Quotes:

Quotes from books that I wrote down into my booook.......

One More Saturday Night
(Reflections with the Grateful Dead, Dead family, and Deadheads....by: Sandy Troy

***Mickey joined the band in 1967/Fall. He had been giving Kreutzzman drumming lessons. One day, they asked him to come play a set.***

***"Janis wore blue jeans, work shirts, and no bra at a time when that was pretty radical, and swore like a sailor. I would comment that I always felt that was an act on Janis' part. janis was actually one of the better educated and more literate people that I knew. She read voraciously for the whole time I knew her. Whether she was involved in the music business or drugged out or whatever was happening, she read constantly. She had a huge library and was an extremely well-read person and ultimately ended up about one course shy of a degree in history at the University of Texas." --Chet Helms***

"It had fifteen rooms including closets, which in those days were used as bedrooms. Peole would crash there at times. I stayed there on a few occasions. People would drop acid and sit aound philosophizing about the world." --Chet Helms about 710 Ashbury***

Living With the Dead
By: Rock Scully & David Dalton

***"Jerry is trying to experiment with electrifying bluegreass and country music in a rock format - with drums and electric bass. But this new direction is going to require even more coordination from the rest of the band, so the saga continues! Part of this struggle involves getting Bobby Weir to play a tight rhythm so that Garcia can pick. And in order to pick, Garcia needs Phil Lesh to play a strict bottom that will kick the band along. A bass line that the drums can hang with, that Kreutzmann can put his foot to and that can keep Pigpen interested in the rhythm."***

***"Kreutzmann and Hart are game for anything and Weir is like your kid brother - he always wants to tag along."***

"Stay in your Own Movie!" -Ken Kesey***

"I began taking inventory of the band members. Okay, there's the lead singer, a pauchy Hell's Angel type with dirty hair down to his tits and greasy leather vest covered with mojo pins. There's a Mexican-lookking guitar player with pyramid hair, a receding chin, and a missing finger. The bass player has a full Prince Valiant pageboy do. There's a second guitarist, a startled long-haired child who could be a good. And then there's a surly, juvenile deliquent on drums. A sorrier-looking bunch you ever saw."***

"Then there is Bob Weir, the wide-eyed kid. Jerry is like his big brother."***

"The Grateful Dead at this point are barely a group, more a collection of people from different bakgrounds and with varying levels of compentance. Phil Lesh, for instance, is too precise, too well trained in the classical manner and consequently vewry stiff for a rock 'n; roll bass player. He has all this savvy about the music, and he can talk circles around Garcia or anybody. He'll say, 'No, no no no, wait. If we're going from a C to a B flat minor you have to have the correct modulation.' Lesh can chart it all, but he can't swing. It is probably our biggest problem with the groove. The bass has to work closely with the drummer's foot, but Lesh and Kreutzmann is this wild, wooly, uneducated crazy drumming guy -almost like Animal in the Muppets- and Phil has this very filigreed bass-playing style. He's a high falutin intellectual kind of a guy who's liable to turn his back on the audience. But there's Kreutzmann right in his face going, 'Don't you hear that downbeat, man?" And Phil won't even look at him (he won't look at Jerry either). Phil has perfect pitch, but that perfect pitch just doesn't work with Garcia's voice. Or with Pigpen's, for that matter. Sometimes it works with bobby's voice, but generally it doesn't blend in comfortable with the rest of the band. Meanwhile, Bobby Weir can't come up with a B-minor. He's contorting his fingers onthe guitar, holding down the E-string while he's still holding down this other one back up there somewhere -- Torture! The members of the Dead are far from being ideally suited to each other. They have to play to each other's weaknesses. But somehow what comes out is the inimitable sound of the Grateful Dead."***

"And when the Grateful Dead turn into the Hippie Buffalo Bill Show, Jerry is the obvious focal point. he's the innovator. The symbol. There are no ice cream flavors named after Phil Lesh."***

"You can put your finger on them anywhere. Up in the balcony at the Avalon you certainly can't miss them. They are basically indistinguishable from your average narc. They regard the scene unfolding below them with a mixture of horror and fascination. They've never seen anything like it. Tripping and crazy dancing, everybody, openly smoking pot. They have anxious, fearful faces. They've been briefed through little interoffice memos. BE AWARE AT ALL TIMES WHILE ATTENDING CONCERTS. UNSCRUFLOUS PERSONS MAY ATTEMPT TO SPIKE YOUR DRINKS WITH MIND ALTERING SUBSTANCES. DO NOT, UNDER ANY CONDITION, DRINK OUT OF AN OPEN CAN OF ANYTHING!"***

"And they'd say, "Hey brother, get hip to our trip. You rock 'n' Rollers get paid by the hit. We get paid by the minute'."***

"Zappa is a jerk about the whole thing. Instead of coming down himself, he gets the manager and demands we turn our amps down. He has top billing! Later one, I come to dig his music,but at that time I think this guy is aphony and no good to boot (not that we're much better)."***We already know from friends in the Airplane and others that the principals of the festival, (Monterey Pop Festival), Lou Adler and Papa John Phillips of the Mamas and the Papas, have something up their sleeves. Nobody knows quite what, but we know from experience that somebody somewhere will be making money from all this free music and free love....."***

***"It starts with John and Michelle Phillips of the Mamas and Papas coming to see us, representing themselves as fellow muscians who have also taken acid, or maybe taken acid. But whatever they've taken, they aren't anywhere near as crazy as we are. Or as naive Phillips is a muscian whose group we respect, but why, we wonder, is he talking like that? The hip malapropisms, the music-biz cliches, the fake sincerity we are soon to discover that once you get beyond the fur hat and the beads he is just like a goddamn L.A. slicko. We all get the same vibe from him: he's here to exploit the San Francisco hippie/love phoenomenon by building a festival around us and Janis and Country Joe and Big Brother and Quicksilver and the Airplane."***

***"Almost immediately Mickey becomes part of the group and moves in with Phil Lesh an Billy Kreutzmann, just up the street from 710 Ashbury. One day Kreutzmann comes by 710 and I finally ask him something that's been on my mind. 'Listen Billy,' I say, 'There's something I've got to know. how in the hell do you guys play so perfectly in sync?' -- 'Hypnotism,' says Billy. 'You're kidding.' 'No man, I swear it. Mickey's been hypnotizing me, that's how it works.' 'Real hypnosis?' I mean this is a bit unusual even for the Haight. We all wonder about it. A Lot. Whether or not this is how Mickey Hart got to be the other drummer. 'YOU WILL HIRE ME A THE EXTRA DRUMMER. YOU WILL MAKE ME THE NEXT DRUMMER FOR THE GRATEFUL DEAD!'***

***Yes, the Bobby Problem is still with us. He isn't chunking down the rhythm so much as noodling, and for Jerry to play his solos he needs a solid musical bedrock under him. Without that it all goes Ffffwooooshhhh!!! into outer space. Which admittedly is part of the Dead's charm, but the sound is getting way too psychedelic. Onstage, Jerry brings Bobby back into focus through cues. Just eyeball and some heavy-duty (loud) rhythm from Garcia and - just at the point where you think Bobby's totally lost - he drops right in on the button."***

***Pigpen is getting on his nerbes as well. Pig is not getting into the new songs, isn't practicing, is drinking more and paying attention less. He's just turning up at rehersal in his desultory way with a short span of attention and doing the same stuff he's been playing for the last two years. The material Jerry and Phil are coming up with is, to put it in the kindest possible terms, way over Pig's head. Pig is lost on anything outside basic blues and straight rock."***

***"We are just all plain crazed, and JErry talks me into holding a band meeting. Somehow I lure Jerry into kicking it off, but aftersome intitial, esoteric mumbling he gets right to the point : 'Shit, maa'n, I can't do this.....You tell them, Rock, you know, what you told me.' 'Oh, that!' (May the Lord have mercy on my soul) 'Well, Bobby, uh, I think what Jerry is trying to get at and, uh, now dn't take this the wrong way, but....have you ever thought about how attack-oriente an electric guitar is?'
'Attack oriented?' Bobby has an annoying habit of repeating what you say when he doesn't understand or doesn't want to understand. he's just fucking with me. How dare I, lowly worm of a nonmuscian, address him with this techno shit! I'm drowning, obviously, but I press on : 'You know, man, the snap, the uh, bite?' I feel like a complete idiot. 'Jerry, old buddy,' I say, 'Help me out on this one.'
'Bobby, have you ever seen one of those TV shows where they show you what sound looks like?"
'What sound looks like?'
'Yeah, you know, a bird is singing and, uh, they show the highs and the lows on a oscilloscope?'
'Oh, like little mountain ranges or something when the sound goes up and down?'
'Exactly, amigo! The shape of a note is like a mountain and how steep the first slope is depends on the attack. It has a little swell in the middle as it gains its full resonance through the electronics and them fades out. So the bite has got to be on the opening part of the chord if you're not biting that first part, the swell comes in the midrange. The midrange gets lost in the bass and foot pedal of the drummers, it's kind of the lost area in rock 'n' roll. Fill is what it is.'
'Phil, who?'
'Come on, ma-an! You know how, on a solid-body electric, there's the Ch part of the note, which is the attack, and the Unk part, which is the fill and Bobby, what we need from you is more Ch and less Unk.'
'More Ch?'
'Right. Cause the Unk is in the midrange of the sound spectrum and midrange doesn't move correctly through air, it's slower like a bass. The bottom end is the hardest amount of air to move, which is why the bass is hard to hear. it's a broad, rounded-sound shape. Those big bass speakers move so much air you can feel it in your solar plexus. With that amount of air you don't get the bite. With me so far?'
'I'm not playing so good, eh?'
'Okay, let's take it from the top.......'" --on trying to fire bobby***

***"Weir's personality is beginning to come into focus. It will never entirely gel, due, I would say, to doing too much acid at an early age. Aside from his own appetite for psychedelic, Weir also gets dosed a lot. The crew is merciless. He gets on stage not knowing how much he's taken and starts fumbling with his guitar as the strings liquidfy."***

***"She didn't take acid, she yelled at us alot, but if anybody embodied the high-spirited, larger than life energy of the Haight, it was Janis. I can see that Jerry is blown away, but at moments like this he always manages to summon up his philosophical side. 'She was on a real hard path. She picked it, she chose it, it' s okay. She did what she had to do and closed her books. If you had a chance to write your life...I would describe that as a good score in life-writing, with an appropriate ending.' "--on Janis' death***

***"Now, believe it or not, Jerry is very squemish about anything to do with Skulls and Skeletons in connection with the Grateful Dead. He is very anti-bones of any kind. His biggest fear is that it might be used in a satanic ritual or a ritual killing and the karma ascribed to the Dead."***

***"We've already been on the road a week and already I have American Express charges of roughtly twenty-five thousand dollars. This is just rent-a-cars, hotel rooms, and airfares. Including those frequent unscheduled flights where Mickey Hart of Phil Lesh picks up a girlfriend and wants to fly with her from Indianapolis to Providence (which is an expensive little flight) and then make a quick run out to the Cape. 'Just cover it, Rock.' i do, and it adds up alarmingly. now with the overcharges at the Providence Hilton, we've spent our entire allotment on Jerry's furniture. A little episode that costs almost five thousand dollars. Nodding off at night does get expensive."***

***"Jerry generally never wants to go out once we get to New York. he likes to vegetate in his room with the big color TV until showtime New York is way too much input, it's abrasive and intimidating to Californians --especially Californians as high as we are."***

***"Drummers have a tendency to flip. It has to do with how much energy they put into it. They work themselves to death. They have to punch the band into gear. It's a lot more demanding than playing a guitar."***

***"The crew is a much more pigheaded, intransigent, willful, and sulky quality than the band members. Most people who do manual labor have the same attitude : they think any other kind of work is shirking. They're also ungrateful, the band takes great care of them and the crew just shits on them. The Dead think of themselves as tough-minded, down-to-earth guys, but man are they easy. The Grateful Dead are the only band I know of that has such an obnoxious crew."***

***"Robert Hunters Five Commandments of Rock 'n' Roll***
1) Trash the people that are gone.
2) Trash anybody around you that's doing anything you're not
3) If you don't understand it, it's fucking with you
4) If somebody's got something better than you, go out of your way to take it away from him.
5) Don't volunteer for anything."***

***"Deadheads have to be warned specifically. We are such a magnet for dopers that our audience becomes a target for police enforcement surveillance. They're rounding people up in the parking lots and setting up sheriff's substations to photograph everybody. They lock up these kids briefly and then let them loose until they have to come back for the trial. We are getting letters from parents whose kids have gone to jail for eighteen months for holding one square of window pane acid. That's when we start sending out letters to fans warning them. The Dead realize they are major bait."***

Still Life With Woodpecker

***"All people who live subject to other people's laws are vicims. People who break laws out of greed, frustration, ,or vengence are victims. People who overturn laws in order to replace them with their own laws are victims. (I am speaking here of revolutionaries.) We outlaws, however, live beyond the law. We don't merely live beyond the letter of the law - many businessman, most politicians, and cops do that - we live beyond the spirit of the law. In a sense, then, we live beyond society. Have we a common goal, that goal is to turn the tables on the nature of society. When we succeed, we raise the exhilaration content of the universe. We even raise it a little bit when we fail." --(pg. 63-64)***

***"Or enough toot," said the captain, who had just walked up with a plate of cocaine. Bernard did a line. Leigh-Cheri was hesitant. "Come on," said Bernard, "This stuff's so fine Julius Caesar called for it with his dying breath. 'A toot, Brutus', is what he said. C'mon try it." --(pg. 117)***

***She did know that once tattooed one could no longer expect to lie for all eternity in an orthodox Jewish cemetary. They wouldn't even bury women with pierced ears. A strange theory of mutilation from the people who invented cutting the skin off the pee-pee. --(pg. 132)***

***"When we're incomplete, we're always searching for somebody to complete us. When, after a few years or a few months of a relationship, we find that we're still unfulfilled, we blame our partners and take up with somebody more promising. This can go on and on --series polygamy-- until we admit that while a partner can add sweet dimensions to our lives, we, each of us, are responsible for our own fulfillment. Nobody else can provide it for us, and to belive othrwise is to delude ourselves dangerously and to program for eventual failure every relationship we enter. Hey, that's pretty good. If I had a pencil and paper, I'd write that down." Next, she thought, "When two people meet an dfall in love, there's a sudden rush of magic. Magic is just naturally present then. We tend to feed on that gratuitous magic without striving to make any more One day we wake up and find that the magic is gone. We hustle to get it back, but by then it's usually too late, we've used it up. What we have to do is work like hell at making additional magic right from the start. It's hard work, especially when it seems superflouous or redundant, but if we can remember to do it, we greatly improve our chances of making love stay." --(pgs.157-158)***

***Three of four elements are shared by all creatures, but fire was a gift to humans alone. Smoking cigarettes is as intimate as we can become with fire without immediate excruciation. Every smoker is an embodiment of Promethus, stealing fore from the gods and bringing it on back home. We smoke to capture the power of the sun, to pacify Hell, to identify with the primordial spark, to feed on the marrow of the volcano. It's not the tobacco we're after but the fire. When we smoke, we are performing a version of the fire dance, a ritual as ancient as lightning..... The lung of a smoker is a naked virgin thrown as a sacrifice into the godfire.***

***Cocaine, Cocaine, the Musical Fruit
The more you have the more you toot
The more you toot the better you feel
So sniff some wiff instead of a meal.***

***I should say one more thing about making love stay. When the mystery of the connection goes, love goes. It's that simple. This suggests that it isn't love that is so important to us but the mystery itself. The love connection may be merely a device to put us in contact with the mystery, and we long for love to last so that the ecstasy of being near the mystery will last. It is contrary to the nature of mystery to stand still. yet, it's always there, somewhere, a world on the other side of the mirror. --(pg. 274)***

The Ten Commandments of Rock and Roll

from The Grateful Dead Family Album by:Jerilyn Lee Brandelius

1.) Suck up to the Top Cats
2.) Do not express independent opinions
3.) Do not work for common interest, only factional interests
4.) If there's nothing to complain about dig up some old gripe
5.) Do not respect property or persons other than band property or persons
6.) Make devastating judgments on persons and situations without adequate information.
7.) Discourage and confound personal, technical and/or creative projects.
8.) Single out absent persons for intense critism
9.) Remember that anything you don't understand is trying to fuck with you
10.) Destroy you rself physically and morally and insist that all true brothers do likewise as an expression of unity

Some more information that I wrote down

"No, it doesn't bother me that W. actually waved at Stevie Wonder. It does bother me that while all this money is being raised for national security, and W almost dies from a pretzel." --Robin Williams

Sacred Islam --The Qur'an

The Women
"If any of your women is guilty of unnatural offense, bring four of your witnesses to give evidence, if they testify agains them, retain them in the houses until death, or until God provide some other way for them."

"Also forbidden are married women unless they are captives (of war)."

The Romans
"They only know the palpable life of this world, and are oblivious of the Hereafter. Do they not think for themselves that God did not create the heavens and the earth and all that lies between them without reason and a determined purpose? But many men reject the meeting with the Lord."

Repentance
"God has verily bought the souls and possessions of the faithful in exchange for a promise of paradise. They fight in the cause of God, and kill and are killed. This is a promise incumbent on Him, as in the Torah, so the gospel and the Qur'an. And who is more true to his promise than God? So rejoice at the bargain you have made with him; for this will be triumph supreme."

More info from the Qur'an

"Except those who take refuge with a people allied to you. If God had so willed, he would surely have given them power over you, and they would have fought you. If they keep aloof and do not fight, and offer peace, God has left you no reason to fight them. You will also find persons who, while wishing to live in peace with you as well as with their own people, turn to civil war the moment they are called to it. If they do not keep away from you, nor offer you peace nor restrain their hands, seize them and kill them whereever they are. We have given you a cleaer ssanction against them.

Last Thoughts on Woody Guthrie
by: Bob Dylan

When yer head get twisted and yer mind grows numb
When you think you're too old, too young, too smart, or too dumb
When yer laggin' behind an' losin' yer pace
In a slow-motion crawl of life's busy race
No matter what yer doin' if you start givin' up
If the wine don't come to the top of yer cup
If the wind's got you sideways with one hand holdin' on
And the other starts slipping and the feeling is gone
And yer train engine fire needs a spark to catch it
And the wood's easy findin' but yer lazy to fetch it
And yer sidewalk starts curlin' and the street gets too long
And you start walkin' backwards though you know it's wrong
And lonesome comes up as down goes the day
And tomorrow's morning seems so far away
And you feel the reins from yer pony are slippin'
And yer rope is a-sliding 'cuz yer hands are a-drippin'
And yer sun-decked desert and evergreen valleys
Turn to broken down slums and trash-can alleys
And yer sky cries water and yer drain pipes a-pourin'
And the lightening's a-flashin' and the thunders a-crashin'
And the window's are rattlin' and breakin' and the roof tops a-shakin'
And yer whole world's a-slammin' and bangin'
And yer minutes of sun turn to hours of storm
And to yourself you sometimes say
"I never knew it was going to be this way
Why didn't they tell me the day I was born"
And you start gettin' chills and yer jumpin' from sweat
And yer lookin' for somethin' you ain't quite found yet
And yer knee-deep in the dark water with yer hands in the air
And the whole world's a-watchin' with a window peek stare
And yer good gal leaves and she's long gone a-flyin'
And yer heart feels sick like fish when they're fryin'
And yer jack hammer falls from yer hand to yer feet
And you need it badly but it lays on the street
And yer bell's bangin' loudly but you can't hear it's beat
And you think yer ears might 'a been hurt
Or yer eyes've turned filthy from the sight-blindin' dirt
And you figured you failed in yesterdays rush
WHen you were faked out an' fooled while facing a four flush
and all the time you were holdin' three queens
And it's makin' you mad, it's makin' you mean
Like in the middle of Life magazine
Bouncin' around a pinball machine
And there's something on yer mind you wanna be saying
That somebody someplace oughta be hearin'
But it's trapped on yer tongue and sealed in yer head
And it bothers you badly when yer layin' in bed
And no matter how you try you just can't say it
And yer scared to your soul you just might forget it
And yer eyes get swimmy from the tears in yer head
And yer pillows of feathers turn to blankets of lead
And the lion's mouth opens and yer staring at his teeth
And his jaws start closin' with yer underneath
And yer flat on yer belly with yer hands tied behind
And you wish you'd never taken that last detour sign
And you say to yourself just what am I doin'
On this road I'm walkin', on this trail I'm turnin'
On this curve I'm hangin'
On this pathway, I'm strollin' in the space I'm takin'
In this air I'm inhalin'
Am I mixed up too much, am I mixed up too hard
Why am I walking, where am I running
What am I saying, what am I knowing
On this guitar I'm playing, on this banjo I'm frailin'
On this mandolin I'm strummin', in this song I'm singin'
In the tune I'm hummin', in the words I'm writin'
In the words that I'm thinkin'
In this ocean of hours I'm all the time drinkin'
Who am I helpin', what am I breakin'
What am I givin', what am I takin'
But you try with yer whole sould best
Never to think these thoughts and never to let
Them kind of thoughts gain ground
Or make yer heart pound
But then again you know why they're around
Just waiting for a chance to slip and drop down
'Cause sometimes you hear 'em when the night time comes creepin'
And you fear that they might catch you a-sleepin'
And you jump from yer bed, from yer last chapter of dreamin'
And you can't remember for the best of yer thinkin'
If that was you in the drem that was screamin'
And you know that it's somethin' special you've needin'
And no liquor in the land to stop yer brain from bleeding
And you need somethin' special
Yeah, you need somethin' special all right
You need a fast flyin' train on a tornado track
To shoot you someplace and shoot you back
You need a cyclone wind on a stream engine howler
That's been bangin' and boomin' and blowin' forever
That knows yer troubles a hundred times over
You need a Greyhound Bus that don't bar no race
That won't laugh at yer looks
Yer voice or yer face
And by any number of bets in the book
Will be rollin' long after the bubble gum craze
You need somethin' to open up a new door
To show you somethin' you seen before
But overlooked a hundred times or more
You need somethin' to open yer eyes
You need somethin' to make it known
That it's you and no one else that owns
That spot that yer standin', that space that yer sittin'
That the world ain't got you beat
That it ain't got you licked
It can't get you crazy no matter how many
Times you might get kicked
You need something special all right
You need something special to give you hope
But hope's just a word
That maybe you said or maybe you heard
On some windy corner 'round a wide-angled curve
But that's what you need man, and you need it bad
And yer trouble is you know it too good
'Cause you look an' you start gettin' the chills
'Cause you can't find it on a dollar bills
And it ain't on Macy's window sill
And it ain't in no rich kid's road map
And it ain't in no fat kid's fraternity house
And it ain't made in no Hollywood wheat germ
And it ain't on that dimlit stage
With that half-wit comedian on it
Rantin' and Ravin' and takin yer money
And you thinks it's funny
No you can't find it in no night club or no yaucht club
And it ain't in the seats of a supper club
And sure as Hell yer bound to tell
That no matter how hard you rub
You just ain't a-gonna find it on yer ticket stub
No, and it ain't in the rumours people're tellin' you
And it ain't in the pimple-lotion people are sellin' you
And it ain't in no cardboard box house
Or down any movie star's blouse
And you can't find it on the golf course
And Uncle Remus can't tell you and neither can Santa Clause
And it ain't in the cream puff hair-do or cotton candy clothes
And it ain't in the dime store dummies or bubblegum goons
And it ain't in the marshmallow noises of the chocolate cake voices
That come knockin' and tappin' in Christmas wrappin'
Sayin' ain't I pretty and ain't I cute and look at my skin
Look at my skin shine, look at my skin glow
Look at my skin laugh, look at my skin cry
When you can't even sense if they got any insiders
These people so pretty in their ribbons and bows
No you'll not now or no other day
Find it on the doorsteps made out-a paper mache
And inside it the people made out of mollasses
That every other day buy a new pair ofsunglasses
And it ain't in the fifty-star generals and flipped-out phonies
Who'd turn yuh in for a tenth of a penny
Who breathe and burp and bend and crack
And before you can count from one to ten
Do it all over again but this time behind yer back
My friend
Continued