Running time: 10:29. The weariness in his voice is heartbreaking. Brent certainly had his detractors early on though, from both fans and band-members alike. I thought, 'Oh, okay. That led to an apprenticeship with Dead recording tech Bob Matthews, who she met (and briefly dated) while handling concessions at the Carousel. "Math was fun, I enjoyed it, and science was discovery," she says. Cantor-Jackson left the band caravan in the '80s and never really returned. The poster for the Grateful Dead’s Feb. 27, 1969, concert at the Fillmore West Ballroom in San Francisco.Credit...Lee Conklin and Herb Greene/Wolfgang's, It was a slow winter day, and I had just left the Anthology Film Archives in New York after a screening of “Andy Warhol’s Frankenstein.” It had seemed like a long afternoon, what with the beheadings and the orgies and whatnot. It refers to the crew's space in the office as the "boys' room," never mind that newly-hired Brightman appears briefly in the piece running lights and directing a union crew â and that surely, as Cantor was a member of the sound team, the room would have been her domain, too. The Rolling Stone piece describes that community with the term karass, a Kurt Vonnegut coinage from his 1963 sci-fi novel Cat's Cradle â from which the band got the name of its music-publishing company, Ice-Nine â meaning a group of otherwise-unrelated people who are destined to go through life linked to one another. I'd get in there and say 'Don't you ever talk like that around my crew.' He started piano lessons at age 6 and had formal classical lessons through his junior year in high school. "And I ended up at 710 Ashbury Street," she says â the Victorian house where members of the Grateful Dead and associates lived together, like turned-on, tuned-in fraternity brothers, in 1966 and '67. Cantor had been solidly ensconced in the Dead camp â which was expanding as colorfully as the images in a liquid light show at the Avalon â for several years when Candace Brightman signed on for her own long, strange, multi-decade trip. Mydland succeeded Keith Godchaux, who died in a car crash shortly after … “. This is not composed music, but rather improvisation that is as structured as though they’d played this closing a hundred times.” Running time: 37:08. Running time: 26:40. “All those people are the most untalented bores that ever lived,” he said of the San Francisco scene. There was an overlap between the staff of the more loosely managed neighborhood rock venues and nearby NYU's technical theater department so, serendipitously, Brightman picked up formal skills on the job. Still, as two women in a tech crew where women were scarce, they had to come up with a solution to cut down on the frequency with which they were mistaken for one another. Cantor started out putting up posters around town for the Avalon, then moved, in swift order, to running concessions, running the box office and finally, traveling to Denver in late 1967 to help the Helms' Family Dog collective set up an outpost. Fillmore East, New York City, Feb. 13, 1970. IMO, the real meat of this interview (in regards to Brent) comes with these thoughts from Garcia, which I believe wholeheartedly. Interview: Dan Healy. At the gift shop of the Warhol show at the Whitney right now you can buy a set of Warhol-themed skateboards for $1,750. If you haven’t listened to the tune for a long time — or if you’ve never heard it — the 50th anniversary today is a good excuse. Still, Donna Godchaux has so far gone down in history, in part, as the sort of Skyler White of Dead fandom: a female flashpoint of complaints. "They did Shakedown Street coked out. "'Who's this pretty lady?' Still, McNally makes clear, it was no gender-neutral utopia. She had her own team on the road â which often included other women â but other tech staff were definitely of the "spandex in the morning" variety, and it pissed her off. No question. '", "Scrabbling around lower Manhattan with weird jobs was a big adventure," she says. At some point during her senior year, Cantor went to San Francisco and took her first acid trip. "There was so much voodoo going on with the flower children, 'What sign are you' or, 'Let's throw the I Ching,'" she tells me. Speedball (or powerball) is a mixture of cocaine (a stimulant) with heroin or morphine (an opioid) or sometimes benzodiazepine, taken intravenously or by insufflation. "A lot of women were unable to come into their own until they actually left the scene," she continues, although many formed what she called "cottage industries" that orbited the band: travel agencies, fashion design, poster art, ticketing, newsletters â and many also stayed in touch, even after leaving the active scene. "I decided I needed to balance that by studying science." I heard it as a young hippie thing sitting in a friend’s bedroom in Merion, Pa. But Jerry Garcia is gone, of course, as is Andy Warhol, as is Lou Reed, and the world in which they created art has been largely eclipsed by commerce. "Bobby [Weir] opened it up, he had his guitar on him, and he just ushered me in," she remembers. “On a hot, sunny day near Eugene, Ore., playing in a field to their tribe, the Dead played a ‘Dark Star’ that is about as dynamic as they ever got with this song in this era,” Mr. Lemieux said. The poster for the Grateful Dead’s Feb. 27, 1969, concert at the Fillmore West Ballroom in San Francisco. Brent Mydland, the keyboardist for the rock band Grateful Dead since 1979, died yesterday at his home in Lafayette, Calif. A New Canon: In Pop Music, Women Belong At The Center Of The Story, Shocking Omissions: Jefferson Airplane's Mind-Expanding 'Surrealistic Pillow', The Grateful Dead's Laid-Back, Yet Surprisingly Shrewd, Business Plan. Betty Cantor-Jackson worked as the sound engineer for The Grateful Dead on official live and studio albums â and perhaps more importantly, recorded hundreds of reels of prized soundboard tape. Follow The New York Times Opinion section on Facebook, Twitter (@NYTopinion) and Instagram. That was where Jerry Garcia, after a gig opening for the Mahavishnu Orchestra with keyboard player Howard Wales, invited her to join the gang. Brent Mydland joined the band as keyboardist in 1979 and gave the Dead a jolt of new energy. Gissen was a Berkeley transfer student, a former Mount Holyoke lit major attracted to the wild scene burgeoning on the opposite coast. Cantor's inaugural dose of LSD-25 might easily have come via the efforts of another couple of young women in the Dead orbit: Melissa Cargill and Rhoney Gissen, two Berkeley undergrads who shared a boyfriend named Augustus Owsley Stanley III, or Bear for short. A 1973 Rolling Stone article about the burgeoning Grateful Dead business empire reveals the beginnings of the patchwork quilt of band-related cottage industries Rhoney Gissen Stanley remembered. "Other women felt the same; we didn't want to raise our kids around a drug-taking, rock and roll environment.". In her 2012 book Owsley and Me: My LSD Family, Gissen (now known as Rhoney Gissen Stanley after taking on Bear's last name, though the two never married) writes about how the Dead provided a backdrop and a context for her own personal awakening: expanding her mind, questioning her assumptions and becoming confident in making her own choices â including the choice to leave the group's immediate orbit in the early 1970s, once she had a young son to care for. Turn and face the strange. Brent Mydland Could More Than Hold His Own As Front Man. He's about 6'3", and I beat him up â I was just so mad I was pounding on him. Brent Mydland was born on this day in 1952 and we remember the Grateful Dead keyboardist by sharing a stellar montage. Music is one of them. The band had the right level of weirdness to keep her entertained â and she figures she had whatever strangely calibrated formula of personality it took to thrive in their singular company. McNally offered some perspective in defense of the singer. "I wish to God they didn't have that crew. The Grateful Dead had a fair number of run-ins with the law back in the '60s and '70s. 5. His eleven-year tenure was longer than that of any other keyboardist in the band. Now and again I imagine a world in which Jerry Garcia is alive once more, and the band comes together, to finish what they started that night, and we are all young again. "I decided I was going to see colors and tastes and I wasn't going to go crazy. “From the smoothness of the opening section of the song to the meltdown, drum-and-bass duet, and its rising-from-the-ashes triumphant return to light, this ‘Dark Star’ is one of the most deep and joyous journeys the Dead ever took.” Running time: 31:40. Before checking out these 12 performances, it’s worth reading Robert Hunter’s lyrics here; this version includes the final coda, never performed live. But the Velvets and the Dead had a lot in common, and by this I mean more than the fact that they were both originally called The Warlocks. And yet, Mr. Mydland has one bad night (in actuality, one bad song), and the vultures swoop in for the kill. In a community of fans that prizes each live document of the band for its own special terroir, its unique setlist and vibe, Betty Boards became some of the most celebrated; it was a Betty Board that the Library of Congress, in 2011, inducted into its National Recording Registry to commemorate the particularly legendary May 1977 concert at Cornell University's Barton Hall. "I could fix watches that wouldn't work for anybody else." The band performed on Halloween, in the wake of the death of their friend, the concert promoter Bill Graham. I wondered, for a while – I was the harshest critic, in a way. Fillmore East, New York City, Sept. 19, 1970, Capitol Theatre, Port Chester, N.Y., Feb. 18, 1971. In the mid-'80s, she lost her house to foreclosure and put most of her possessions â including more than a thousand reels of tape, from the Dead and other groups â in a storage unit. Plus, they just didn't like being in the studio. Garcia would die of a heart attack 17 months later, on Aug. 9, 1995. Running time: 26:40. Betty Cantor-Jackson also recalls having to do a certain level of social acrobatics just to get her job done right: "The only way I could get things done was to ask stupid questions that actually weren't stupid â they were questions designed to get them to understand what they were working with. 4. Fifty years ago, the band recorded the most entrancing version of its most hypnotic composition. And 'Terrapin [Station]'" â the title track from the 1977 album that was the Godchauxs' second-to-last as band members â "was a masterpiece, as a song." The Spectrum, Philadelphia, Penn., Sept. 21, 1972. "I'm sure I could've gotten tickets, though," she says. Brent Mydland & The Band? “It sounded good at the time. (Which, admittedly, Brightman â who still sounds actively mischievous, close to 50 years after taking a job, in part, because of its potential for absurdity â thinks was kind of funny: "Actually, I think that's hilarious," she says. As for complaints about the recordings on which Donna appeared in the '70s: "It had a great deal more to do with the flaws of the albums," he says. The same chapter, set in the '80s, quotes a roadie overheard saying "I love the sight of spandex in the morning. "I used to take things like radios, other little electronic devices if they didn't work, open them up, mess with them, put them back together and they worked," she remembers during a recent phone call. 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