Thoughts On The Dead

Musings on the Most Ridiculous Band I Can't Stop Listening To

Tag: 1967 (page 1 of 3)

Side, Man

Ma’am?

“Uh, yeah?”

Oh, hey. Bobby. Sorry. In my defense, you looked like a girl until ’72 or so.

“I’d argue with that, but it worked for me.”

What is this? ’67?

“Well, I don’t have my beard so it could be ’67. Or maybe 2002.”

Is Garcia alive?

“Lemme check.”

LOOKING FOR GARCIA NOISE

“Yeah, there he is.”

I guess it’s not 2002.

“Don’t be so quick. Twin Towers standing?”

The Twin Towers would not have been standing in either 2002 or 1967.

“Oh, no. Did the terrorists–”

The terrorists didn’t get hold of a Time Sheath.

“–get hold of…okay, good. I was worried.”

I mean, Miles Davis has one but he’s not technically a terrorist.

“And Billy.”

True.

“Lemme, uh, ask you a question, okay?”

Sure.

“You got a point to this post or are we just bantering pointlessly?”

The second thing.

“Ah.”

Go steal Billy’s hat.

“Nuh-uh.”

Good choice.

Jerry, Phil, and Pigpen Sitting On A Fence

Jesus. Precarious?

“Yo.”

What the fuck?

“The picket fence?”

The picket fence.

“Security.”

How?

“40,000 volts running through it.”

40,000? Isn’t that a bit of overkill?

“Hey, man. I don’t work for the fuckin’ Eagles.”

True.

Retouch-a, Touch-a, Touch-a, Touch Me; I Wanna Be Choogly

I was gonna do a whole thing with Jenkins; I was even gonna call this a Time Flippity-Flop.

But I think it’s beautiful as it is.

(Who posted this in the Comment Section, and where’s it from?)

Once You Pop

This is 6/18/67 at the Monterey Fairgrounds. I don’t know if I’ve listened to it; I will now, though. This show was the Monterey Pop Festival, legendary for its unlegendariness (at least as far as the Dead goes). The Boys were scheduled in between The Who (beginning a long inter-band relationship) and Jimi Hendrix (beginning his and Bobby’s best friendship); both acts put on high-volume shows punctuated by instrument destruction, arson, and explosives. In the face of such showmanship, the Dead countered by standing there and playing Viola Lee for 14 minutes.

They also refused to be filmed for the movie, which gives them a perfect record for avoiding being in iconic Rock Films: Monterey Pop, Woodstock, Gimme Shelter. Dead missed ’em all by thaaaat much.

Great Scott

Long Strange Trip may be hogging the spotlight this year, but it’s not the first film the Grateful Dead appeared in. That would be Petulia from 1967, which–disappointingly–is not the Petulia Clark story.

Richard Lester, the guy who directed the Beatles’ movies, did this one; it’s about George C. Scott beating Julie Christie or something. He also takes some time to look appalled by the young people, and order pressed duck. (That’s what the waiter’s doing at the end of the clip. “Pressed duck” is not a euphemism: they put the whole bird in there and squeeze it until it’s yummy.)

Rock And Roll All Night, Choogle Every Day

“Jer, would you say that we–you know, as a group–enjoy a party?”

“It’s a party every day around here, Bob.”

“Every day?”

“Well: some days more than others, right?”

“Sure, sure. And, uh, Jer: we play for a pretty long time, huh?”

“What?”

“Like: we rock and roll, you know, all night?”

“Yeah, I guess. What’s going on, man?”

bobby makeup 67

“Bobert Herbert Walker Weir, you take that shit off your face.”

“Aww! C’mon, Garcia!”

“Right now, mister.”

“Mumblemumblemumble.”

“What was that?”

“Nothing.”

“That’s right, nothing. Take it off.”

“I was gonna–”

“NOW, Weir.”

“–do your makeup, too. Aw.”

The Rarest Garcia Of All

IMG_3791

Potato salad Garcia.

Just Keep Driving

billy phil young bw 68

And sometimes you find a picture you’ve never seen before. (I feel like I should have seen this photo already–I’ve seen the rest of the photo shoot–but it’s new to me. Am I just clueless?)

PLUS over at Terrapin Crossroads, Phil and his Phriends are taking the stage and you can listen in thank to Radio Busterdog.

Another Episode Of The Dead’s Amazon Show As Written By The Creators of HBO’s Vinyl

EXT: MONTEREY POP FESTIVAL – DAY

The Summer of Love! (We cannot refer to it as the Summer of Love for legal and financial reasons.)

We FOLLOW a large man through the crowd. His name is MACHO SCUNGILLI and he works for PASTICHE RECORDS. There are many people around him: HIPPIES and BEATNIKS and WHATEVER ELSE THE COSTUME DEPARTMENT CAN FIND.

Macho is wearing BELL BOTTOMS and FLOWERS IN HIS HAIR and a LEATHER BLAZER.

He stops a SKINNY BLACK GUY with a STRATOCASTER as he passes.

MACHO
Hey, lemme borrow that for a second.

Macho grabs the guitar and FLIPS IT OVER, pouring THE MOST COCAINE YOU’VE EVER SEEN onto it, even though it’s 1967.

He SCHNARFS the YAYO.

MACHO
HOOOooooo! That’s good yayo!
(…)
What’s your name, kid?

JIMI HENDRIX
My name’s Jimi Hendrix, mister.

MACHO
Have you met Bob Weir?

JIMI HENDRIX
No, but I have a feeling that when I do meet him,
we’ll be the best of friends.

AUDIO CUE: FOXEY LADY AS COVERED BY THE MILK CARTON KIDS

A TALL MAN with a STUPID HAT walks up.

MACHO
Hey, Papa John Phillips of The Mamas and
the Papas!

JOHN PHILLIPS
Hey, brother. Peace and love.

MACHO
Peace and love.

JIMI HENDRIX
Peace and love.

MACHO
This is what the past was like. Anyway, nice
catching up, but I have to go discover The Who.

EXT: ONSTAGE – NIGHT

Four ACTORS IN BAD WIGS are onstage wearing Who costumes. The GUY PLAYING KEITH MOON clearly does NOT KNOW HOW TO PLAY THE DRUMS. Also, The Who would not permit their songs to be used, it is a COVER of Substitute by NEUTRAL MILK HOTEL that sounds ALMOST, BUT NOT QUITE, EXACTLY UNLIKE THE WHO.

The Who DESTROYS THEIR INSTRUMENTS because THAT’S WHAT THE VIEWERS EXPECT and then leave the stage.

MACHO
Holy shit, guys! That was some authenticity!

PETE TOWNSHEND, who is played by MICK JAGGER’S NEPHEW answers him in a TERRIBLE BRITISH ACCENT.

PETE TOWNSHEND
Thanks, Macho. But I’ve been feeling so constrained by
pop songs. I want to write something bigger. Something grand.

MACHO
You mean like a rock…opera?

PETE TOWNSHEND
A rock opera! That’s it! Once again, the guy from the record
company is the real hero of the story.

Behind him, Keith Moon DRIVES HIS CAR INTO A POOL.

THE OTHER SIDE OF THE STAGE

JERRY GARCIA and BOB WEIR stand there, HOLDING THE WRONG GUITARS.

BOBBY
Jer?

GARCIA
Yeah, Bob?

BOBBY
I thought this show was about us.

GARCIA
Eh. Hollywood.

BOBBY
Ah.

GARCIA
Hey, who was that black guy you were playing with? That
guy could play, man.

BOBBY
Oh, that was Jimi Hendrix.

GARCIA
Cool.

BOBBY
He’s my new best friend.

GARCIA
Okay, Bob.

Behind them, KEITH MOON DRIVES ANOTHER CAR INTO ANOTHER POOL.

Smile For The Camera, For The Camera

jerry picture 7:2:67

A reminder: there has always been commentary.

Picture the Dawn of Man. Maybe a Tuesday. No one had ever done anything before, and then someone did. Immediately after that, people began reviewing it, compiling candid behind-the-scene reports about it, parodying it, and wondering what it all meant, cavemaaaaaaan.

Your tweets are today’s Talmudic commentaries, just with fewer violent hand gestures. Probably the same amount of beards.

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