I began the journey into the history and the present of the psychedelic movement
with
On the Road. I'm sure I chose to read it because its on that list of books that make you seem cool if you've read it hahaha. You take that journey with Jack Kerouac and because you’re a
novice and because he was writing as a green noob, you start making the connections of inter-connectivity for the first time with him. To me, while it
was perhaps the easiest to relate to Sal, Dean was the character that captivated.
Most are certainly aware going in to the book, that that the main
character is Jack the author, and Sal is
Neil Cassady. You might
have heard legend of this folk song hero of a man who dropped dead counting
railroad ties (not actually true). Getting to know him turned out to be my favorite part of
On the Road.
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Kerouac and Cassady |
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Cassady driving in the 50's. Allen Ginsberg took the photo. |
Slightly
before that for me, was
One flew over the
Cuckoo’s Nest. I chose to read it for a book report as a freshman in High
School. I can’t remember how much I knew about
Ken Kesey before that but the
author and the book were more of these volumes you had to read if
wanted to be able to participate in the upper level cultural goings ons. The
cool parties, the deep conversations, the knowing glances shared,
possibly with girls. Yeah, I was a dork. Yes I continue to be a dork. I got lost in the world quickly,
ensnared by Kesey’s prose, not quite understanding what this book had to do
with hippies. I couldn’t recognize at the time how psychedelic his style of
writing really was. I wasn’t yet awake in that respect. I simply read about
the people in this Oregon Psychiatric Hospital and raged at the injustice of it
all in typical teenage fashion. I didn’t know at the time that the book was
written while Ken Kesey was working at a similar facility. And was taking LSD.
He participated in one of the early and now-famous
government experiments with LSD. Kesey quickly realized how vitally important and world changing this
substance/ experience was and “liberated” large quantities of it to bring back
to his friends. The Merry Pranksters.
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Kesey | |
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Kesey and the Pranksters (also Chet Helms on his right). |
It was
probably while working on that book report I learned a little more about Kesey
and his path. As naturally curious about mind-altering substances as I was,
information about LSD certainly wouldn’t have gone overlooked. I probably heard
at this point about Tom Wolfe’s
The
Electric Kool-Aid Acid Test. I finally now had the document I had been
looking for reading those other books, here’s what happened, here’s how they
opened the door. The stories were so huge, so beautiful, I almost couldn’t
believe it... but man did I want every single word to be true. That people could
live together like this, to open their doors completely to each other, to want
to share it all with the world! The limitless possibilities of humanity if
everyone could just turn on. I was shocked to find out the Neil Cassady had
wandered out of the 50’s beat scene and right into the pranksters camp. Is it
any wonder though? Things were fated. Meant to be. He carried that torch lit by
all those early poets, those beat cats with their Benzedrine and their seedy
joints, the preliminary explorers.
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Kesey and Cassady with the pranksters. |
Now
NeilCassady, hero of one generation still had enough fire in him to inspire, and chauffeur
the next. He juggled a sledge-hammer, he drove the bus. He talked very fast.
He wasn't just in the flow, he was the flow. Who better to drive the merry pranksters across the country? His resume,
descriptions of his driving in
On The
road made him the perfect conductor for this next leg of the journey. So
there’s Cassady, now with Kesey. It’s the early 60’s in California. What other forces
of culture were changing the world at this time? The Grateful Dead. Through 1965 and 1966 the Merry Pranksters hosted a series of parties known as the acid tests. At these parties all those attending, who chose to, drank LSD laced punch and were given a safe and twisted environment to experience the trip in. Who better to play than the Grateful Dead?
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"Cowboy Neil at the Wheel" Neil Cassady driving further. |
My dad
liked the Grateful Dead. He bought
American Beauty and
Workingman’s Dead on
vinyl when they came out. We had those old white plastic cassettes of those
albums in the car and listened to them on trips. My dad loved ripple and always
sang along. I always remember the songs my dad sang along to. It was powerful
as a kid to see your parents moved to share in the music with the band. Early
goose bumps starting to see the power of music. He always sang along to
Cecelia by Simon and Garfunkel and
Looking out my Backdoor by CCR. So I “borrowed” (he never asked for them back) Workingman's and Beauty from my dad and listened on my headphones. It was the
early 90’s and the Grateful Dead couldn’t have been any cooler to a pre-teen/ teenager. I was always drawn to the hip scenes as a terminally unhip kid, whether it was the punks in Op Ivy tee’s and
Doc Marten’s or the hippies with their tie dyes and Birkenstock’s or Teva’s
(so 90’s, I know). So I bought my overpriced tie dyes and listened to the albums,
only understanding the superficial of what the Grateful Dead were.
My dad gave me some more albums, now on
CD, including some live albums. I finally got a bit of taste from releases
like the
From the Vault series and
Without a Net of the Grateful Dead live show
. I didn’t get Pigpen tunes
yet at all. I didn’t get
Without a Net at
all. I do remember the
Help>Slip>Frank from One from the Vault did catch my ear, especially the iconic Bill Graham introduction. I got that all right. The sound and track
selection from spring 1990 (featured on Without a Net), which is now probably my favorite era, didn’t click with
what I thought the vibe of the Grateful Dead was all about. What I had heard on
Beauty and
Workingman’s.
So I didn’t
fall for the Grateful Dead all that hard at the time. Playing and listening to Punk occupied me for a few years. As I got more into
jamband stuff, Phish at the end of high school and the Disco Biscuits in
college, I collected 10-15 Grateful Dead shows along with the Phish and
Biscuits I downloaded. I wanted a well-rounded collection. I certainly
dug the 72-73 and 77 stuff I had. I even bought
Dick’s Picks 7 on CD at the Borders on Wolf Road. That’s a very time diagnostic
sentence right there.
So while I was listening to that stuff I read a few more Kerouac’s
and found some new heroes.
Kurt Vonnegut very quickly became a favorite. As did
Tom Robbins. These guys paved the way for my outlook from college till the time after and
taught me how to treat people in the world. Taught me to let go of what was
holding me back. To participate fully, to immerse myself in this life. I kept
reading the Kesey books, each time more fully understanding them as I did my best to follow Kesey's path in my own way.
Sailor Song and
Sometimes A Great Notion to me are some
of the highest novels I’ve ever read. Each book changed and became a part of me.
I ripped through Robbins and Vonnegut books, devouring the tastiness. I made
myself savor the remaining Kesey novels, knowing they were much more finite.
In my early 30's I finally fell much more deeply in love with the Grateful Dead. It started when I realized streaming Dead shows off of
archive.org was a great way to make a slow office day pass more pleasantly. I was also working on my
winter 46 and taking a lot of early morning solo drives to the Adirondack high peaks. Having a Dead show to listen to kept me alert and attentive and distracted me from over-thinking the coming hike. Pretty soon it was all I was listening to. As an anthropologist, tracking the changes through the years, noticing the patterns in the setlists and thinking about how the band changed and grew with the historic events that surrounded them became a fascinating pursuit. I learned deeper meanings in the songs as I read along with
David Dodd's annotated Grateful Dead Lyrics. At the end of
Wharf Rat, the man listening to August West seems to become the next wharf rat himself!
Estimated Prophet tells the story of a twisted, spaced out street preacher who thinks he's the second coming. The haunting tale of a poker player who simply can't put down the cards and walk away in one of my absolute favorites,
Loser. Such rich tales, so much to get lost in. Hunter and Barlow's words crept into my DNA.
This leads me to the initial idea that sparked this post: The significance of
The Other One. I was listening to the
9/30/80 performance of the
Grateful Dead at the Warfield Theater in San Francisco. The band played a string of shows in the fall of 1980 at the Radio City Music Hall and the Warfield Theater. From this famous run of
shows that featured an acoustic first set, tracks were used to create
Dead Set and
Reckoning. I hadn’t spent a
lot of time on the run yet and had only done so early on in my adult dead phase
so was pleasantly surprised with just how good this show was.
I had previously left off mid
drums so almost put on something different for the drive down to
work. I’m really glad I didn’t because the
space>The
Other One was gorgeous.
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All photos The Grateful Dead, Fall 1980. |
A huge piece of the puzzle firmly clicked into
place, falling more deeply in love with
The Other One while listening to this performance. Plain as day, this foundational piece of the Grateful Dead repertoire referenced
the psychedelic awakening chronicled in
The
Electric kool-aid Acid Test and mentions Neil Cassady by name! Further, the bus he drove the Pranksters across the country in serves as a metaphor for the entire cultural movement. I found out
reading Scott Allen’s
Aces Back to Back Bob
Weir, rhythm guitarist for the Grateful Dead and Neil Cassady were even roommates for a time. How deeply intertwined
all these people, these pieces of art and this awakening all were! How much was
I meant to be listening to this music and how amazing was it that I had been
tracing these threads since I was in junior high?!?! Much like a faint trail through the woods, scant traces of the animals or humans who went this way before you, these paths through our media and culture can be followed and yield as impressive fruits for our labors as those paths through the woods followed. Sometimes 20 years of books, concerts experienced, conversations had, and leads pursued, can bring you to one song that really
ties it all together.
Words and music by Jerry Garcia, Bob Weir, and Bill Kreutzmann
Spanish lady come to me, she lays on me this rose.
It rainbow spirals round and round,
It trembles and explodes
It left a smoking crater of my mind,
I like to blow away.
But the heat came round and busted me
For smilin on a cloudy day
Comin', comin', comin' around, comin' around, comin' around in a
circle
Comin', comin', comin' around, comin' around, in a circle,
Comin', comin', comin' around, comin' around, in a circle.
Escapin' through the lily fields
I came across an empty space
It trembled and exploded
Left a bus stop in its place
The bus came by and I got on
That's when it all began
There was cowboy Neal
At the wheel
Of a bus to never-ever land
Comin', comin', comin' around, comin' around, comin' around in a
circle
Comin', comin', comin' around, comin' around, in a circle,
Comin', comin', comin' around, comin' around, in a circle.