Laker Hall, S.U.N.Y, Oswego, NY

Ain't it a beauty?

The men's health, physical education and recreation building is called Laker Hall in honor of the teams that are headquartered there. SUNY Oswego's athletic teams are known as the Lakers.

Fall Sports
Hosts the volleyball team, which utilizes Max Ziel Gymnasium 

Winter Sports
Hosts the men's and women's basketball, men's and women's swimming and diving, and wrestling teams.

Jerry performed here on
2/17/80 Jerry Garcia Band

12/11/83 Jerry Garcia Band

Knickerbocker Arena, 51 S. Pearl Street, Albany, NY

Capacity-15357

The building, designed and built by Clough Harbour & Associates at a cost of $68.6 million, was opened on January 30, 1990, with a performance by Frank Sinatra.[1]

The Oxford English Dictionary defines Knickerbocker as ''a description of the original Dutch settlers of the New Netherlands in America, hence a New Yorker.'' The dictionary says the first written use of the word came in 1809, when Washington Irving wrote a history of New York State under the pseudonym Diedrich Knickerbocker.
But maybe, just maybe, it was named after this beer.
Made by the Ruppert Brewery, Knickerbocker was the official beer of the New York Giants, a bit ironic given that Jacob Ruppert, a.k.a. "The Colonel," was the owner of the New York Yankees during the heyday of Ruth and Gehrig. The brewery was located at 92nd and Second, but it closed in the late 1960s. The Knickerbocker brand was acquired by another brewery, but discontinued during the 1970s.

(This ad appeared in 1955.)

There was a newspaper in Albany, The Knickerbocker, from 184?-1866. And there was a Knickerbocker News from 1937-1969.

The Albany Knickerbockers Rugby Football Club was established in 1973.Or perhaps it was named after these guys.

Members of the New York Knickerbockers baseball team, 1843.

What really happened was that the name Knickerbocker Arena was victorious in a phone-in election to choose the name of Albany's new sports arena.
The Knickerbocker Arena defeated its closest competitor, ''AlbaN.Y. Civic Center,'' by a vote of 1,195 to 747.
The phone-in election was held to break a six-month stalemate over what to name the 15,000-seat arena, which was scheduled to open in early 1990. To vote, area residents called a 900 number given to the name of their choice. Among the names that suffered defeat were the Albany Imperium, the Vetradome and the Empire Center. At any rate, Albany County officials have pledged to abide by the results of the election. That didn't last long. The naming rights of the arena were sold to Pepsi in 1997, and it was known as Pepsi Arena from 1998-2006. In May 2006 the naming rights were sold to the Times Union, a regional newspaper, and the name of the arena became the Times Union Center on January 1, 2007.

It seems totally appropriate that New York City's oldest historical icon is imaginary. Diedrich Knickerbocker began as Washington Irving's playful attempt to satirize the first wave of New York historians, but his nostalgia for bygone New Amsterdam and his idiosyncratic combination of pretension and modesty struck a chord with the fledgling metropolis. New Yorkers rapidly elected him—reality aside—as their representative, sparking a symbiotic relationship that has survived to this day. In Knickerbocker: The Myth Behind New York, Elizabeth L. Bradley traces the origins and evolution of this bond, and explains how 19th-century New York's eagerness to accept mythology as history set the tone for the city's legendary attitude. It is often overlooked that "The Legend of Sleepy Hollow" and "Rip Van Winkle"—stories that rocketed Irving to international fame and secured his place as America's first literary celebrity—portray Dutch traditions and communities. Irving himself was not of Dutch descent, so why the prevalence of Netherlander characters in his work? Bradley answers this with a detailed account of New Yorkers' early aspirations to write their own history, which mostly resulted in dry, pedantic tomes omitting any mention of New Amsterdam. Irving noticed this absence, and set about countering the dull fake histories of his city with (at least) an entertaining fake history, in which cows are urban architects and Spuyten Duyvil is so named because the devil actually resides there. To add insult to injury, he made his narrator arguably the most aggressively Dutch character of all time: the cocked-hat-wearing historian Diedrich Knickerbocker.
Exactly two hundred years after his debut in The History of New York, Knickerbocker's name has graced New York residents, beer brands, streets, neighborhoods and an NBA team it really hurts to root for. His resilience to time is multi-faceted: it's in the sense he had, even in 1809, of New York's "peculiar combination of wonder and weariness", in his balance of nativism and cosmopolitanism, in his nostalgia for bygone times, which Bradley shrewdly notes bespeaks New Yorkers' habit of "lamenting the passing of the city's 'golden days' regardless of when they believe them to have been.

Washington Irving is the person most responsible for reviving the holiday of Christmas. In his Knickerbocker stories, he told how the old-timers would celebrate the holiday, with Santa Claus, etc. And it became a fad, then a tradition. Before this, December 25th was just another religious holiday, not the major blowout it is now.

He was also among the first magazine editors to reprint Francis Scott Key's poem "Defense of Fort McHenry", which would later be immortalized as "The Star-Spangled Banner", the national anthem of the United States.
On the evening of November 28, 1859, only eight months after completing the final volume of his Washington biography, Washington Irving died of a heart attack in his bedroom at Sunnyside at the age of 76. Legend has it that his last words were: "Well, I must arrange my pillows for another night. When will this end?"⁽³⁾




Jerry performed here on
11/16/91 and 11/3/93.
Grateful Dead holds the record for most concerts played at the arena (13) between 1990 & 1995.




1.)^ "Times Union enters a new arena". Carol DeMare. Times Union. May 5, 2006.
2.)^1988-11-01, ny times, Knickerbocker Is Name For New Albany Arena
3.^Nelson, Randy F. The Almanac of American Letters. Los Altos, California: William Kaufmann, Inc., 1981: 179. ISBN 086576008X

Kennedy Center, 2700 F Street, NW, Washington, DC

The Kennedy Center is located on the banks of the Potomac River near the Lincoln Memorial in Washington, D.C.

The John F. Kennedy Center for the Performing Arts (on the building itself called the John F. Kennedy Memorial Center for the Performing Arts, and commonly referred to as the Kennedy Center) is a performing arts center located on the Potomac River, adjacent to the Watergate complex in Washington, D.C. The Center, which opened on September 8, 1971, produces and presents theater, dance, ballet, orchestral, chamber, jazz, popular, and folk music, in addition to multi-media performances for all ages.
It is the busiest performing arts facility in the United States and annually hosts approximately 2,000 performances for audiences totaling nearly two million; Center-related touring productions, television, and radio broadcasts welcome 20 million more. Now in its 40th season, the Center presents the greatest examples of music, dance and theater; supports artists in the creation of new work; and serves the nation as leader in arts education. With its artistic affiliate, the National Symphony Orchestra, the Center’s achievements as a commissioner, producer, and nurturer of developing artists have resulted in over 200 theatrical productions, dozens of new ballets, operas, and musical works.
It represents a public-private partnership, since it is both the nation's living memorial to President John F. Kennedy and the "national center for the performing arts", which includes educational and outreach initiatives, almost entirely paid for through ticket sales and gifts from individuals, corporations, and private foundations.
Designed by architect Edward Durrell Stone, it was built by Philadelphia contractor John McShain and is administered by a bureau of the Smithsonian Institution. It receives federal funding each year to pay for the maintenance and operation of the building.

Two months after President Kennedy's assassination in November 1963, Congress designated the National Cultural Center (designed by Edward Durell Stone) as a "living memorial" to Kennedy.

In December 1965, President Lyndon Johnson turned the first shovelful of earth at the Center's construction site, using the same gold-plated spade that had been used in the groundbreaking ceremonies for both the Lincoln Memorial in 1914 and the Jefferson Memorial in 1938.

Sen. J. William Fulbright, D-Ark., right, talks with architect Edward Durell Stone outside the Kennedy Center for the Performing Arts in Washington, circa 1972.

Overall, the building is 100 feet (30 m) high, 630 feet (190 m) long, and 300 feet (91 m) wide. The Kennedy Center features a 630-foot-long (190 m), 63-foot-high (19 m) grand foyer, with 16 hand-blown Orrefors crystal chandeliers (a gift from Sweden) and red carpeting. The Hall of States and the Hall of Nations are both 250-foot-long (76 m), 63-foot-high (19 m) corridors. The building has drawn criticism about its location (far away from Washington Metro stops), and for its scale and form,^[1] although it has also drawn praise for its acoustics, and its terrace overlooking the Potomac River.^[1]
Cyril M. Harris designed the Kennedy Center's auditoriums and their acoustics.^[3] A key consideration is that many aircraft fly along the Potomac River and overhead the Kennedy Center, as they take off and land at the nearby Ronald Reagan Washington National Airport. Helicopter traffic over the Kennedy Center is also fairly high. To keep out this noise, the Kennedy Center was designed as a box within a box, giving each auditorium an extra outer shell.^[3]

The Center made its public debut on September 8, 1971, with a gala opening performance featuring the world premiere of a Requiem mass honoring President Kennedy, a work commissioned from the legendary composer and conductor Leonard Bernstein.

Two tableaus are at the plaza entrance of the Kennedy Center by German sculptor Jurgen Weber. On the east side of the plaza at the entrance is a display of nude figures in scenes representing war and peace, called War or Peace. The piece (8 x 50 x 1.5 ft.) depicts five scenes showing the symbolism of war and peace: a war scene, murder, family, and creativity.^[4] On the west side is America which represents Weber's image of America (8 x 50 x 1.5 ft.). Four scenes are depicted representing threats to liberty, technology, foreign aid and survival, and free speech.^[5] Created between 1965-1971, the tableaus were a gift to the Kennedy Center from the West German government. It took the artist four years to sculpt the two reliefs in plaster, creating 200 castings, and another two years for the foundry in Berlin to cast the pieces. In 1994 the Smithsonian Institution's Save Outdoor Sculpture! program surveyed War or Peace and America and described them as being well maintained.^[4][5] Another sculpture Don Quixote by Aurelio Teno is outside the building.



Marvin Gaye performed here in May 1972.


In 1986, Ronald Reagan and his wife attended the Kennedy Center Honors ceremony in which Ray Charles was one of the honored artists.

Ronald and Nancy Reagan applaud Ray Charles performing at the inaugural ball on January 20, 1981.

Jerry performed here
4/13/75 early and late shows

1. ^ ^{a b c} Weeks, Christopher (1994). AIA Guide to the Architecture of Washington, D.C., Third Edition. Johns Hopkins University Press.
2. ^ Roth, Leland M. (1982). A Concise History of American Architecture. Westview Press. p. 337. ISBN 0064300862.
3. ^ Raichel, Daniel R. (2000). The Science and Applications of Acoustics. Springer. p. 252. ISBN 0387989072. 
4.  ^ ^{a b} Save Outdoor Sculptures! (1994). "War or Peace, (sculpture)". Save Outdoor Sculpture, District of Columbia survey. Smithsonian Institution. Retrieved 10 November 2011.
5. ^ ^{a b} Save Outdoor Sculptures! (1994). "America, (sculpture)". Save Outdoor Sculpture, District of Columbia survey. Smithsonian Institution. Retrieved 10 November 2011.

Peace Center, 407 Lytton Avenue, Palo Alto, CA

The center was originally known as the Palo Alto Peace Center, and was founded in the 1960's by Barbara Jo Wenger, Connie Yu and Helen Keating.

To help pay the rent on the ramshackle house that was headquarters of the Peace Center, Kepler and Sandpearl used to rent out most of the rooms, at first mainly to needy Stanford students, but then to anyone who could afford the dirt-cheap monthly rent. (1a)
"The Peace Center was a great place for social trips", Jerry said. "The Peace Center was the place where the sons and daughters of the Stanford professors would hang out and discuss things. And we, the opportunistic wolf pack-the beatnik hordes_would be there preying on their young minds and their refridgerators. And there would be all these various people turning up in these scenes and it just got to be very good:really high."(1a)

In 1969, the Peace Center was located on the site on Lytton Avenue where the 7-11 Store is located today.(2) The address of the 7-Eleven today is 401 Waverly Street when it(the Peace Center) used to be 407 Lytton Avenue.

It was the headquarters of The Grapevine, an underground newsletter that was critical of the Vietnam War and President Richard Nixon. Members of the Peace Union were actively involved with demonstrating against the war. The Peace Union was raided by the Federal Bureau of Investigation twice in 1971.

In 1982, the center was renamed the Mid-Peninsula Peace Center, and a final name change to Peninsula Peace and Justice Center in the early 1990s reflected the organization's commitment to a broad program that addresses the interconnectedness of the many issues and problems facing our world.(1)

Today, the Peace Center is located in the First Baptist Church on the second floor at 305 N. California.




Jerry performed here with Bob Hunter
??/??/61

COMMENTS
-- (pg. 40*), They lived with Willy Legate for a time, after Hunter returned in July 1961 from the National Guard training camp, at the Peace Center. Willy at least, had a political streak, but Hunter and Garcia had little interest in the center's activities, a fact that was not lost on Ira Sandperl and Roy Kepler, who tolerated them there and at Kepler's but never really warmed up to them personally.

Page 36, bottom; more on the Beats and the Peninsula crowd:

"In my room at the Peace Center, or driving with Laird in Los Trancos Woods, or walking around with Alan in Palo Alto," says Willy Legate, "I often talked about 'this group of people,' working out my somewhat hazy notions about a 'New England Group' or similar collection of artists which had, as it were, 'chosen' to be born and brought together in one place.
"In the spring of '61 I'd started a long list of the 'mysteriously connected' people we knew; the social register. In late 1961, Alan and folks he knew started discussing an 'artists' identity for us. One day in the garage, Jerry sat up and said, 'You know what we are? We're beatniks!'" (Many years later, Garcia described himself and his friends during this period as "early hippies; beatniks with that kind of [hippie] consciousness.")(1a)


Page 40, lower middle; more on the Boar's Head:
In July of '61, Garcia and Marshall Leicester played a show at the Boar's Head that was taped on a reel-to-reel recorder by Rodney Albin; it's one of just a handful from the pre-Dead days that has survived. (Years ago Willy Legate organized that performance and a few others from '61-'64 onto a series of six cassettes that were dubbed "Primordial Writhing, Vols. 1-12.") On the tape, Garcia plays guitar and Leicester plays banjo on a handful of folk standards, including "Darling Corey," "Wildwood Flower" and "Jesse James." It was all very relaxed and informal; really just a hint of what was to come from them over the next couple of years as they developed as players. Jerry also spent hours studying and learning how to play Child ballads (songs collected by the 19th century British folklorist John Child), which his friend Danya Veltfort used to copy out of books in the library for him. (1a)

Page 32, middle; more on Paul Speegle:

"Paul was also an incredible painter," says Laird Grant. "He would have set the art world on its ass by the '70s, the way he was going. He was majestic. He could make ghosts come out of oil paint. He was working on this amazing series of paintings called 'The Blind Prophet' series, which were these great, somber, Gothic pieces." One of his "Blind Prophet" paintings hung in the Peace Center for a while; later it graced the walls of the Grateful Dead's recording studio.(1a)

Page 30, lower middle; more on Kepler's:
"Palo Alto always had a well-to-do liberal contingent, but not many activists," Ira Sandperl says. "In those days, Kepler and I were probably the most active radical pacifists, and we 'got it' all the time from people who didn't agree with us. It was only later in the movement, when the violent activists came, that they looked back on us with appreciation," he says with a hearty laugh. "Roy Kepler was the most extraordinary fellow I've ever met anywhere. I've never met a man so committed, with so much dignity and intelligence, who was also almost completely nonjudgmental. He got along with everybody, and that's one reason everybody hung out at Kepler's."
The area's most famous pacifist, however, was Joan Baez, who in 1960 was not long out of Palo Alto High School and already making a name for herself as a singer of both traditional folk songs and contemporary protest anthems. "She was absolutely marvelous," Sandperl says. "She was very young still, but from the day I knew her, which was from about the age of 15, she had this public poise that you could not believe. When we met — I gave a talk at Palo Alto High School — I had no idea that she sang or anything, but already it was clear that her fellow girl students mimicked everything she did; whether they knew it or not, I don't know. She'd wear a cut-off sweat shirt for a blouse and the next day everybody would have them on. She was very magnetic and totally delightful." And, needless to say, a great asset to the Peace Center and its activities. Whenever she was in town, which became more infrequent after she moved to the East Coast and as her popularity grew, she'd always stop in at Kepler's and the Peace Center.(1a)





1.)^Teddy GoodBear <DeadLists@GoodBear.com>
1a)^*Blair Jackson ("Garcia, An American Life"), pg 30, 31, 32, 36, 40
2.)^Thorwaldson, Jay, Palo Alto Weekly, 2005-05-11, On Deadline: When Roy Kepler Stood Up
3.)^Palo Alto Online, 2007-04-17, The Roots Of Peace And Justice, http://www.paloaltoonline.com/news/show_story.php?id=4882

Laguna Seca Raceway, 1025 Monterey Highway 68, Salinas, CA

Laguna Seca Ranch
The earliest development of the local area occurred in 1867 with the founding of the nearby Laguna Seca Ranch, by William Fischer, bought at a Sheriff's Auction, which has operated
continuously for 140 years with grazing and equestrian uses. ^{(1)
The Ranch was the site of the first orange trees grown in Hidalgo County.(3)}

The track was built in 1957 at a cost of $1.5 million raised from local businesses and individuals on part of the US Army's Fort Ord (a maneuver area and field artillery target range) after the nearby Pebble Beach Road Races were abandoned for being too dangerous. Although the course was always tight and twisty with tall Cypress trees hemming in the track on either side, accidents were scarce and relatively uneventful. The exception came in 1956 when Ernie McAfee (no relation to fellow racer Jack McAfee) fatally slammed his Ferrari into a tree. This spelled the end of the popular Pebble Beach Road Races, although it was the genesis of Laguna Seca, its modern-day successor.

The first race, held on November 9, 1957, was won by Pete Lovely driving a Ferrari.

Steve McQueen raced in the 1959 Laguna Seca event, which was held over the weekend of October 24 & 25, 1959. The event race program lists him as competing in his Lotus Lemans XI in the time trials on the 24th, but his final placing details are unknown.

1965 - A young, almost unknown Jackie Stewart makes his U.S. debut at Laguna Seca driving in the USRRC in a factory Lotus Cortina and finshes 13th overall.
1974 - the property was deeded over to the Monterey County Parks Department and continues to be part of the park system to this day.
1975 - Mario Andretti, in a Lola T332, wins the Monterey Grand Prix featuring the F5000 series.

1981 - Laguna Seca hosts its first NASCAR race with the Winston West and has Bobby Allison on the grid. Paul Newman races in the Monterey Triple Crown in a Datsun Turbo.
1987 - Pope John Paul II celebrated mass at Laguna Seca Raceway, where 72,000 people had gathered to see him.
1988 - The infield was added to extend the track from 9 turns to 11 turns and from 1.9 miles to the current length of 2.238 miles to meet FIM regulations.

1994 - Mario Andretti makes this CART race his last race and retires. (4)

Read more: http://www.motortrend.com/features/laguna_lap/112_0902_mazda_raceway_laguna_seca_facts_history_laguna_lap/viewall.html#ixzz1gjRVSH1U

Read more: http://www.motortrend.com/features/laguna_lap/112_0902_mazda_raceway_laguna_seca_facts_history_laguna_lap/viewall.html#ixzz1gjRHli4E

Jerry performed here on 7/31/88 with Los Lobos

..and with The Grateful Dead
5/9/87
5/10/87
7/29/88
7/30/88
7/31/88





1.)^ Environmental Site Assessment: Laguna Seca Ranch, Earth Metrics Inc., on file with the County of Monterey (1989)
2.)^ Glick, Shav (October 12, 1987). "Laguna Seca Indy Car Race". The Los Angeles Times.
3.)^The Victorian Advocate, 1993-06-18, pg22
4.)^Ultimate Motorcycling, 2010-02-12, laguna seca raceway racing history

Arroyo House (Stanford University), 658 Escondido Road, Stanford, CA

An all-freshmen dormitory in Wilbur Hall, Arroyo is part of the Wilbur Hall complex of eight dormitories. Architecturally, Wilbur was originally designed as barracks-style housing, reflecting the very functional style that flourished after World War II, when Stanford was coming of age and needed to build things quickly. But in recent decades Wilbur has been remodeled and turned into quite an attractive space, centered around a large dining facility that has some of the best university food you will find anywhere. Arroyo has a sizable lounge with its own television set and audio/video equipment, a piano, ping-pong and pool tables, and a small kitchen for preparing snacks. We also have a computer cluster, which contains some computers and a laser printer for your use. And we are unique among Wilbur houses in also having a group meeting space we call the “CoLab”, with a large LCD screen and movable tables designed for joint projects. The dorm is three stories tall, and each floor will be coed (male double rooms on the same floor with female double rooms), with male and female bathrooms on each floor. The Wilbur complex is in the heart of the vibrant east side of the Stanford campus, and is surrounded by large trees and large lawns.(2)

Wilbur Hall houses 707 students in eight houses surrounding a common dining complex. It is named for Stanford's third president, Ray Lyman Wilbur. It was built in the late 1940s and represents an architectural departure from Stanford's usual theme of sandstone-colored, arcaded buildings with red tile roofs. Originally built for men students, it is now coed. Seven of the houses (Arroyo, Cedro, Junipero, Otero, Rinconada, Soto and Trancos) are all-freshman houses; Okada (originally Madera) is a four-class house with an Asian American cross-cultural theme.[9]


Jerry performed here on
5/5/61 Robert Hunter
Jerry says, "We got our first professional gig. We got five bucks apiece." Their innocuous little folk act was billed as Bob and Jerry, but they performed only two real gigs -- one at Arroyo House. Bob says about the five dollar payday, "We decided to frame it as the first musical earnings for either of us, but spent it on cigarettes instead."(1)(2)



1.)^Jackson, Blair, Garcia: An American Life, pg. 36.
2.)^http://www.goodbear.com/pre-dead.html

Cahn Auditorium, 600 Emerson Street, Northwestern University, Evanston, IL

Seating 1011

Cahn Auditorium , built in 1940,  is the largest performance space on campus, with more than 1,000 seats and an orchestra pit. One of the country’s most famous college productions, the annual Waa-Mu Show (begun in 1929), is staged here, as are many other productions each year.

Designed by architect James Gamble Rogers as an aesthetic extension of his Women’s Quadrangle to the west, and as a complement to the Deering Library. The contractor was the Evanston firm of R. C. Wieboldt Construction Company.

The auditorium was named for civic leader Bertram Cahn, donor, trustee, alumnus (class of 1899), and chairman of the clothier B. Kuppenheimer and Company. He was also the chairman of the Chicago Crime Commission in 1937-1950.(1)

Bertram Cahn 1955

Jerry performed here on 3/12/76.



1.)^http://www.pickstaiger.org/venues

Columbus Recorders (Sentinel Building basement), corner of Columbus and Kearny Street, San Francisco, CA

Sentinel Building, under construction prior to the earthquake, just after the 1906 earthquake.

Despite the 1907 finish, building work had begun before the 1906 earthquake the previous year, but extensive damage to the building site, and the rest of the city, slowed down the construction considerably. For a relatively small building such as Columbus tower, with the extensive workforce available in San Francisco at that time, taking more than a year to complete the building was slightly longer than would have been expected.
The top floor initially housed the headquarters of the notorious Abe Ruef, a local political figure at the time. Also featuring early in the building's history is the restaurant 'Caesar's', which is the restaurant widely credited with the creation of the popular Caesar Salad. Despite its flourishing business, the restaurant was closed down during prohibition under the Eighteenth Amendment.(2)
From Heather Johnson's book, If These Halls Could Talk: A Historical Tour through San Francisco Recording Studios:
A few years after the Kingston Trio hit it big in 1958 with their self- titled Columbia debut and singles such as “Tom Dooley,” manager Frank Werber re-invested the group’s earnings to form Trident Productions, a multi-faceted enterprise located in the historic Sentinel Building at the corner of Columbus and Kearney, at the financial district, Chinatown, and North Beach border. The triangle-shaped, copper-clad structure, also known as Columbus Tower, housed Trident’s management, production, publishing, and promotion divisions.

The real action, though, happened in the basement—ground zero for Columbus Recorders. The studio had a smallish tracking room—not much bigger than most control rooms these days—but it was adorned with redwood walls
that gave the studio a stylish feel refl ective of the owner’s good taste. It would serve as a model for studios to come. There was another perk. “You could walk up the back stairs and be right at the back door of Zim’s Hamburgers,” says multi-instrumentalist/song- writer Bill Champlin, who recorded there with his band Sons of
Champlin. “How much more could you ask for?” To complement the comfortable recording environment,
Werber’s studio off ered a solid array of equipment. In addition to multiple echo chambers, the studio contained a custom-built 10-input Langevin console, which was an impressive deck for the time. A mastering room with a Scully mono lathe was installed upstairs. Hank McGill served as the studio’s fi rst house engineer
and operations director.

The opening of Columbus Recorders gave the Kingston Trio a regular place to record until their “offi  cial” retirement in 1967. As the trio’s career slowed, Werber found other acts to manage and produce under the Trident Productions, Inc., banner, including the Limeliters, Mystery Trend, and Blackburn & Snow, among
others. “In terms of what they were trying to do, they were sort of San Francisco’s answer to Stax/Volt,” Champlin says of Werber’s enterprise.
Werber discovered the We Five in 1965, a folk-rock quintet led by singer/guitarist/banjoist Mike Stewart, who also arranged most of the group’s music and, not so coincidentally, was the brother of Kingston Trio member John Stewart. Bassist/vocalist Pete Fullerton, lead vocalist Beverly Bivens, electric guitarist/vocalist Bob Jones, and acoustic guitarist Jerry Burgan rounded out the fi ve-piece group. Th e We Five did well with reworkings of everything from “My Favorite Things” from The Sound of Music to Stewart-penned originals, but they scored their fi rst big hit in 1965 with “You Were On My Mind,” a song written by Sylvia Fricker of
the Canadian folk duo Ian & Sylvia. Th ey hit the Top 40 again in 1966 with “Let’s Get Together,” but with not nearly the same luster. They recorded a second album with Werber, Make Someone Happy (which has been compared to the sound of Jeff erson Airplane’s first album), before they split up. Th is ended their career, despite Stewart’s attempts to reconfi gure the group later. In addition to working with We Five, Stewart lent his vocal talents to another up-and-coming Trident Productions band, Sons of Champlin, a highly skilled ensemble that evolved out of a Marin County R&B outfi t called the Opposite Six in late 1965. “When we signed with Werber, we had to go to court to get the signatures okayed by the judge because we were all [underage],” says frontman Bill Champlin. “I was maybe 17 at the time.”

Despite The Sons’ departure, business was especially fer- tile at Columbus Recording in 1967. Among other projects, the Grateful Dead came in to record  one song with arranger/producer Jon Hendricks. The studio tallied up enough profi ts that year to upgrade their tape machine and purchased a 3M 8-track—the first in the city—for $15,000. Naturally, it became an in-demand item for tracking and mixing clients both in-house and at other studios.

“We used to rent that machine to Coast Recorders for $200 a day,” recalls George Horn, who assumed McGill’s role in 1968. “Creedence Clearwater Revival did their first album on that machine while they were at Coast.” The combination of the newly modified Langevin and the 3M 8-track attracted many producers and engineers, including Dan Healy, who recorded many of his Mercury Records projects at Columbus following his tenure at
Commercial Recorders.

One of the most interesting projects Healy worked on at Columbus wasn’t for Mercury, though, and it didn’t involve cutting tracks in their studio. The Grateful Dead’s second LP, Anthem of the Sun, shattered the mold of conventional recording. The Dead thrived on the spontaneity of the live setting and resisted most forms of organization. The studio environment limited their potential and often felt like it was too…controlled. Getting a decent take from the band, Healy says, was “like pulling teeth. It had to do with the way the whole scene was structured, which was raw unadulterated anarchy. Plus, personally and collectively they always thought that they sucked, and that carried into the studio. Nobody was ever satisfied with their tracks or overdubs, so we’d do them over and over and over for weeks, even months. As a result, their records ended up being really over-recorded and overproduced and overplayed. They lacked spontaneity.”

The group started their second album at RCA’s Studio A in Hollywood in the summer of 1967 with their label-approved producer, Dave Hassinger, who had also produced their self-titled debut album in just four days of “live” recording in the same studio. Actually, the lead-off  track from that album, “The Golden Road (To Unlimited Devotion)” was tracked after the RCA sessions, at Coast Recorders and required many more takes than the Hollywood material.

They challenged Hassinger every step of the way. The project moved to American Studios in North Hollywood, where they continued to test their producer. Th ey allegedly contemplated recording in a desert to record in a more “purified” atmosphere. As the now-frazzled Hassinger had discovered, working with the Grateful Dead was like “trying to organize a school of fish,” says Healy. “Just when you think you’ve got something together, it blows up and goes in the opposite direction.” That’s exactly what happened when the project moved a third time to  a pair of 8-track studios in Manhattan: Olmstead Studios and Century Sound. Recording lurched along, with Hassinger trying to set boundaries on a band that wanted none.

He disapproved of the constant experimentation on the album—for instance, one of Dead bassist Phil Lesh’s friends, avant-garde composer and keyboardist  Tom Constanten, contributed a section of music for one song played on a “prepared piano,” a technique originated by John Cage in which different objects, ranging from coins to spoons, were placed in a piano’s strings, altering the sound of each note in bizarre ways. The final straw may have been when rhythm guitarist Bob Weir asked Hassinger if he could create the sound of “heavy air.” According to Weir, Hassinger stared back blankly before leaving the room—and the project—for good.

Columbus Recorders began its slow burn to cessation when Werber became part of a major drug bust. According to an article in the October 16, 1968 San Francisco Chronicle, two owners of the Sausalito bar Latitude acquired 258 pounds of marijuana. (A friend of Werber’s said the two men had made advance arrangements with about half-a-dozen people to purchase the marijuana, Werber being one of them.) However, upon landing their plane in Laredo, Texas (where they were to pick up the weed), the two men were caught
by federal authorities. They then flew back to California with the pot, but accompanied by two federal agents. When they delivered the marijuana to Werber’s DeSilva Island home, a stakeout ensued.
The authorities charged Werber with transporting and concealing marijuana—a Federal offense. In his home city, he was charged with importing marijuana into the state for possession and sale.

At the same time, competition in San Francisco’s studio scene had become exceedingly tough, especially for smaller rooms such as Columbus. Werber and Horn had initially discussed expanding the studio, but after the court battles, he closed the studio in 1970, handing the now-famous Columbus Tower space to San Francisco native Richard Beggs, an engineer and soon-to-be sound designer who rented out the space to work on commercials and demo recordings.

As fate would have it, Francis Ford Coppola purchased the building and moved his American Zoetrope offices there in 1972, after a pretty good run on the second floor of Coast Recorders on Folsom Street.(1)


"By [mid-1967] I had logged quite a bit of time in recording studios – three or four years of ass-kicking, everyday studio use doing a lot of commercial jingles, and some rock & roll songs. I recorded Paul Revere & the Raiders, a couple of old hit records, and obscure local San Francisco hits… I had outgrown the studio I was working in, in San Francisco. Several of the groups had asked me to take them into the studio, and I was using everybody’s studio because these were record-company situations. I would just go rent the time and take the group in. I was using Coast [Recorders], Golden State, and another small studio [Columbus Recording] that was built for the Kingston Trio… Since I was using other studios, I had quit my job at Commercial Recorders. They were into lots of commercial work, and I wanted to get more into music production." (Dan Healy)

On the ground floor is the Cafe Zoetrope (previously Cafe Niebaum-Coppola), which has occupied part of the building since 1999. The cafe is a bistro and wine shop satellite of the Rubicon Estate Winery in the Napa Valley.[4]

April 3, 1960

Jerry recorded here in
1968 Grateful Dead Anthem of the Sun(2)


1.)^Johnson,Heather, If These Halls Could Talk: A Historical Tour through San Francisco Recording Studios
2.)^ "The Lost City: Columbus Tower". The Things That Were. Retrieved 2010-04-21.[dead link]
3.)^ "Citylights, Vesuvio Cafe, Columbus Tower San Francisco". LocationSite Panorama Cityguide
4.)^ "Welcome to Cafe Zoetrope". Francis Ford Coppola Presents. Retrieved 2010-04-21.

Onondaga War Memorial, 800 South State Street, Syracuse, New York

Capacity 6230

The War Memorial at Oncenter, originally the Onondaga War Memorial, is a 6,159-seat multi-purpose arena in Downtown Syracuse, New York. It is part of the Oncenter Complex.

Designed by Edgarton and Edgarton and built from 1949 through 1951, the structure is significant as an example of a World War I, World War II and Aroostook War commemorative[1] and as "an early and sophisticated example of single-span thin-shell [concrete roof] construction" [2]. It was listed on the National Register of Historic Places in 1988.

For a small glimpse of history, next time you're in here, look up towards the corner rafters and you'll see a Syracuse Nationals 1955 NBA championship banner. The Nationals defeated the Fort Wayne Pistons in a deciding seventh game at home to win the 1954-1955 NBA Championship.


On top of the arena's stage are the words, "In memory of our service veterans."

Around the exterior the names of military conflicts have been incised into the walls in chunky block lettering. Only the US flags over the doorways provide colour against the gray concrete.

Jerry performed here on
11/14/93 with JGB
10/27/71 New Riders Of The Purple Sage and Grateful Dead
9/17/73 Grateful Dead
9/18/73 Grateful Dead
9/28/76 Grateful Dead
..and when it was called War Memorial Auditorium
5/9/78 Grateful Dead
5/17/81 Grateful Dead
4/8/82 Grateful Dead





1.)^ LaFrank, Kathleen (October, 1988). "National Register of Historic Places Inventory/Nomination: Onondaga County War Memorial". Retrieved 2009-05-02.and Accompanying 21 photos, exterior and interior, from construction through 1988'2.)^ oprhp.state.ny.us

Longshoremen's Hall, 400 N. Point Street, San Francisco, CA 94133

Capacity 300[4]

This odd-shaped building, built in 1959 at a cost of 1.4 million, served as one of the crucibles of the San Francisco acid-rock scene. The sailor's union hall (really). The first Family Dog dances were put on here in 1965. Chet Helms's roommate was the son of the Longshoreman's union attorney (and is currently the SF District Attorney).
The Longshoremen’s Hall was never used by the Sailors Union, and the Maritime Hall (home of the Sailors Union of the Pacific) was never used by the Longshoreman’s Union. They are related trades (somewhat) but very different unions.
The use of Longshoreman's Hall was partially facilitated by the membership of many Hells Angels in the Longshoreman's Union.(2)

Ralph Gleason agreed that San Franciscans should be able to dance to rock and roll. He had mentioned the lack of dancing at the Matrix in his very first Chronicle column on the band. So when the Family Dog members–a young woman named Luria Castell, accompanied by two friends, Ellen Harmon and Alton Kelley–came to see him in October about putting on a dance concert, Gleason was all ears. He said he'd help any way he could.
Castell had been a political activist and had recently returned from L.A., where she'd enjoyed dancing to the Lovin' Spoonful in a discotheque, wondering why San Francisco couldn't have the same. Harmon had come to the city from Detroit, quit her straight job and lived in a tree. And Kelley was an artist from Connecticut, into exploring the possibilities of day-glo paint and collage and experimenting with new art forms. The fourth Family Dog member, Jack Towle, didn't come to that initial meeting.

"San Francisco can be the new Liverpool," Castell told Gleason right off the bat. She proceeded to outline the plan of this decidedly unbusinesslike troupe, to reunite dancing and rock and roll in San Francisco. In his 1969 book, The Jefferson Airplane And The San Francisco Sound, Gleason wrote, "There was a reason that they picked San Francisco in which to start and it wasn't just because they all happened to be there at the time." Those reasons, among others, were that New York was too large and Los Angeles was "super-uptite plastic America."

But mostly, it was because San Francisco was San Francisco, and that was where it had to happen.

Neither the Family Dog nor Jefferson Airplane were operating in a vacuum. An undercurrent had been bubbling toward the surface for some time in San Francisco, but one group of young renegades from straight society was not always aware of the other. Rock groups were forming all over the place, more of them, it seemed , every day. Same for politically active groups, protesting social conditions and our nation's policies abroad. Artists were experimenting with new graphic forms and previously unexplored media such as light. New advances in electronics offered previously unimagined directions in which the music could go. Castell, Harmon and Kelley ran this all down to Gleason, how they wanted to bring it all together. They told him about the dance they were planning for Longshoreman's Hall. Gleason said he'd be there.

Permits were secured, bands were enlisted, handbills were drawn by Kelley and printed by Joe Buchwald, and the word went out.

When Gleason arrived at the hall, he couldn't believe what he was seeing. Everyone approaching the hall, Gleason wrote in his book, appeared to be going to a costume party. He described men dressed as characters out of the Old West, long-haired girls in longer dresses. There were "riverboat gamblers" and "mining camp desperados," black leather and brown buckskin. Inside, the scene was even more colorful. The crowd, Gleason reported, danced wildly all night as the bands played. The light show, although primitive by later standards, pulsated to the beat of the music.

"It was orgiastic and spontaneous and completely free-form," Gleason wrote. He described the happy coexistence of hippies wearing buttons for peace and political types wearing buttons touting the Student Nonviolent Coordinating Committee (SNCC). What also impressed Gleason was that the Family Dog, the promoters, were out there dancing with the rest of them. This was unheard of at traditional dance events!

Jorma Kaukonen: In the beginning, when we first started playing, the audience was mostly sitting down, because that's what audiences were trained to do then. But then audiences began to realize, "Hey, we don't have to sit down. It's rock and roll, for Chrissakes."(5)

Bill Thompson: I remember long lines of people, holding hands, dancing to the music. I mean, 20, 30 people sometimes, going around in a circle. They'd get caught up in the energy of the music, and the excitement. There was so much freedom. This was not like school dances–that was a whole different story, everything was regulated.(5)

Bob Harvey: Longshoreman's was the foreshadowing of the psychedelic dance concerts. But it was more than just music and dance. It felt like belonging, like family. It was my last gig with the band. I knew I was going and it felt so bad.(5)

Paul Kantner: Before the dances, we were just the band at a party, because we weren't connecting with an audience, even at the Matrix. And the party was often much more interesting. I mean, there was a structure there of a stage, and an audience. But, quickly, that wall broke down almost instantaneously.(5)

"The first time that music and LSD interacted in a way that really came to life for us as a band was one day when we went out and got extremely high on some of that early dynamite LSD and we went that night to the Lovin' Spoonful (10/24/65)...at the Family Dog, Longshoreman's Hall, it was one of the first ones, and we went there and we were stoned on acid watching these guys play. That day, the Grateful Dead guys, our scene, we went out, took acid and came up to Marin County and hung out somewhere around Fairfax or Lagunitas or one of those places up in the woods and just went crazy. We ended up going into that rock and roll dance and it was just really fine to see that whole scene - where there was just nobody there but heads and this strange rock & roll music playing in this weird building. It was just what we wanted to see... We began to see that vision of a truly fantastic thing. It became clear to us that working in bars was not going to be right for us to be able to expand into this new idea."[8]

Jerry performed here on
1/22/66 Grateful Dead
Trips Festival
Big Brother And The Holding Company also performed.
The Dead may not have performed due to Jerry's broken guitar.[11]
"We had this guy build us a soundboard; Buchla. He lived in San Francisco and he built us this thing called the Buchla Box. I think he worked on the Moog synthesizer. This guy was unbelievable. At the Trips Festival at Longshoreman's Hall [a venue with seats on all four sides of the floor], the weekend of January 22, 1966, he had ten speakers set up around there in the balcony.
He had this board in which he could run the sound around in circles. He would isolate one, and have sound wheeling around the room. He had this thing like a piano that was just flat and you ran your fingers across it and it would play the notes. Made it himself, absoulutely fantastic. He made up this box for us that was essentially a mixer and a mike amp and a speaker box and an earphone box."[12]

1/23/66 Grateful Dead
Trips Festival
Acid Test.
Big Brother And The Holding Company also performed.
"One memorable element of the Dead performance came when champion gymnast Dan Millman leapt off the balcony onto a trampoline under a barrage of stobe lights - no one could be quite sure if it was real or an illusion."[15]

4/9/66 Grateful Dead
Spring Mobilization To End The War Benefit[6]
Sopwith Camel, Quicksilver Messenger Service, Big Brother And The Holding Company, Country Joe And The Fish also performed.
The Grateful Dead also performed in the Panhandle, San Francisco on this date.

4/22/66 Grateful Dead
Trips Festival
The Loading Zone also performed.

4/23/66 Grateful Dead
Trips Festival
The Loading Zone also performed.

4/24/66 Grateful Dead
Trips Festival
The Loading Zone also performed.
Organized by Stewart Brand, Ken Kesey, Owsley and others. Ten thousand music lovers and hippies attended this sold-out event, with a thousand more turned away each night. The Grateful Dead came on stage, and 6,000 people arrived to listen to great music, take the acid test and witness one of the first fully developed light shows of the era.”[2][7]

11/4/68 Grateful Dead[3]
Mark Lane Benefit.[13]

7/16/69 John Dawson, David Nelson (unbilled) and Grateful Dead Hell's Angels Wake for Gino Heinicke
Cleveland Wrecking Company, Ice opened. Santana also may have performed.
The Dawson/Nelson, Garcia group (New Riders) attempted to perform but equipment problems scuttled that performance.(10)
Jerry plays a 1968 (or 67) SG Standard with a Bigsby tremolo tailpiece. Used from December 1968 to August 69. Seen in Woodstock film and also the Playboy After Dark. Also recognizable by it's large "batwing" pickguard.

Bob Roberts contacted Jerry when Gino Heineke was killed by the Gypsy Jokers in Golden Gate Park. He asked Jerry if he'd play a tribute for Gino. Jerry said yes immediately.[9]

10/8/72 Merl Saunders Tom Fogerty[4]






Longshoremen's Hall, San Francisco, CA
1.)^McNally, Dennis, A Long Strange Trip, pg. 191.
2.)^Hawley, Andrew, Avid Collector Seeks Original 1966, 2012-10-03, http://www.prweb.com/releases/2012/1/prweb9145727.htm
3.)^DeadBase XI
4.)^http://thejerrysite.com/shows/show/854
5.)^The Hangar, http://www.gotarevolution.com/longshoremans.htm
6.)^http://www.classicposters.com/Grateful_Dead/poster/Art_of_Rock/2.193
7.)^An Unofficial History of San Francisco's 60's Music Halls
http://www.roadhogs.net/iabd/history_of_SF_venues.htm
8.)^Garcia, Jerry, A Signpost To New Space, pg. 20-21
9.)^Clark, John, Dead Angel, pg. 95-96.
10.)^Arnold, Corry, August 1, 1969 Bear's Lair, UC Berkeley: Jerry Garcia backing Marmaduke, 2009-09-15, http://lostlivedead.blogspot.com/2009/09/august-1-1969-bears-lair-uc-berkeley.html
11.)^http://www.dead.net/show/january-22-1966
12.)^Babbs, Ken, Taping Compendium, http://www.goodbear.com/1966setlists.html
13.)^http://universoulightforms.com/history/bol
14.)^The Hangar, http://www.gotarevolution.com/longshoremans.htm
15.)^Jackson, Blair; McNally, Dennis; Peters, Stephen; Wills, Chuck, Grateful Dead - The Illustrated Trip, pg. 48.
16.)^chewy91377's channel, ‪Grateful Dead and jefferson airplane and the chosen family‬, https://www.youtube.com/watch?v=PTPUE0q7V6g

MGM Scoring Stage, Sony Pictures Studios, 10202 West Washington Blvd., Culver City, CA

The Barbra Streisand Scoring Stage was originally an MGM shooting stage until the late twenties. 

The main scoring area of the stage has remained unchanged since the 1930s to preserve its unmatched acoustics and unique ambiance. The largest session consisted of a 110 piece orchestra with a 50 person choir for Amistad. Stage:
- 93’ wide x 67’ long x 34’ high
- 1 iso room 18’ wide x 13’ long
- 1 iso room 8’ wide x 13’ long
Control Room:
- 29’ wide x 41’ long x 15’ high
- 1 iso room 12’ wide x 9’ long
- Neve 88R, 96 channel console (192 mix inputs with
  motorized faders) w/ Neve custom designed Scoring
  Panel & 36 track stem mixer
- Large machine room area
- Large credenza area behind console
- Private office
- Private kitchen

One of the first scores was the Wizard of Oz (1939, Herbert Stothart), which was a huge success and from that point on the stage was primarily dedicated to the art of film score. Since then it has scored some of the most famous scores of all time including Gone with the Wind (1939, Max Steiner); Anchors Aweigh (1945, George Stoll); An American in Paris (1951, Johnny Green and Saul Chaplin); Ben Hur (1959, Miklos Rozsa); Lawrence of Arabia (1962, Maurice Jarre); and Doctor Zhivago (1965, Maurice Jarre). Today, the Sony Pictures Scoring Stage is one of the most sought-after scoring venues in the world. Recent film soundtracks scored on the stage include Pirates of the Caribbean: Dead Man's Chest (Hans Zimmer). Other scores within the last two decades include ET (John Williams); Schindler’s List (John Williams); Toy Story (Randy Newman); Forrest Gump (Alan Silvestri); Spider-Man (Danny Elfman); and Black Hawk Down (Hans Zimmer). (2)

Garcia flew to MGM Studios in Los Angeles to provide music for a scene in Zabriskie Point. The movie also used an excerpt from the Live Dead version of "Dark Star," but Garcia alone played guitar for a sensuous love scene in the desert. 
"There I was on the old MGM scoring stage where they used to do Gene Kelly musicals and The Wizard of Oz — just me and my electric guitar and a little amplifier," Garcia remembered. "And Antonioni's back there [in the control room] with one engineer, and the scene is playing on a huge screen, and I'm picking along, trying to get my ideas."
"I sat down and just played, and [Antonioni] said, 'Oh, I like that very, very much. That's very, very good.' And I said, 'Hey, wait a minute. C'mon, give me a chance!' And he said, 'Oh no, no. That's exactly what I want!' I wanted so badly to do something good because, well, it was Antonioni for chrissakes! He was satisfied so quickly I didn't know what to think. I was unhappy about it. I was just getting warmed up and, boom, that was it."
Still, Garcia said he liked working with Antonioni, and the experience did nothing to diminish his admiration for the director: "I like his work so much. It's so modern — his sense of space and time and all that."

Antonioni

And Garcia's seven-minute "Love Scene" worked beautifully in the film and on the soundtrack album, which also featured previously unreleased material by England's leading psychedelic band in that era, Pink Floyd. "Love Scene" also stands as Garcia's only solo electric guitar outing in a recording studio.
According to Don Hall, music supervisor on the film, Garcia actually did have a bit of time to work on the piece, first trying it on acoustic guitar, then tracking four different performances, two of which were fused into the final music for the film. "I think Jerry was actually down for about three hours," Hall remembers. "And he was great to work with; everybody thought so. At the time we were working on the MGM lot people like us weren't exactly welcome—they did not like long-haired hippies. The people at MGM felt quite threatened by these 'hummers' coming in; that's a term composers used for people who don't read music. It was a strained relationship between Antonioni and MGM. There was a lot of bad feeling going around. Even at the recording studio it was a very strained situation. Jerry and I walk in. Jerry's got a flannel shirt on and he came in and through his professionalism and his natural vibe or aura or whatever you want to call it, those people loved him. By the end of the session they were calling him Jerry and jumping all over the place and doing whatever they could do for him. And these were people who heretofore did not like what was going on, didn't appreciate the music at all."

The soundtrack to Zabriskie Point included music from Pink Floyd, The Youngbloods, The Kaleidoscope, Jerry Garcia, Patti Page, the Grateful Dead and the Rolling Stones and John Fahey. Roy Orbison sang the theme song over the credits called, "So Young".


Zabriske Pointe co-star today
Daria Halprin, MA, REAT, RSMT
Over 30 years ago, Daria developed an interest in the relationship between the creative process, art expression and psychology, working in dance and theater labs with artists and psychologists from around the world. She was a member of the Dancers' Workshop Company, performing nationally and internationally for 15 years.

She is the co-founder of Tamalpa Institute, author of The Expressive Body in Life, Art and Therapy, and contributing author of Foundations of Expressive Arts Therapy. Her work has made a "significant contribution to the coming of age of expressive arts therapy in relation to our global society" (Jack S. Weller, California Institute of Integral Studies).

Daria teaches at universities, growth centers and presents at conferences throughout the world. She has designed art-based programs and consulted with community organizations. She maintains a private practice in Marin County, is a Registered Expressive Arts Therapist and Movement Therapist. Daria is the director of Tamalpa Institute.

Daria Halprin's website: www.dariahalprin.org

1970

Zabriskie Point was an overwhelming commercial failure and panned by most critics upon release. The film has been called "one of the most extraordinary disasters in modern cinematic history."

Dennis Hopper and Daria Halprin

Jerry performed here on
1/20/1970 (Zabriske Point)

The liner notes for the extended release of Zabriskie Point include comments by Don Hall, the musical coordinator for the film, on Garcia's inclusion;

Michelangelo liked The Grateful Dead, and I had a friend who lived across the street from Jerry at the time. He talked to him about the movie and we got together. It was almost done as an afterthought. Michelangelo wasn't even in town when we did the music; he was back in Rome. We went into the large studio at MGM, which they usually used for the symphony orchestras. And Jerry sat there by himself, on a stool, laying it down. They had the love scene on a loop, and he played live while the film was running. He didn't want to do it away from the film and then cut things in. He played right to every single shot in the scene. That's why there are certain notes over certain frames, over people moving in the desert. He played right while watching it. It was miraculous -- pure genius.

In an interview with Rolling Stone in 1969 Antonioni said;

I don't like music that makes a commentary on the film. Of course there will be rock music in [Zabriskie Point] as heard on the radio or record players. That's just natural. But I don't necessarily want a rock score. That would be too easy, too obvious.

The booklet with the new release also includes a section by Deborah Koons Garcia entitled Jerry Garcia: A Remembrance

Back in 1974 when Jerry and I were first getting to know each other, he was beginning to experience more intensely the ups and downs of success and fame. The best of the upside for Jerry was the increased opportunity to do interesting work, and working with Michelangelo Antonioni on the soundtrack for Zabriskie Point had been a definite highlight. He told me in 1970 (or '69) that Lenny Hart, who then managed The Grateful Dead, had mentioned to him that "some Italian guy has been calling, wanting you to work on a film soundtrack." When Jerry found out this Italian guy was Antonioni, he immediately said yes, of course, he would be thrilled to be involved in the project. So Jerry went to L.A. and set up in a huge soundstage with Antonioni and played. He was pleased with his work, proud to be part of the film, and honored to have worked with the director. I remember, prevideo, Jerry taking me to see old Antonioni films like Red Desert (Il Deserto Rosso) at repertory houses. Of course we saw The Passenger as soon as it came out and marveled at its great style. Jerry was a true film buff and appreciated both the artistic and technical aspects of this most difficult craft. Seeing and talking movies with him was always fun.
When I watch Zabriskie Point on video, I think back to the first time I saw it in 1970 when I was in college, when I was the same age and generation as the people in the film. I too sat through endless meetings, went on strike, challenged the system, and felt there were two worlds: the straight world and our world. I can hardly remember how it felt to be so open and free and trusting. How lucky we were to have been that age at that particular time. Of course, today it seems we were naive, lacking in wisdom, discrimination, and good sense. Still, watching Zabriskie Point now has made me fall in love with my generation all over again. We were all so young and beautiful, and time was on our side.(3)

1.)^ Mantle, Larry, a music lover's dream, 89.3KPCC, 2011-12-15
2.)^ Sony Pictures Post Production, (http://www.sonypicturespost.com/soundservices/scoringstage    /scoringstage.html)
3.)^http://www.deaddisc.com/disc/Zabriskie_Point.htm