I'm doing it I I play for my life but how do you hope your legacy reads uh well uh let me see well you're already in Who's Who and all that stuff uh I don't know I I I uh I haven't gotten that far yet I I don't know I I ideally I would like to disappear gracefully and not not leave behind any Legacy to hang people up you know what I mean I I don't want people agonizing over who or what I was when I was here when I'm not here anymore you know I'd rather they did that now while I'm here but would it be as a great musician oh God I don't think of myself as great I would like to be thought of as a competent musician that would be good I'd like that [Music] thought I heard the backward sing up on Blue Bird here call me a whing boy if you will all I know the sun don't shine and the rain refuse to fall more got no P to go I heard that Cas was so B and sweet alone [Music] but I heard that Cy when [Music] she where the sun don't sh underneath the C more got no place to [Music] go so many roads I know so many roads so many [Music] R so many roads I know so many roads so many roads [Music] a [Music] [Music] thought I heard F if you know else with [Music] over on the far side of the Hill know when the sun don't sh and the rain refuse fall don't see to hear you when you call wind and the wind out side Tangled in the wind wonder why you treat me [Music] so where the sun don't shine lonely and I call you name one and more Ain better shame off to California so many road I know all I want is Lord to lead me home [Music] steady know so many roads so many roads [Music] [Music] I where the highest blue roses grow long those roads of gold and silver [Music] Stone many te my [Music] soul so many roads to my soul so many roads te my [Music] soul so many Ro te my [Music] soul so many Ro J my [Music] soul so many Ro he's [Music] Soul Many Ro my soul me the so many [Music] Ro so many so many roads so many [Music] roads so many R many R so many he's my soul he's my soul he my soul he's my soul he's my [Music] soul so many love my soul so many Rose is my soul [Music] [Applause]
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8hnt5nHwmUg
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Jerry Garcia 1987 Rolling Stones Interview Part 1 #gratefuldead #jerrygarcia #nfa
|
Shakedown Street
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https://youtube.com/watch?v=8hnt5nHwmUg
|
2023-11-04
|
PT11M4S
| 6,646
| 196
| 25
|
en
|
auto-generated
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Yes
| null | 8,651
|
oh Jes uh I remember uh playing this one record over and over again uh it was an old lacquer disc and there was this windup victrola kind of a fair we were off at the uh we used to do summers in the uh Santa Cruz mountains was kind of a resort area south of San Francisco uh at this time there was no electricity there was really remote still really remote and uh and I remember playing this we're going over and over and over until finally my grandparents took it from me and broke it uh that's the first time I remember fixating on the sound of something and uh just loving it I don't know why I still don't know why I love stuff but it's happened it it it continued to happen uh uh through the ' 50s My grandmother used to listen to the uh Grand Old opery on Saturday nights when I was a kid she also liked Hawaiian music and my mother was an opera fan my father was a professional musician I I I've been surrounded by music all my life and and there was always something that would pop out various things that uh that you know would I would be like what was that oh that was really serious yeah well that's a that's the first record I remember was a record called G by the crows was big in my neighborhood and uh uh it's the first record I remember wanting to buy uh I guess I must have been eight or n or something like that uh but then this is like substantially earlier than rock and roll this before rock and roll had a name this this is like Rhythm and blue stuff there were a couple of Rhythm and blue stations in the Bay Area that played this music black music and there was always stuff on there that I liked although I had no idea what it was I was listening to but that was the stuff that got me into rock and roll the first uh that I heard the First music I heard that I thought had an identity other than being R&B was Chuck Barry when he came out with a Maybelline and uh that guitar you know uh the guitar is the thing that pulled me into those records first I heard a lot of Blues but I was never really that attracted to the guitar sound I was more attracted to the vocals and that and the feel of them uh but Chuck Barry's stuff was the first stuff that had this that other added thing and then uh that was during that time when a successful black record would be covered by uh lame white you know you know uh so I was in that space of liking Little Richard and uh the classics fat Fat Domino those those kind of people yeah I first started playing with my cousin Danny who was older than me and who had some musical experience I'd taken piano lessons as a kid but it all all sort of washed through you know I was like uh you know I don't get it you know it was one of those things and I like the sound of the piano but I really didn't it didn't it really didn't uh you know didn't didn't find me I what I really wanted more than anything else was an electric guitar I I I begged for one on my 15th birthday my mother got me an accordion I oh God I know you know can I trade this in for an electric guitar so she finally relented letting me do that I had my first electric guitar it's a little old black Dan Electra a little solid body Pawn chop chop you know with an amplifier about this big but I was just as happy as could be it was it was great you know and so my cousin Danny who was older than me knew a little bit about music uh we started playing together after I'd had the guitar for maybe a year I it took a long time because in the Bay Area there were really no guitar players to speak of at all I mean it was just it was this is in the ' 50s there was like uh I had the guitar for a year and had it in vented a tuning an open tuning and learned how to play all kinds of stuff in it before somebody showed me no no that's all wrong you know and straightened me out taught me a few basic courts and like that the first musician I played with regularly was my cousin who also acquired a pawn shop Guitar of some kind and uh he uh he's the one that that introduced the idea of improvising to me you know okay now we're going to improvise what's that mean it's make it up as you go along you know oh oh what a great idea so we would sit around like that and play you know this first position you know what in in the sort of limited space that we knew about and and play for a long time but it got to be uh for me it got to be the most natural thing to do in terms of playing and and although I didn't really start to this is when I was 15 16 I didn't really uh get to be a guitar player until I was 23 or 24 uh that was the thrust of my Approach you know to to the guitar was to improvise yeah the Beatles I'd say mainly the thing was the movies really are the thing that did it more than the records did because the records both the Beatles And The Rolling Stones the stones was all stuff that I grown up with it was like retakes of the old Marshall Chess Records it was a little Muddy Waters little chuckberry you know but it was all stuff that I'd heard before and I understood the way it worked the way it functioned that at that time I'd been playing Bluegrass banjo for about 4 or five years and it wasn't the music so much that interested me uh and the Beatles was like their first records were so sappy you know uh I I didn't really like them that much frankly you know but when the first move movie came out uh hard days night and it had such a great such great flow to it and such great style and uh and the thing of fun you know and it was like that you know and I at that time I was playing in a uh very Loosely with friends i' sort of surrendered to that idea of what I want to do is have fun heck with being serious you know um so I was in that frame of mind anyway kind of so seeing this movie of these guys here's these guys who are plainly having really fun uh that that I think that's the thing that kicked the Beatles off most in the west coast as far as the the kind of uh folk music coffee house uh post beatnik circuit you know it was going on then that all most of the uh the San Francisco bands evolved from that space we were all we all had been denisons of the coffee house World which has sort of uh took itself real seriously and like that but this is like a chance to get back to yucks you know uh yeah sure it was uh CU everybody was like grappling with electric instruments for the first time so you get like streak you know I how do you control this thing and and uh part of that got to be what made the music interesting and part of it was uh uh I mean some people really never did come to grips with those instruments that well really some of them retained kind of elements of folk Style playing and uh you know it it it's a matter of transition but really electric instrument is very different than acoustic instrument so it was some people were successful at it some weren't so much but really the big thing was the addition of drummers you know so the drummers were all guys who played and had been playing in big bands or uh rock and roll the rock and roll bands that that used to play the bars in the Bay Area and that that sort of stuff her teenage dances and that kind of thing it was kind of like this meeting of musicians from uh different worlds kind of pulling together so uh it that was really the synthesis there was the thing of uh having drummers and stuff like that oh it it had been a scene right along you know it was just this was just the next level of expansion of the scene oh you want me to think gotcha the scene in San Francisco well wait a minute first of all there was no scene in San Francisco there was a scene that was actually Continental at that time even at that time it went from Boston and Cambridge to the Village in New York uh across the continent to Denver you play Chicago uh out to Berkeley to San Francisco down to the peninsula down to La that was really the scene because that was where the people in the fun music circuit were playing the little place the circuit of interconnected coffee houses at the University towns and so forth that was where you worked that was really the the connection there and then AC of course the all the stuff that went around of the guys that were selling pot in all the various little towns and you know what I mean the the the that was the scene it was really already National at that time yeah it was very funny uh well the big thing was the surprise of oh are you playing rock and roll too you know is these guys you've already known for years you know and everybody was popping up playing rock and roll in various rock and roll bands and that was the part that tickled me most first [Applause] yeah take away
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wrVBn833YGM
|
Jerry Garcia talks about trickle down economics
|
Tito Garcia
|
https://youtube.com/watch?v=wrVBn833YGM
|
2010-08-27
|
PT1M4S
| 91,937
| 725
| 190
|
en
|
auto-generated
|
Yes
| null | 666
|
you know huge symbols of hippie culture Janice was a huge star and I think that everybody you know thought of this is a sort of you know the kind of Haight Ashbury high school reunion you know like and and it was very much like that everywhere where money is what's happening with the music is what's happening and the money goes places every musician that gets a lot of bread man spends it on their culture me on their scene they spend it on dough they spend you know they lay it out there to other people just like a man and it stays in community and the reason there are so many hands who were able to live on the street is all I can say man is we ain't from here
|
VJQVRmQIaa4
|
30 Years Later, Jerry Garcia’s Daughter Sadly Confirms the Rumors
|
Facts Verse
|
https://youtube.com/watch?v=VJQVRmQIaa4
|
2024-10-09
|
PT10M21S
| 198,608
| 2,014
| 548
|
en
|
auto-generated
|
Yes
| null | 10,956
|
this is one of the most interesting things about you is you're Jerry Garcia's daughter obviously but you weren't really a deadhead and you're not really into that no I mean who thinks what their parents do is cool no one right like I tried really hard and especially since they're like rock stars but they don't look like rockar you they're wearing like corduro and you know Hanes beefy t-shirts like where's the you know where's the leather jumpsuit and the sequins like you know they look like Ries the Ries are jamming what a long strange trip it's been sang Jerry Garcia in The Grateful Dead's iconic song trucken little did he know how prophetic those words would prove not just for his own life but for the Legacy he'd leave behind now three decades after his untimely passing Jerry Garcia's daughter Trixie has stepped forward to address long-standing rumors and shed light on the complexities of growing up as the child of a counterculture icon from the highs of creative genius to the lows of addiction will uncover the truth behind the rumors that have persisted for 30 years since Jerry's death dead head is that person wherever they turn up in society that's looking for an adventure in America you know something to do that's not like what everybody else does and a chance to get out and scare themselves a little the Garcia Legacy Jerry Garcia's impact on music and culture is undeniable as the lead guitarist and vocalist of the Grateful Dead he helped shape the sound of an era and cultivated a devoted following that continues to this day the band's improvisational style and Marathon concerts became legendary attracting a community of fans known as deadheads but Behind the Music and adoration lay a more complex reality one that his daughter Trixie Garcia has recently begun to illuminate Trixie born in 1974 grew up in the shadow of her father's name while many might assume that being the child of a rock star would be a life of privilege and excitement Trixie's experience paint a more nuanced picture in recent interviews and public appearances she's opened up about the challenges of having Jerry Garcia as a father confirming long-held suspicions about his struggles with addiction and the impact it had on his family life Jerry Garcia The Grateful Dead guitarist who kept the counterculture of the 1960s rocking and rolling right into the '90s died today in California he was 53 Garcia was found dead at a drug rehabilitation center reportedly of natural causes the realities of Rockstar parenting one of the most striking Revelations from Trixie has been her candid assessment of Jerry's parenting at his funeral she shocked many by describing him as a shitty father while this statement might seem harsh Trixie has since elaborated on its context explaining her love for her father was deep and complex despite his shortcomings as a parent Trixie recalls times when she would be on the phone with Jerry only to have him nod off mid conversation due to heroin use she would patiently wait on the line for him to wake up usually minutes later to resume their talk the constant touring and demand of Fame also took their toll on Family Life Trixie has spoken about her desire for more time with her father a wish that often went unfulfilled due to the Relentless schedule of the Grateful debt the lifestyle that came with being a rock icon meant Jerry was frequently absent missing out on many of the day-to-day aspects of fatherhood despite these challenges Trixie emphasizes that her relationship with Jerry was one of deep love and friendship she describes him as quote her best friend and companion highlighting the warmth and connection they shared when he was present Jerry would give her large amounts of money and put on an airplane and she'd go back all over to the United States and get different amounts of substances and bring it back and when you showed up at Jerry's dressing room nobody got passed into his dressing room Steve Parish would be sitting outside keeping everybody out but she would be allowed in and uh uh but I heard everything first hand from her what he gone through and I'm not going to go into all that stuff because it's too personal The Shadow of addiction perhaps the most persistent rumors about Jerry Garcia centered on his battles with drug addiction Trixie's recent statements have confirmed what many long suspected that Jerry's use of heroin and other substances was a significant issue throughout much of his life and career Trixie has spoken about confronting her father about his drug use recalling a poignant moment when she asked him Dad what's the story why do you feel like life has so little to offer that you have to do this Jerry's response looking over his glass is and saying quote I can't go outside I'm recognized now reveals the pressures of Fame that contributed to his substance abuse the impact of Jerry's addiction extended Beyond his immediate family Trixie has described witnessing young fans at Grateful Dead shows some as young as 15 or 16 zombied on drugs these experiences served as a stark warning to Jerry's children about the dangers of substance abuse leading them to make different choices in their own lives a different path for the next generation one of the most intriguing aspects of Trixie's Revelations is how she and her siblings chose to live their lives in contrast to their father's example despite Jerry's joking encouragement to quote do drugs his daughters took a decidedly different approach Trixie and her sisters saw firsthand the toll that drugs and The Rock and Roll Lifestyle took on their father and others in their Circle this led them to make conscious decisions to avoid the same pitfalls Annabelle Garcia mlan another of Jerry's daughters has spoken about seeing older folks burn out and young fans struggling with drugs at shows drove home the message that this was not a path they wanted to follow the Garcia daughters have pursued their own interests and careers often in Creative Fields but without the excess that characterized their father's generation Trixie for instance has been involved in managing Jerry's estate and developing projects like the Garcia handpicked cannabis brand approaching the family Legacy from a business perspective rather than as a performer this Divergent from their father's lifestyle is not a rejection of Jerry's memory or influence instead it represents a nuanced understanding of his complex Legacy the daughters speak of their father with love and admiration while also acknowledging the difficulties that came with his choices I always considered him kind of like you know multilingual right he he he was fluent in all these different languages and and when words kind of failed in one point he had these other options to express himself you know the artistic genius behind the struggles while much of Trixie's Revelations focus on the challenges of Jerry's lifestyle she also provides insight into the artistic genius that made him such a beloved figure Jerry Garcia was not just a musician he was a multifaceted artist with interests ranging from painting to filmmaking Trixie has spoken about her father's intellectual curiosity and his constant quest for inspiration she recalls how Jerry would be fascinated by the people he met backstage from those creating cuttingedge technology to individuals with unique life experiences this openness to new ideas and experiences fueled his creativity and contributed to The Eclectic nature of his music Jerry's artistic Pursuits weren't limited to music he was also an accomplished visual artist creating paintings and drawings that have since become highly valued by collectors Trixie has been involved in efforts to share this lesser-known side of her father with the world helping to organize exhibitions of his artwork these insights into Jerry's creative process and wide- ranging interests help paint a more complete picture of The Man Behind the Music they serve as a reminder that despite his struggles Jerry Garo was a complex person whose artistic Vision continued to evolve throughout his life I had never heard anything like it Grateful Dead and you know these these great bands these these seminal bands they will find you at a time in your life you can't say you're not into it you just say you're not into it yet the enduring impact of Jerry's Music one of the most significant as respects of Jerry's Legacy is the enduring impact of his music Trixie has spoken about how her father's compositions continue to resonate with audiences both old and new she notes the Timeless quality of the Grateful Dead's music has allowed it to transcend Generations attracting younger fans who weren't even born during the band's Heyday the ongoing relevance is something Trixie and her family have worked hard to nurture they've been involved in various projects to keep Jerry's Music alive from remastered releases of classic Grateful Dead albums to new interpretations of his work by contemporary artists Trixie has also highlighted the healing power of her father's music describing how fans have shared stories of profound emotional experiences at Dead shows she sees this as a testament to the depth and authenticity of Jerry's Artistry even in the face of his personal struggles spread Vibes spread good music spread good cannabis and create an inclusive community as Jerry would have liked the business of Legacy managing the legacy of a cultural icon like Jerry Garcia is no small task and it's one Trixie has taken on with a mix of reverence and Innovation She's Been instrumental in developing new ways to share her father's art and music with the world while also ensuring his memory is respected one notable project has been the Garcia handpicked cannabis brand The Venture not only capitalizes on Jerry's well-known appreciation for marijuana but also seeks to promote responsible and mindful use Trixie's emphasized it isn't simply about profiting from her father's name but about creating products that align with his values and the ethos of the Grateful Dead community and it's whoever is the loudest at any given moment is the one that gets the attention the media seems to direct this sometimes and it seems to have a bias that is has lately been getting more reactionary Reflections on Fame and its consequences Trixie's Revelations also offer a poignant commentary on the nature of Fame and its impact on personal relationships she's spoken about how her father's Celebrity Status often created barriers both literal and figurative between him and his family at the same time she acknowledges the positive aspects of her father's Fame the community that formed around the Greatful Dead with its emphasis on peace love and music is something she views as a beautiful Legacy now it's time to hear from you how do you think Jerry Garcia's Legacy has evolved in the years since its passing let us know in the comments section below
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ya2Vv1zcGmY
|
Jerry Garcia Interview March 10th 1978
|
Whoa, Dude...Righteous!!
|
https://youtube.com/watch?v=ya2Vv1zcGmY
|
2012-09-12
|
PT42M44S
| 18,155
| 204
| 51
|
en
|
auto-generated
|
Yes
| null | 28,371
|
that's music from the brand-new album from the Jerry Garcia Band it's called cats under the stars in that particular tune is called Rubin and Cherise and we have the very distinct pleasure of having members of the Jerry Garcia Band with us here on cmf this afternoon in fact we have Jerry Garcia Donna gallo and John Connon art studios and you sure picked a nice day to come to Rochester we have another day like this for a long long time he should see it was like here about a month and a half ago now it's all starting to melt that's true before that in December that wasn't too long ago that was a big song I remember I was driving around about 3:00 in the morning after that show on there piece still people all over the streets in downtown Rochester you wouldn't believe it and your bag yeah keeps calling us come back you're thirsty come back come back well people seem to like that's the important thing tell us who's not with us this afternoon that's in the band Keith gotcha who plays piano and Busby Canada plays drums and Maria Muldaur who's singing with us as well how did Maria get involved in the tour well luck was back when I did an album about three or four years ago and John produced it and he had Maria come in to do some vocal work on the record and since then we've worked sort of informally and John and Maria lived together if that's okay I'm you know my my imagining that's quite all right and so in this album she participated a lot too and the vocals and stuff and she's also accompanying us on a few other tours and it's neat to have her singing with us and Donna and Maria sing really well together and they like working together uh-huh so just chemically it works out really nicely we don't fly or anything pretty girls onstage no we're really excited this afternoon for one thing we have a super intense pressing of your of your latest album I don't even think you've already head right and we got it not more than 50 minutes ago we heard a test pressing just before we left California which is a couple of days ago four days ago three years something some few numbers and days ago which we were very happy with so we've okayed the production of the record and and as far as I know now it's in it's radio stations will begin their promotional copies and stuff it'll come out of record stores pretty soon anything Jerry let's talk a bit about the music on the new album I've already had a chance to listen to a one time what kind of musical directions are you trying to take on this record things like that there's a touch of reggae unity can every direction that we don't really have a style that's except that it's all us yes sounds like us is a direction yeah that's trying to sound the most like us if anything we've done so far right right maybe we should listen to something from it sure have rain up next year yeah the rain it was written by Donna it's her tune and the arrangement that you hear is John Connor range meant he did the orchestration on it so that tell you something about who's participating in this music we're speaking with Jerry Garcia Donna John Khan right here on cmf the new album is called cast under the stars and this is a song from it entitled rain No lady our Studios were W cmf in Rochester at 96.5 FM and we have with us right now various members of the Jerry Garcia Band on acacho Jerry himself and John Khan here in our studios we've just heard a track from the new album called cats under the stars and that was something called Rayna Donna gacho song with Maria Muldaur singing I feel bad right now it sounded a lot like maybe I should have put my headphones on all the way anyway we were discussing different things when we were sitting in here while the commercials were being played and one of the things that I've noticed about different bands around the dead and all the different solo careers and such and seems that many different bands that have been around for quite a long time don't seem to keep the younger kids okay that a band gets older and the audience stays with them but it seems with the dead just talking to kids in town that they're still into it and amazes me like sixteen year old kids on you guys started it wasn't you know these they weren't even listening to radio probably right what do you tribute are such things too well we've been sort of lucky and having us a very spotty record career insofar as we've never had any real big hits or records or any of that stuff yeah we got a handful of gold records here and there but we've been our audience I think is not there to hear us perform our albums they're there to hear us do whatever we do and typically at a show there are people who request you know if you like old favorites or whatever and stuff like that but we never got you know gales of booing if we don't do do that stuff we've always felt very free to do whatever we want to do because it seems as though the audience is encouraging us in that direction you know so it works out well for us because the audience is dynamic and they're there they they're accepting of anything that we want to try and I think that really a concert for me a performance is yeah I like to go to a performance and be moved and I don't think that you can be moved successfully a lot of times by certain formula devices that you can employ for example if you have a slam-bang show that's really tightly organized and and things happen just the way they're supposed to be tremendously exciting the first time saying you know lasers go off and explosions on stage kind of special for some groups that are into theatrics sure how's that work you know that's neat but the second time you see the show and or the third time you see the show and you realize that you're seeing the same thing in the same time in the same pace and so forth and the same approach generally I think that that ultimately gets to be dull and then an audience doesn't really want to spend money to go back to that recognition let's follow that band all over the country yeah so when you take the stage as a group do you have any songs in mind hey let's do all right that's it we don't know what we're gonna do B and that's because fundamentally we just have a very low bottom index I mean you know it would be it would be would be horribly boring for us to have to do the same stuff all the time the same way you know each show we couldn't do it really we're just constitutionally incapable of doing it really that's all the fun comes you know it seems to work pretty well because they're definitely nice that are just total clunkers you know and the audience realizes well they made a brand try but you know no score you know and then there'll be other times that'll be magical and miraculous and from our point of view we're able to observe these things they're in the form of an exceptionally high concentration of coincidence based on when you're improvising you know you're not really communicating in the sense of now I'm gonna do this you know John hey listen John I'm gonna play this leg yeah yeah it's not happening like that things are happening all it was all the sudden we'll find ourselves in this place where musical coincidences are occurring way higher than the law of probabilities would allow them to normally so at Port it begins to be like magic almost you know as an experience so when we get off the stage that is like what happened you know what was that you know we don't know everybody are already Nev what everybody else is gonna do yeah and and I think that the audience is there is a know that people come to that because of there is some something genuine about it I don't know what it is I you know and I don't want to know really you know I like the idea that it's a mysterious thing and that it's something that people require I think the fact that we have the audience's that we do have indicates to us that yeah we're being encouraged in this kind of disapprobation oh so you're playing off each other is has a in the moment and the audience is of course of participating you know I mean they're involved as well you know they're they're right there yes yeah they're were reacting to them they're reacting to us it's all a whole harmonic situation what's it like on is nice when you've realized that all of a sudden there's some sort of great rapport between the audience oh it's real special I mean it came across to everybody in the group and it does come across everybody in the group it's one of those things it makes it makes it possible for you to do 40 bad gigs you know that are just terrible in the hopes of having that one that's special the special one is so special you know that it keeps the well it's kids kept us doing this thing pursuing these ideas all these years you know without trying to a box you need a corner here ah go ahead a few favorite like moments like that concerts over the years as far back if you want to go you know like any that you've had I don't it's not for me it's not a linear thing in other words I can't you're not enough as when you're playing live shows you're not in a position to compare yourself to your former self in other words say we had a great show last year and then the last show that we did was just a clunker well the feeling is everything that we've ever done added up to this clunker and there's really just no point even living you know it's just at the same time we don't know as well is that a lot of times we don't really know very much about whether we were good that's true something that's the God's truth I've had played gigs where I was mad you know I left mad and then later heard like a tape and it sounded great right or the opposite right it's hard for us to know what we're we get too crazy to really know whether it's good there are levels of uncertainty there and they're very hard to account for that thing that John just describes is a very real thing I mean there's there are times when you just feel like I never I couldn't quite get together all night you know I felt like my guitar is allowed to write and everything was funny I thought the grooves were weird and things were funny and then you hear a tape and it just sounds wonderful you know the audience response is incredible you know for some reason you can't figure out what the heck is it what is it that's making that happen so for us that provides a kind of certain kind of proof in a way empirically that there is a certain level of something that happens that we're not really responsible for you know we're not out there with our wills you know saying you know do this you know do that you know this music is now going to have this kind of emotional effect on the audience you know a lot of times it's completely out of our hands and in a very interesting way you know and being in this situation where we're exposed to a high energy environment all the time and this testing situation you know we it's happened often enough for us to know that there are something special about it even though we don't know what it is or why or anything else about it really a mechanically we're just aware of it because of our own ability to test it well a jury Garcia van concert is an event to people to to everybody in the audience you know they haven't seen those other shows you know where it might be a well know a lot of them have those big groups of people follow you all around the country I know yeah and there are people who come and they really they really do they pay close attention and they are following what they are following is a dynamic progress you know I mean rather than a show I mean they're not coming to see the same show they know it's not gonna be the same you know and that's one of the things that keeps them interested just as as it keeps us interested the same sort of thing applies the and they're willing to listen to some songs that aren't real great I'm back again yeah we have a song up next year that you co-wrote John I believe it I wrote the music part and let me add the words before we know it into the song how do you work with Robert hunter now Robert Hunter is your lyricist how do you get together with him how do you fit the music that you write to the words that Robert cutter puts to the music I mean do you come together in a room or yeah we do we do it always sometimes the Garcia will have like pages of words and write music to that or sometimes we'll write music that doesn't have words and give that to him so it goes different directions yeah there's no specific style of working right there's all kinds of fine-tuning possibility sometimes I have I'll have an idea which includes vocal phrasing for example and I'll sing the phrasing to Hunter and he'll he'll you know then we develop a whole series of ideas based on the phrasing and I'll go through an edit you know and it just we work very freely together all different brands to edit eight typewritten pages of Terrapin station words into what eventually going to happen station right do you all still work together and live together as a close-knit family or is it sort of fragmented a bit well there's too many of us to really live together that's not really possible as economically I mean California they don't really let you do that anymore now they have laws about how many people you can have that aren't related living under the same roof and how many can they do yeah they do they did that back when people were lots of people I thought everybody took it upon themselves that it was too crazy basically we all have our own scenes and families and so forth and whatever you know so it's we're all we all are live near each other and we hang out an awful lot together and I would say that if you have to divide our hours up that that we in terms of life hours that we probably live together yeah any more hours the other than we do live anywhere I almost here for instance we can be playing it a place called Keystone in Berkeley and having been working on a record or what not for days and days and days and I walk in and Jerry and I just immediately crack up and he says a long time no see it gets to be pretty silly at the end of the album we saw this Sun come up four times through that little spot in the ceiling without ever leaving the room you know the room that we were working in so we and you know I mean we've chosen to work that way just you know I don't know why just mainly because one of these studio setups of your own now like where you can go and just lock yourself in a room and and work four days straight if you're right in this fracture is the first record Mott city of nuts in this case right this record is the first thing from that studio which is was partly funded partly built from the budget that I was allowed to make this record and it's quite well equipped it has a really nice Neve council from England and a Studer 16-track Swiss machine and and really and it's an excellent sounding room it's a very large room and it really sounds very pretty you know it has very pretty vocal sound very pretty instrumental sound and it's the first record made in there so and we're really delighted with the results we're real happy to get back to the song here this is a song that was co-written by John Kahn John why don't you give it a brief introduction and then we'll play the song well it's like a reggae song sort of as influenced by reggae music which I happen to love a whole lot that reggae music was the most significant thing that happened in terms of bass players for me in ten years maybe do you think we've really seen reggae music bloom yet as far as how it's used in the Rock context or do you think you here's a good example of there's gonna be a lot we might have heard the best reggae records so already yeah I don't know if there's gonna continue a lot in Jamaica yeah I don't think there's gonna be some kind of reggae explosion I think that it's really like it's a local kind of music from a very small part of the world and it has a very it has I really think a limited appeal but from a musician's standpoint it has some really interesting things that that like American music could use right now like what a rhythmic feeling a whole approach to rhythm that has to do with like standing on the rhythm in a certain way and the easiest way I can relate to it is to figure about 93 degrees of about 100 percent humidity you know in the middle of summer just going real slow you know and it has this steadiness to it that comes from that that kind of island life like the surf you know and all those things and it and then and the thing about the bass plane like John was saying that sense of the rhythmic the holes the space is having rhythmic value in the same sense that in a positive negative image sense you know what I mean so the holes have the same kind of rhythmic value that the Miller the notes do which gives it tremendous power and a really kind of a real lovely rhythmic thing you know you know and as a bass player a long time ago a lot of especially like rhythm and blues records like I'm thinking of like old Motown Records and stuff like that the bass line was really one of the more important elements of this song it was like a counterpoint to the vocal and those were the most basic elements of that music me and the drums to music has gotten away from that now music got away from music that's designed to also listen to and also dance at the same time - no there's no disco music is for listening and dancing but I'm talking about music that is is directly related to the baseline it's something that sort of died out in a mirror and this is an element of reggae music good needless to say as a bass player it appeals a lot to me alright let's listen to it the new album cats under the stars the Jerry Garcia Band this is love in the afternoon and we did not hear a song called love in the afternoon actually heard something called Palm Sunday firmly Dave Bergen on harp in Bergen does a very nice job and we're just keeping you on your toes here at cmf that's a does it sound like reggae contest and there's no winners or losers but yeah by the way with the Garcia Hunter composition and now we're going to go back into the tune that we're talking about love in the afternoon a con hundred composition and here it is this time that is called above in the afternoon and that is from the brand-new album by the Jerry Garcia fan Jerry what do you think about stuff like Elvis Costello swatching a detective's merjan recce and rock I like it yeah yeah I like it I like it yeah some of that stuff I really like a lot the so called hit New Wave music yeah what do you like uh what I like it well I really like it that tube and cheap trick I like them a lot they're great yeah I think they're really great yeah and I just wanna what I like about it is the spirit you know yeah I mean the guy the guys are putting out you know they're putting out in trying to are like the whole American heavy duty production trip the LA trip the slickness you know that you know the glib slickness of all it's all cars well it's it's gotten to be so mechanical and so predictable and so safe you know from a musical thing let's put some strings here yeah you know it's very it's a formula trip it's almost a formula trip so there's this other music is real raw and real nasty and the players are not very good about the spirit they're the you know the spirit there is something I think that young people can always dig that you know it it you know it seems like when I dig it you know I mean I'm not young anymore really I remember leaving to the FM radio which I don't do much because my car radios broken and I was in somebody else's car and what the stuff I hear I can't get real deep into anymore it seems like if pop music has taken kind of a fall as far as I'm concerned yeah me too and I heard this punk rock's I don't know who it was by and it got me off more than anything I heard on the radio all at all day I was listening to the radio it was just like blue like some kind of blues and surfing music thing with the good guitar blues licks that weren't right you know it's like not quite the right chords and stuff I loved it it was like they were trying to make music well New Wave music is working really well on the west coast it's very popular isn't it no not really I mean here's the problem I'll tell you I'll tell you the thing the reason why is because the promoters have the unfortunate experience of promoting the shows and losing money like crazy and then the audiences are usually such a drag unfortunately and that's mostly because of the hype the press part of it you know that their behavior makes it so it's like a one-time-only shot you know what I mean in other words you know the for example like Bill Graham would put on the Sex Pistols although they're disbanded now and it would put on one show but after that one show he just he just said never again I'm just not going to do it again I'm not going to expose my own people the people that work for him I saw bill crema I think it was on the tomorrow show and yours with a member of the jam and he was saying you know I really respect your music but as a promoter I don't know if this is gonna work - well before anybody ever even heard what was there expecting to get crazed and there isn't and that's one of the problems with pop use well the image is more important to pop it's about music journalism you know pop music journalism like like everybody who is writing for the different various their respective magazines you know the Crawdaddy and cream and only so on and so forth they're all anxious to to be the first to recognize the new you know phenomenon that and I can dig that you know it's like a news and journalists wanting a scoop you know so this small element of activity in the English working class you know what became magnified way beyond its own real powers you know to deliver it seems like perhaps it started in England it was really raw and rough and now a lot of the a lot of the more talented people say in this country and in Britain have taken sort of the values within the new way of music redefined it right it's coming out into stuff like Elvis Costello what it sounds like sort of good R&B if you listen to the words I think what you're gonna be involved in a matter of progression as well in other words the players gonna those players the guitar player the thing is over they're gonna listen to their records you know I'm saying the one with a nice record I think I like to play a little bit better on the next record oh yeah it's one of those things it's hard to avoid I mean when you're a performer you really your instincts regardless of what your act is your instincts are to try to be a little bit better unless there's something really funny about you you know and I think that the music is good we all have that thing of developing into something else maybe you know and something interesting about like European music to me is it basically derives from American music of some sort or another visional II the Blues I think of like the Rolling Stones and but sometimes they come up with stuff that I really love you've never think of here even though it's derived from American music to me you did a big Grateful Dead show a years ago with the who now there they go going back ten years though they're the original Punk - no yeah right I have a lot of respect for him I admire what they do however there I spoke to row two of Pete Townsend before they're sad and he was telling me that they've been playing the same show for four years you know I mean the same show that's a little bit of a burned yeah it is and they were sort of depressed about it I mean to have to have to have to do exactly the same numbers in exactly the same order for four years in a row is I really think you know I mean it's not exactly a sign of progress I think because the guys themselves are capable of more than that you know they're capable of better things they're good they can select good sure I can see this ain't even fun I don't think they dig it I don't know why I people probably want to hear that but I it wouldn't be fun for me and they're musicians I can hear that no wonder I'm curious about them they are musicians no they're good one thing we have to get you guys all to a soundcheck pretty unfortunately but one thing before we before we wrap things up here that I want to touch on is you all seem to have to vent your your musical ideas through solo projects outside of say the Grateful Dead you have for years and years and years that must be a very important part well it's an illusion really I mean the illusion is no projects when they're really not solo projects like what we do in this band is no solo project it's something that's really a group contribution and believe me it's not it's not a matter of my own personal activity you know it's I'm involved with people who have the same who care about music that's the same way that I do we have an affinity for each other we enjoy working together and and for me a group dynamic is way more interesting than the concept of a solo project you know what I mean I've done one solo project my first solo record in which I was foolish enough to try to play everything on it myself and I was really bored with it fundamentally because you're you already know everything that happened you know anything there's no surprises the thing of working with other people means that somebody is going to shed a new kind of light I love the idea of yours it's gonna it gives you something to work with you know there's electricity there chemistry you know it's a true journey that like the banjo is your first instrument yas my first serious is and then you went to the guitar and then the electric guitars is because there's more of an extension of I well for me the banjo got to be so Swiss watch right like a Swiss watch it was like a cuckoo clock or Swiss watch it got to be tremendously mechanical and and I I had I just had a tremendous reaction to it finally was like I really can't make music with this instrument I want something that that moves the way a voice moves you know I'm gonna be able to play more expressively I want to be able to have a whole other kind of you know or but you know it's just I find I just burned myself out on the banjo everything is what it boils down with you kind of a one toned yeah it's got it's got one sort of idea going for it you ever think you going back and doing another album say like the old in the way record for me is it was the music you know John right and for me the neat thing in my home my whole interest in the banjo even was really not so much the banjo itself of bluegrass music as a style of music and it's the music that I cared about rather than the banjo by itself so it's very hard for me to say sit at home and practice the banjo dance the music were there in other words if I were going out and playing with Franz you know a couple of nights a week I could get into it but really the music matters to me more than the banjo does yeah it's a beautiful kind of music yes really yeah I couldn't see practicing Jerry doesn't think he plays the banjo or the guitar Eddie's first record my four-year-old listens to it three or four times a day I like that a lot of luck lots of different aspects to music for sure I remember going in when we should probably wrap things up here because you do have to go do a sound check but you're going to be on stage tonight starting around 7:30 in the auditorium theater the Jerry Garcia Band featuring Dinah gacho Jerry Garcia Chad Knaus Buckhannon Romeo Joe Keith you'll all be the scenery is great too for me I haven't gotten the thing that we're on we should stress that point that Maria is part of the band yes yes okay 7:30 tonight at the auditorium's theatre thank you so much for stepping down here and talking to us here on cmf this afternoon thanks we've got one more song right here we've got one more song about you co-wrote yeah let you in this is about I don't know there's an Old Testament songs and everybody knows about Sodom and Gomorrah you know sort of ignore and this started about Gomorrah everybody knows about Sodom nobody knows much about Gomorrah this song is back in Mora just some what don't you don't
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kTVNfIwHyHA
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Jerry Garcia & Bob Weir Were Terrible At Woodstock | Letterman
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Letterman
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https://youtube.com/watch?v=kTVNfIwHyHA
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2024-05-29
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PT7M20S
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en
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manual
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Yes
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5 8 12 13 17 and the double word score that's 34 what are you trying to do here you take my word truck and you add the letters i n that's not a word Trucking no it's not a word I am sick of this it happens every time I am tired of this argument we could play Monopoly if you'd let me be the top hat look it's my show it's my game you can be the thimble you can be the iron but I'm the top hat all right so is this where I yell live from New York no no it's another show but thanks for crying anyway jar just forget it no problem Dave all right this the first one to go platinum how long has the band been together 23 years yeah 23 23 years like to say something before we get started here David I'd like to thank Paul and the guys for playing with us it's real fun to play you guys are good so so 23 years and is it safe to say that this is and and these may not be terms that you care about necessarily but in terms of Commercial Success this is your biggest moment right now huh what time are you got proudest moment of my life yeah I'm quietly proud at this moment yes but you you you have uh the album is platinum which represents what a million 500,000 sales what is it a million sales something like that it's the first one to go platinum right out of the Sho for right yeah yeah and you have a video now in the old days a couple videos in fact a few videos yeah yeah now was this was this part of the early Grateful Dead philosophy that we want to get really hot so we can do videos yeah pretty much yeah pretty much ah and uh you have a parlor trick oh yeah you want to do that right now well I think it would be interesting to have members of this band on the show doing a parlor trick okay we need I won't be a part of this come on you don't have to worry about it now we need um a couple people excuse me when was the last time you were in a parlor what exactly is a parlor we we need a c we need a couple guys from how many guys do you need two two how about me yeah and Paul is that enough be and one more all right one more no you don't have to lift come on Biff Biff will help us can you help what we do is we're going to lift Jerry from here we're going to lift Jerry now what you do is uh you put two fingers under here you put two fingers under here we is this chair suitable Bob yeah fine all right this Henderson by the way my mom didn't raise me to be no bench we need one more it's right here it's Biff okay you take that side you take the other please don't hurt me fell two fingers like this two fingers do you do you hypnotize him or anything or no LIF him up this is not going to work yeah well see okay now put him down now very nice now going in a clockwise fashion uh don't put don't touch my hand but uh first you Paul put your hand right over on top of mine like that and then you like that it's like working with keskin isn't it and then you and then right hands don't touch if you touch bi touch me we got left hands right now I'm getting a picture of a lady with a red now left hands yeah she now now take them off all right everybody but Biff touched me is that okay no okay now do it again all right wait a minute all right okay [Music] okay that's the trick we did a little better I'm calling the union all right was that was that it yeah that's that was it well thanks Paul thanks okay did you feel now when was the last time you when was the last time you did that uh not long ago and and what is the principal at work there uh the principal at work is uh is a sure mystery it's amazing what you can get people to do on T it certainly is uh we we want to look at uh some of your uh this is from the new video is that the this is a long video it's not our new video it's our long video this is the new video it's not called This is not so far yes it is so far all right we're going to see a couple of minutes of this you want to tell the folks what we're looking at here no okay there it is this is from the long video so far how long is it 50 minutes yes sir after um after after doing this for 23 years does it ever become a job not so much as guys in a band that enjoy making the kind of music you guys make on a bad night yeah yeah well now what constitutes a bad night how early do you know it's going to be a bad night what what can you do about it sometimes when I wake up M then it's too late to do anything about it yeah uh what tell me about a little uh your trip to Egypt was that a good experience by and large that was great we played terrible yeah we played awful but it was but it was but the the the trip was great yeah I think I cross crossed several time barriers uhuh and was that the reason that you know was it true you actually played poorly there yeah not that bad we usually do pretty bad on the big ones you know played terrible at uh at uh Woodstock and you know Monteray Pop Festival all the Milestones so you're willing to come out and say that you you were no good in Woodstock yeah we were terrible in Woodstock but we had this the situation was more than a little weird our soundman at the time decided he was going to change the ground ground in the middle in the middle of the whole thing they changed the ground Elric yeah the electrical ground and uh as it was not done right or something every time I touched my instrument I got a horrible shock and he was getting the same thing bolts of electricity were flying across the see now now that's a parlor trick yeah when you can do that and uh things are going good here down the street ah reasonably yeah how are you playing down there not bad okay good jez it's uh nice to see you guys again and congratulations on all of the success throughout the entire career thanks come back anytime we'll pause here then we'll be right back folks hotel accommodations for most guests of Late Night with David lman finished by the B place an omni Classic Hotel in exchange for this announcement for reservations at Omni Hotels in the US and Europe call tollfree 800 the Omni um my thanks of course to our guest tonight Jerry Garcia and Bob wear I really appreciate you guys coming up here tonight and have a good stay down at the Garden uh tomorrow night Molly Ringwald folks thank you very much for being here bye bye everybody
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zV7QOrTyKW8
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Jerry Garcia: The Complete 1985 "Frets" Interview (HD Audio)
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Talking Guitar: Jas Obrecht's Music Magazine
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https://youtube.com/watch?v=zV7QOrTyKW8
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2022-11-23
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PT1H23M44S
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auto-generated
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foreign [Music] Welcome to My Talking guitar podcast with Jerry Garcia in celebration of the Grateful Dead's upcoming 20th anniversary I was hired by the acoustic instrument magazine frets to do a Jerry Garcia cover story interview after a couple of postponements at Jerry's request we finally met mid-afternoon on January 12 1985 in the San Rafael California home of a Grateful Dead supporter who is letting Jerry stay in her basement two other people were present in the room during our conversation Lissie Abraham freelancer and dedicated deadhead who had volunteered to write the intro for the Fred's cover story and my friend John Seaver who showed up Midway through the interview to do the cover photo shoot in the spirit of full disclosure and journalistic accuracy I think it's best I say a few words about Jerry's condition on the day of the interview after our arrival Jerry shuffled slowly into the living room his black T-shirt was sprinkled with white powder as if he'd been eating powdered sugar donuts and his fingertips were blackened in a manner consistent with chasing the dragon as smoking heroin was referred to in the Bay Area at that time about an hour into our interview Jerry nonchalantly pulled out a large Rock of cocaine chopped it into lines and snorted it all down John sievert who knew Garcia far better than I did later told me and this is a direct quote Jerry was probably at his absolute Nader at the time of the interview as witnessed by his bust in Golden Gate Park six days later in between the interview and the bus the banded Mountain girl staged an intervention in which Jerry was told he had to choose between drugs in the band and the few times I was around Garcia in a private setting that was the only time I saw him openly snort coke but I remember most however was how articulate he remained when talking about music as you can tell by listening to the tape his enthusiasm never waned end quote I have to agree with John Terry was bright particulate and thoughtful as he revealed a wealth of insight into the creative process guitar playing in general his acoustic shows the Grateful Dead and other subjects after I completed my interview John asked Jerry about Clarence white which sparked additional conversation I've included this section in the podcast as it reveals some of Jerry's passion for bluegrass music and now without further ado here's Jerry [Music] happy New Year thank you you know about press magazine yes I do so this is for the cover story on the 20th anniversary say you ready to get started I guess so sure what do you feel um for you for acoustic things what is the appeal yeah yeah uh hmm well first of all my appeal is just music you know and I don't really distinguish I mean it's not like one kind of music is more appealing to me than others for me the acoustic guitars a different instrument and uh I really don't I don't don't think I would be um I don't think I would do it really unless if it weren't for the technological advance of uh the you know the successful electric acoustic guitar you know uh if it wasn't for that like the the like the takamini that I play on stage um I've never had any luck at all with the acoustic guitar and microphone too much squeal uh too much everything too much boom it's it really is it really has to do with the the kind of microphones that you use uh and the kind of guitars the guitars are most acoustic guitars are built to project in a room you know just acoustically and uh most microphones are designed to uh to to hear a small source uh like the bell of a horn you know or a voice you know and a guitar is something you hear all over it um I mean for in order for it to really sound like an acoustic guitar so an acoustic guitar where you hold the microphone up to the sound hole for example like if it's a big guitar like a D28 it woofs and Booms and does all these things things that are non-musical in nature I mean they're not there's stuff you don't intend to be heard right but they're they're part of the sound of the guitar for sure but they're not what you want they're not what you mean when you're playing you know and uh it's that uh the the Frankenstein nature of the the microphone as an electric ear you know what I mean that that makes it right that makes it so I haven't had much luck with it just acoustic guitar also it's too radical the difference in touch is too radical the way you have to dig in with an acoustic guitar and a microphone as opposed to the way you play an electric guitar yeah that that if I if I were to try to do both my electric guitar chops go way downhill do you tend to pick up acoustic um much less frequently than electric uh well electric is my instrument yeah you know and acoustic but but I like playing acoustic especially now with this Advanced because it means that I don't have to mirratically change my touch so much but I get the nice qualities of the tone and uh and you know the pretty features of the of an acoustic guitar but only really because I can take that line in and you know get a nice clear clear signal that sounds to my ears like an acoustic so uh the behavior of the instrument and the and the the the the the idioms that I find myself pulling out of it um you know are what I associate with acoustic guitar it's uh it for me they're very different you know it's like they're very different instruments they're visualizing the fingerboard or your approach change uh yeah very much so uh I uh for me electric guitar I I have a holistic approach to the fingerboard an acoustic guitar I I have a preference for uh the first position and open the open sounds you know gonna open quality I I don't use a capo on acoustic guitar but right but I would you know uh but I would never do that on an electric guitar electric guitar I I deal with the whole neck as a as a harmonic medium you know I don't I don't uh see it in patterns or groupings you know what I mean all those have become um have become continuous for me in the last guitar player interview you were talking about making that breakthrough yeah if I'm I'm through that yeah what's what have you found on the other side well just did well what what it is is that they're really endless numbers of overlapping patterns that's all everyone that's what it really boils down to is that depending on what half step or hosted what partial you want to uh start on you have all series of fingerings that you can either you can either play them across the finger border up the fingerboard you know or up the strings or across the fingerboard or any combination thereof and that's and really that's just a matter of fluidity in a matter of breaking out of position playing you know and uh and you you know and and uh for me it's become a matter of now I play for a preference in the tone that I get like playing high notes on low strings right you know so that's like one of the kinds of things that you you start I start for me it's much more a matter of what sounds nice not where I play it you know but where where the licks sounds so I can play the same Link in any of say three or four positions on the neck and the same naked licking the same octave and uh the tones is very different depending on the thickness of the strings that you're playing on so that's the kind of stuff you know you uh for me it's a matter of uh having much more Choice over uh harmonic series harmonic range and and tonal quality you know do you know what you're doing in musical terms or theoretical terms yeah yeah I mean I could not I mean if there was a time when I could get get by with not knowing you know but uh um not not anymore not with the the just the caliber of musicians I play with him besides it's for me it's it isn't satisfying to not know you know it's not satisfying to Bluff you know it's it's more important it's I like to know because for one thing it makes a lot easier to communicate what you're doing sure you know uh uh just that alone you know is a good reason to know huh how's your approach to uh solo and change it keeps on changing but uh but I don't have an approach you know like an approach I I think I still basically revolve around the melody you know I think I come more from the point of view of the melody and it's the way it's broken up into phrases as I perceive them you know I I tend to think to with most Souls I tend to to play something that phrases the way the melody does the phrases may be more dense or you know have different value and so forth but they'll be they'll occur in the same places in the song as they do in the melody it's basically most of the time there's some abstraction of the melody in there at least that's what I'm thinking you know yeah uh whether I'm I'm not not necessarily meaning to communicate that but that's what I'm that's what my mind does what influences uh the way you play the types of notes we'll choose so when you're on stage there anything everything nothing particular you know I mean I I don't I can't I don't uh I don't watch my decision-making process that carefully I mean I you know but usually the reason I start on a course of action is either because I have us uh I have a kind of a loose plan in mind you know going into a chorus well just a chorus I I used I take a course as a unit you know generally speaking I have a sort of a loose plan there or else something that that happens elsewhere in the music you know uh gets me going like some rhythmic figure uh you know that kind of stuff detail that's interesting do you think improvisation can be learned or do you think it's inherent in somebody no I think it could be learned what advice would you give somebody who's say had lessons a new theoretical things could wanted to find more freedom on Instagram uh mostly the best possible thing that really is to have somebody else to play with one other person to play with really you have one other person who plays like the guitar then you just trade off courses or you play like five courses against each other you know what I mean like one guy backs up for five courses or four choruses the other guy backs up for four horses and they're like that's really the best way to do it I think you know to get to get a handle on it I I don't know whether uh it's not the sort of thing that advice helps it's really one of the things that just time spent you know is uh is uh more profitable yeah do you do much practicing I don't do as much as I like to but I uh I I go in and out of that I go in and out of it if I'm about to enter into us into uh into some into practicing yeah is there anything in particular you want to work on yeah there's a whole bunch of stuff I've got a two or three books that I'm I've been wanting to crack for some time I just haven't had a chance to I haven't made myself go into them I'm lazy just like everybody else but these are some nice real nice studies on Forts and uh some really nice uh just melodic hunts you know they're they're very good but uh you know and that that's why I'm going into a little wood shedding there's some things in there that I like do you have favorite books that you've gone over more than once no I know I rarely go over it more than once I I go over them and uh if I go over if I take a book and decide I'm going to go over it I really go over the sucker you know I mean I go over at depth and really do it and after that I'm done with it you know and then then it's an absorption process you know it's but I don't unless there's something unless I've really forgotten something and I haven't gotten to that point yet I may be losing stuff down at the back end somewhere well as soon as I get to the point where I look at a book and say you know draw a blank you know and then open it up and write a bunch of little marks and stuff and say and realize I've been through this book you know I don't remember a thing about it it looks like going back I haven't gotten to that point yet but soon I hope do you do much jamming well almost virtually you know 90 of the playing that I do is jamming you know I mean I mean that's the same more or less outside no I don't I I I don't there's not a situation around it that has both a loose enough structure and good enough quality musicians where I could get into it and enjoy it you know what I mean the level of musicianship that I I exist at right now it's not much fun to play unless people are are played really well you know what I mean and uh there aren't too many situations to where there's just an open you know where you can just jam with somebody when do you play your best if you can set up I wish I could tell you that because if I could tell you it it'd be it would mean that I knew when I was going to play my best you know it's something I don't know when I'm gonna play my best and a lot of times I can't even judge if it's my best or not until say like later on I might let's do a tape and say geez that's the best I've ever heard myself saying and that happens to me a lot you know almost all the time when I listen to a tape I I don't I can't believe it's me really yeah I I my own mental image of myself is that I play a lot worse than I actually do and I'm usually surprised when I listen to tapes are you self-critical do you think yeah almost to the point of nihilism I mean it was left up to me if I never heard anything I wouldn't think I would have given up long ago I mean I yeah I I am so self-critical yeah do you ever feel like you're in a rut all the time yeah yeah it then I do something about it you know that when I feel like I really seriously stale that's when I start to crack books you know uh and because it's you you really need something to eat to move and there's so much to music there's no excuse for being feeling stale you know what I mean it's nobody's such a great musician that they can be burned down on all of music you know and so it's like for me it's a matter of finding something it's just a matter of going out and look at putting a little bit of effort into it I can almost always find something that I don't know anything about and pick it up on it and you know started sort of an itch scratch cycle you know as listening to other musicians or bands ever inspired you all the time yeah there's nobody played right now who knocks me out completely I mean there's there's nothing that I hear right now that really makes me want to dash to my guitar but there's plenty of stuff in the past you know if I go looking for stuff I can find it but there's nobody really playing right now who kills me I can't I can't say that there's a whole lot right in music right now is kind of a everything that I hear right now is pretty derivative sounding what's your Source do you listen to the radio or MTV or all those things you know I mean I'm just a human in the world you know what I mean and then I have a huge record collection and I also have access to music stars some of which are pretty where the the people who run them are music collectors and like that you know yeah and that that's helpful it's helpful to have somebody's taste and also I I I the the society that I made has a lot of musicians in it and uh musicians are always turning you on to music yeah you know so that there's always input what are your views of Young guitar players now well it's it's a little hard for me to listen to well the thing is that they're they're much more accomplished than they used to be you know there's that that that's you know but that just means that the instrument itself is has a much better book than it used to have I mean the electric guitars has a whole you know it has a huge enormous vocabulary and several different kinds of idioms that all of which have expanded enormously in the last 10 15 years and uh that's that's also the good it just means the history has expanded but uh young players even if they're really brilliant technically there's a thing that uh you know there's you know like a guy like John Lee Hooker or something like that you can play two or three notes so authoritatively on a guitar you know there's like 60 years old a really a real mean person right right you know you could scare the pants off you you know with one or two notes but it's such playing with such a man's Authority and such soulfulness that I mean there's that you know that's an uh that's a real that's a real thing and for me I I much rather hear something like that than than a lot of facility you know do you ever listen to people like Eddie Van Halen not seriously no because I can hear what's what's happening there is you know it's not uh you know it there there isn't much there that interests me it's it's the it isn't uh played with enough deliberateness and it doesn't have any kind of it lacks a certain kind of rhythmic Elegance that I like music to have that I like notes to have you know what I mean there's a lot of notes and stuff but there isn't a whole lot of the notes aren't saying much you know they're a little like little clusters it's a certain kind of music which I can I can I understand it on one level but it it doesn't it isn't attractive to me if you could go back in time and jam or question any old musician you wanted are there any people who come to mind oh yeah I'd still I'd still follow around uh uh uh what's his name you know the Gypsy guitarist Django yeah Django I can't remember anything and my mind is gone I have all of Jacob's records every single one of them and I still I still most of what what he plays is is even hard to understand that uh no matter how much I've listened to it you know it's uh I mean in terms of the actual technical how it's happening you know because I listen to it and I hear uh you hear when a note is being struck and when a note is being articulated with the left hand somehow and he does things I don't know how he's doing them I mean I can't imagine either he's got fingers that are a half a mile long you know I mean I just don't know what how he's doing it you know and it's it's uh and this is what you know a a [ __ ] up left hand yeah right well he's able to cross his fingers over this way you know he's able to do runs where this figure crosses this figure over here so the middle finger crossed over the process of the index figure yeah that much I figured out because there are things he plays that work that way and you you couldn't do them any other way there's no other way you could do them in there they work and they're lighting fast too and it's just I can't you know uh you know his his uh his technique is awesome I mean just even today's nobody has really come nobody has really come to the state that he was playing in As Good As players are they haven't gotten to where he is there's a lot of guys that play fast and a lot of guys that played and I mean you know the guitar has come a long way as far as speed and and uh you know Clarity go but but nobody plays with the whole fullness that Jay of expression that Jago has I mean the combination of incredible uh speed what all the speed you could possibly want but also the thing of every note having a specific personality you know it's uh it's something you just you don't hear it yeah I don't hear it really haven't heard it anywhere but with Diego and and the other guy I like I'd like to to uh hear live is would be like a Charlie Christian who has a thing of incredible mind you know an incredible that incredible flow of ideas they're just Relentless flow of ideas it's just bad pouring out you know it's it has this intensity that's really incredible I mean and he has also a tone that's that I think is very hip I mean it sounds very modern to me you know what I mean his whole playing still sounds to my ear it sounds very modern and it's amazing because what people extracted it from his plane what what the top 40 stuff was played doesn't have that quality really people pick the lamest [ __ ] from his playing but but that great solo flight album you know I mean that improvisation is just man it is amazing oh you listen to that still it sounds incredible to this day you know it's just it's really the first guy who could cut it with the horns yeah right and yeah right exactly it had that kind of it could play the way a horn plays you know can play with that kind of you know that kind of flow of ideas the thing of knowing like what what horn players have to do is they have to learn chords um as arpeggiations you know they they don't they don't have to play and all who knows it was well he's the first guy to play the guitar is like the way horn players play through changes he has that sense of where everything goes harmonically so many what he accomplished in 17 months yeah right it's the way it is man that's the way things are sometimes you know yeah well he's a guy I would love to be held eight years uh and those those two are the two guys I think that they deserve all the their reputations are well deserved you know I still have it there's there's the solid gold of you know uh American Music American derived music really guitar playing I think yeah where would you put in somebody like Robert Johnson well he's like a you know he's a primitive genius you know and there's others that I like that I feel are in the similar category blind Blake oh yeah uh Reverend Gary Davis too when he was young but also he was always great yeah uh I always I had a personal preference for a Mississippi John hurt his early record sounds so smooth you know they said they're like they're just like magic yeah and uh you know one or two others who's playing is just extremely beautiful to all ears and uh oh you like Chet Atkins you know are there non-guitars other instruments oh yeah sure art datum is my all-time favorite well yeah I use my all-time favorite he's the guy I put on when I want to want to feel really small but I want to feel really insignificant oh yeah you know it is yeah he's a good guy to play for any musician you know he'll make him want to go home and burn their instruments [Laughter] our data was absolutely the most incredible musician just uh you know what did you say what era his stuff appeals to you well all of it is fascinating but I like I well I and I also haven't heard everything but I've got that the two big sets from uh Norman grants you know oh yeah yeah and everything on those is beyond the pale you know it's just so incredible you know what a mind you know were you ever a fan of the Bluegrass Masters yeah uh but uh Bluegrass for me is banned music and I was always I'm a fan of bands more than I am a fan of his of musicians you know what I mean uh like the musicians I like sounded best in a certain context to my ears you know so it's like my favorite of certain bands you know certain vintage bands and various you know that's the way I think of bluegrass music I am much more attached to that side of it than I am too individual players because there's so many good players of Bluegrass yeah but but not all Bluegrass bands are good what was your favorite advancement I think one of my all-time favorite bands was Bill Monroe's bluegrass band with him when he had Bill Keith playing banjo and uh uh Kenny Baker playing fiddle uh right around I guess that must have been 64. right over there 63 64 somewhere around there that was a great band and Del mccoury playing the acoustic guitar and scene that was a great band really a sensation oh yeah a bunch of times and uh oh like well for the classic uh Reno and Smiley band it was back my God how I played fiddle and you know that bad uh and uh no also the the original Bill Monroe band with Lester flat and Earl Scruggs and also the classic Western flat Earl scribes Foggy Mountain Boys yeah great great band um I love Jim and Jesse when they had uh when they had uh uh either uh Jimmy Buchanan or uh or basser and uh and uh they're two great banjo players so they had at the same time what's his name ship Robertson or whatever his name I can't I'm so low it's been such a long time with banjo players they had two real great banjo players back in the old days they were both had the same big Square style bands sound um and uh uh they they both had they both had a rhythmically a real a real um symmetrical style it's hard to describe but it's that era back when Ambassador was playing with him or Jimmy Buchanan they're both both about the same era that was also in the early 60s right around there they had a great band they had a couple of really great bands and that that those moments back there that and also uh the Staley brothers too my favorite singers were the Staley Brothers Ralph Stanley my all-time favorite singer I think what was your band installer did you describe it no no I couldn't I really couldn't describe it you know uh no I I know I can't describe it any more than I can describe my guitar playing you know I mean you still have Adventure sure I got several badges really yeah old time works yeah great ones do you ever have a six string one no one of those things sound wow what happened they sound like hell yeah I don't think I could stand a six string but I don't think I can stand the combination you know it'd be too alien for me do you still play sometimes uh once in a while it wasn't a very great while but like I say I burned out on Banjo I'm a burned down banjo player I really I went to the end of the Rope you know and uh and you know if it was it's the bands the chance if I could play in a real great bluegrass band like once or twice a week I would definitely get my jobs back together on the banjo were you a fire swing man oh yeah yeah Bluegrass bandra that was it you know now do you think much of that technique transferred over to guitar it doesn't transfer the right hand not really not really not no no it's a it to me again it's a different it's it's our apples and oranges you know they they really aren't the same same instrument they have strains you know in a bridge in France and that's it you know other than that I mean I they really are very different it's also banjo is nothing like I thought there might be some crossover when I took up metal steel but there was the they're not the same either the technique is very very different and the whole and the concept is also very different you know so what when you're dealing with those instruments you're really uh it doesn't help to try to take one to another you know what I mean yeah what about going acoustic guitar electric guitar there's songs that you only play on acoustic yeah how large is your repertoire oh well I don't know I haven't played through it yet it's I mean it's I know a lot of songs I know an awful lot of songs because I I was into the like the you know I was into the traditional music scene I like music you know I saw I've learned a lot of songs in my life I know a lot of them and I know bits and pieces of a lot of them as well and uh and they're also a whole lot of songs that I would like that I will that I plan on learning so it's not to be a repertoire isn't it it is is it a a static thing and even when I go out now with John Abdu when we do our acoustic thing uh John Connor plays Bass with me then uh uh I there's always a few songs I think of on the road that would be fun to do and if I don't remember them I go and find a book somewhere that hasn't been ever something you know sorry you are always adding songs well yeah well part of the thing about music is the thing of staying interested and you have to motivate yourself to some extent I mean you know do you compose on Christmas have you written any Bed songs I have done I have done that a few times but more often I tend to compose on the piano makes me think differently do you know as much musically on camera maybe that's why it's easier to compose it is it is it because it just puts me in a different head you know and uh I mean theoretically I know as much but my hands don't know anything you know I don't know the instrument but but you may keep it simpler that's true but I could sit and figure anything out you know if if I have a little time you know so I mean if yeah right give me 20 years another head Jesus why have the Grateful Dead more or less limited therapistic songs in their acoustic sets I don't know I think weird doesn't feel comfortable playing acoustic music or I I don't know I'm not sure exactly why I I personally would like to do it more often Bob doesn't seem to like to do it very much so I know you know I don't we don't press it you know if anybody feels even a little negative about something we don't do it really yeah how did the 1980 sets come about I just thought it would be a good idea you know and we so we tried it it was fun you know and also the technology came up came into place too that was one of the reasons why we didn't do it for so long because we used to try it with microphones it really didn't work you know and uh but but the technology technologically it's much much easier now that you have instruments that you know like I say the improvements in Electro acoustic instruments have been bashed did your audience react as well so acoustic music or do you think it would oh they have reacted as well sure they like it a lot I like it a lot too I mean it's I it's it's a nice way to play it it's a nice a nice way to constitute a I like the combination of drums and and uh you know electric bass and acoustic guitars yeah I think it's really a nice sound there used to be a great sounding band uh with those two good English figure figures Bert yanch and whatever the [ __ ] his name is that other guy in a band called a pentagram that played in the early 60s in the 60s yeah John redborn at Bertie Ash yeah they were great I mean they had a they had a nice little Jazz drummer tasty Jazz driver that played like brushes and an excellent acoustic bass player and a lady that's saying you know it's sort of a magical voice an English voice it was lovely man I mean the texture was really nice and it sounded great on stage I mean they we played some a lot of shows with them and we heard them in a lot of circumstances they sounded beautiful they and I love that you know I thought it was a really it had a lot of you know it had a lot of possibilities that combination two acoustic guitars and so on in a standard Rhythm Section do you miss having another second guitarist when you play your Duo no though I just think it's just a different thing I like for me the more the merrier you know you know I like playing in a band but when it's an acoustic thing I mean it's just uh it's challenging to play uh with just two instruments you know and I like that they are related to just whether it is creative especially if it's a if it isn't another guitar what's your feeling working with John he thinks like me you know he's got the same [ __ ] attitude that I have are you are you as willing to go out on the limb yeah is he is he good about following oh he's real good about following me and that's the thing about it and uh he and I have very very similar we are like the same have the same musical taste with a slight overlap yeah and uh like uh it's almost guaranteed I mean that's why we played together for so long we you know you just uh we think like each other uh what are your uh audiences like when with your Duo is mostly deadheads I imagine they are I imagine they're from deadheads but the audience is much more uh much more um sensitive I would say I mean we could get down to a whisper and that place shuts up and I mean nobody hollers nothing you know they can get it down to it we're just like really Whispering where the strings are just changing little tiny sounds are coming out and the place is just you can drop down to Absolute silence that's good yeah it is it really is it's sub real special I don't know how many audiences would do that but but but uh I found every case when I go out acoustically when John and I play we can do it every time what's the difference in pressure between front and your own acoustic Duo versus playing with the dead if you feel like there's a lot more weight on your shoulders uh I do uh in some cases but that's just because I have a sort of uh uh I have a I have a martyr complex or something like that you know a poor me complex here no no actually uh both of them is I mean it's great to be able to play at all for anybody under any circumstances you know and have anybody like it you know I mean that that's really an incredible thing you know any it'd be so small minded of me to complain about any any part of it you know what I mean it'll be some chicken [ __ ] you know oh man how can anybody think differently you know I mean like to complain about any level of it would be so uh so what do you feel an artist poses audience everything [ __ ] I mean if it oh well I mean either he doesn't know him anything at all you know I mean I don't know how you even get an audience you know so it's not I don't know whether anybody owes ideally nobody owns anything any anything you know what I mean right in other words everybody gets paid off you know what I mean the audience the the artist gets off playing and the audience gets off listening and that's that's it that's what it's about that's you know the rest of it is somebody else's story you know that's that's what I think the thing is about and for me I mean being in the audience and getting off myself I have I've never won it any more than that you know and and the times when I get off I love it I mean I I love you know yeah there's no nothing better and uh that's where that's where I get it from I mean you know I I the reason I'm on stage is because I've been in the audience what's your what's your favorite part of your business everything you do what do you enjoy the most I just love music I all of it you know listening to it playing I mean all of it you know there's everything about it really there's really nothing about it that I don't like possibly interviews is the worst of it [Laughter] well I mean that's the most non-musical part you know what I mean that's the part that's the strangest you know I mean uh you know music is is easy talking is not so easy yeah and it's really something you have to learn I mean you know you learn how to [ __ ] really that's pretty funny is there any music that you play that doesn't come out on stage yeah yeah sure there's a lot of music yeah right I I have this kind of a weird kind of music that I play mostly just to myself for myself at times uh that's just weird like this right no I can't really uh it it does it's not it doesn't it's not it's only just something I do uh you know like when I'm sitting around with a guitar uh and I'm not and there's and I'm not playing there's nobody else around yeah uh sometimes I get off into these zones that to me are very fascinating for some reason and uh and uh I've never tried to record it you know so I have no idea really what it's like but I know that as far as getting absorbed in something I can get really absorbed in these things but I have a feeling that they probably are probably don't sound so great you know it's but uh more abstract yeah yeah I could get really carried away in it yeah sort of yeah subscribes formless music music that doesn't have any form or you know it's not a it's not it's not music it's not even music that I can play with somebody I think it's that weird you know I'll have to try to record it sometime and see what it really sounds like I I I've never really objectively gotten away from myself and listened to it this is not something I do all the time but and it's something I do and once in a while I fall into this Zone you know when I'm comfortable enough and have a nice enough instrument I just feel like playing yeah and uh you know I don't don't have any ideas or anything like that I if I I drifted to a few kinds of areas that I just don't really know what they're like this is on electric guitar any kind of guitar they say they're more like playing solos you think I don't know what it's like it's just playing you know it's like uh it isn't it well like I say it doesn't have any form you know so it sometimes it's chord chordal things sometimes it's progressions sometimes it's just chords you know sometimes it's a kind of weird chord melodies you know they're they're have just have leading tones sometimes I play a whole bunch of uh real dance porn things that have these leading toes but they aren't uh they aren't valid they aren't songs you know they're just it's just music sometimes I get into these things that might start as a little uh I'll get this idea that's kind of like maybe uh that that has a kind of uh a counter Melody of some kind and I'll start stretching it out and fully derail with it and all of a sudden and uh we're not all of a sudden but gradually it'll turn into this whole thing but it's never stuff that I can repeat or remember and I don't even know whether it has any musical value or not it's just something to stuff I do I you know it's a it's a kind of a free form of music that that uh sometimes ideas come out of it do you ever get an idea a musical idea or hear a line or some phrase in your mind without an instrument yeah and then apply it to the instrument oh absolutely that's where terrible you know the Terrapin that's the Grateful Dead That's where that came from dropped into my my head which part the bit the end part the big theme you know the big the big but you know it it not only that but it came fully orchestrated too you know yeah uh that I've had Melodies drop into my head a lot but they're usually short they're usually not that long that's quite a long Melody I mean and all of it came in the the the the way it the way it uh the conversational part of it you know the way the instruments answer each other and then and that yeah that's one of those things yeah that happens to me not very often but it does and then I I do try to apply it but usually I lose it you know I usually I forget it usually I get a great idea and then by the time I get somewhere where I can either solidify it with an instrument or write it down or something like that you know it's good you ever have song ideas to come to you at real strange times that's the only time because I mean uh you know there's always some kind of some musical uh continue of going on you know that I can sort of turn it on and off like a radio but usually it's just mind rot it's just stuff you know what I mean every once in a while a good idea comes through and and and I mean I never know when it's going to be and and you know can you have you ever heard uh sort of music or sounds that can't be gotten on on traditional instruments not yet no bye-bye uh no no nothing that can't be got I haven't heard anything that can't be done yet what do you feel are your limitations [ __ ] I've got nothing but limitations uh I mean my life limited by everything I'm limited by my technique I'm limited by my background I'm limited by my by my education I alluded by the things I've heard from limited by all that stuff yeah I've lived in my being a human being you know yeah I mean I I think in a way that a musician's music and particularly a musician with a distinctive style is in fact a product of their limitations what you're hearing is their limitations really you know you're here I mean you know I was I assume that almost everybody plays at the outside edge of their ability so that's usually what you're hearing is you know as good as they could do how long could you last in a band where you'd have to when you went on stage you have to more or less play with what's on the record it seems to be a lot of guys I don't think I could last very long yeah I I mean that would be so dull for me in fact I don't even think I could do it really what how what percent of your shows with the Grateful Dead say are in private safe oh about 80 I mean almost all of it really all the stuff that isn't the words and the uh the melody you know what I mean what happens if what are you doing another guy wants to get off on improvisational tangent that you might not necessarily be able to follow or want to get into what happened you have to make an effort I mean that'll then I'll lay out if it's something that I really I'm not don't have a handle on I'll lay out if somebody's got something going I don't rather than wreck it by playing stuff that that [ __ ] with it I'll lay out until I either apprehend it you know understand it at some level and you can do something to support it or else I'll just lay out because that's the best thing to do really it's best and a lot of times I like to just listen to what's going on because a lot of times beautiful things happen and don't have anything to do with me you know and it's nice to be able to just listen the grateful that can be very fascinating that way oh yeah I love to lay out because sometimes we're in the bread get into some incredible things I mean everybody does really so it's nice to just stop wow what's that you know and I like that huh that's interesting can you can you psych yourself into creative moods uh I almost always have to I mean yeah they don't come to me if in other words if I don't sit down and work at stuff I don't get song idea I'm not that creative really you know I don't I'm not a real I'm not real prolific I write maybe three four songs a year if that and uh uh and I have to work at him you know I have to say now I'm going to work you know and sit down and work and and it's one of those things where I'll work for a couple hours and nothing will happen I won't get anything you know they'll I'll stop for a while and pick it up again and work for a couple hours nothing will happen the next day I'll do the same thing the next day and the next day and maybe three or four or five days into it I'll get a little idea and it sounds like hey this is kind of nice and you know it's like that and every once in a while you get a stroke you know you get something oh far out but then usually once I get going once I've got the first idea then maybe three four songs will come out right next two days you know sometimes that's the way that's the way that works for me generally speaking were any of the songs you written particularly frustrating can you remember oh yeah some were really frustrated Reuben and Cherise took about three years to write literally maybe longer than that uh and I I kept writing writing versions of it oh this sucks Hunter would rewrite the lyrics now that that doesn't make it I'd rerion write a new Melody no that doesn't it that is I mean it was it's so utterly and totally different for the win for the very first conception of it you know that I mean that that went on forever you know it just went on forever did any happen very spontaneous yeah a whole bunch of them a lot of them I couldn't I'd have to go through the whole list and say yeah this one this one's on because most of them I mean an awful lot of them have just thrilled they come out you know real quick because usually we're cooking Hunter and I when that happens most of the majority of our songs are cooking is that first one or two or that that really different one you know occasionally that's one either that we had a labor like crazy at or whatever what do you do you give him a chord progression or we do it all different ways he gives me lyrics he gives me a stack of lyrics this big and I give him about two Melodies you know his output is fat is enormous you know my output is teeny but usually what happens is that I I go over to his house and we just work on something you know on pianos yeah then do you teach it to the other members of the band in a rehearsal or you give them a cassette or like you no I let them guess it page right yeah no I like to like to him I just tell them the course here's the chords you know like that I like to keep it simple are there any songs for particular women crowded oh yeah there's a bunch of them that I I love I really do love them there's a lot of them that I'm proud of but I I know ones that I'm uh you know no ones that I would I don't know you know I uh all of our songs that I could perform you know time after time and not get bored with that's and that's saying a lot you know it's a good sign yeah it really is they they live for me and uh you know I don't after I've written them I don't feel like they're mine anymore you know I I luckily because I think I because I I'm self-conscious about my own work uh if I think about it and if I if they reminded me you know myself somehow I don't think I'd be able to stand to do them over and over again so it's nice they they sort of they don't have any context in a way so it's nice I can perform over and over again in lots of different moods you know with lots of different colorations and still feel good about them are those songs you'll only like call out to play when you're in a certain mood geez that's hard to tell you know I mean for me uh playing on stage is so subjective I know I don't know how I feel about it a lot of time yet maybe that there are yeah so what there are definitely songs that a lot of times I'm not in the mood for so like you know it works that way for sure whether it works the other way I'm not so sure I mean that is to say it's possible that what if I'm in the right mood I could play any song you know I could feel like doing any song but uh but I you know so I don't know about that part of it but I know on the negative side of it there are times when I definitely don't feel like playing a certain song this is not true with every song though there's only a few songs that were that are are sort of uh mood triggered or or attached you know in some way to a mood we were talking about composing right and then just sort of what you've done that you liked and the ones that were hard yeah I'll tell you I don't think of myself as a composer and I only do that because that's what you do you know I mean I I learned how to do it it's a craft I I can do it as a craft I I you know I know about the craft of writing but I don't think of myself as a composer I I've never been compelled by my own compositions you know what I mean and uh it's really uh you know it's I don't feel I'm particularly gifted in that that in that area if somebody wanted to hear the essential Jerry Garcia are there any food [ __ ] is that are there any Cuts you could tell them to listen to no not really I don't think I'm I don't think of myself as being on records but if but any half a dozen live concerts The Grateful Dead say or my band would pretty much give them the you know the more more or less of it yeah do any concerts stand out in your minds and your mind I don't keep track no I mean for me it's the next note you know it's not the last one huh so when you make a mistake on stage is that your attitude yeah oh yeah there's no such thing as a mistake let's do it again that's right there's no such thing as a message depends on what the next note is that's right are you satisfied with your accomplishments and your career not at all no no no no no no no I'm still trying I still think of myself as someone trying to learn how to play the guitar if I learn how to play if I learn how to play the guitar I'll be really happy huh why do you think you've attracted such a loyal following over the years it must be really hungry out there I blame the general low low quality of life you know yeah well you know I yeah I mean I uh I don't know why you know what I mean I don't I don't know I don't to tell you the truth I don't know why the first person stayed for the first song you know what I mean it's been a mystery to me because there was a time when that didn't happen you know I mean I played for a long time and nobody cared about it at all so it doesn't you know I mean that was never a criteria as far as I was concerned I mean I'll keep playing for nobody you know if that was what was happening uh you know what I mean yeah so the reason you know people hanging out and liking it is just another one of those things of tremendous good luck I think I I mean or at least that's that's that's how I feel about it I'm glad it's I'm glad it's that way I'm glad people like it but I don't know I I don't know how or you know I don't know why or what particularly but it's hard to appreciate from this side of it you know yeah a lot of people who come to it for the first time or journalists describe dead concerts as microcosms of the 60s do you uh have you perceived a large change in your audience in 20 years or 15 years our audience has changed a lot of times but but our audience is still a Grateful Dead audience that is to say the kind of people that they are is really I think I think there's a certain kind of person that maybe that likes Grateful Dead music uh I don't mean that in a narrow kind of way because because it seems to cut across all kinds of lines I mean it cuts across all kinds of cultural and social lines so it's not some easy uh formula for the Grateful Dead person but it seems though that that uh I mean our audience now are people who were 16 17 years old you know 18 years old now that weren't born when we were start when we started yeah that's that's you know a sobering thought you know is is the Ambiance of the concert seem the same oh yeah it seems well pretty similar except that there are some large differences but they seem to be basically cultural in a big way you know they're American like on the East Coast they're more vehement you know they were yeah you know they're they're they're they're they're the energy is fire frankly but but the energy is higher at every level on the East Coast you know like New York is has that thing you know that only New York has yeah the West Coast has a thing that only the West Coast has and I mean those those kind of differences you know but other than that the Grateful Dead ones basically it's is the same they're the same kind of people you know they you know they get along pretty well with themselves yeah I've noticed from coast to coast and all around you know so they they seem to be a pretty good-natured lot you know it's funny you know I like them they're good people for the work I do I have to see a lot of heavy metal and Jazz and different types of music lucky you know right any bands here go out of your way to see there are a few yeah oh yeah oh well let's see the last man I went to see was Dire Straits that was the last band I went to see live a couple years ago and uh there are others that I would most of the time I'm out you know working and stuff so I don't really get a chance but they're more than I would go to see if I were in a situation where I wasn't working tonight so much you know I only got more but yeah there's there's actually a lot of music that I would go to see it's just the opportunity doesn't present itself that often that's the problem time and space you know do you ever have trouble going places in public being recognized all right I'm giving up worrying about it you know because they they I'm recognized almost everywhere now and uh it it bothers me sometimes it because there's that thing you'd like to not have to think about yourself all the time you know that that's the drag is the thing of constantly being being forced to think of about yourself all the time and there are times when you'd like to uh I feel some sense of responsibility toward that person to the public uh Garcia person you know uh in other words I I would feel bad I won't I don't feel that that I have the freedom to get Rory drunk and and start fights and scream at people and do all the kinds of stuff that I might do perfectly comfortably if I were just nobody you know what I mean you know I don't like to be obnoxious you know what I mean there are things the kind of things that you might be able to do in perfect Comfort if you felt that you didn't have to answer for it in some way you know and I feel some sense of striction although I might not ever do those things yeah I do feel some sense of a restriction down at that end of my personality you know and and it's sometimes I have mild fits of of uh resentment about it but I should mostly people are very nice to me and uh so far I've had no no really bad experiences you know that's good I've had a few weird experiences and a few uh you know close brushes with total weirdness of one sort or another but you know nothing nothing that's really freaked me out or or uh made me feel too awful about it it'd be a great book part close close brushes and total weirdness [Laughter] I wanted to ask you what your acoustic guitar and she said I don't know what model it is but it's it's a lot like a uh uh it's a lot like a D21 uh except that it's got a cutaway so it's a dreadnought cutaway Dreadnought with it with one cut away with slider controls yeah little slider controls up here it's got It's got the it's got a high and low cut impact and boost uh and and a uh volume so it's got three sliders as opposed to two is that something that's uh accustomed for you no no it's it's right off the shelf you know it's it's a showroom model do you have do you have it set up to approximate an electric no I use much heavier strings well not much much heavier streams but but heavier streams significantly heavier so it'd be like and also higher action and all that I haven't set up like an acoustic guitar how much uh uh preparation do you have to do playing playing wise well I like to go I like to warm up for a few oh before I go on before you go on tour and then before the show before I go on tour I like to I like to have at least um I like to spend like two or three days with John just warming up uh my chops on the acoustic guitar we've done it enough now where it only takes a few days to warm up jobs wise and then uh before a show I like to you know I I I'll I'll do more and less as the tour goes on three more and less warm it up before a show there's there's the long term warming up the short term warming up oh I see so you'd have to um make many compensations in terms of technique with your right hand picking attack yeah it's a different it's a whole different ball of wax yeah it's very differently I I I I hope my whole hand kind of differently uh and just the position of the guitar and the distance thickness of the guitar and everything leaves my whole arm and wrist and everything have a whole different attitude you know and we'll have John shoot some pictures maybe yeah it's a whole different attitude I mean uh electric guitar is real thin so my my uh elbow is close to my body yeah you know and my wrist is close to the guitar and and like that you know it's all in here but then acoustic guitar is all out here you know do you hold the pick the same way Jay pretty much yeah but I'd move it around all the time while I'm playing anyway you know it's like uh I gen you know I don't have a way I hold the pick you know Iron grasp I constantly adjust it I move it around a lot do you always use the pointy end yes a lot of guys lately are going to use in the corner yeah I know it it it's because it makes it seem like you can play faster but when you second but when you pick up and speed you sacrifice and point you know and you know I like to have a lot of control over the the point of the note the attack and when you use the the point of the pick it means that by relaxing or tightening on on the pick itself you get I use a real thick pick and with no one with absolutely zero flexibility it's you know it's like a stick the point is that you get a lot of change and touch and a lot of change and tone and and uh and and point attack of the note coloration on that level in harmonic content of the attack by holding on to the pick tighter or looser yeah that makes a big difference in the tone in acoustic guitar it's one of those things one of the ways you can really color your playing can you play a vibrato with your fingers the same way on acoustic uh I do a slightly different kind of vibrato I don't do the same because I use heavier strings for one thing it's a different thing but yeah I don't have any trouble with vibrato which finger do you tend to use your ring finger or doesn't I tend to get my drawing my vibrato for my whole hand like a violin player versus yeah BB King style yeah I don't do them do independent eyebrows with my fingers very often once in a while I do more often I play I do have my brother with my my wrist do you bend strings much on acoustic yeah but I don't make it a I don't make an effort to I don't and I don't don't bend them nearly I I've been on an acoustic guitar I'm more likely to bend a half step will you uh back the finger bending the note with other fingers no no more uh yeah I I use relatively heavy I always use relatively heavy strings for rock and roll guitar and a high action uh-huh do you play um in open tunings on acoustic never well no I wouldn't say never there a few especially things I do but I never perform in an open tuning if I had another guitar that I could tune up in in an open tuning and leave it there I hate to retune the guitar on stage yeah I feel they settled into it too they you know yeah and I don't like to return them for that reason because then you lose that sense of settling in how do you amplify it I just run it into the board and whatever house you're playing yeah usually because usually I travel with the same PA you know in the same monitor system and I bring it up through the monitors and it's plenty loud then I I sometimes I use like just a little uh a Twitter verb on stage as a Fail-Safe you know just in case yeah just in case something goes wrong I can still get a guitar sure yeah I'm gonna take a couple shots you want me to just put this in front of it I don't oh yeah sure get it out of the way one of my first assignments for a guitar player was to edit John's cover story oh yeah way back we'll be careful you know you don't want to end up with a million words to edit I mean it that is the problem that's all right we know that's just words he doesn't have to write do you have any plans for uh acoustic recordings no no plans really but you know if something comes up maybe I mean I uh the acoustic guitar I mean really the acoustic thing the thing of Performing as an acoustic artist you know is something kind of new to me really and I see still see a whole lot like John and I are just starting to get a feeling for it and uh and and we're starting to flash and have any kinds of things we could do and that uh you know because we could do all kinds of different styles of music we haven't even started to touch on it yet really you know and really I'm just doing a few things that are are uh very available you know I haven't started to put a whole lot of effort into it but John and I are starting to imagine uh you know we were started to think of all different Tunes we could do and and uh different styles and all that so in the future I think there's a lot more happening in that acoustic format you know I feel real good about that we both do John and I both so it's really a kick to do that there's a lot of your acoustic repertoire drawn from traditional Tunes yeah yeah a lot of it is because I I love those Tunes you know I just do whatever I love you know would you would you feel comfortable playing say a reggae song I don't think so I I might not find some comfortable way to do it but no I'm too conscious of style you know and I I associate Style with the way it is I don't like taking the style and do an inferior version of it you know what I mean I don't like trying to choke choke a science style down into some you know yeah like reggae it's really a style it's an ensemble style it's not you know I I would feel funny about trying to you know sort of force that down to one instrument you know or two instruments just it wouldn't work for me yeah um can you comment on your plans for the future no except that I have plans for the future yeah surprise I'm gonna go that's good enough for me yeah me too any predictions for the future of rockets I'm sure it's just going to get more interesting or at least I hope so or maybe it won't I mean who knows it seems as though guitar goes through through uh those things of being like there was sort of a a reductive School of guitar play that went on there for a while during the 70s there was kind of an anti-guitar school yeah minimalist right right and uh that was kind of okay you know um but I'm a guitar player you know so it put more of a focus on tones yeah yeah that's true and it and uh and sometimes a good idea to get down from the Guitar Tree just because my I also I'm not that much of a nut about guitar music just guitar music I like music yeah music you know and so it's the thing of the guitar as a voice and the music you know I that's really the thing so it's the music that counts to me I mean I'll be happy whatever happens as long as something happens that's a great attitude you can't go wrong well yeah right well you have to keep keep adjusting it I mean the idea is I mean you know I'd rather feel good than bad you know so it's like given the choice of worrying about the development of music or or being optimistic I think it's easier to be optimistic are you I'm sorry no it's okay I didn't have anything else to say are you concerned about what you'll be remembered as God no I I hope people don't remember me Beyond what's necessary or I mean don't hang up anybody up by having to remember me be too much you know what I mean that's what I would hope it's like remembering it how would you like to be remembered as a musician oh it's a pretty okay musician you know I don't really I don't know I I I that those things are so are so far into uh I I you know I don't really expect to be remembered I I I I I uh you know I I that's that's way ahead of me I'm still trying to just get good you know if I get good then I might say I hope people remember how good I am yeah yeah you know I the idea of being remembered it would be embarrassing to me at this point I think really yeah that's a very humble attitude yeah if you or me you wouldn't think so [Laughter] is there anything else you I want to cover any questions you always wish some interviewer would ask you oh no that's that's too wide you know uh no no not really not really especially not Frets you know I mean I I feel you know I do I dress to Frets people I I don't know I can't think of anything but if anybody can think of any good questions they're welcome to send me a letter ask me um sure go ahead I'm doing a big uh thing on clearance Clarence oh man he was so great yeah oh my God he was good and I knew you were a real fan of his been a friend I like uh anything you want to talk about players but your impressions about this did you play with did you feel you picked it yet I never played much experience yeah you were probably not you were just probably I I was around him a lot I was friends with him like I said but I just never got a chance to play with him very much we weren't around each other that much I mean he lived down in L.A and I was up here but he was so good uh his acoustic play was really subtle he's the guy that really set up uh modern bluegrass guitar players he's starting a long ago you know and he's he had such an elegant rhythmic feel it was something very special about his playing you know no I haven't heard anybody have that thing that he had yeah this this rhythmic An Elegant rhythmically it was just unbelievable it was something real special and uh I don't know I mean he's the kind of guitar player that just comes along once in a while you know yeah he was something special good uh where did you were you around him or hear him play any when he played electric yeah I heard him in the birds and stuff yeah sure because we used to run into each other and and uh because when he knew me I was a banjo player right you know when we hung out together he was amazing I was a major player and so and Clarence was always a quiet guy you know he didn't say much he didn't talk away sorry but it was famous for never smiling on stage did you ever see the smile he had on the back of his guitar he had a smile on the back of his sorry flip it over at the end and it made me this week is good you know yeah the back of his DH you know did he play when you're smiling all right yeah he had a great version of that then at the end of it he flipped over and then he was a big smile big paper smile yeah that's funny yeah it's been interesting because I've been talking to a lot talking to a lot of people yeah that's what I've been talking about you know rolling and Billy Ray yeah I haven't talked to Billy right yeah he's a great guy he's in Colorado he's got the stories too yeah he's got a lot of good stories he's I think I'll probably have to talk to you yeah I had a lot of fun with those guys they're great guys Roland is a sweetheart they're all good guys they're all good to me too yeah I put on a show put them on in the show in a Palo Alto a long time at the record yeah that's right record that's right 64. yeah it was a long time ago oh you put that show on yeah oh I didn't understand that you were the producer I was a co-producer yeah wonderful I wonder why you were as a part of your banjo uh what it's a scam to get the kernels to town or something sure sure you know I wanted to bring him to town is trying to turn people on to Bluegrass you know I mean nobody knew what Bluegrass was in those days you know I was trying to turn them on to a Bluegrass I turned on some people that those guys a bad show that was good it was good they were great well the thing about Bluegrass in those days it was reaching a real bottoming out stage yeah I mean the fact was I was buying me out on one side well I mean there were a few people into it but a lot of times they went off and rock and roll took them that's true the music wasn't flexible right that's it that's why I took that's why I went into rock and roll yeah Bluegrass was just too stiff for me no the banjo was it wasn't blue I loved the music but but uh you know the banjo was I just went crazy Crazy On the Banjo you know and uh yeah right rock and roll opened out for me and that same for everybody I think there were a lot of players there was a whole young school I'm like sure growing and right and Dave grissman David yeah right they're all we were all friends you know we were all the same in the same yeah we were all right Richard we had a lot of fun together Richard he's a funny guy oh man we had a lot of crazy times together see because we all knew each other then and we all hung out together yeah we all got high together too and that was the thing that got us all out of our out of uh uh you know Bluegrass right because you know you couldn't stay high and play bluegrass you know not really and you want it but you wanted to play something exactly yeah yeah and that was the thing so I was like yeah all right that was the part of the development of moving on but but uh man have you been touched listen but you're tuned into the new Christy oh yeah sure Tony Rice and all them yeah see Tony I think is about as close to the place yeah he's about as pleasant again I think now but the tone and the timing yeah he's pretty close pretty close Clarence was so inventive though and it was also new then you know I mean nobody any I mean nobody had ever sounded like that ever and so you know Clarence was it was him you know it's something he wasn't many and just just like Earl Earl Scruggs in the banjo you know I never had though I've never got to see him oh boy he was good he was hot but I like all good guitar players it was one of those things that would look like the easiest thing in the world it's like nothing nothing to it you know laid it down yeah it was just like the simplest thing in the world driving nuts you know and his backing was so great too in a van you know and when he played with the D28 uh his his way back in the band was real inventive too he had all these great rhythmic things that were offbeat you know real different you know they're really cute really and he really kicked the music around too you know he made it sound so yeah oh he made it good why I mean I people have always contested kernels as you know one of the greatest Bluegrass bands and they were good he was the one that was great yeah did you ever hear Scotty Stoneman playing oh sure man are you Candace yeah what no I I sweated blood that was one of the highest moments of my life man here at Scotty Stillman to play some of those things you know playing them like uh uh just you know one of those 8th of January one of those two that went on for 15 minutes it's unbelievable you know there's a record out of with Clarence that's a live record I know but there's not they're not they don't trade solos no any cut no that's no you know why I'll tell you why because Scott when Scotty would play everybody would just go really everybody be standing there on stage every every even parents so everybody be playing Scotty would go I haven't he'd be playing man it was like you know like man it was like so Soulful you know it's so real man and so red hot and everything and he was just so amazing man he was just everybody would just go all the musicians really they forget they were playing you know they go for a while in prison nothing you know I wanted you guys oh God it was incredible I swear I stood out in that audience man and everybody would be standing you know and it was 15 minutes everybody just standing there it was unbelievable really was some of the highest moments I've ever had musically really Scotty Stoneman was just oh God he was magic did this one down where did you have to go did he play up here did they travel I wouldn't used to go to La a lot so the Astros they played the edge I went down there and watched them and then Scotty died he was so amazing he'd ask him about something he just said I just play it Lonesome I just played yeah he sure did [ __ ] what a player oh God and he played things that were so incredibly brilliant too I mean not only did they have all the fire and excitement in the world but they were also so brilliant and it's this the souls he play in a tune would be just these incredible things foreign you know I I I was on the road and I saw some that uh a PBS channel was running this the uh you know vintage television yeah and they ran an Arthur Godfrey's talent scouts you know from the 50s and it was the Stoneman family but Scotty is about 15 years old you know and he'd already won three grand national Fiddler's conventions you know and he's there with his ears sticking out in a crew cut you know and they all had a little cowboy suits on and she you should have seen him man and he played that film it sounded just incredible even then you know it was amazing it blew my mind and there was Scotty Stoneman you know an orthographic sound and of course they won of course too it was Unreal it really was it was Unreal it was it blew my mind it really did it just blew my mind with his girls too Donna and uh what's her name you know playing Pop mandolin oh yeah yeah it was it was really something to see Arthur Godfrey you know and Scotty Stoneman then I thought Scotty's done with drinking hair tonic and [ __ ] dying you know L.A you know and some Jesus Christ what a story man talk about the country Blues I yeah I'm not a player though I mean his Solo's on various records here there are still the greatest things ever recorded last night funny places too I bought like one yeah yeah right you know and there's Scotty Stillman on three Cuts yeah right just burn it right you know it costs 3.98 right no star day really just incredible right it's just incredible voice and he is so amazing they always tell stories about him how they they had him standing they were standing they had him propped up in a corner you know he was so drunk he couldn't see you know he couldn't they couldn't he was too drunk to sit down you know he had him standing up at some point he played a solo it was just so amazing it was just oh God you know really what a musician [ __ ] you got to play with one pretty one of the real great ones oh yeah Vassar yeah Vassar is great I mean Vassar is really good a great guy he's such a super guy but Scotty was had Scotty bled you know he and he had this power he had this presence on stage there was some really really special you know I mean I can't explain it I've never seen anybody who ever had anything like it before but when he'd get out there and play the film it was like he was something eight foot tall demon you know you know yeah you know that's why everybody would just go you know they didn't know what the [ __ ] was happening really and then he feed Paul Hall into the the the chorus you know the melody that everybody knew and they oh right right I can finish the two it was amazing nobody ever nobody wanted to play a song it was too awesome yeah really really I've never seen anybody leave musicians goals and they just be paralyzed and he had some of the very best playing with him too Clarence white for example yeah he would pick he wouldn't play wouldn't even stick a sticker chorus in there yeah right it just when Scotty was playing that was it boy and he was sick then too you know that was that was the year he died and he was how was it no he wasn't even 40s he was in his late 30s if anything he wasn't even in his 40s he didn't make it that far it's that thing he started playing when he was 14 or something the bar is 12 or something started drinking right away you know so by the time he was 20 he was a total Lush you know and but still his plane was unparalleled you know they they gave him the the the prize to the Phillies convention in Union Grove you know the the Grand National affiliate the all-time Fitness they gave it to him in advance he wanted eight years in a row you know yeah something like that it was used if he was going to hit her they knew he'd would you know so they just they didn't even bother they're like yeah yeah Scotty was really something boy so yeah you had a pretty intense Bluegrass thing for a number of years yeah oh I loved it man I love him it is intoxicated great great music really good and then it was right it was one of those special moments who was right and they were all still happening you know all the classic bands were still they were there but they were at the top they were just it was just at the very end yeah Bluegrass it was 1960. right and and I and by the time I was into rock and roll 65 it was over yeah you know and I mean that was they were already all disbanded the classic bands weren't together anymore you know Reno and smiley split up you know they read everything uh you know Jimmy Martin yeah it was just all everything was different you know and but I got I was just in there for that little they got the real gold yeah I got a little moment of classic Bluegrass and it was they got a taste of the Bluegrass festivals huh yes yeah yeah yeah Sunset Park and some of those other places I noticed that uh hold it in the way yeah that was a good band that was a great bluegrass band sure yeah it was really fun it was really fun that was my chance to go through my that was my chance to kind of like tie up my Bluegrass Karma you know what I mean that was the band I would have wanted to play in back when I was playing yeah right yeah but I never but I never the opportunity never came up you know so it's one of those things and uh yeah right I was always happy about that okay that's it [Music] now I'm actually gonna make the move one more time okay I gotta get the chair over here close the door [Music] all right [Music] [Music] [Music] thank you [Music] right now [Music] [Music] we understand [Music] foreign [Music] about a year after this interview Terry Garcia struggles with drug addiction and poor dietary habits led to his falling into a diabetic coma if you recovered and continued to play but his physical decline continued on August 9 1995 the 53 year old suffered a fatal heart attack during the stay at a rehabilitation Clinic luckily for us His Brilliant musicianship lives on in countless official and unofficial recordings before signing off I want to thank the fine folks at the University of North Carolina Southern Folklife collection my co-producer Nick hunt and all of my subscribers for making these podcasts possible this is copyright 2022 by Joe zolbeck All rights reserved thank you for listening
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Jerry Garcia - 1983 June 2nd - Complete Interview - MTV Studios, NY (LoloYodel)
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2016-12-30
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Hey, is that Hi. Hi. I'm Jerry Garcia. Oh, let's start one more time. Hi, please. Hi, I'm Jerry Garcia of The Grateful Dead on MTV Music Television, the channel you've been waiting for. You know, I know in a park in a park. Yeah. To me, that's very loose, too. That has a very light niceness to it that I like, but that but still my all-time favorite is talking dance. I love Twilight so much. I don't get sick of that one. I love like I love that one. I mean, I'm interested in seeing how this stuff works out like it is it going to turn into uh something that people are going to buy. Are people going to buy these things? You know, I know. I know. You know, how's it What direction is it going to go? Yeah. Okay. All right. Yeah. I think my tape might be coming untaped. Yeah. Is that Mike coming? Hello. Hello. It was right. And I did want to tell you if you see me looking away, I'm not paying attention to you. I'm sure just trying to keep my Okay. Welcome to MTV. You're in the studio. We're talking to Joey Garcia and you're on a solo tour now, which is your first in quite some time, actually. Right. Uh, how's that going? Pretty good. You having fun? Oh, yeah. Yeah. Well, that's that's the main reason I do it. Um, how are you comparing uh the audiences that you're getting with your solo tour as uh compared to the Grateful Dead? Um, they're pretty well. Um, they're they're similar. I I think my audience might be just a little bit more laid-back, I guess. You know, if that's the right word to use. Maybe that's not the right word to use. Maybe they're more they're just they're a little less demonstrative, maybe a little quieter. Who's who's playing in the band? Um, John Khan is bass player, my old my old and dear friend. And uh uh the keyboard player is Melvin Seals. The drummer is Greg Rico and uh I have uh Dee and Jackie are my girl singers and uh they're they're good. This is a good band. I like this band a lot. Really? When you started off with that playing uh you were doing well, you were in a jug band actually and you did a lot of acoustic material and play banjo. Yeah. Right. Are you doing any of that? Are you playing banjo or pedal steel? No, I'm not. I I find it too it's uh um I can't it's very hard for me to do more than one thing at a time. Uh as far as instruments are concerned. Uh what what happens they're they're different. Uh acoustic guitar is not like electric guitar. It's for me it's a different set of chops and uh pel is even more different and banjo is even more different. So uh it's hard for me to switch hats like that. I haven't got that kind of um concentration or uh I like to be to be to feel very good at one thing, you know, and so it's for me it's a matter of doing something full tilt and not splitting my attention. I tried it various times and you know during my my so-called career and it and it doesn't work. You know, I find myself uh like when I was playing pedal steel for a while, when I was back with the new writers, I was playing pedal steel for half a night and I play guitar for half a night. And I found that uh the change in muscle development from holding a a steel bar, you know, with one hand and your wrist down and not using your fingers at all for half the night and then going to the wrist up position and moving your fingers. It was like when I went to play the guitar, my fingers felt like lead, you know, I got cramps in my hands and everything and my guitar playing suffered terribly. I mean, he got got to be really awful. And I and I got to this point where I felt like uh if I'm going to do both, I'm going to be end up being real mediocre on both instruments and I'm not going to feel like I'm getting off at all, you know? So, it's like at one at finally at some point I had to decide what am I going to do uh this full time or this other. So, I opted for the guitar and actually I think I put more energy and it I feel more comfortable and more natural with it. You know, it's playing the guitar. Yeah. It's the kind of musician I am. I can't switch guitars either. Like a lot of guys, uh, a lot of bands go out there with, you know, hundreds of guitars on stage and switch change guitars for every tune and stuff like that. That's another thing I can't do. I can only play one guitar and I have it set up very carefully and and it's me and that instrument, you know, has it been with you a long time like your baby? I I do them one at a time, you know what I mean? Yeah, that's that's the way it is. I have that one guitar and that's the one I play and and any change in that is a major trauma. Yeah, I know. musician and their instrument very inseparable. But you know, you're saying that you can't really like, you know, play two instruments at one time, but yet but you have your solo career and also with a Grateful Dead. How are you doing? That's a little different for in that uh there for me there's no conflict there because it's I'm playing the electric guitar which I I conceive of as one kind of energy, one kind of instrument. And uh the differences in music um are very natural for me. And the kind of music that I play in my band is is different from Grateful Dead music. And it's uh so it's like my solo career is kind of this accident really. You know, I never really planned on it. What happened was that it used to be that when we were at home and the Grateful Dead wasn't working, I would get horny to play. You know, I would want to play. So, I started going to these uh Monday night uh jam sessions that they used to have at this club in San Francisco called the Matrix. And I started going down there and playing and and that's where I met Merl Saunders and I started playing with him on a regular basis there every Monday night. And I met John Khan there and we started playing and we were playing there for maybe a year every Monday night nearly when I was in town uh in a very casual way and this gradually turned into something uh kind of a little more formal, you know, and and so on until now. See, and this has all been uh uh just really just comes from my uh wanting to be able to play a lot. That's really what it's about. so developed into a serious thing. Fun. Yeah. I know. I try not to I try not to let it be too serious because it isn't really something I really don't want a solo career in in that sense, you know. Uh I just like to play really is what it's about. Yeah. With the with the Grateful Dead like bands like the Who or the Rolling Stones have real solid hardcore fans that have followed them, you know, through the years, but with your band, you have something one step beyond that really with the Dead Heads. Now, how how can you explain this culture that has followed you and they're so dedicated they just are still I can't explain I can't explain it. They aren't the same people, you know. I mean, also it's not it's not as though we have a bunch of uh 40year-old hippies. No, but it's like the same kind of people. I think that's the key to it, you know. There's a certain kind of person, you know, maybe in every generation or whatever. I I don't I really don't quite know how to split it up, but there's a certain kind of person that likes what we do, you know. It's like like there are certain kind of people that like licorice, you know, or a certain kind of people like buttermilk or something, you know, and it might not be something everybody likes, but there are certain kind of people that really do like it and and and empathize, you know, or or it's like what they would do, you know, or something like that, you know. That's as close as I can come to figuring out why it is that we have this kind of our audience has been actually gradually increasing over the we're the slowest rising rock and roll band in the world. That's really what it's about. You know, that's what's happening with us. And and it's it's just, you know, uh I I can't really I really don't know why, but that's as close as I can come is there there there's something there's a certain kind of person that we're we're for them, you know, and uh it's like discovering us is like, ""Oh, yeah, right."" You know, this is this is for me. That's as close as I can come. You get any strange kind of presents or letters from your family? Oh, yeah. Wonderful things. Wonderful things. In fact, there's a there's a neat book out uh that's a Dead Heads book. It's about dead heads and four dead heads and and has lots and lots of stuff that dead heads have uh created and anecdotes and and and it talks really about that subculture if you want to describe it in that and kind of gives you some sense of what they how what they do or who they are and what kind of thing can you think of you know like every kind of thing I mean everything from original artwork you know I mean like really lovely things really beautifully executed things to things like uh motorcycles with the Grateful Dead designs on them and vans, customized vans, you know, with that kind of stuff, you know, American, you know, hardware art, uh to, you know, fine arts and tapestries and, uh, you know, lovely boutiques and all kinds of things. I mean, it's every every form of every form of plastic art that I I'm aware of, we've had some version of. And we're really well done. Stained glass. We've had an incredible stained glass window. So, I made a huge beautiful stained glass window of one of the covers of one of our albums somebody lovingly put together and it's it's a beautiful piece of the blues for all album and it it it's a makes an amazing impressive stain. It has such a monumental composition. It really looks great as a stained glass window. lots of those kind of things and and things that not only derived from the artwork from our that's created by our people but you know I mean the artists that do our covers and so forth but uh people who have truly original visions that are somehow um uh inspired or you know motivated somehow by their relationship to the Grateful Dead experience you know it's things that are truly original and wonderful letters and real literate I mean we and we have great range, you know, from kind of street like there's there's a guy that's got a tattoo that's got a tattoo of me on his arm. I mean, you know, and and it's a nice tattoo, you know, and he's like a street guy and he's got a thing of style and a thing all his own which is very specific and very individual. It's and it's him, you know, it's not me and it's not really the grateful that it's but he's used us as a kind of a way to to focus himself somehow. And then I get letters from PhDs and uh from uh uh astrophysicists and uh you know I mean the range is incredible. Yeah. That's what's wonderful about it. Yeah. I want to go back a little bit uh to when you started u playing guitar I believe I read. Yeah. Yeah. Let's go back a little bit. Okay. Back into the 50s. Well back there. Um, and at that time apparently we had read that uh, you know, you wanted to play rock guitar, but there wasn't really like there weren't that many rock guitars to study for. Were some of you? Yeah. Oh, well, for me, I mean, for me it was I got my first guitar when I was uh, 15 on my 15th birthday. And u, I played around with it for a year before I learned how to tune it properly. And I I had invented my own tuning and invented my own chords and everything because there were no there was nobody in San Francisco that I could discover that played the guitar at that time that played or played anything like what I wanted to play. And you know I didn't it was just one of those things. I had a growth. Finally I met a guy you know in in the high school that I was going to that knew a few chords and knew the right way to tune a guitar. And I I picked it up like that really. And for me, my music career was I it was like it seemed like wherever I was located, wherever I was, I was in this odd musical vacuum where I somehow wasn't able to meet people who knew anything about the guitar and I wanted to play it so badly, you know, and uh so for me it was this this process of little discoveries, you know, that which represented whole worlds of think, oh wow, that's amazing, you know, and I learned these little things. And it was definitely the hard way to do it, you I mean, I I I wish that I could have that I'd taken lessons and, you know, I could have saved myself years in trouble, but it just didn't work out that way, you know, and and uh when I went into bluegrass music, I had the same difficulty, you know. I I learned banjo off the records and stuff like that. I didn't know I knew very few bluegrass musicians. I'd meet a few and I I just couldn't um I couldn't get involved in a musical situation that would that was satisfying for me cuz I wanted the music to be as good as the way I imagined it. You know what I mean? And it just never was that way. And so, uh I kept trying to find niches and things like that. And finally the jug this jug band thing worked out pretty good because it didn't require that anybody be very good. See, nobody had to be an expert, you know, and you can have fun with it, but there it was still musical. And I mean, it still had the basic elements of music. And uh and from that moment, it seemed to me that the thing to do would be to get together with your friends and try to hammer something out of that situation and forget about about good, bad, or indifferent, right? And try and go about it that way, you know? So that like that kind of opened the door for me as far as acceptance goes, you know, to let myself be in this situation, you know, the jug band turned kind of turned into the Warlocks which kind of turned into the Grateful Dead, which that was my next question. So moving up a little the early 60s, trudging through time, trudging through time, right? But how did you meet the members of uh Grateful Dead, the original members, for instance, uh Phil Lesh? Uh well, when I met Phil, he was uh um a lunatic uh um classical composer. Uh and he was he had a little place in Berkeley, a little apartment in Berkeley, and he had like a card table that had orchestra charts, uh scoring orchestra scoring paper, the thing with a million staves on him. He was writing this uh thing for four orchestras, you know, and he no piano or anything, you know, he had perfect pitch. He just pulled the notes out of his head. He had an incredible musical education. The most the most uh knowledgeable guy I've ever known. So the opposite. Oh yeah. Yeah. A totally different but incredible super live wire. Phil was when I first met him. He was a live real live wire and we hit it off like sparks, you know. A bam. And at the time he was working at a a radio station over there that was uh um one of the Pacific uh you know like educational TV on the radio is what it boils down to. Um and he he was the engineer for a funk music show and at the time I was I that was during my folky period you know so he liked the music that I was playing uh my little blues tunes and folk songs and stuff. So he engineered this tune this hourong program I did for that radio show and you know that was kind of our our musical first musical connection cuz we were worlds apart musically. Um that's when I first met him that was like like 3 or 4 years before the great led forward but and then uh Phil and I knew each other socially. We were friends we weren't musically involved with each other but then uh I ran into him again when the warlocks had started and and there was my old pal Phil. See? And now he now he was driving a truck for the post office, you know, and uh and and a hippie, you know, and uh and he came down to see the band of Warlocks as they were at that time. He came down from San Francisco down to the peninsula and and say, ""Oh man, this is amazing."" I said, ""Hey, man. How would you like to play bass in the band?"" You know, cuz I knew that with Phil, he had so much talent and uh he knew everything there was to know about music, you know, so the structure of rock and roll was certainly no problem for him. And all I had to do was tell him how the bass was tuned, you know, and two weeks later he played his first gig, you know, and uh basically he invented he's invented the instrument, you know, as he's gone along. I mean, he's a guy who's invented a way to play and uh and in fact he's got now he's got a six string instrument which is his own invention. It's completely unique and his whole approach to it and everything is completely he's an amazing guy. Where did Pig Pen? A big man was another guy I knew, son. And he was uh he was this 15year-old kid who was uh you know hung out in PaloAlto cutting school all the time and drinking wine going over to East PaloAlto um where all the black people lived in uh the that was the ghetto that we all lived over there at various various periods of time and and he hung out uh you know and and played harmonica and his father was the first uh rhythm and blues disc jockey in the Bay Area. which is the interesting thing about pig. So he grew up with the blues and R&B, you know, was just as natural to him as I mean that was the music that came out of it. If you asked him was music, what he came out with was the blues, you know. So he and he never really thought of himself as a performer. I don't think it was just something he could do, you know. And I uh we we would really coach him into it. We would we sort of forced him into performing, you know, so and I also knew that he played a little piano, so it was just natural as can be. you know they pig pen a yeah you know he's great singer you know sang the blues real well so from the jug band to a sort of electric blues band that was the transition that's what the warlocks was originally kind of do you think that uh sound of the grateful dead has ever been captured correctly or the right way on vinyl a studio album I should say I know no not at all not at all cuz when we go into the studio we turn into this these scientists you know we turn into another kind of we we become another sort of person And it's uh it's no we don't I mean it's like the difference between building a ship in a bottle and being in a rowboat on the ocean, you know? It's the it's a world of difference, you know. How would you compare like a dead album with the recent ones to the older albums? Um well, I it's hard for me to make comparisons. I I see all of the Grateful Dead albums as uh uh near misses, you know, and and uh like that, you know, cuz cuz I uh I can only see them in terms of the difference, the discrepancy between my own mental conception of uh of what a tune should be like and the realization which I always feel is slightly flawed, you know, uh just because it just it always is. But that's the thing about the grateful dead is that it's not my point of view. You know what I mean? So that's the thing I'm constantly coming to grips with. We all are in our way is there's the difference between what we think it ought to be individually and what it is. And what it is always turns out to be more interesting and more more itself than any of our individual viewpoints contains. You know what I mean? It's the the thing is larger than the sum of the parts of the whatever you when you're when you're playing live. Uh what specific songs do you play that uh take you off into the solos or the group or what you're talking about the group interaction? Do you have any specific? Oh yeah, there are ones that work that way. All of them potentially could you know and every all even our even our simplest songs are mostly um uh choices being made in the present time. And that is to say that even if the song is a just a short little uh you know four verse job you know it's the simplest kind of like rock and roll song very berry song anything the simplest kind of song still is everybody is playing what they're inventing at the moment you know what I mean even our simplest stuff is relatively free of specific hard arrangement ideas there are a few things that we have that have specific things but mostly the nature of our music is such that it it it all has a a lot of improvisation, you know, it's that we deal with different forms. We have forms that are very very tight and very structured and others that are very open. Why why do you play you play like four and a half 5 hour uh sets? Yeah. Why do you play that long? Takes us that long to get it together. I mean, and also it's that our uh uh we don't really plan it really. It it's just that uh that um our ideas tend even our shorter ideas tend to be kind of long. Like for us a short song is 7 minutes, you know. I mean um that's also one of the troubles we've had with records too is that our ideas tend to be bigger. You know, they the record is really not quite the right medium for us. Um I also want to ask you uh about the films. You were involved in a couple films. a documentary I believe on uh the Grateful Dead like 7475 or something. It's not really a documentary. It's it's a it's a it's a film and it's uh it has documentary bits in it, true enough, but it's not a documentary. It's it has it's there's a little more art to it than that. As much as I hate to use that word, it's uh really it's structured really using the form of the Grateful Dead concert as a model. Uh kind of the same way that Deadhead Heads book is. The Dead Heads book is also structured the way the show is structured. So I use the the Grateful Dead concert as a um energy model. Like when you're making a movie, you want a movie to have certain things to satisfy that requirement of sitting in a theater watching a screen. You know, it's not the same as being in a concert. You know, it's wants to be a movie. So that was what I wanted to have happen and I didn't want it to be a documentary in the cinema verite sense you know and I wanted it to be something more than that. So for me all of the bits of film including the documentary things they all have energy you know levels of energy and certain things. So for me it was a matter of taking uh stuff like a documentary piece that was very that had you know tremendous that was up I would I could use it in uh either as counterpoint you know in material that was down or or to move something along that was up you know so it was really using making those things come together as another version of the grateful net experience so to speak that was what the idea that's going to be on video disc right yeah that particular one um also too um you're going do a new dead album when I understand when you want to start on that. When we get a chance, what can we expect from that? Oh, yeah. New stuff. Uh we were already performing the new stuff and this is a great luxury for us, you know. It's like usually we have to squeeze the new none of us are are cracker jack composers, you know. I mean, uh we've we've whipped ourselves into becoming uh composers, you know. You had have original material, you know. That was always the rap, right? So, you know, we we flogged ourselves into becoming compo composers and and uh so our output is like not prolific. It's so extremely erratic, you know. And usually what happens is for us making a record is like doing a term paper, you know. We do all it all gets done that Friday before the test, you know. Speaking of term papers, I know a lot of the our fans and stuff that are watching while they're doing their term papers are also writing us letters asking for some Grateful Dead video. Can we expect to get any album? Yeah, I think so. Yeah. Oh, yeah. We definitely have tunes that are like tailor made. I mean, there and I had there are some ideas that I would like to follow myself. Amazing that question. Could I mean to ask you? Oh, I'm sorry. It's all right. Okay. Okay. Ask me that again. Um not in the same way because it uh yeah we are getting some letters a lot of letters as a matter of fact from the people that are watching MTV wanting some video from the Grateful Dead. Yeah. Are we going to expect any uh video from the new album? I think so. I hope so. Um there I talked to some of my friends that uh um who have definite ideas about uh working with us as far as production is concerned and uh I have some ideas of my own and I but I believe mostly that I think we have some tunes that might work real well. H how how do you feel the Grateful Dead fit in your music fit into the music of the 80s? What's going on now? Uh well, it's Grateful Dead music of the 80s, you know. I just because it definitely changes. I mean, we we like everybody have have ears, you know, and we we're affected by and we let ourselves be, you know, affected by whatever happens in music and as we're exposed to it, you know, freely um you know, it's the thing of being freely what um influenced we steal from everybody. Yeah. And uh so you know the '8s I mean the '8s version of us has things that I think certainly certainly sounds and textures and stuff that belong to the 80s that that uh that that make it different say if I'm grateful that the 70s and ' 60s or whatever. Do you feel that there's still a 60s counter culture now in the ' 80s? No, there's an 80s counterculture. I I don't like that countercultural idea. It's not as though there were a culture to be countered to. You know what I mean? There's a uh there within that the range of the American experience down at one of the one of the down at the shallow end or something you know there's there are these margins you know and and somewhere in the margin I think is where the grateful dead and the dead heads and whatever it is that we are part of you know u cuz I I feel yeah I feel that we're part of something but I don't feel that it's this banner, you know, that we're carrying along this banner that's this relic from the 60s. It it doesn't feel that way at all. You know, it isn't like that. And uh the grateful that just as we move through these periods of time, you know, this the 60 that period of time they call the 60s, that period of time they call the 70s or whatever that that that emptiness they call the 70s and so forth. I mean, it's it never has been um we've never felt attached to that stuff going on around us really cuz our our uh directionality and our the thrust of what we're doing has remained pretty much uh pretty similar to the way it's been uh to the way it was when we started it. And um the what happen what's what time is produced is uh maybe a little uh clearer focus you know um maybe and a little bit better a little bit closer to uh that idea that we think is out there you know it's this is like this gamble that we're taking you know it it it really it it it's based on the having it's all it's all been working you know amazingly enough you know you think you're going to be together for a go on and on. Yeah, I think so because it's it it still feels very much like uh like we're just starting to get it, you know. Oh yeah, we're we're so close, you know. It it has that feeling and uh as long as it keeps having that feeling like it makes it exciting, you know, uh as long as it has that feeling of like there's something up ahead that really, you know, that only we can get at, you know, rising. You said we're still going up. That's right. As long as it has that, we'll we'll keep doing it. Thank you very much. Thank you. Well, you still have your mic on. We might do the channel if that's okay. Why? Sure. Yeah. In fact, keep it. I've got my own somewhere. All right. They have to change tape for you to put that on. Okay. They'll be ready for you. Let me know when they've changed it. I have one question I want to ask you, but don't wait. I didn't get a chance to go. Okay. I'm glad you're that's one real big hole on your channel. I just got Yeah, we we we will we will off. Do you still have the the production company? Not really, but it can be reassembled at any moment. Wait a minute. Hello. I believe that. Hi. Hi, please. I'm Jerry Garcia. Oh, let's start one more time. Hi, please. Hi, I'm Jerry Garcia of The Grateful Dead on MTV Music Television, the channel you've been waiting for. That's great. You want to take safety? Just once more for safety. Fire, please. Hi, I'm Jerry Garcia of The Grateful Dead on MTV Music Television, the channel you've been waiting for. Terrific. Just keep talking for one more second. Yeah. Yeah. Yeah. Yeah. What I wanted to ask you about is um uh should I not talk or Okay. Um yes. How you got involved with uh the acid test? uh friends really is really what that was about because it was part of a social scene that's see the great sort of grew out of out of a social scene and one corner of that social scene was Keezy and his scene is all around Pow Stanford you know see so uh Keezy who's the famous writer you know the local famous writer and of course his famous bus and everything and we had friends like Phil had this friend a guy named Paige yeah right so he came
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Jerry Garcia talks about allowing Deadheads to record Grateful Dead concerts
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Jam Band News
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https://youtube.com/watch?v=0ngIgQiPDis
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2023-06-01
|
PT55S
| 403,561
| 21,933
| 955
|
en
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auto-generated
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Yes
| null | 937
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many bands they hear the words bootleg tapes they go crazy but the dead sort of promote the trading and the hoarding and the passing around of bootleg performances well I don't know about the Harding trading impact the thing is that we don't discourage the tapers but it's just because it's a reality you know even if you even if you try to prevent people from taping they're going to tape anyway it's just there's just no way to stop it really so for us it's one of those things of uh first of all they're coming they're paying to hear the music you know and well I mean after we're finished with it you know it's gone you know so why why shouldn't they take the music that they paid for home with them I mean I don't see any problem with that really and I uh I I think that probably there's a Superstition anyway in the music business that if you let people tape your music somehow they won't buy your records I don't think that's true
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TphNDRTb-pw
|
Jerry Garcia Interviews - Best Moments
|
Martin & Guitar
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https://youtube.com/watch?v=TphNDRTb-pw
|
2021-04-30
|
PT26M58S
| 58,551
| 877
| 127
|
en
|
auto-generated
|
Yes
| null | 24,111
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what it means i can't i can't put a name to it other than getting high and the people who know what i'm talking about know what i'm talking about i'm assuming anybody who doesn't know what i'm talking about either they haven't gotten high yeah oh we'll be right back okay with you all and jerry garcia and the grateful dead and we'll get high oh great accurate music maybe we're delighted to have with us jerry garcia i think you know that's that's pretty that's it fairly simply and then there's concentric circles of you know greater and lesser turn-ons i mean did you ever think that i'm involved in something that's more open-ended than that you know i'd rather not be able to see the end that clearly right it's we're we're the dawn coyotes of rock and roll you know we're we're uh you know we're doing something nobody else cares to do which is trying to figure out how to make the experience what which we value and which our audience values something that's more in line with what it what it feels like which is a positive sort of outpouring of a good energy a convenient 300 hits of mescaline here and i'll just pop it in treat everybody well yeah i said but then and through enthusiasm i think i mean the thing of feeling good about it is like really as far as i'm concerned that's the goal in the situation that's the payoff if there is one on the level of why am i involved i'm involved because i like it and because it feels good and and the enthusiasm of feeling good about something you know i think that that's that's the most important thing about about it is you know yeah on a personal level like what do i get out of it that's what i get out of it and i don't think that i could do anything for any other reason you know i couldn't nothing else would be that you know nothing else would be that kind of a payoff i don't i don't uh riches fame power that just it well it shows it shows in you you've also thought describe music as your yoga is your meditation right and and by that i just i just mean that uh i think that it's a good thing to have some one thing that you can work on on a more or less a daily basis and be able to see improvement in your own terms that is a result only of your own energy being put into the thing you know what i mean it's the kind of thing anything that you decided to do if you did it every day and it was something that you could notice yourself improving even if it was whatever it was you know cats cradles you know you know crossword puzzles prayers sure they're all forms and they're all and i think that the things that keep opening in front of you that the more you do them the better you get at them you know that idea i think is really a nice idea to have in your life it keeps you centered to something you know yeah you don't have to be worried about how you're being judged in some absolute sense but you can judge your own progress on a day-to-day basis and you and when you're doing something like that you know when you're off and you know when you're on you're on we're off thank you children for the discipline and the sharing and the growing thank you all we'll see you next week because people talk about the saint-like quality i don't mean in a in a in a negative way but there um there is an hour about you whether you're aware of it or whether people put it there and it's like the thing you were saying before i thought very meaningfully i i said to you how my churches are empty i need this crazy tube to reach young people right you don't you can go to winter land and fill the place up with tens of thousands of young people and you said yeah and i i feel responsible yeah i'm concerned about that i think it's it's that kind of a leadership not an ego mania but a a concern hey here i am because of my talent because of timing because of any number yeah right hey here i am and what you know i know that you put words down and say well words are often lies because you can never communicate the whole feeling the whole meaning and uh music does it better you you've said that many times because it's more it's freer it's more open and it allows for people to come in at different levels right different backgrounds right so what but you are communicating something you're well i try to make an effort to certainly you know what is can you describe that or talk about oh well it's difficult since the things that concern me tend to be not verbal in nature you know they they tend to be experiential the the the fact is that most of my life is uh has to do with certain kinds of experience that have been repeated you know like many times the the high energy experience of playing uh for a large body of people and for the purpose of reaching some some level you know and so that that energy and that uh that thing is something that i know about but can't really i can't say what it is so what i talk about if i can talk about things i try to i try to make it so that what the content of what i'm saying is you know reflects something that i know on that level i can't say it so i have to not say it you know i have to talk around it or something you know on some levels the media relation to the reality is it's always wrong i think i believe you know i believe it never is very accurate because of just everything you know language itself is one heavy bias you know so it's but uh you i've i've been uh what uh described both ways you know more radically than i am more conservatively than i am so there's a discrepancy on either level you know what i mean i don't really feel that i don't i don't relate to that for one thing i sort of taught myself that early not to not to believe that that's who i am you know that's not me yeah and so i don't relate to it and luckily uh my my the kind of fame that i'm involved in whatever such as it is is low enough of a profile so that i'm not constantly being reminded of it you know i know people don't run up erotic rights no it's much cooler than that to blow it you know i don't want to be guilty you know do you still feel that oh a certain amount but no not really so i was sort of a laissez faire uh catholic you know my my parents were loose catholics rather than devout catholics and so it was the kind of thing where they would send me to church you know that doesn't last now it didn't it didn't it didn't you know it didn't take really and i did i wasn't exposed to to the real heavy stuff uh catholic uh catholic school and so forth my brother got that but i missed it um i think the thing of getting high is really what we were all sort of into at the time the the the what that means is something that i can't really i can't really say what it means i can't i can't put a name to it other than getting high and the people who know what i'm talking about know what i'm talking about i'm assuming anybody who doesn't know what i'm talking about either they haven't gotten a hug yeah we'll be right back okay with you all and jerry garcia and the grateful dead and we'll get high oh or chase each other around it's kind of it's like it's like the serpent that eats its own tail you know and it goes around around like that and if you if you can stand in between them uh they they make big figure eights on their sides in your head i don't think i'm going to stand between them i think i'll take your stay back a little bit it weighs 400 pounds you know and big sharp metal things man and swastikas and all that stuff i know for sure that i don't want to [ __ ] with that guy man you know what i mean and that's cool because that's telling me that's telling me who he is you know what i mean and i have the choice of i'm either going to go in there and make a fool of myself or else i'm going to be very cool and if if that's what's happened i'll be cool you know but is that out front or what yeah are you afraid of them sure sure why because they're scary man you know they're all big you know and strong and and good and in in all the violence why do you think you've stayed together that long it's hard after 15 years you know you can't make rules for for people to know you 15 years worth of knowing you i mean you know any rule has a loophole in it yeah right good reasoning people who like you yeah here are these young people that i mean he says i spend all my money on going to uh these concerts you know i mean it costs us as much to work almost as we make working and it's the same you know i mean our our commitment is like theirs it's the same say we're the same we're the same sort of people as them really it keeps us going keeps us off the streets he's out of trouble our livelihood i mean what we do is play for people for warm human bodies you know and we we don't play so good for machines maybe if you sit back and you kick up your feet at home and you put a record on what kind of music do you guys like i like to listen to animal sounds animals anything i mean there's all kinds of music there's a world full of music himself jerry garcia good morning howdy go to sleep last night no when's the last time you're sleeping what year is this they're pretty well um they're they're similar i i think my audience might be just a little bit more laid back i guess you know if that's the right word to use maybe that's not the right word to use maybe they're more they're just they're a little less demonstrative maybe a little quieter are you having fun oh yeah yeah oh that's that's the main reason i do it might be coming untaped yeah is that mike coming in hello hello it was checked and i did want to tell you if you see me looking away i'm not not paying attention to you i'm sure just trying to keep my place okay welcome to mtv here in the studio we're talking to jerry garcia his hi i'm jerry garcia oh let's start one more time hi i'm jerry garcia of the grateful dead on mtv music television the channel you've been waiting for yeah and to me that's very loose too that has a very light niceness to it that i like um but that but still my all-time favorite is that talking dance with it uh i like to be to be to feel very good at one thing you know and so it's for me it's a matter of doing something full tilt and not splitting my attention i tried it various times and you know during my my so-called career and it doesn't work you know why why do you play you play like four and a half five hour uh sets yeah why do you play that one it takes that long to get it together and that's another thing i can't do i can only play one guitar and i have it set up very carefully and and it's me and that instrument you know has it been living a long time yeah like your baby i do it one at a time you know i mean yeah that's that's the way it is i have that one guitar and that's the one i play and and any change in that is a major trauma yeah it's uh so it's like my solo career is kind of this accident really you know i never really planned on it what happened was that it used to be that when we were at home and the grateful dead wasn't working i would get horny to play you know i would want to play so i started going to these monday night jam sessions that they used to have this club in san francisco called matrix thank you very much thank you [Music] why sure yeah in fact keep it i've got my own somewhere right they have to change tape for you to put that on oh okay they'll be ready for you let me know when they've changed it do you still have the production company yeah not really but it can be reassembled at any moment wait a minute hi i'm jerry garcia oh let's start one more time hi please hi i'm jerry garcia of the grateful dead on mtv music television the channel you've been waiting for that's great do you want to take your safety that was perfect just once more for safety please hi i'm jerry garcia of the grateful dead on mtv music television the channel you've been waiting for um [Applause] okay ask me that again um not in the same way because it looks like all right there's a certain kind of person you know maybe in every generation or whatever i mean i don't i really don't quite know how to split it up but a certain kind of person that likes what we do you know it's like like there are certain kind of people who like licorice you know or some kind of people like buttermilk or something you know and it might not be something everybody likes but there are certain kind of people that really do like it and and and empathize you know or it's like what they would do you know or something like that you know that's as close as i can come to figuring out why it is that we have this kind of our audience has been back actually gradually increasing over we're the slowest rising rock and roll band in the world that's really what it's about you know that's what's happening with us and it's it's just you know uh i i can't really i really don't know why but that's as close as i can come is there there's something there's a certain kind of person that we're we're for them you know and uh it's like discovering us is like oh yeah right you know this is this is for me that's as close as i can come i mean we have great range you know from kind of street like there's there's a guy that's got a tattoo that's got a tattoo of me on his own i mean you know and it's a nice tattoo you know and he's like a street guy and he's got a thing a style and a thing all his own which is very specific and very individual and it's him you know it's not me and it's not really the grateful dead but he's used us as a kind of a way to to focus himself somehow and then i get letters from phds and uh from uh uh astrophysicists and uh you know i mean the range is incredible yeah that's what's wonderful about it yeah and oh yeah a lot of the news is in you know certain things are definitely going to burn your brain out pcp is not good crack is not good a lot of drugs will definitely kill you there's a lot of bodies back there you know if you want to go back and check check and see what happened it's there for anybody who has eyes to see he's really much of a personality except except the advanced social disease so good we'll do it until they drag us away it really doesn't uh it it hasn't uh i don't have my gold plated rolls right oh god when he first started i i wouldn't exactly call the grateful dead mainstream no but now here it is uh i i'm the wrong person i asked that question really you know we'll see if this next record does really well then it's uh it's yeah then then we're some somewhere if we're not in the mainstream we're pretty close to it you know it's uh yeah i'm real happy terry thank you you're welcome thank you very much most of the time they don't like to have to cut to smoke ready okay just restrictions you know it's like okay gary you can make we want you to do the video but you can only have the band for 20 minutes experience you know that's the greatest the best teacher of all in these things and after you know you make the same mistake 10 years in a row you know it's pretty soon oh i get it you know it's been kind of like that for us really you know this stuff is mostly stuff errors it's a comedy of errors really and eventually you'll learn do things the right be more thorough and so forth all stuff that we don't want to do but you know you're jerry garcia what's your definition of a deadhead well there are little tiny people about this big bulbous heads and long feet i'm doing this as a two shot is that a problem what do you mean a two shot it should should be just the back of his head and basically me yeah yeah sure okay okay you ready that's okay here we go um there they go yeah i have a door i have two things and then we're out of here okay okay two questions and we'll get you out of here um it's just the fbi yeah that's okay as long as it's not the irs i'll see if you can imagine like going down uh franklin you know like top speed you know what i mean you know disregarding anything stop signs signals all the time talking to you and maybe fumbling around with a little teeny roach you know trying to put it in a matchbook you know and also tuning the radio maybe and also talking to whoever else is in the car and it never seemed to ever put his eyes on the road ever you know and this is like it would be you'd be just dying you know you'd be you'd be dying and he would you just you would he it would effectively take you past that whole fear of death thing you know it's like a difficult experience because there's nothing else like it apart from like almost like surviving the airplane crash possibly or something i don't know what but and i mean it was just so incredible now i know there's no shirt no shoes and these these funky old china just you always have they're always like just about to fall off you know and he's first of all he he george walker is driving the bus so george george is driving the bus joy and neil is like the guy directing him into the parking place you know you know a little to the left a little to the right he's doing it all with signals and he he directs him right into a a stop sign an arterial stop sign it knocks it it shears it off boom and the stop sign falls down so that deal gets up then the bus is parked and he'll get something he's got the stop sign you know and he's like kind of trying to put it make it stand up you know and so he's there with this stop sign and down the street come like two really straight little old ladies you know they're on their way to church sunday morning you know and here's neil he's like the cosmic village drunk you know what i mean he's like and he's got the stop sign yeah they're trying not to see him you know and he's doing this whole whole series of uh kind of like good morning ma'am you know kind of pandomime you know this extravagant thing all the time with he would kind of like stand up the stop sign and walk away from it and start to fall and he'd grab it just as i'm about to hit you know all this stuff happening it was like amazingly great it was just beautiful perfect timing you know and it's just extraordinarily beautiful you know and he his the way his body moved the way he looked and everything like that which is absolutely his face was so expressive he would go through millions of expressions just millions of them and just his whole body language and everything was so communicative it was just amazing it was i i was dying i thought i was going to die it was so hilarious and it was absolutely perfect you know it was like a little silent movie a silent ballet you know in the morning lasted about maybe a minute and a half you know two minutes but it was perfect you know it was like a perfect moment it was just great and i mean neil neil was that guy i mean he he just could do that you know that's that's who he was you know he was that guy in the real world you know he was this something he was he scared a lot of people a lot of people thought he was crazy you know a lot of people were afraid of him and most people i know didn't understand him uh at all you know who you are who i am and what i really do let's see uh in the sort of early stages or perhaps somehow i mean you you really want to hear all this stuff it's just it's so okay uh well power i mean really you know it did for the first couple of minutes and then it went whoosh you know it was gone and you know it was it wasn't relevant anymore and that was still a big novelty you know so that was fun for us because it was the last of the the last chance he had to shock people just by the way you looked just by the way you were you know you didn't even have to think about it or work at it at all you could just walk down the street and people go oh my god you know that was fun that was we got in on the last of that probably after having spent the day stoned on acid up in the woods somewhere and we come down to the bars and play you know sunday night it was like you know we were playing like sort of maliciously you know because it was so lame you know at that time we were pretty burned out on it and so we were ready for something completely free for him it kind of went along with where we were going which was we were experimenting with psychedelics as much as we were playing music that those things got were had a happy new home in the acid test which was exactly free form enough and where we we were we had no significance we weren't famous nobody came to the acid test to see us particularly we got to play or not play depending on how we felt we could play anything we could think of which meant that we didn't have any constraints on our performance that we didn't have to be good or even or are recognizable even we would just start something and uh the way we've handled it since then is that we we still can't decide what to play but uh but now at least we have a lot of stuff to choose from um your songwriting um with with hunter i mean that is that about i mean it's one of those things it's a default situation you know what i mean it's like somebody in the band's gonna you know it's like one of those things or well who's gonna play who's gonna play bass the guy that plays guitar worst that's the way it is in most bands you know there's like certain things so this the writing of songs got it was a default thing you know but all of us do some writing so so that that i never felt that bad about it but for me it's one of those things like a craft you know it's like throwing a pot you know it it's a craft you you there's a certain craft to it it's not uh for me i don't know whether my songwriting arises to the level of art there's one or two songs i think i've written a hundred and i've written that i think are truly wonderful and uh but you know whether anybody else needs that i don't know and and i don't certainly don't feel like i'm a wonderful songwriter my outfit is very small you know i mean i i'm not prolific by any means hunter's output compared to mine is like it's by i'd say about 50 to 1. he's like so prolific you know well rap is not music for one thing i mean it isn't music you know it's it's talking that's what it says rap rap means talking it's not music it's talking in meter it's got rhyme and it's got it has meter it has rhythm it's not music you know it's okay i mean there's nothing wrong with it i have no no problem with it it just isn't music you know and people who get to be great at rap are not great musicians they're just great at rap you know it's not if there's no no road from rapping into music you know what i mean you know and and music is something you can get better and better and better at i don't know if you can do that with rap you know i i don't know of whether it has that kind of space in it or that kind of leads off into infinite numbers of possibilities music does rap i don't know whether it does rap also has the problem this language specific so uh you know if you don't uh understand english you know rap is you know i mean you know it doesn't communicate except it sounds neat getting across well i'm hoping to not have to go berserk at all i mean i will if the situation really calls for it but really i my model for playing is is based on a psychedelic experience also my my model for like when i go on stage what am i trying to accomplish okay here's the story made a video yes we mean yes we made a video right it's shocking in a way well i yeah but the video now is has gotten to be a regular accompaniment to you know it's it's industry stuff but we've been kind of oh you know about 20 or 30 miles to the left of the industry for the last seven or eight or 20 years you know with both phil and bob and they both said that they expect some those lying sons of [ __ ] wait a minute i won't invite them to a dog show right he's obviously a audio-visual person yes but anyway we're rolling so go ahead okay um well first it was music now it seems like you've got almost a second career going into the art huh well uh yeah i guess it must seem that way yeah we're having a great time great yeah it's perfect for us anything else yeah everybody try to be nice to everybody else okay
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9CRohnpQC_8
|
Grateful Dead - 1981 5-7 NBC Tom Snyder (Kesey, Garcia, Weir & Co) - LoloYodel Mix
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LoloYodel
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https://youtube.com/watch?v=9CRohnpQC_8
|
2015-08-02
|
PT18M39S
| 230,000
| 2,391
| 297
| null | null |
No
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Could not retrieve a transcript for the video https://www.youtube.com/watch?v=9CRohnpQC_8! This is most likely caused by:
Subtitles are disabled for this video
If you are sure that the described cause is not responsible for this error and that a transcript should be retrievable, please create an issue at https://github.com/jdepoix/youtube-transcript-api/issues. Please add which version of youtube_transcript_api you are using and provide the information needed to replicate the error. Also make sure that there are no open issues which already describe your problem!
| 0
| null |
BU30HpQlV94
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Jerry Garcia Interview, 1972
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gratefulvideo
|
https://youtube.com/watch?v=BU30HpQlV94
|
2008-10-20
|
PT58S
| 44,217
| 300
| 27
| null | null |
No
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Could not retrieve a transcript for the video https://www.youtube.com/watch?v=BU30HpQlV94! This is most likely caused by:
Subtitles are disabled for this video
If you are sure that the described cause is not responsible for this error and that a transcript should be retrievable, please create an issue at https://github.com/jdepoix/youtube-transcript-api/issues. Please add which version of youtube_transcript_api you are using and provide the information needed to replicate the error. Also make sure that there are no open issues which already describe your problem!
| 0
| null |
mcT3Az70oqs
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Jerry Garcia Opens Up About Life In Long Lost 1988 Interview Tapes CBS San Francisco
|
giantlaserbeams
|
https://youtube.com/watch?v=mcT3Az70oqs
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2015-05-21
|
PT3M24S
| 245,976
| 2,399
| 311
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en
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auto-generated
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Yes
| null | 2,983
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inside the crumple bag two old tapes that should have been tossed out years ago what's on them the clue is in the name Garcia now you kids yep that Garcia in 1988 I sat down with Jerry Garcia for a rare interview the entire conversation was captured on these two video cassettes most of it never broadcast until now course we met at the dead Studio on Front Street in San fell Jerry was relaxed and in Good Humor you've been doing this on the road your your shows on the road a long time for as long as I can remember no kidding and you like it and even longer oh yeah he told me about their first music video for the hit single Touch of Gray a a modest success in the uh the big world of grownup records you know it was made after a dead concert at Laguna sea in Monterey County with real dead heads as the extras and everybody was excited about it everybody enjoyed the idea except for the cold the cold was extremely cold part of Jerry's virtuosity his ability to improvise and jam for hours some people can play the same music every night over and over again and maybe not even get bored by it but for me I hate to play anything the same twice ever you know I mean in fact I'm almost constitutionally unable to do it the dead had a history of drug bus dating back to when they were living on ashberry in the hate there a peaceful Planet the more people turn on the better world it's going to be in 1967 several band members were arrested on marijuana charges the real danger to society comes from a law that is so seriously out of touch with reality in the 70s Jerry began using cocaine and heroin in the 80s the drug use escalated he made several attempts at rehab during our interview Jerry had been clean for two years and had this advice the experimentation has already been done kids you know I mean I think that I think a lot of the news is in you know certain things are definitely going to burn your brain out PCP is not good crack is not good a lot of drugs will definitely kill you there's a lot of bodies back there you know if you want to go back and check check and see what happened it's there for anybody who has eyes to see Jerry already had a near-death experience I just laid down one day and didn't get up in 1986 he fell into a diabetic coma and ended up at Marin General I I lost about four or 5 days there they're just they're gone the musician had to relearn how to play the guitar you know I mean I I really had to do start everything over again Garcia struggled with addiction for the rest of his life in 1995 while at a treatment center in Marin County he died a heart attack at age 53 during our interview I asked him how he wanted to be remembered jeez I don't know I I've never thought about it I think I would like to be known as a guy who had a pretty good time while I was here you never know you could go at any moment you know so you might as well just try to crowd as much as he can possibly get into your life in San Francisco Kate Kelly kpix5
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BcpsaGTF2ZY
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Jerry Garcia Interview 1990
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Garloo
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https://youtube.com/watch?v=BcpsaGTF2ZY
|
2023-03-24
|
PT8M42S
| 8,399
| 206
| 42
|
en
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auto-generated
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Yes
| null | 5,307
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foreign [Music] having played a favorite folk tune Jerry Garcia improvises on it [Music] that's real simple when I started playing the guitar the person I played with was a cousin of mine who who had actually had banned experience and stuff in school and we both got guitars little electric guitars from pawn shops we were both I was 15 I think he was 17. we started banging around together playing around and learning stuff and he he's the first person who I ever heard use the word improvisation improvise you know what does that mean he's just make it up as you go along oh what a great idea you know so that was my first exposure to it which also corresponds with my beginning to actually play the guitar so for me they're you know I don't know I don't believe that I could play without improvising on some level that is to say I that I don't plan ahead I can never bring myself to actually learn something note for note and play it that way more than once it's maybe deeply rooted anti-authoritarianism you know I don't know what it is but it's some something in my personality just won't allow me to do it [Music] Grateful Dead came together as a rock band in the 60s from the bay area of California they play a synthesis of American music including Jazz folk and Blues basically a touring band They See Their audience of deadheads more as extended family than rock music consumers almost part of the band itself one reason the dead commands such loyalty is that they perform a different program each night and within that program each number is altered through instrumental invention every time it is performed if you say what we're doing here is we're inventing this as we go along and you are involved in this experience and it's never going to be this way again this is it for this particular version of it there's value to that and I think our audience is a proof of that these are people who come back to every performance if we do 10 days somewhere and a lot of them will be back every night they know that it's going to be different every night [Music] the band that I'm in remember I mean everybody has the same disease that I have which is the inability to do something exactly the same way twice sometimes he drives you nuts you know I mean if you were if you're trying to if you're composing something and you feel that there's a delicate little interaction that you want to hear and you always want to hear it forget it you know it doesn't happen in the Grateful Dead but other stuff does that which is much much more wonderful but you have to be you have to be prepared to uh relinquish a certain amount of your ego involvement with it you can't you know it doesn't help to think of that you're doing real great you know it's not necessarily and it also doesn't doesn't help a lot of times too this is another interesting thing my my perception of what's a good night for us may be totally different from everybody else's perception the audience sometimes has a great night listening to us struggle feeling that we never quite get together sometimes we struggle the whole night without ever feeling like we really agreed on anything and sometimes the audience loves that for them sometimes that's the best stuff so reporting is difficult it's this this starts to bleed over into Aesthetics like what's good music and what isn't and it starts to get into the the world of totally random observations [Music] foreign [Music] [Applause] [Music] [Applause] [Music] foreign [Music] [Music] [Music] foreign [Music] publicly we don't do our best playing privately which is backwards from a lot of musicians [Music] there aren't very many bands certainly that play rock and roll where improvisation is a large part of what they do what you have now masquerading is rock and rolls in reality safe popular music that's largely the work of producers and less the work of musicians the music business uh is basically economics it's basically the thing of when you make a record you want players that don't make mistakes you don't necessarily want players to take chances you want players that don't make mistakes so because economically that means less time in the studio you get what you want on the record and it's you know it's safe and it's perfect and that's kind of been the thrust of music production and popular music which is sort of co-opted rock and roll our own audience I think illustrates that there's a lot of people who really want a musical experience rather than to be performed at my mind most of the performance stuff is really show business it's entertainment in the sense that there's the passive audience that lives the active performer and the performer has a show and they do the show in the same sense that a play is a show and it's while it may change it may vary slightly from performance to Performance it's pretty much the same thing and that's what most performers gear up to do that's what their management encourages them to do and that's what the music business as a whole encourages them to do so there's really no opening in there you know the music business the music business which has almost nothing to do with music doesn't encourage improvisation doesn't encourage Taking Chances and it doesn't encourage music which is experimental in nature it just doesn't
|
W9AmKD-LyX0
|
Jerry Garcia Lost Interview - on Addiction
|
D777
|
https://youtube.com/watch?v=W9AmKD-LyX0
|
2015-05-19
|
PT1M27S
| 125,918
| 1,129
| 276
|
en
|
manual
|
Yes
| null | 1,425
|
he began using cocaine and heroin in the 80s a drug use escalated it made several attempts that rehab during our interview Jerry had been clean for two years and had this advice the experimentations aren't even done kids you know I mean I think that I think a lot of the news is in you know certain things are definitely going to bring your brain out PCP is not good crack is not good Ronna drugs will definitely kill you there's a lot of bodies back there if you want to go back and check check and see what happened it's definitely buddy who has eyes to see Jerry already had a near-death experience I just laid down one day and didn't get up in 1986 he fell into a diabetic coma and ended up at Marin General I lost about four or five days there there just a god the musician had to relearn how to play the guitar the ibri really have to start everything over again Garcia struggled with addiction for the rest of his life in 1995 while at a treatment center in Marin County he died a heart attack at age 53 during our interview I asked him how he wanted to be remembered she's I don't know I've never thought about it those turn I think I would like to be known as a guy who had a pretty good time while I was here you never know you can go any moment you know so you might as well just trying to crowd as much as he could possibly get into your life in San Francisco Kate Kelly
|
VnIbSeIDSUM
|
"Rap is Not Music" - Jerry Garcia Interview
|
Deadikace
|
https://youtube.com/watch?v=VnIbSeIDSUM
|
2022-11-13
|
PT50S
| 1,129,461
| 34,908
| 12,620
|
en
|
auto-generated
|
Yes
| null | 797
|
well rap is not music for one thing I mean it isn't music you know it's it's talking that's what it says rap rap means talking it's not music it's talking in meter it's got rhyme and it's got it has meter it has Rhythm it's not music um it's uh you know it's okay I mean there's nothing wrong with it I have no no problem with it it just isn't music you know and people who get to be great at rap are not great musicians they're just created rap you know it's not if there's no no Road from rapping into music you know what I mean you know and and music is something you can get better and better and better at I don't know if you can do that with rap you know I I don't know if whether it has that kind of space in it or that kind of go leads off into Infinite numbers of possibilities music does
|
4skH27r5dLc
|
Jerry Garcia and Bob Weir on Letterman, April 13, 1982
|
Don Giller
|
https://youtube.com/watch?v=4skH27r5dLc
|
2016-11-29
|
PT20M53S
| 126,379
| 1,466
| 196
|
en
|
auto-generated
|
Yes
| null | 9,977
|
goes up there uhhuh and then right down there and then that's it yeah it hurts yeah well after a while see these you build up calluses like on my fingers I get okay now go ahead if you SC that let's see yeah like this yeah on the [Applause] show from New York City where they r theou five times a day it's late [Music] night [Music] [Applause] thank you very much welcome to the show my name is B today is Tuesday what do you think Paul Tuesday the 13th of much you folks [Applause] having uh before I tell you who's on this we have a fine show prepared for you all across North America I was just listening to the discussion now on the news about Alexander heg who's trying to negotiate some settlement between Argentina and the fauland islands and Great Britain apparently now and from the beginning I was having difficulty taking this seriously apparently now the motives for the argentines taking over the islands according to the president Brazil dared him to do it welcome to the show we got a good one here uh let me get right to this Jerry Garcia and Bob we from the and a fascinating personality Jersey Kosinski and if that weren't enough and by gosh it ought to be enough a new feature on this program Dave's Video funun hang on gentl over there of course iser right yes yes David yes this is a hot one well uh everyone who's on this show U usually knows you and has worked with you before you know Mr Garcia and Mr wear I actually I don't know them personally uh but I'm real excited that they're here all day and I don't want to say anything more but let's just say I'm peeking right now this is for me this Paul Paul is peing right now that's in Peabo just in case my mom is tuning in thank you very much you very welcome back to the show Jersey kazinski will be joining us later and my first guest for more than 17 years The Grateful Dead have been making rock and roll history with very few Personnel changes and uh ecstatic fans known as dead heads they are truly a cultural phenomenon but the Grateful Dead are more than just a band they are a community of about 100 people whose energies go into into their albums concerts and films would you please welcome two members Grateful Dead Jer gar and [Music] [Applause] Bob welcome welcome to the program gentlemen let me uh ask you just a question you're probably tired of hearing of um hearing um you probably anybody represent uh uh San Francisco and uh all of the BN and that sort of thing in those days and what year would this what year would this have been 60 uh um somewhere between 64 and 67 now that seems 69 yeah that's about right close enough was was that seemed like a very romantic exotic was that oh yeah yeah uh can you describe your favorite memories from that well a FR in a glass of milk you were about to say wait I was going to apologize having any memory I'm pretty sure it was fun though uh did you have any any sense things were forever going to be changed after that well I guess your memory a thing it seemed as though that that uh at the time it seemed as though things were going to change real fast you know because because there was this amazing momentum I mean it start like were happening they started with uh you know 50 60 people or something like that in a matter weeks it was it escalated to 3,000 or something like that it had this amazing effect of uh of you know this J quality of picking up lots of people as it went along so it seemed like things happening tremendous uh there was sense of of History going on there you know at the time everybody was conscious of it now I mentioned in the introduction here that you uh you have your own self-sustaining community of about a hundred folks that go into the production of the films and records and so forth do you still have that same feeling in in your little Community yeah sort of pretty much yeah uh do you find yourselves isolated to a certain extent yeah yeah is is that good uh probably well it depends you know good for it's good probably good for us yeah we we would probably need more different interesting people if we weren't to isolated but we are yeah that's true uh this the phenomenon of the uh the phenomenon of your fans of people who enjy um they got an ash an ash yeah I think we can get one yeah um uh what what does that name typify as no no no I'm kind of new here so am I um he all doing our there yeah uh what does that mean exactly the Grateful Dead yeah no no no no the dead heads is it just a catchy phrase or um yeah I it just sort of turned up really I mean uh well there were acid heads you know and there were you know speed heads and grass heads and it turned into dead that that generally thought of as a flattering term though you think so yeah uh a headit where yeah you Gentleman Just finished uh two nights in uh over in and oh I'm sorry NASA and uh uh you continue to do a lot of big concerts but you don't sell as as many records as other uh concert yeah yeah and and as a matter of fact you don't mind people taping your music in concerts not particularly why that seems to be defeating the the idea of selling records well if we ever make a real good record then then then uh then probably they'll rush out and buy that anyway yeah I mean they and besides the the tapes bring back memories to them and all that kind of stuff and the shows are never the same ever uh I mean not not even ever you know I mean they and uh so sometimes they remotely the same yeah sort of uh and and when we're done with it they can have it you [Laughter] know yeah sure we we're going to interrupt here for a commercial now you two gentlemen are going to do something is this correct that has never been done before musically in in this country when we come back GE I don't know well we're going to find out uh we'll be right back with Bob we and Jerry Garcia [Music] [Applause] thank you very much welcome back to the show are you ready gentlemen everything set did you get an ash gray terrific at this time Bob wear Jerry Garcia of the Grateful Dead [Music] go down to De have a little fun have your $10 ready when the police come oh sweet Mama dad has got them deep BL oh sweet mama your dad got them BL and you go to deep your money in your pains the women in deep they don't give a man chance M dadd got de oh sweet M got them for okay knew a pre DD [Music] deep mama dadd got them what's up I had a girlfriend the world to me went down too deep fell now she ain't what she dadd deep BL oh sweet Mama dad [Music] got [Music] [Music] [Music] [Music] when you slow down to Dev have a little fun have your $10 ready when that old police come sweet Mama Daddy's got them deep better oh sweet mama your dad got them deep [Music] BL w oh sweet mama your dad has got them deep [Applause] [Music] BL [Music] hi there Jerry Garcia person and uh Bob we and you're going to do another song for us in a minute or two we have to station break before that and tell me about um I was reading articles about your work today and the phrase ex chemistry came up yeah and it was in context of something which occurred on stage what uh what would that be ex chemistry I've never heard this I've heard it I've heard it at least one of you has heard it yeah right there very various different versions of what it is but what it really has to do with is it just has to do with being on or uh the thing of uh it happens with anybody who works together uh in some sort of a group situation like Bill Walton used to tell us it was something that that happened when he was playing basketball gal linkage yeah just just it's Galt linkage yeah there you go right a union might say that it's the thing of having more happen than then uh then strictly cause and effect also that's you're placing yourself in a great deal of Jeopardy potentially taking a chance I mean it used to be that we failed way more than we succeeded but you sort of mastered that energy not really I couldn't say couldn't say that we mastered it's an interesting notion nonetheless and uh I guess we're going to well probably not see an example of that but you're going to sing another song for uh we're going to pause here for station identification we'll be right back B we can blow his [Applause] [Music] [Applause] [Music] [Applause] [Music] welcome back to the show Jersey kazinski will be joining us in a few minutes and thank you again Paul schaer and the gentleman in the band once again ladies and gentlemen Jerry Garcia and Bob we from the Grateful [Applause] Dead this this is a a gripping tale of tragedy narly once upon a time there was an engineer drove a locomotive both far and near accompanied by a monkey that would set on a stool watching everything the engineer would move one day the engineer wanted a buite to eat you left the monkey sitting on the driver's seat monkey pulled the the loc jumped the gun [Music] [Music] main man [Music] engineer call the dispatcher on the phone tell him all about his locomotive was gone get on the wire switch operator to the monkey got the main line S of which operator got the message there's limit on the main up monke got Lo under contr [Music] Lo the engineer with a wor the engineer with a wor the [Music] Jerry Garcia and Bob Weir than you men uh tonight it's an exciting evening for us because we're proud to introduce a new feature on this program thank you very much uh we're uh finished for the evening uh Jersey kazinski thank you very much for being here a fascinating individual and a pleasure meeting you hope you come back again uh and well hi in a disguise in a disguise anything you want uh also J Garcia yes get back is Jerry Garcia my thanks to those gentlemen Mr Garcia and Bob we from the Grateful Dead of course our thanks to Bill lindle Paul schaer and the group tomorrow now sex therapist Dr Ruth Wester from the sil tuug ra comedian Gary Muer more gift IDE uh gift items that's tomorrow have a good night folks see you [Music] [Applause] this has been a Melman production
|
MXo91vsvw-s
|
Jerry Garcia interview on LSD
|
Logs and Dogs (The Grateful Dog)
|
https://youtube.com/watch?v=MXo91vsvw-s
|
2023-06-07
|
PT10M41S
| 10,516
| 193
| 39
|
en
|
auto-generated
|
Yes
| null | 7,590
|
64 it was already around 64 when the first LSD really hit the street before that it was something you read about indoors of perception if you read about it at all or that sort of thing you were aware of or else you've been exposed to uh masculine California started on the night of the post-free speech rally Chan Laughlin AKA Travis T Hip remember when they had the whole Free Speech movement and everything was solved yeah right from Boulder right held up a sign that said the whole university fell apart right on the night of the big rally when they had 10 000 people in the square in the afternoon I was like knew the dirty speech movement right that was the night that was the night that the first quantity quality LSD from LG Stanley produced in this country arrived in court jars in Berkeley California the two English brothers were playing at the cabal and Neil Cassidy and uh and several other people were in town that evening really like the club 47 was in Cambridge and uh I forget what the one it wasn't called the tangent in Palo Alto and San Jose someplace else like Jerry Garcia and Jorma calcan your account man was the fastest fingers in the South Bay Perry Letterman was the fastest fingers in Berkeley uh who else was in that game Steve somebody or other from Los Angeles who burned down on methadone who was appearing at the cabal at that time uh you you had Sandy bull coming through and all just all the all the folk acts at that time I thought this that was it and I really I if that could if the acid test could have continued in its own natural professional adopted all that fugitive stuff look easy and without the laws coming down I think it would have been just incredible in about four or five months it would have been the biggest thing on earth because it was like increasing you know at an exponential rate each successive acid test the first one there was only maybe 50 or 60 people in there the next one there was 150 and the next one there was three 400 you know and so forth the trips Festival there were thousands a couple of thousand maybe 1500 or something it was just you know gaining an incredible momentum and each time it was tremendously funny and good you know and entertaining and just what life should be really there was there's been nothing that's that equals that for weirdness The Grateful Dead has played some incredibly weird scenes all along and and some real nice pleasant kinds of scenes one time we went to you one time we went to France for the week foreign [Applause] [Music] [Music] [Music] [Music] and so the little rooms and and the big room they were they were like microphones distributed all over the place and all of the vegetables and tape recorders and all this stuff and speakers all over the place unrelated but there would be this incredible timing thing that would be happening so that everything would happen somebody would find a microphone on the phone and say hey is anybody there and they all of a sudden they'd hear their voice [Music] continuous weirdness you know it's just so funny so funny and everybody's reactions to it were so funny and great and then the cops came and busted down that acid test was a good one for the whole cop show the cops came in and they looked around and here's this one of Ron Boyce's big sculptor Big Thunder machines there you know people banging on and pouring big lope you know right it's making this incredible din resonating and wicked caves and weird sounds going on and people running around all this just totally bananas [ __ ] going on here's these straight good old Foursquare San Francisco Irish cops you know a whole bunch of them dozen or so of them and they're in there who's in charge here you know you know it's like the limit of the Absurd you know there's cops standing there and standing in the middle of the floor you know with a half a dozen plates around them raving them spray things out there was some cop on the stage I remember an amazing scene with we're in Phil and we're in Phil are both tremendous anti-authoritarian guys they hate any authority figures and here's this cop you know like the lieutenant up there trying to make an announcement over the microphone which is being the dials are being run by some mad man up in the mountain me somewhere yeah so the cops Voice is coming in and out you know and keezy is raving some some sort of semi-patriotic slogans over the top of the cops rap about we have to clear the place out and my thing would cut off right in the middle of his rabbit there's something weird in their arm and arm you know around each other and they're singing something like the Star-Spangled Banner we aloud in the cops here you know some big bear of a freak is banging his hand with a tambourine you know and the cops looking I mean it was just so funny really hilarious years All Saints [Music] who wouldn't nothing it wouldn't do for me doing nothing adjusting his goggles you know everybody in the audience with the right foot but I can't heal him too I'm double left [Music] [Music] hey children dick chasing gets defense all this funny stuff for timing is like just a huge Marx Brothers movie or something like that really really funny [Music] that's what I loved about those things [Music] [Music] because the accident cannot be done exaggerated yeah the police were like big buffoons funny kind of some kind of dog police or something yeah it's real straight voices [Music] and they couldn't bust it for anything except yeah right for being weird strange you know just real bizarre costumes I remember Paul Foster he is away from knowing the correct time here to sign on one time saying uh he was dressed up kind of like a mummy and he said you're in the Pepsi generation I'm a pimply freak yeah right that's him I think one of those ones he he was like the master of the living hallucinations sort of one time he had a thing where hit all his feet and his pants and everything all the way up to his waist it was all taped real tight with that shiny black electrician's tape wow that really looked weird and then he had some kind of some kind of weird robe on over that and then he had a a crutch painted Battleship Gray With A Gun Sight on the end of it and uh you know it was like it almost looked like something you've seen before you know it was like almost recognizable but had this mysterious quality you know but anyway in the Smiths of all that craziness here's these police and then they're so straight and then dabs comes down and he looks like perhaps at that time was and Casey and the prancers all had these kind of like superhero costumes that they wore and they just looked incredible baths look like you know Captain Marvel in the midst of these dumping cops you know and he has this expansive style well what is it fellows you know what's going on gentlemen you know glad you have some assistance you know and he's tall and commanding and all that and he was an officer and being on so he had all the shtick you know his officers are shaking he could always really come on to the cops just great any bees there talking to him and all the stuff is going on but just the way that things flowed and I remember there was a whole bunch of them for something happened and the cops were up in the balcony they were going around in a little official not sort of inspecting you know and uh all of a sudden these freaks are are there with this ladder and they're they're putting this ladder up to the balcony and climbing it and they're hollering hug the Heat that's amazing that is amazing crazy demonstration
|
GnnoHPFMs3U
|
Branford Marsalis on Jerry Garcia & Grateful Dead - Lost Interview 1996
|
Josh Daniel
|
https://youtube.com/watch?v=GnnoHPFMs3U
|
2016-05-12
|
PT10M8S
| 427,886
| 5,752
| 607
|
en
|
auto-generated
|
Yes
| null | 11,458
|
pleas to be here brenford you've played in all kinds of situations you've played with sting you've played obviously on your own Jazz records what was special about playing with the Grateful Dead what was special about playing with Jerry Garcia well the the dead were essentially a 60s rock band so it was almost impossible to have a band in the 60s that wasn't influenced by Jazz not that they were going to be great jazz musicians but they grew up listening to that type of music so there was a very uh improvisatory you know experimental nature to the way that they played it was was very interesting to be on the stage with them because the they' play the song and then it would just take off but wasn't wasn't Garcia also like one of the last great melodic improvisers I mean because a lot of jazz players today play on chords that is you know they play almost an abstract version of the song but he play developed the the melody in a way that really goes back to the 20s Almost Doesn't it that's the challenge about that's the challenge about Advanced harmonic playing though is to find a way even for instance you you have a composer like Stravinsky it's still very musical even though it's not musical in the conventional sense and Jerry actually experimented more without being too over overly technical there were times when he would play a lot of chromatic things and things that he thought really worked Against the Grain he was a marvelously gifted Melody Maker he was he was a great soloist and his solos were very musical particularly on the on the slow things it's it's it was I really it was it was a joy to play with him and it was it was actually more of a joy to listen to him and his songwriting was very much like his playing it was quirky and that's what I enjoyed about listening to his songs that's the word I Quirk is's a good word I remember the first time I heard Grateful Dead I remember thinking not knowing who the group was and hearing and first think it was an R&B band and then thinking it was kind of like this jazz fusion group just like no one idiom really defined who they were that's what they are right that's what they that's what they are it's really sort of like something that happens on the stage what was it like being on stage at that moment you know they're famous for you know the shows was it great every night was it oh no it wasn't great every night some some nights it it it just implodes it would just crash and it'd be a ball of confusion but the first time I played with them in nasau Coliseum it was a very special night it was it was really on and uh it was probably tough to play with the same guys for 25 years but every time uh Bruce Hornsby played with him or when I played with him they seem to get a little perky you know hey you know they were real cool about it like hey what's up man you know Jerry hey man good to see you yeah and they start playing and it would it would kind of have an edge to it that I really enjoyed they had a special relationship with their audience too I mean could you sense that energy that kind of thing happening when you were on stage yeah well they they yeah they they have in audience they've done something that that is completely rare in today's society they are the last of the band well there there are other bands for instance uh the black crows are starting to do that there are a band that has gone out on the road and earned Their audience and they've earned Their audience strictly from a musical standpoint you know and it's not a a a mediat driven success it's not a a marketing tool they went out in without with virtually no visual representation in terms of video or interviews or television articles on them they went out and sold their own tickets sold their own albums and consistently sold out 18,000 seat or greater seat venues uh based Shield on the reputation that they had in the eyes of their fans I'm sorry said also I mean the thing that sort of went with that was that it was kind of a crapshoot on what they would play and how they would play it and how it would go and I mean because I know from talking to the people who like went to lots of shows they would like like keep score like like Baseball fans would they do right they know how many times when I played uh darkar with them for the first time I saw a guy it was it was amazing to me how immediately I became like a member of the band and all these rumors that I was going to join the band and people would call me on my my home phone hello dude heard you with the Dead the other night you realize of course they hadn't played dog star in six months we're everywhere man you hear from other you know you hear from some other I'm like get out of here you know ring hello dude you know it's like amazing I mean that's the most interesting thing to me about the Grateful Dead I mean the way that the fans in a sense were the band and a way the the the relationship was that like integral to each other like he has a great quote Jerry Garcia about um he said about licorice he said we're like licorice there people who like Licor there are people who don't like licorice but the people who like it really like it and that that was that's really impressive it's different I mean it's just it's it's different because they're in first of all they're an anomaly in today's society because they're they're an old band you know they're old guys they're well over the age of 25 you know they're well over the age of 25 exactly so you many of their fans aren't over the age of 25 which is interesting it's different when you're selling when you're selling music to teenagers who are fickle by nature or when you're selling music to college students and when you've transcended that and you've actually withstood the test of time and you're selling to everyone so 40y old are binded 19y olds are binded 30y old are binded 20 old are binding and they're binding based on the reputation that the music has rather than what it represents their society or like a Generation X type thing it's actually a musical event I the last Rolling Stone interview with with Jerry Garcia and one of the sense I had about him was that this total kind of childlike openness would you say that that was characteristic of him on stage or him as a person when when you were around him could you describe what he was like I I don't know if I would if I could call it childlike I know what you're saying when he talks but um musically he he meant business man he you know he didn't smile much on stage you know when he he and I would hook up on a little line you know he'd give me a little smile grin but little little slly grin but then you know it was like that you know like that jazzing again it was like a a tacern acknowledgement of of a little achievement or success but then it was back to the matter at hand you know they were serious about their shows and when they weren't going well I mean they'd get after each other during that what the hell was that what were we doing this sounds awful let's do this you know and I really like the idea that they would just get out there and call songs right you know like certain people still it's my turn to call songs like you know um Phil would start playing the baseline or we would play something and the song would start and then the fans would say oh I know that song it's not like with some people you follow around you know you're going to hear the same songs in the same boring sequence night after night after night because that's more of a show it's not a concert it's they have a show and they have lights and I mean they just it was like all of the every it was like being in the Twilight Zone on it the thing that was it goes back to that whole thing about what music represents I mean music these days seems to represent something larger than the music itself it seems to be a microcosm of a generation or a microcosm of how someone feels about their own life and like the punk thing everyone who listened to a lot of punk music in my high school thought of themselves as iconic classs and like most of them are now you know Insurance Brokers that's the most amusing part of it you know what I mean yeah you know they're like you know more than what their fathers that they rebelled against were but you know it's like the music it really was like one time I was asking a guy about punk music and finally said look man in very exasperated tones it's not about the music it's not about the music that's not the point and I think with the dead that it started with the music and it was about the music did you have much of an interaction with that larger culture at all when you were around them like did you get they started coming to my shows excellent you know what I mean they come to jazz shows and the difference was like when I was playing with sting The Sting fans would come to the jazz shows and kind of sit through and go what the hell is this and they'd come backstage and they' say yeah I loved you with sting good night the dead fans who you quite you can pretty much tell they're dead heads when they come in you know and then that's we're playing jazz and all of a sudden you see people in the audience W screaming you know and they're like talking about the records that they bought since they heard me with Jerry and the boys I got all your records now and this is the one I like and play this song and every now and then you hear somebody in the back of the room say do star dude you know so it's like they when they really like you with the band they kind of they take you in do you feel like it really opened them up musically like it turned them on to like say your stuff or other stuff that they might not normally have gotten to it it it's not that it opens them up musically because they're pretty they're pretty open to begin with that's the one of the things you notice at a dead show that's completely different the opening act is at a dead show is actually listened to mhm whereas in other concerts it's just something going on it's background while the people literally turn their back to the audience and talk to each other go have a hot dog or walk around or sit on the phone they actually sit down and they listen to the opening act no matter how many they were and and that's the first thing that caught me it's like wow they're actually listening to what we're playing you know like we we did it we we played a a new year show with the with the dead ones with this band that I put together for it that's like their big show right the New Year show and I had a band I was in town actually playing with my jazz band and I put together this band with Kevin you Banks and uh Bob H and Jeff watts and it was all this music that Kevin and I wrote in like the late 70s when the fusion thing was really big and we just brought this music back out and called the band The X-Men after the comic book and we started playing all this music this really wild song and stuff that's really like that mahavishnu bridge between like jazz and like Advanced Harmony and when I we we never played it again and I still have deadheads coming up saying man that music you guys played at that show back in 80 82 I think it was you know when is that coming out on record you know they have the tapes that's one of the things I always did like about the dead I mean the stuff that's going to come out of the vaults it's going to be great
|
I_D0E2rrLvc
|
Jerry Garcia Interview (and Bear!) with Howard Rheingold - June 27 1990 (topic: 'Virtual Reality')
|
Mike B
|
https://youtube.com/watch?v=I_D0E2rrLvc
|
2021-06-17
|
PT1H3M45S
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interview with Jerry Garcia by Howard reinold June 27th 1990 name it easier yeah sure in case Gremlin erased the tape I'll just try to remember it best I usually try to check quotes with people yeah just to make sure things work out so I will check any quotes Okay through John excellent for you yeah he's he's good for that I I thought you had seen the V y one not yet no I haven't uh I'm still waiting to see it it's just one of those things that it just hasn't happened uh I was I was motivated to call you because I ran into a fellow who I know who's involved in this name Mike Miller I ran into you in the party and that you were very interested in yeah very much yeah so back to what I was writing there uhhuh um so how can how can we shed some light on this issue well I think the real problem is going to be the thing of of avoiding making it look like too much fun I mean it's there's already some crackling around the edges I've heard of uh of people who are afraid that it's going to be the whole notion is going to be treated kind of like a drug and there will be certain limitations possibly or possibly legislation or something that's the whole thing this is where this gets really interesting I think the whole idea the virtual reality idea if you if you progress it far enough it's like uh starts to transcend things like language you know what I mean it's going to take experience Beyond uh intellect and some levels you know what I mean uh the thing of being able to share somebody's reality which is so far been a matter of what communication is about you know this now it's gotten a whole new leg it's gotten the thing of being able to actually step in somebody's reality and walk through it like they do experience it the way they do specifically um the implications to me are immense I mean uh how far could how far could it go you know I mean if you if you go into a complete like a cyberspace model of some kind in which you know the discussion about the the mind and the the the interaction between the mind and the universe is a holographic phenomena yes that sort of uh Marilyn what's her name's uh you know Ferguson Marilyn Ferguson's uh been sort of monitoring that discussion in the brain news and stuff uh I remember one where the headlight was a primary reality a numerical realm or something like that and the idea that I mean for example some some hypothetical I mean the the the technology getting smaller like this eventually there's would be a thing that you'd put on you that you would wear that would translate all of the material out here into some other kind of language possibly other visual language so that things would look the way you wanted them to reality would behave the way you wanted it to whether it did whether it really did or not it's the whole question of what's real and what isn't starts to get real mushy right there if everybody's experiencing completely subjective realities based on their own temperament or whatever they want you know including however far you wanted to take it now this could this as far as if you think of the drug experience as getting away from something or getting towards something like getting away from something if you're a ghetto person yes you know a nice soft experience like heroin you know right um the objection there seems to be the idea of getting away you know what I mean right um like what what is it all about that so I see basic objection about going on with this virtual reality if you take it for I mean the whole the whole thing is that it it eliminates a lot of the need for all the other things that we put so much energy into All This Time Communication on every other level starts to be unne I mean I'm a musician I recognize that as a musician there's certain there's a certain chauvinism attached to it which is the thing of well I spent my time learning how to play you know you didn't spend time learning how to play therefore you're not a musician well in reality everybody's got musical thoughts if you are able to overcome the part of it which is muscle training which is what most musical playing actually is performance actually is is muscle training it and you are able to convert your ideas directly into music uh you're a musician too you know everybody could make their own music everybody could produce incredibly beautiful music and it could and there could be I mean how many beethovens are there that just for lack of training and don't the world doesn't get exposed to you know what I mean right that's that's looking at it from my point of view in other words the idea of the idea of professional musician we could lose that somewhere along the line you know if this stuff pans out far enough so people would produce their own music and people would have music that would fit their subjective reality they would have their own background music which they carry through with them through life how adding to it or subtracting from it and so on yes there are also performances in which the people who have the best muscle skills and musical history may be on the stage absolutely well well but it's not a like a dead show is not like usual Sy performance no more the audience does there's some sthesia involved yeah they are involved right well that involvement could get deeper and deeper I mean it could be the performances in the future would be like an audience wired to somebody who was sort of instigating you know rather than uh and then moment to moment creation would be transmuted individually I mean there the the you know uh the the the s isfaction of producing a work of art is the thing of getting off on it on some level um this get makes it so that the whole idea of well for me that the thing of being able to see notes and see musical Landscapes you know is an obvious relatively obvious part of this experience the thing of being able to sort of fly yeah so when you tried it out that was sort of what you extrapolated well yeah to me obvious I mean if you can create a reality that's entirely fictitious it doesn't owe anything to this stuff out here but in you interact with it on your own terms I mean if you took it took it to the point where finally you got say tactile feedback it worked uh and you know so that you were wired in on every on in the in terms of the whole um your whole nervous system yeah you the sensorium you you you you'd have the ultimate art form I mean every any painter would want it any filmmaker would want it access to it you know any musician would want access to it and it would be it would eliminate the need for the the the divisions between what we describe as the Arts converting the whole thing to experience yes see but that takes a lot of baggage along with it you know what I mean and it means that there's a lot of stuff that you don't need anymore particularly I mean it's revolutionary in a big big way threatening part is that's it it's it because somewhere along there there's you get some kind you get you we starting to bump into chaos now as the lines between hearing and touch are blurred you know now you're starting to get into this this kind of chaos and there I remember uh in some some kind of part of that uh automatic writing kind of psychic literature stuff about uh Lura and ancient Egypt that you bump into occasionally there was something in there about the the fall of the early magical magically oriented societies pre uh Atlantean was that they something about that they had control over form and that there were just there was just too too great of a variety of forms that you know people were becoming anything they wanted to any animal anything like that and that part of the process of uh of part of the reaction to it was the desire to restrict the forms to the few the forms that we are familiar with now this this stuff is all stuff that bubbles out of the subconscious of people I don't know where it comes from I don't know it it doesn't have any relation to real his historicity but it's part of the Mythos you know there's a metaphor in there somewhere about that thing of losing the losing some sense of what the bounds of reality are you know what the things what your experiences and I think it's the real the basic threat of drugs psychedelics specifically is somewhere tied into that and this virtual reality stuff is the most is the technological equivalent really of psychedelics and I I I can see that I can I think that part of it is going to be the thing of being able to make this look like something else you know just to avoid that kind of interference did you read Bar's thing about uh he's just been handing it out do you know John yes yes s last night in fact yeah did did you read his thing about these people who are getting busted the hackers that are getting busted for yeah I'm involved with the Electronic Frontier Foundation which is what they decided to call which is that's right oh you know all about it then well that's yeah well you know that's not not even I mean here we're not even talking about uh what the experien is how the experien is uh what's how it's affecting Consciousness but just the idea that you can move around freely is seems to be scaring the out of something you know what I mean some some authoritarian uh shadowy you know deal is out there you know well we're the world is restructuring and and all all the enemies that used to exist are kind of gone so now they're looking around for new enies absolutely see technology used to be our friends right but now nobody's quite so sure right absolutely well it's it's it's like all tools it cuts both ways it works for you and it works against you it's just the thing of the somewhere like uh the guy that's working on the nanot technology discussion you know uh his his concept of cage technology I think is good if you're going to develop Beast technology you want to start by having cage technology you want to make the rules first you know keep the Sucker from getting out e you alive absolutely right about the government computer absolutely well that's the that's the nanotechnology the the capacity for disaster there is incredible you know so you know I think but I think that's an appropriate yes it's too late by the way with virtual reality to can't be done back in the bottle yeah it's it can't go back it's out right I think reality might be able to give you a way of doing handson to inter to construct ideas in a computer well that's the whole that's that's what I think it's originally for in the simplest sense I mean my understanding was that it was an architectural Aid yeah right you know so you could build a building and walk through it before you actually have to put it up you yes they've actually buildings that existed in cyberspace before they built it right and that way you can look around the corners and see see the doors open correctly way you could make a surface in a computer Des like you would like you pick up a piece of clay and make a sculpture you can do how do you make a surface in a computer without being able to put your hands on well the whole that's happening now with the hands you got and now you got the hands so you reach into the cyberspace and you grab some cyber stuff and sort of smooth little build it up and the computer will give you a 360 of it I'd love it love it well the the other possibility is that it's the doorway to a singularity yeah in the sense that if you look at okay what where have we been aiming all this time uhhuh you know that section I sent you was from the beginning of the book I'm I'm really saying that some human beings are were human beings anatomically for several hundred thousand years wandering around hunting and Gathering yeah and then suddenly at the same time they started painting caves they started multiplying so what this paleontologist that I quoted has the theory that the first art and caves were really um psychedelic experiences and the reason that they were is so that because the tribal encyclopedia the amount of information that people needed to know in order to move to a new way of life suddenly increased at so how are you yeah either yeah the point is there's more information now then you can pass along comfortably in an oral tradition say a strictly speaking culture has a problem nobody's nobody's delineating nobody's concentrating there's a lot of extraneous stuff like for instance the satellites that measure the atmosphere yeah there's billions and billions and billions of of bites of data only maybe 2% of which are actually useful they don't know what the rest are for they don't know what good they are that's right people want toly through that fill up tapes and things Y and and anyway who knows for sure how complex or how L how uncomplex the ancient people's lives were they may have been in many ways is absolutely Bull and complicated as anything anyone lives I think to assume they weren't I mean if you look at any at Sonage cultures now and there's still a few of them no that that's true see but that's what I mean about the singulari that that that the entire human race faced a singularity when one small group discovered technology right we can live a different way right eventually that spelled the death of the old way of life in evitably well don't you that the fact that that this discovery came to a feudalistic society meant that it had a different impact than if it had say come to society was organiz well technology is another blurry line though I mean technology didn't just go clunk technology it's a slow it was this early disease starting with a plow I guess or something like that the first tool that made it made so you could do more yeah yeah the first yeah maybe the first domesticated animal or something the first wheel it turned uh where you pay attention to from the outside in right if you depend on where the chestnuts are going to be and where the deer are you have to be attuned to the outside world can cure which diseases and which are get then you're yeah then you got to know you got to know the stuff best for binding the the stone heads on your knives well that kind of information you can hold hold up and I I guess and and you learn a lot of things people learn a lot of things well that's knowledge of how the world Works technology is knowledge of how the universe works that enables you to shap manipulate the world right so but see there are these two strands the dionan and the apponi and at the same theater grew up from these folks who during the day were just ordinary citizens and at night they would sneak off to the woods and get C part right and they would party in these natural amphitheaters absolutely and when the appoloni strain took over in Greece they made them into theaters right and the original dramas now of course like you know fancy people go to the Opera and see drama and they regard that as high culture and these are really people for the most part who get it tight at the idea that people might take their clothes off and dance in the streets that's right do you think psychedelics had a part of that absolutely the deian concept well the alician Mysteries according to a conversation I had with uh Albert Hoffman when I met him a couple years ago he said that they that the alician always drunk a gr a preparation that was made from grain yes and so for a long time people thought it was alcohol yes said but they more recent investigations is that it was not made from an ordinary grain it was made from the seeds of the P palum grass do you guys know each other no I'm Howard how R go uh people call me bear my name is Aly Stanley oh yeah I remember you um he said that the paspalum grass has a a fungus that grows on it clav fungus it's glaves pasp and it's used mostly for the um for the culture and cultivation of water soluble alkaloids based on lysergic acid yes it has a lot of or notom and it's the one that they make leric acid from because it's easiest to cleave unlike ergotamine which is only about 40% leric acid this stuff's like 75 or 80% yes he said that one of the constituents of it which was not discovered right in the beginning was um lysergic acid uh methyl hydroxyamine which is he says very very very similar to LSD in its effects but doesn't uh the extraction and testing processes that they use surgic acid Ami MH and the the when it's prepared in the way in which they prepared that drink it would have been the Principal constituency so in other words they were drinking a drink that was very rich in an almost identical physiological substance to LSC well now uh you remember when Joseph Campbell did that talk with Mickey at paline Art I was there okay he had that plate he showed yeah you know thing about those Mysteries was under pain of death you couldn't tell what happened right but they found this plate that had these kind of coated icons right and he went through it and the his version of it was that the initiate drunk this stuff which was made psychedelic and they went through these symbolic actions that had to do with death and life life and death right letting you know what's the body is just the vehicle for something else and then they reached the climax of it they had a virtual reality device you had this polished bowl that had uh circumference the the curve of the bowl was such that if they held it in front of you and put a skull back here you would see your image with a skull excellent right at the climax of the ceremony excellent right so I mean it's it's sort of the same story yes it is it definitely is yeah right so the question is okay now two things are happening the techn technological civilization has now dominated the Earth to the point where there's a big question of what's going to happen next it's a threat it's a threat and the fact that and it's a challenge because if we are going to continue it has has to be in some completely new way right it's it's a test yeah and we're giving this portal to this another serious problem well that's part of the test it's part of the test how yeah part of the test is uh well I've always had this qu the basic biological question about in terms of evolution if Evol the drive to evolution is like to get to survive an organism that Sur survives well there's really no need for Consciousness in there you know that's right all you have to do is mate be as a shark or anything you know I mean there's any number of things that survive great and don't need any as long as as long as your why why bother we go to all the trouble of evolving complicated monkeys that don't run very well or climb very fast or have particularly sharp teeth but have big heads big brains right yeah well of course ter has this theory that it was cuz the monkey started eating mushrooms well that's a good that's an interesting the it could be true you know it could be true the dolphins whales get such big brains they obviously don't need great big brains to catch they don't even need uh fingers hands yeah they don't need but they have a brain that's actually bigger in proportion to their size than we have very complex but I think it probably thinkers is what I'm sure they probably are thinkers but they're they're also t uh they're also operating in three-dimensional space and the navigational gears on board must be tremendous well so it's a bat yeah you I mean and with the similar complicated brain body weight is probably pretty similar well in fact there's a fellow wrote a book called The throwing Madonna in which he claims that the areas in the brain that have to do with speech are very connected with the same um parallel processors that have to do with kind of ballistic calculations you need to hit small game with the rock uh so he says back in the really early days Rel went out huning the women stayed home with the kids yeah and they would the kids kid in one arm against the heart so that so that's the left arm and with the right arm they would throw throw and it turns out that you cannot make that calculation in real time you have to have an algorithm set up so these brain mechanisms evolved in order to do that that's interesting and when they evolved the thing is that when there is a useful capability it often adapts to places that it wasn't involved for right of course like uh dinosaurs grew feathers for heat regulation but the ones who started flying started becoming Birds right he said speech involves exactly the same kind of sequencing as I'm talking to you I'm lining up all these railroads and a marshing yard in my brain which ones I choose how I move my tongue so it's a side effect Consciousness is a side effect of being able to throw a rock it hit yes well there which is interesting cuz computers were originally invented to do ballistic equation yeah right so we're seeing this kind of tension between this the uh darwinian competition part of evolution and this gee it really looks as if we're going toward something were used for Crypt cryptography that too during World War II well cryptography is also a lingu linguistic thing so i' Master the same thing problem solving yeah right so it's a language machine uhhuh humans are language computers are language machines and this artificial reality it's a hyper language in a way would be in a way it's a hyper language based on experience well see it's always frightening to the folks who are going to be left behind when they see right new things popping up sure it's scary that's why you need to keep taking psychedelics keep your brain young keep your mind young know your body gets old your mind still can always always accept that first time I ever took acid get really high I I as I was walking around I thought gee the world looked like this when I was a little kid right I remember seeing the sparkling reality and three-dimensionality of things it's sort of like a renewal every time we do it it's a renewal it's a renewal so it keeps your head young so that you keep that always being able to accept the new thing just as easily as a kid would most people they get they get all this stuff in their head like an old library and got blow for the new Blow The Tubes out no room for the new volume to go in the well it's part of the reality construction businesses that we are taught what reality is in all kinds of ways by everyone around us mostly by language this is a desk this is a chair the names of stuff right the names of stuff and you see the little guys in the corner of your room mother tells you they're not there they disappear immediately they disappear something like that yeah something like that you're not supposed to see those things but yet in all the M certainly you gain that from Reading C absolutely all that stuff that's there that you're just it isn't part of your consensus so you ignore it that's right an enhanced uh awareness that you talks about yeah but see the media jump on electronic LSD with virtual reality I know and the problem just with saying LSD is it's already a problem enough time has gone by that there is no distinction between psychedelics and other drugs drug psychedelics are not drugs I know you saw John Carl's calling the other day about Valium about benzo dians right but for some reason that's not a drug I mean Nancy rag probably takes value probably well it's a serious the most worst a nasty drug it's bad like like red we have this big denial problem in our society I'll say and when you as you know threaten someone who's in denial then really they will either cut you off yeah or or seek to destroy you absolutely um at the same time that there's this electronic LSD potential there is there are actually anti-cancer drugs have been designed and patented using this to dock molecules yeah there are actual communication systems that are being built to enable people to enable uh eye surgeons to get inside the eye and vascular surgeons to get inside the arteries so you the door here would you you you could see a re a social reaction in which people would want to regulate this technology because they're threatened by it and thereby cause a lot of harm mhm another I mean there are several scenarios that are happening at once the other scenario is that the Japanese are going for this in a big way of course sure the United stat americ think they have the cultural bias yes maybe you know I don't know well there several re Japanese are hard to figure out they're communicate yes well they count on that it's the way they write you ever read mclen it's because they don't write in alphabetic writing they write in pictograph right so they never became visual they stayed in the oral World which which is everything is part of reality which means they can accept any new technology it's not threatening to them and it can still continue to maintain their tradition culture even in the face of high technology I know but the thing is that they're they're also they also don't don't seem to have any particular conscience about destroying stuff well I think that that's a matter it's odd there's also a high level of like the appreciation of of nature you know I mean there the there's an aesthetic side to the Japanese that really loves nature and beauty and Beauty proportion right but you know it's ironic I mean I it's it's the thing of kill the oh well yeah that what well what the Japanese are are the Americans of the 21st century essentially what's objectionable about them is what was objectionable about Americans when we have the Vault that's right however they they are committed in a way that American Technology is not never I've talked to people in Washington I've talked to people big companies here every big company had some little guy who's an Enthusiast off in the corner working in this right Japan it's in ated into their high level strategy yeah they see it as a communication medium because for them just the words I mean this is the problem they have with Americans is just the words that they say to you is not the complete message what their facial expressions their body language a lot of context so they feel that in order also their written language doesn't translate to keyboards well so they have problem communicating with computers so they really feel that this is a that what's missing from telephones and what's missing from computer interfaces is this ability to move around in three space right so they're really spearheading this also they probably want a verbal interface with a computer much more than we do where you could talk to yes that's part of it yeah which is what will really unlock computers for me well I've got one that you can just talk to yeah it's so you have to train it to recognize your voice mhu but it's uh oh yeah they they use the Mac C it's uh I forgot what the hell the program is oh it really works oh yeah so what do you say what kind of command you tell it you you just just it it does all you go to the files the menus pull things down you know what I mean you just can you just talk you do use it like a cursor yeah can you just I haven't tried that cuz I don't have a program that's I don't have many many uh word programs and I'm just getting into it also you know it's very new to me but I have the thing the headset and everything the thing is that you have to have to train it to recognize your voice that's the kind of funny part one of the things no what I want is one you can just have a conversation like you would with any other person well yeah you know I I don't believe that that is going to happen in our lifetimes If Ever I think the one thing humans are are are language Wizards uhuh I think fuzzy logic is going to do it I think fuzzy logic will produce a computer that will be that will even have a seem to have a personality will seem to have a character be able to talk talk to you it'll be able to translate from one language to another instantaneously you'll be able to give it instructions you'll be able to tell it stories uh if it doesn't understand something if such a computer ever exists it probably won't be designed it will grow it will grow I don't know I I I I separate the two I think it's a process rather than a method the a artificial life conference there they're talking about uh the old approach to AI was let's design an intelligence and ran up against the the problem don't know intelligence is right what the hell is it however if we can design things that learn and comp right so you can grow an intelligence by creating an environment and creating these things that just do it a million times faster than we do so when I was at Fujitsu who are planning to do artificial reality Adventure interactive fantasies right they showed me something called the neuro drummer uhhuh the neural network is this kind of technology that it's not an algorithm it's a Network that has weights on it and you can adjust the weight so it learns you do you teach it through trials like you teach it The Voice language right what they're trying to do is teach it to do what drumers do drummer will drum a riff and then another drummer will drum a riff back that fits into it somehow ah not in a mathematically algorithmic way but in a way that fits the guy's taste right gotta so a drummer will sit down with this machine and drum a riff and the Machine will drum a couple of riffs back at it the drummer will drum one that shows it more gotcha after 50 of them it seems like a human being uh right I see right so what they want to do is they want to build these into their artificial reality system so that your artificial reality system learns how you perceive the world right well that's that's part of that thing of transcending language you know part of me going back past that because the learn then they'll be every person will will have their own language yes I mean there's no reason why something like that couldn't become perfectly conversational even idiomatic absolutely oh no no problem seem to be a person when you talk to it well it would if you chose for it to seem that way sure you seem whatever way you wanted it to seem that's the kind of computer I want I don't like sitting at keyboard no I'm not a keyboard person the mouse is better but uh yeah but even so I use it mostly for graphics so even Mouse is a little bit it's like drawing with a cake of soap that's right that's a good benef for for it but they're uh there's a they're ever increasing U there's a new digitizing pad that works with a a a pencil like a Styles and the it also has the thing of that the harder you press the wider the line is so you can get a dynamic line which you never used to be able to get that I don't know I just saw it in the catalog I didn't I haven't got it yet but I don't even know it may be glitchy to beat the band I've tried a few pads and they they they're all a little bit but they're a little weird but it's another another way you know the cursor the a lot of them were um the mouse is not oriented rather than bitmap too AR those are the ones I like they're much smoother looking not not so Jiggy jaggy uhhuh it's hard for me to relate to drawing on something that comes out in little Jiggy jaggies well that has to do also with the resol resolution of what you're looking at help so there there's there's lots of things that have sort of anti biasing now so the one you make make a line if the line goes is a little out of true you know how it splits up the bullet this just doubles the line kind of fuzzes it so you get you know a curved line doesn't have little saw tooths around it and so forth It's much smoother yeah the graphics stuff is way better than it was even last year it's improved a whole well that's all moving really very very fast yes it is so that that um since I've started following the story about a year and a half the one first one I saw was at Nasa and it just had wireframe Graphics yeah and I thought wow this is great yeah the next one I saw was one that you saw at Autodesk and it's got shaded uh polygons and colors right I thought GE that was yeah but they have um a machine at the University of North Carolina where they have a 250,000 separate CPUs oh Jesus Christ one for each pixel w every picture element has its own computer incor so I mean there's a you know Alvin Ray Smith is the guy at piar who's sort of the um computer Graphics wizard his statement is reality is 80 million polygons per second ah so question is are we going to reach a threshold like film is 24 frames a second right you reach that threshold and suddenly it's a reality the illusion 70 frames 70 FR 70 frames yeah right have you seen this stuff slit show Scan they call it it's Doug Trumble you know the special guy well he's his Discovery he discovered the the smallest discreet event that you can perceive is a 70th of a second and so they now they have a film a film stock and a camera that runs at 70 frames a second and I mean it is it has so much more information you know yes it doesn't double show each frame then no 70 frames absolutely and it I mean it is you know that should be good so second reality right what happens to you when you live in a world at 160 million well maybe you maybe it's more than enough or maybe you perceive maybe you perceive more or maybe you don't you know maybe it's a little less fuzzy yeah there a little less fuzzy it's like the faster that you can sample sound when you're digitizing it the higher the frequency the less phase ambiguity at the higher frequencies it that's the way it is with sound stuff yeah is that it goes up there the information is there you may not perceive it but it does affect the lower orders but the thing is that there is a PL there are places where it just Peaks out and it goes beyond when it goes when it's like the color spectrum it it just simply goes beyond where you can perceive it anymore but it's still going on and if you if you decide that if you decide that the invisible continuation of the color spectrum is important to your sense of what reality is about then you would would want to extend it yeah extend it as far as you could for just as an aesthetic but don't you think that that it gets Beyond Aesthetics and and gets well then you start it starts to get truly metaphysical absolutely cuz then you're then you're out there then you're uh if it's so that amounts to fiddling with the fabric of reality yes you know that's the question well it's like you can't see a pistol bullet and you can't you can't see a um an M14 bullet one's traveling at 800 ft per second the other's 4,000 that's right when you get to the point where you can't see it that much faster than than something you can't see is not no physiologically interesting to you no not necessarily right not necessar only in so far as the one of them hits you faster than the other that's all see when it comes to seeing that's why the per speed you can't see it that's right and how much faster is faster doesn't matter right no it's no longer physiologically interesting to you or psych but then there's also the thing of like well you know there there's also the the the harmonic uh stuff you know that may or may not be I mean see in sound the high order stuff that you that's not audible still affects sure everything else time you know yeah it affects how everything else behaves so it may be that may happen in there may be a visual metaphor for that somewhere well also there places fil go that are down here yeah absolutely they're absolutely physical well there this thing about how much information is in the reality space that that you are in what reac with sound crosses over into sensation it goes from s when it goes to below 12 Cycles it starts to be something you feel rather than here but it it and I don't know if there's a visual metaphor for that except that the in this universe the top end is light and the bottom end is real hard stuff you know that's another way of looking at it well but it's all vibration according to but it's all vibration you know back when there were light shows there was this thing for people to sink into together and the sinks started happening the more people got synced into it the more sink started happening that's true and I guess it's just the size of the venue and traveling around and so forth it doesn't happen anymore I don't know why well there's probably a couple reasons but one of the reasons was back in 19 was it 69 or I think it was 69 all of a sudden the uh the light show guys who were paid enough money to keep themselves going decided that they were as important as the bands and led by a guy named Jerry Abrams they had a uh they held a strike oh je that's too bad he did the best he did some of the best shows he did do good shows I know but he struck us out at the at the at the Great Highway the the family dog out there and uh partway through it ramrod and I went out and talked to him and said said people don't come to see the light show they come to hear the band we like having you there it's like part of this whole thing that's kind of grown up and we will'll pay you a reasonable amount but we can't meet your demands there's just no way what we'll do is we'll just go to theatrical nting and you guys will be cut out and he says just break it off now and we'll try and work it out he wouldn't do it he wouldn't do it that was the end of the light shows it was virtually none after that all the bands got together not going to do this ham used to do a light show that was a light show where you went to the light show you didn't go to see the band you went to the light show on the light sound Dimension uh Jerry gelli and those other guys played music for the light show you didn't see the musicians and you went into a place that was real comfortable and you sat down on pillows and stuff on the floor carpets and the room went absolutely black you know and they had a really nice screen and it was a real quality experience but it was it's also one of those things that you you had to extend yourself to some extent it's not like going to a movie or going to a concert where something is coming out and getting you you have to sort of go into it I think that that's the thing that because lightos are sort of a meditative um kind of experience you know they're not it's not like a shock they shifted the focus away from standing there and watching the band like you'd stay there stand there and watch it play or watch mov the focus to everywh focus out exactly which was which was good in itself because when we went to the theatrical setup then the band became more of a central of thing and for the most part people stopped dancing as much and became more of a the whole thing changed yeah whole yeah but see and that but that changed again yeah it keeps changing now it's going back towards more dancing and more people wandering around and interacting again well I remember the McCarty show you know our little line of dead heads stood up and danc yeah and everyone around us was tremendously uptight until Paul McCartney said those of you who are out there dancing here's a real good one to dance to absolutely and suddenly it became okay yeah it's probably an experience that he didn't didn't get enough of didn't get enough of he didn't get to play for people dancing I mean they had the people shrieking and screaming and 14-year-old girls when they were playing he never got to really get out there and play for dancing but see as opposed to a religious gathering that has a theology about the way the universe works this is something that's reaching toward something well you know everyone is comes to it with the feeling that whatever it is that's going to happen I don't know what it is right that's right and that's that's that's that's what makes it good and that's what's that's what this virtual reality gives us for all of reality oh absolutely I think I think yeah well it's so can you see a can you see Grateful Dead concert 10 years from now taking place in cyberspace absolutely are you kidding sure Absol I think it's an ideal place for it because again it's I mean part of the whole Grateful Dead thing is that we that there is no uh Dogma you know there there isn't anything about what the How the Universe works and people are free to hear it as they want you know they're free to experience it as they want and we don't push it around right so you know so it's it it has some of that uh I don't know what to call they kind of each person makes their own decisions about what is what it is that's happening whether it's good or bad whether they like it or don't like it whether they whether they want to lend their energy to it or not or what you know it's that it's an open-ended experience and I think and cyberspace is ideal for that because it re it if anything it requires more participation yes on the part of the Observer so that that the uniqueness of their particular experience remains that way you know what I mean not only the event itself with the Grateful Dead each show is unique but further within that each person's experience of each show is unique be like a hot medium yeah in that sense I I would think of it yeah in that definition I'd put it in the hot side not a cool medium yeah it's hot like the Grateful Dead is hot it's a participatory and it's part of the The Joe Campbell that's part of why Joe Campbell liked us so much you know and liked like to see all stuff right because he's been going to regular coner that's right he had no idea that there were people out there you know doing what he he you know he had no idea that was happening that people were celebrating the people the that that there was current magic yeah right right right it's not quite as intense as it was I was watching that uh the film that Zayn made the oldest film uh that he's all kind of spiced it all together interview with you where you said well what you liked about the acid test was that you could play or not play you could be stoned or straight it didn't matter and if something happened that was all right and anything that happened well we're the only ones that have to deal with that level I mean in The Grateful Dead shows we are required to play so that that represents a strcture on us anybody would accept anything that you play but how we play is wide open but whether we play or not that's the only decision you need to do it that was the one difference isn't it that's the difference the acetest sometimes we didn't play right I can't remember was that that you didn't play Beach I wasn't at all of them you played at beach beach we played for about 5 minutes and then we left you played long enough to really impress the little out of oh yeah we played long enough long enough but we all came completely unglued and everybody just went we just disappeared but the thing was that the option was there you know what I mean we could it would come and take us all away right but it left all doors open now that all the doors are open and anything can happen but now it's 1990 and we need some more of that and the world has gone back to normal in a weird way trying to trying to pretend it never happen little traveling circuit well and the wave is still on its way out you know I mean the way from the' 60s is now banging into Eastern Europe I mean part a lot of what's going on there they owe that to the 60s and they even admitted pray people who would talk about it yes love hav clearly an old acid head absolutely and the and they made great acid there yes Abol that's right Czechoslovakia was where the first stuff used to come from the very best was very good yeah very good and uh some of the early seses that were improvements were from uh Russians as well chck you it's you know that that that wave is still going out it just took way longer than anybody expected I me back when it was exploding on the streets it was looked like it was going to take over the world in a couple of weeks you know but but the point about this strong the point is that meanwhile this meanwhile American society has gone completely it's gone into denial yes yes well I I don't know that it's so much a consensus what's going on I think few people who are power manipulators that have gotten control of things I don't think it's a consensus at all in fact I don't think there's much support for it it really is kind of a it's a wireframe deal you know I mean the reality which is pretending to be reality right now impersonating reality is just a pretty flimsy structure there's no not a lot of substance to it because you can't find people who are actively involved or affected by it you know what I mean the things that are what do you do what you see is a completely different world what you see is the world of the homeless and so forth and so forth you know and I mean the world that you can go walk out you walk around the block and you that's reality the the the reality that's being talked about is some something else entirely well also there is the the global teenager hypothesis that what happened in the 60s in in America was that there was the baby Boon Co cohort grew up at the same time that television and popular music grew up so that we had this uh frequency that we all tuned into that gave us a feeling of a common culture even though I was in Phoenix and someone was in deor right that now we're getting a global cohort at the same time that Glo we have our first Global Communications you know MTV is everywhere yeah right a 30-year residence too yes even that guy Robbie VRA talks about the 30-year residence there's some the things that were happening 30 years ago are now very interesting to people very much much In Style again there there's some kind of a 30-year resonance that goes through human culture expresses itself different ways we're experiencing when I was down in Australia everybody down there was saying well people from here would come down there say it's just like the 60s it seems like 65 or 66 or something like that which was kind of interesting cuz it's really not quite like that but it's but there is a certain degree of um whatever that openness was that that it was like an Essence in this culture even though the day I felt obligated to get you even know it was like it's in some ways it was restrictive everybody was real careful about not showing their pot to the man and all that sort of things but at the same time it was a lot of things were open it was there weren't many controls on drugs it we didn't have thought police or like they certainly weren't looking out for you to be weird no that's right and if you were weird you were only weird you were only acting weird you weren't necessarily taking drugs right I that was the thing that was part of how we were able to get around and be so weird people just thought looks like theater to me invisible it didn't look like something else yeah it didn't yeah it looked like theater if it looked like anything but this of course is technology and technology is always Americans love technology it's like jet planes and hot rods and television absolutely motorcycle it's a real it's a it's a um it's a conflict between the denial of GE this is going to break people out of their regular frames and gee it's a new technology I got to have it right people will love it I mean well it it'll be like it's like video games see nice to meet you hope I didn't interfere too much in your conversation not at all I like talking about that stuff great stuff my ear kind of drugged me yeah sure nice to meet you nice to meet you too well this stuff can go on and on yeah um I got into that as that as I showed you that stuff I got into you I want to confront the question of what's this electronic LSD stuff without writing a book about denial in America right and so that quote of yours I felt had needed to be put in some larger well it's one of those things though I mean the I my feeling is that it'd be good a good idea to not talk about it in that context anymore because it's like calling attention to it hey look this is the next thing to bust you know this is the next thing to look into it' be nice to be able to not let them start governing it or governing us on that the electronic level I mean one of the things that's attractive about cyberspace is that it doesn't seem I mean that it doesn't it can be construed as no threat if you see it through sure the the video game Keyhole you know I mean the amusement Keyhole the entertainment Keyhole it's no threat if you see it through the LSD Keyhole or the Consciousness expanding Keyhole B you know it's like electronic drugs is a threat that's right well that's the that's the keyhole that the popular presses watch yeah going it they have not been able to avoid it so far including the Wall Street Journal I know and uh it's a little too obvious I'm afraid well my my mission is to try to get a more global view yeah and this is part of it MH sex at a distance is part of I don't know whether I sent that to you too the telonics no okay I'll I'll send that along uh that sounds fascinating but the the idea is that you would put on a a bodysuit right like a body stocking or something and plug in and you're partner is plugged in somewhere else this high bandwidth communication what most people the mistake most people make is thinking oh gee you're having sex with a machine uhhuh no you're having sex with another person but it's mediated by Machine that's interesting so you so you see this this representation in in three space yeah and that representation could look like anything your partner wants it to look like right or anything you want it to look like Goa I Love and You Reach Out And Touch it with your virtual hand right and the sensors the actuators and your partner's body suits will transmit that feeling of touch so they will feel your hand so what is it about sex is it the sensations or is it the meanings that and the communication game that's tied into that yeah well it's the whole package probably I mean I mean well you know people who have phone sex that's right can can put these these symbolic tokens through a line unack them and create a whole experience that's right an awful lot of is in the mind yeah I mean most of it probably now this is an appalling idea to a lot of people but you know we've got a planet in which we don't want to have everybody having sex that's right and most people are lonely anyway that's right really lonely um there's sort of uh continuing problem of of have putting a moral template on the future that's based on the morality of to that's the problem that's precisely the problem the moral template first of all where who's evolving the moral template and where are they evolving it from I think part of what has to happen somewhere pretty soon is that a human template has to come up you know what I mean we have to start with okay let's throw out all this other stuff everything we've thought about it before throw out all our models and start with a human what's a human you know well no that is the ultimate question you know because you can't you can't make rules regarding the moral behavior of something unless you know what the hell it is and what its capacities are what it can do what it can't do and so forth for example I I mean I think like uh the Muslim religion is a little too tight you know it doesn't doesn't fit humans humans can't possibly fit into it so there's a lot of really unhappy people terribly repressed you know and it's a religion that works against you because the template don't fit it's you're not nonhuman you know that's right you know so and what we need is something that what we need is a new a definition of a human starting from the ground up so that the suitable moral structure that goes around it makes sense the context has to come from the human first rather than bits and pieces of fragments of old religion and you know all the old moral superstructure whatever it used to be yes I mean we're experiencing real confusion here in the United States you know why is it okay to drink but it's not okay to take drugs blah blah blah so right you know what's a crime you know what's criminality what what what uh what can you do what can't you do and so forth all these things are are really confusing and there and a lot of it is really contradictory it doesn't really make sense and and uh rather than end up with uh more law than anybody can ever deal with you know something so cumbersome it it it needs the whole all the the brush needs to be cleared away and a whole whole new structure needs to be set up there somehow I think anyway I I think that's part of one of the pro problems that's that's uh making things so weird well one of the things we know now that we didn't know then is that revolutions are very painful to a lot of people yes yes and that at the stage that we've evolved into now a revolution would be extremely painful real painful so if we don't have a revolution and we don't have the time for evolution what's where does it come from it must come from some kind of shared experience that everyone agrees about that's it that's got to be it so here what we're talking about in this Evolution that goes back to the caves is well how the heck do you get everyone to share an experience well you have to try to create an objective experience first of all I mean I think that you have to start there there's the gerian um um definition of objective art the the notion that there is some art that says the same thing to everybody we need something like that we need an objective experience it says the same thing to everybody what that is I don't know but virtual reality may be the key to it yes maybe there is no objective experience but there's a certain waying with the all the subjective experiences that's right there's a consensual agreement to something that's relatively comfortable like the template the moral template or the human template okay we can we feel every every human every Eskimo every Everybody every kind of every culture can fit into this template regardless of what they believe or what they think about themselves or how their language is constructed or what their the quality of their life is like something along those lines well isn't music related to that music is uh uh is more more objective I think than a lot of artists but surprising amount of is cultural I mean the Western the Western ears have a hard time hearing anything that isn't in 44 time and uh you know a lot of cultures experience music in 58 you know for example 54 you so I mean music is also has if not uh if you think of music as a universal language it still has some some extremely powerful uh dialects you know so um in that sense mus most musicians can and regardless of what culture they come from can get together and agree on some stuff about music there's always got to be a common ground I think that's true music is a universal language in so far as that you don't need to know anything else about a musician that you're playing with other than they can play music and it doesn't matter what their music is you'll find something that you can play together what their culture is that's true true but then there will be the the like I say the there the the the dialect part of it comes into play but nothing like the differentiation that language sets up for example so yeah music and M what's more music is uh I mean in the last 100 years since since the invention of sound reproduction music has has really taken off and it and is much more a common language because of records and yes now there we're to hear about world music absolutely I think that it's very now you can't there's no place you can go where you you you don't hear certain kinds of music I mean you just about everywhere in the world you know you can when we were uh we first went to Egypt I mean I I it didn't matter how small the village was there was somebody there playing uh music from you know disco music which was big that at that time uh and you can hear it everywhere uhhuh and that was the first surprise you know I mean well the first surprise is that technology everybody walk bits are everywhere yes you know so you can hear you you know that part and that's that's the thing about the Japanese going into the reality business is that there there's going to be reality man everywhere everywhere right exactly right right it's inevitable well so uh G the metaphor I always use is is uh I don't know whether he still does it but aliak Baran go to one of his concerts 20 years ago and he would spend 20 minutes tuning up his instrument sure and it always seemed to me that it shouldn't take that long to tune your no but he's tuning the audience too he's tuning the audience absolutely and I always so what uh every time you get up and play a concert you and Bobby do space every time the last 25 years you get up on stage for 25 minutes you reach out there well we want to we want want to make maintain some area that's absolutely unstructured you know absolutely totally unstructured so it's sort of like I mean this is my interpretation of it is that you you've got this kind of a carrier wave that continue to put out there and the more sensitive you get to it being unstructured and you don't know what it is yeah the more attuned it is to Something in the Air well it it find it finds structure it finds expression you know if we're lucky if not it it then well it it again this is one of those things it's totally subjective kind of experience there are times when we feel like really clicking into something here you know and uh but it's it's definitely uh has to you have to be alert in a certain way you have to be ready and also uh you have to discard Notions um that are fondly held by a lot of musicians you know about about sequences of notes and about scales and about musical systems as a whole if you think of music as a language the space part of it is where you throw out all the syntax uhhuh uhhuh so everyone around the earth maybe is going to have this little console that can switch them into somewhere there's still going to it'll be the free Channel chel video your C TV or whatever so that may be where we find out what humans are for it may take that to do it yeah yeah that's exactly right I mean uh yeah I can I can visualize something like that where it's the input Channel as well as the output Channel where you take from it you give to it and take from it at the same time like a free two-way kind of deal and everybody would be and it would be constantly making decisions uh microsc to micros yes and uh you know switching around and doing stuff of its own so you you would enter yet another random element in there and then see what comes through the spaces and you know I I my feeling is that you get there is a coherence there but it's it's not recognizable in through normal Frameworks you need a hypernormal framework yes you know so that it's you you need to jump to hypernormal C well there are always a few people who are hypernormal Absolut that's exactly right I think everybody experiences them here and there you know that's all it's just we don't have good language for speaking about them really that's right well but that's what a lot of the semiotic soup that the dead head culture has is there is a lot of language well it's beinged to things that's right it's being invented and and dead heads are invented it pretty pretty pretty well what's interesting though is how similar it is to what Campbell was talking about with the very symbols are the same same stuff well I could go on and on but I I only asked for about an hour and taken about an hour and I really appreciate it yeah my pleasure totally enjoyed it um end of Jerry Garcia interview
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IADA4zsExms
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Jerry Garcia 1970 Interview
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Martin & Guitar
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https://youtube.com/watch?v=IADA4zsExms
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2022-10-27
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PT7M56S
| 29,635
| 485
| 72
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en
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auto-generated
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Yes
| null | 7,236
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yeah all right last minute crisis I can't live without a last-minute crisis this day and age oh one of our guys lost his passport somewhere between here and home somewhere [Music] they jettisoned it with the gasoline [Music] dingy little Airport yeah it was all right yeah there was a lot of diversion on board [Music] is now restricted to California right around San Francisco because of having requested there three years ago how to look upon the English festivals I haven't been to one yet you not heard about them at all a little bit Hyde Park and so forth you know I think that it's one of those things you can't I'm not a vegetable you can't know what it was like unless you were there you know you can only sort of extrapolate from your own experience whatever that spinach Richards said that the Angels should not be blamed at all because how can however many angels they were there control 350 450 000 people no and Hyde Park there are at least a quarter of a million people there who are controlled while so are they at Woodstock but there was no control at Woodstock with Woodstock and alphamon the same situations were prevailing in terms of free essentially and it was also completely without control of any sort you know there was there were no police I mean there was no there's no way you can realistically control that size really yeah you can't expect to uh the way I saw it both of those situations being sort of like two two sides of the same coin it's like two ways that that kind of expression can go you know of a huge number of people and no rules and one of the ways obviously you can go listen to a terrible bummer like Altamonte and one of the other ways is into a immensely joyful scene like Woodstock and they both had their experience but they were both sort of characterized by a kind of a you know by this heaviness man this is sort of historical heaviness you know lots of people more people than you've ever seen in your life regardless on Outlaw well in a manner of speaking for example all the media calls him a murderer behind altamine in reality he was like the innocent victim of circumstances just like everybody there was just like the guy who got killed in fact yeah this does not bother you at all really no it doesn't because we've never been those people anyway I mean we've never had much approval in front right yeah we've always been sort of an outlaw group on our own just because that's who we are and so no it doesn't we do work comments come through now uh for the for the festival yes for the other gig the one at the lice that would have been at the lyceum I don't think so but I don't really know what sort of machinations are involved you know what else can you tell me about the festival scene in the states our festivals going in the states uh right now they're sort of suspended because of uh the amount of confusion in this relationship actually do you have with the angels our relationship with the angels is that we both exist and essentially the same area and we both know that each other exists and they outnumber us about 90 to one and uh we get along okay with them you know I mean they're uh those guys are guys that we all know we've known them for years you know and and there's we don't have any fight with them but we do know that they are Hell's Angels and that they're capable of uh doing a lot of pretty amazing things and we just stay out of their way have you actually asked them to safeguard or even do any bodyguard work sometimes they've found themselves in that position you know we don't have to ask them to do that but like when we did the be in in the park back in I forget when it's 66 I guess 67 66. the Angels were at that scene strictly just to be there you know just how's Angels being there and it seemed like it would be a good thing to be at music and all and they've sort of found themselves in a position of taking care of lost kids uh watching the stage that kind of thing you know they just started doing it nobody asked them to do it no relationship with people like the Minute Men or the weathermen well the weather men are are a campus phenomena They Don't Really stretch out into our our aspect of society it's not a college trip and it's not uh we we're part of a whole huge community of head adults if there's any label you know that's who we are you know there's a lot of us that we've been doing what we've been doing for a long time Movie Makers uh musicians uh painters Craftsmen of every sort people doing all kinds of things and that's like what we do that's what we do you know that's the way we live our life to your knowledge when the um about 500 students came down from Vancouver and raided the rate of Washington came right down as far as Eureka in California it was a situation there's a pretty heavy scene in British Columbia isn't there at the moment I haven't been there I haven't been there for about a year so I don't really know but I do know that none of that any waves from that didn't come down as far as where we are in California Marin County you know like whatever they did probably was you know I don't know I don't really know anything about that what's the situation where California groups at the moment for people like the airplane I mean are they are they splitting no everybody's still playing together the airplane have gone through a few changes they have a new Drummer now Danny Colvin no uh yeah Joey Covington right and Grace Slick was rumored to be leaving as well uh no I see the way that the airplane do what they do is that they'll they work for like three months and then they don't do anything for a year you know they just goof for a year and that's kind of like uh that's what they do that's the way they do that's the way that's most comfortable to them I guess you know wow but uh they're still playing the airplane have a spin-off group called Hot Tuna have you heard about Hot Tuna I've heard all you know right well that's kind of like that's kind of like what the musicians in the airplane are doing awesome also in a sort of embryonic stage so they're still working it out yeah yeah sure but see that's the fun of it really I mean sure we have a oh yeah we have a couple of spin-off groups sometimes um myself and Phil and the two drummers play together in a group called Mickey heart and the heartbeats and I also have another band called the new writers of the Purple Sage that I don't play guitar and I play pedal stealing and I don't sing or anything I just play pedal steel and it's like some other friends of ours from around the Bay Area in fact we just played the Fillmore East and really had a great time you know well received what's your relationship with Zappa I don't even know Frank really I went to one of his recording studios one of his recording sessions once you know but he's like he's got his own scene completely and it doesn't it's not he's not from San Francisco or anything you know he's from Los Angeles and that's where he works generally or New York you regard him as sort of a pioneer of of any West Coast scene that was ever happening or is happening though I would regard him as a as a kind of a Pioneer in music but not as a pioneer of a scene [Music]
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G4W1MZU98xc
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Jerry Garcia's role in The Grateful Dead
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AXS TV
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https://youtube.com/watch?v=G4W1MZU98xc
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2025-02-25
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PT1M2S
| 14,622
| 334
| 15
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en
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auto-generated
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Yes
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and when he died there were many people myself included who thought well that'll be the end of the Grateful Dead it may be they may be a little slow going but that'll be the end of it when Jerry passed did that thought cross your mind no um first off the Grateful Dead was a fair bit more uh Democratic than people really uh seem to understand and okay what whatever you want to think go ahead and think it um and what it was that we were up to was more democratic than uh than uh when people seem to understand and Jerry Garcia was he a father figure Big Brother figure combined where did he fit in more or less a big brother figure we were brothers for sure or as I've often said uh what we had and what we had in the band together was uh you know they say that blood is thicker than water and really what we had was way thicker than blood
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GC-ZRAAQG84
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Jerry Garcia Interview Fall 1984
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Mark Scalise
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https://youtube.com/watch?v=GC-ZRAAQG84
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2019-08-04
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PT44M43S
| 86,496
| 1,243
| 450
| null | null |
No
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Could not retrieve a transcript for the video https://www.youtube.com/watch?v=GC-ZRAAQG84! This is most likely caused by:
Subtitles are disabled for this video
If you are sure that the described cause is not responsible for this error and that a transcript should be retrievable, please create an issue at https://github.com/jdepoix/youtube-transcript-api/issues. Please add which version of youtube_transcript_api you are using and provide the information needed to replicate the error. Also make sure that there are no open issues which already describe your problem!
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Oe3rWUIdgMs
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Bob Weir on Meeting Jerry Garcia and Starting The Grateful Dead | The Big Interview
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AXS TV
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https://youtube.com/watch?v=Oe3rWUIdgMs
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2023-04-29
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PT7M37S
| 319,911
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No
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K7E6J0sPQws
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What's Carlos Santana's Favorite Memory at Woodstock '69 with Jerry Garcia?
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SiriusXM
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https://youtube.com/watch?v=K7E6J0sPQws
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2019-06-27
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PT2M54S
| 47,282
| 733
| 51
| null | null |
No
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No transcript available
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NuSGHiQf-n0
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Jerry Garcia 710 Interview Spring 67'
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AlligatorWhine
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https://youtube.com/watch?v=NuSGHiQf-n0
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2012-06-14
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PT1H22M55S
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XzcvhhAIEfU
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#jerrygarcia &The #gratefuldead do an #interview & News Reel 1981/1979 #music#rock#livemusic#bobweir
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Dead AllOver ™️
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https://youtube.com/watch?v=XzcvhhAIEfU
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2025-04-21
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PT8M28S
| 4,654
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k2pBgYBI30s
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Jerry Garcia & Bob Weir - Interview - 10/29/1980 - Good Morning America (Official)
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Wolfgang's Grateful Dead
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https://youtube.com/watch?v=k2pBgYBI30s
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2014-09-15
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PT6M25S
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No
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No transcript available
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ZVBmhw3MDzs
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Jerry Garcia Interview - 1975 w. Peter Simon (originally on WVOI ; Martha's Vineyard)
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Mike B
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https://youtube.com/watch?v=ZVBmhw3MDzs
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2021-03-13
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PT54M16S
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No
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No transcript available
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TnEaSH5asek
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Jerry Garcia Interview 4-01-76 NYC
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Jake Feinberg Show
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https://youtube.com/watch?v=TnEaSH5asek
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2025-06-16
|
PT47M7S
| 224
| 5
| 5
| null | null |
No
|
No transcript available
| 0
| null |
zrNVOaoMSTg
|
Jerry Garcia Interview 1974/10/17
|
Veterans Of The Psych Wars 🔮
|
https://youtube.com/watch?v=zrNVOaoMSTg
|
2023-01-04
|
PT15M5S
| 12,663
| 300
| 49
| null | null |
No
|
No transcript available
| 0
| null |
oN2OgmNtMu4
|
Jerry Garcia Interview on Music Industry, 1972
|
Kinolibrary
|
https://youtube.com/watch?v=oN2OgmNtMu4
|
2022-05-05
|
PT24S
| 2,057
| 39
| 2
| null | null |
No
|
No transcript available
| 0
| null |
J3Jw1X8uPCk
|
Jerry Garcia’s Thoughts on Bob Dylan 💀⚡️
|
Grateful Dead
|
https://youtube.com/watch?v=J3Jw1X8uPCk
|
2025-02-06
|
PT54S
| 341,636
| 9,096
| 259
| null | null |
No
|
No transcript available
| 0
| null |
8JOhtcJCjXA
|
Jerry Garcia-Steven Marcus Interview 10/14/1986 @ GDTS
|
Steven Marcus
|
https://youtube.com/watch?v=8JOhtcJCjXA
|
2011-09-25
|
PT39M57S
| 107,197
| 965
| 260
| null | null |
No
|
No transcript available
| 0
| null |
lPRxHU9Zr0g
|
Jerry Garcia & Bob Weir - Interview - 11/6/1979 - Philadelphia (Official)
|
Wolfgang's Grateful Dead
|
https://youtube.com/watch?v=lPRxHU9Zr0g
|
2014-09-15
|
PT6M56S
| 208,935
| 1,330
| 274
| null | null |
No
|
No transcript available
| 0
| null |
EUXU294hU-o
|
Jerry Garcia Talks About Jimi Hendrix #gratefuldead #jerrygarcia #bobweir #shorts
|
Shakedown Street
|
https://youtube.com/watch?v=EUXU294hU-o
|
2023-10-03
|
PT54S
| 102,481
| 5,310
| 169
| null | null |
No
|
No transcript available
| 0
| null |
x_8Shnqc5_0
|
Jerry Garcia 1988 Rare Lost Interview Tapes FULL INTERVIEW
|
Alabaster Jones
|
https://youtube.com/watch?v=x_8Shnqc5_0
|
2018-06-19
|
PT25M50S
| 144,400
| 2,097
| 335
| null | null |
No
|
No transcript available
| 0
| null |
eBuBKctZ0xE
|
Jerry Garcia Interview part 1
|
Glenn Frazer
|
https://youtube.com/watch?v=eBuBKctZ0xE
|
2008-02-11
|
PT5M41S
| 87,900
| 263
| 107
| null | null |
No
|
Could not retrieve a transcript for the video https://www.youtube.com/watch?v=eBuBKctZ0xE! This is most likely caused by:
Subtitles are disabled for this video
If you are sure that the described cause is not responsible for this error and that a transcript should be retrievable, please create an issue at https://github.com/jdepoix/youtube-transcript-api/issues. Please add which version of youtube_transcript_api you are using and provide the information needed to replicate the error. Also make sure that there are no open issues which already describe your problem!
| 0
| null |
5JVNnWSmmEc
|
Jerry Garcia Talks About Woodstock #gratefuldead #jerrygarcia #bobweir #shorts
|
Shakedown Street
|
https://youtube.com/watch?v=5JVNnWSmmEc
|
2023-10-04
|
PT52S
| 39,663
| 1,933
| 71
| null | null |
No
|
No transcript available
| 0
| null |
MEdhlX-hdNk
|
Drummer Bill Kreutzmann on drugs, money and the end of the Grateful Dead
|
PBS NewsHour
|
https://youtube.com/watch?v=MEdhlX-hdNk
|
2015-07-06
|
PT10M20S
| 990,497
| 5,896
| 0
| null | null |
No
|
Could not retrieve a transcript for the video https://www.youtube.com/watch?v=MEdhlX-hdNk! This is most likely caused by:
Subtitles are disabled for this video
If you are sure that the described cause is not responsible for this error and that a transcript should be retrievable, please create an issue at https://github.com/jdepoix/youtube-transcript-api/issues. Please add which version of youtube_transcript_api you are using and provide the information needed to replicate the error. Also make sure that there are no open issues which already describe your problem!
| 0
| null |
dqoEI0k0q8I
|
Jerry Garcia interview
|
TheTVisions
|
https://youtube.com/watch?v=dqoEI0k0q8I
|
2017-12-18
|
PT4M2S
| 9,189
| 146
| 11
| null | null |
No
|
No transcript available
| 0
| null |
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