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Camp Pink Onion

Registered: 09/27/04
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Very good interveiw with Jerry Garcia
    #3805669 - 02/20/05 03:17 AM (11 years, 8 months ago)

Hells angels on stage smoking DMT, effecting JG's playing gotta love it! sniff sniff ahhhhhhhhh, this article sums it all up, enjoy!

Paul Krassner 1985 Interview of Jerry Garcia

HotLink: PAUL KRASSNER Home Page

PAUL KRASSNER is the editor of "THE REALIST" and a purveyor of Freethought, Criticism and Satire. "The Realist" #131 (Autumn, 1995) reprinted the opening portion of an interview of JERRY GARCIA by Paul Krassner that first appeared in "The Realist" #99 (September-October 1985). #99 was called a Premiere Issue because #98 had been published in February 1974. The FINAL ISSUE of "THE REALIST" by Editor Paul Krassner has been published as #146 Spring 2001.

On June 23rd in the Summer of 1967, I saw Paul Krassner perform at a post-Midnight "L.A. Summerhill Society Benefit" at the Cinema Theatre, 1122 North Western Avenue in Hollywood the same night that a police action took place against "The War Is Over" anti-war demonstrators outside the Century Plaza Hotel where then President Lyndon Johnson was in residence. I never got to see Lenny Bruce in person, but I saw his spirit that night.

From "THE REALIST" #99 (September-October 1985)


Q. Does the world seem to be getting weirder and weirder to you?

A. Yeah. The weirdest thing lately for me was that thing of the Ayatollah and the mine-sweeping children. In the war between Iran and Iraq, he used kids and had them line up like a human chain, holding hands, and walk across the mine fields because it was cheaper than mine detectors.

Q. That's just unfathomable.

A. It's amazingly inhuman. And people complained about the Shah - a few fingernails and stuff - but this is kids walking across mine fields. It's absolutely surreal. How could people go for that?

Q. But how do you remain optimistic? There's 48 wars going on now simultaneously - and yet the music is joyful - even "Please don't murder me" is a joyful song.

A. Well, when things are at that level, there's kind of a beauty to the simplicity of it. I wrote that song when the Zodiac Killer was out murdering in San Francisco. Every night I was coming home from the studio, and I'd stop at an intersection and look around, and if a car pulled up, it was like, this is it, I'm gonna die now. It became a game. Every night I was conscious of that thing, and the refrain got to be so real to me. "Please don't murder me, *please* don't murder me..."

Q. Oh, so it came out of a literal truth - it wasn't even metaphorical.

A. No, not really. It was a coincidence in a way, but it was also the truth at the moment.

Q. And, if you extend that logically, statistics show that more than half of young people today think there'll be a nuclear war in their lifetime - but they also are concerned about whether they want a career or marriage.

A. Well, you've got to do something in the meantime. Nuclear war - that's *easy* to see, because it's true that most of the energy is still going to the old arms buildup. It hasn't changed a bit, and it's more horrible than ever, and not only that, but we haven't done anything to get rid of all the *old* shit, so that thing has been growing and growing for the last 40 years. If you're a kid now, that's what you see, that's the immediate past, 40 years of this shit, and nobody's made any serious effort to turn it in any direction. I'm scared too, frankly.

Q. It used to be there was one weird old man with a sign saying, "The world is coming to an end," but now you've got it embossed on bumper stickers. Still, you know that new age parable of the 100th monkey - about these monkeys on an island that have subsisted on sweet potatoes and they've always eaten them with the sand on.

A. Oh, I know about those monkeys. They wash the sweet potatoes in the salt water now.

Q. But one young monkey started it.

A. A young female monkey.

Q. And then other monkeys started following suit, and when there was a certain critical mass - and that's the metaphor of the 100th monkey, it could've been the 97th or the 108th - when enough young monkeys were doing it, then the first adult monkey started. Reverse generational influence. Then other adult monkeys started doing it.

A. Yeah, there was a moment when all of a sudden it seemed as though all the monkeys knew how to do it.

Q. And then, even on adjoining islands - a psychic connection. And how that applies to human behavior, no matter what we're doing on an individual or a group basis, if we take ourselves as the 100th monkey, we could be the one to change the tide.

A. Absolutely. It always did seem like it was a matter of numbers, like you really only needed a percentage of people kind of pulling psychically in the right direction in order to just avoid the worst possible scenario, and it always seemed that the positive had some kind of natural inclination to get the weight. Destroying things lacks a certain element of organization, it's operating at a disadvantage essentially, because the idea of building things always requires some kind of agreement. Destroying things doesn't require that, it kind of works against itself in the long run.

Yeah, I *believe* that idea. I always believed that psychedelics meant that in a certain way. I always felt that if enough people got turned on, there would be sort of a consciousness jump, a paradigm shift in reality somehow. It's much slower than anybody imagined. That's the way I've chosen to deal with it philosophically, to avoid getting too discouraged in the meantime, just to think, well, it's gonna take a long time.

Q. Do you think that the renewed interest in the '60s is a deep interest in terms of perpetuating a spiritual revolution or that it's just an interest in a 60's fad?

A. No, it's deeper than that. It's definitely not just the surface, it's much more the soulful stuff, because I see those kids, they're in the audience, and I talk to them, the 16-year-olds of today, the 18-year-olds, and they're the same people that we were then.

Q. Except with a loss of innocence.

A. Exactly. They *know* there's way more bullshit going on, but all that stuff is more visible, and so in a way it's easier for them to deal with it. We were dealing with that world and didn't quite understand what we were up to, although we suspected the worst, and now they're used to being in that kind of paranoid reality.

Q. So they have less deconditioning to do?

A. That might work for them, it might work against them, but the point is that they're game, they're good people, I know that about them.

[NOTE: the text up to this point was also reprinted in Autumn 1995 "The Realist" #131]

Q. Do you think, since the roots of the Grateful Dead are psychedelic, that affects the structure of a song in particular, or the structure of a concert, in terms of the buildup?

A. It doesn't so much affect the structure of a song particularly.

Q. Except when you have a free reign in the middle of it.

A. That's right, some of our songs are big affairs, and some of them are also meant to be opened up. They're kind of like looseleaf files, you can open 'em up and stick things in them; some are arranged so you can contain an experience, sort of direct it, and our second half definitely has a shape which, if not directly, is at least partially inspired by the psychedelic experience, as a wave form - there's sort of a rise in that - the second half for us is the thing of taking chances and going all to pieces, and then coming back and reassembling.

Q. And that's the leap of faith of psychedelics - which is, somehow I'll get back to that core - I may make a few convolutions in the process...

A. That's right, you might lose a few pieces, but you don't despair about seeing yourself go completely to pieces. You don't despair about it, you let it go. We've been doing some interesting things in the last couple of years in our most free-form stuff that's not really attached to any particular song. It's just free-form music, it's not rhythmic, it's not really attached to any musical norms, it's the completely weird shit.

We've been picking themes for that, and thinking of it as being like a painting, or a movie. Reagan in China was one of our themes. One time we had the Kadafy Death Squad as our theme. Sometimes the theme is terribly detailed, and sometimes it's just a broad subject. We do this when we think about it, when we remember to, it's not a hard and fast rule, but that part of the music at times has some tremendous other level of organization that pulls it together, makes it really interesting.

A. It's like whether you worry about the world *out there* when you're having some kind of personal experience, a psychedelic experience or whatever, anything that's happening in your life - and the world out there, how it affects you, how it sort of colors things that are happening in your trip. The music is like psychedelics in a way, and there are times even when I come off stage, and I swear I've been dosed but I know I haven't.

And it's happening to all of us in the band. There is some bio-chemical reality in there that has to do with maybe the loudness of the music, or maybe like the East Indians believe, that intervals in music contain emotional realities. Their music is organized where each interval has an emotional truth that goes along with it, and so when they're playing, they're playing your heart, or they're playing a kind of nervous system music. That's the way they believe, and it feels that way when you hear it too, so there may be those kinds of realities in there that are kicking off some kind of bio-chemistry, subtle brain proteins, and changes of that sort.

Q. It could be, because there's certain notes you reach on a guitar, I'll find my body moving, and when I'm really close to myself, I realize that what I'm doing is, I'm producing endorphins.

A. Absolutely right. It's there. Since that work is kind of *outre*, nobody is really delving into that stuff to see, is it happening or is it not happening? Maybe eventually.

Q. They're waiting until they can see some way to synthesize and merchandise endorphins - because we can get 'em free now. They've discovered that addiction to cigarette smoking is really addiction to endorphins produced by the tissue damage. So if a drug company, ethical or unethical, were able to manufacture synthetic endorphins, they could eliminate all these middle processes. People wouldn't have to jog anymore...

A. Right, the joggers are definitely strung out on endorphins. They experience withdrawal and everything. There's so much mystery there in brain chemistry that I'm sure you cough up a psychedelic experience every once in a while. It doesn't happen all the time, but it happens pretty frequently - frequently enough for me personally to be aware that there's something there.

More interesting yet is that I've experienced at times - this has only happened on those rare occasions when somebody on stage is smoking DMT, it's usually like the Hell's Angels - but when there's DMT being smoked on stage, there's actually an interference that occurs, a measurable effect that happens to the electronics on stage. I mean I can hear it, and if I had the right meters, I could measure it. It really changes things - there's a real *electron* leap of some sort that produces a kind of wireless broadcast.

There are times when I'd notice, hey, suddenly something is very different, and *then* notice the smell of DMT. Like you're playing an electric guitar, you're doing very minute things with your fingertips. The smallest string is 9/1000th of an inch in diameter, and that's pretty small - so you're dealing with minute little changes which are amplified up to huge size, and so the psycho-acoustic effect that happens in that chain, is something you feel with your body, it's not just something you hear, you *feel* it, it affects your touch.

So that DMT thing, it's like somebody sticks in a square wave generator, all of a sudden the waves are just chopped off right at the top, it's like a super fuzz tone is inserted in the line somewhere, and also the amplitude jumps up about 20-30%. It's an amazing effect. We don't *know* what the brain does. I'm sure it's a measurable, quantifiable, repeatable thing, in terms of "science."

Q. But always, underneath, there's another layer of mystery - but everybody needs a metaphor for the mystery - so people who hear the 100th monkey story, say, well, the first young female monkey to wash off the sweet potato was an Aires, and they have a certain pioneer spirit.

A. What was the sweet potato saying to the monkey?

Q. Help me to meet my sweet-potato-hood.

A. Help me get the skin off.

Q. The truth is, those monkeys needed all of that sand on the sweet potatoes for roughage in their diet - then these meddling anthropologists come along - now there's islands full of constipated monkeys.

A. Now the monkeys just love the anthropologists. They take their lunch. They don't even f**k with the sweet potatoes anymore.

Q. They take their laxatives anyway.

A. Japanese monkeys hooked on Ex-Lax.

Q. That could be a theme for a Dead concert ... What picture would you paint right now?

A. Well. let's see, we should be on enormous divans with silk cushions all over, surrounded by nubile maidens feeding us peeled grapes, with huge bubbly hookahs.

Q. You didn't have to think about that image very long, did you?

A. No, no, all I had to do was tune in to that rock 'n' roll place where things happen.

Q. And so as we look around the room we see some young female monkeys washing sweet potatoes in the salt water bathtub.

A. There's the wreckage of jeeps over there.

Q. There is Persian powder being smuggled inside Khomeini posters.

A. By amputeed children who've been blown up from mine-detecting.

Q. I'd like to send a note to Khomeini, "Those kids weren't raised to be mine-detectors." And a note to Jesee Jackson, "If you can apologize to Jewish leaders for saying *hymies*, I want you to apologize to the rock community for saying that you want to censor the lyrics of rock music."

A. Oh, no - did he say that?

Q. Yeah, because he was afraid that it would lead to sexuality, or even accompany it.

A. Come on, doesn't he remember back when they were calling rock music "*nigger* music?"

Q. That'll be the Dead's next benefit - for the Jesse Jackson Birth Control Clinic ... Even though your music is on one level entertainment, I think it's always service.

A. Actually, I've always thought that we were like a public works, really, a utility as much as anything else. That's the way it feels, and for a lot of people, it's *therapeutic* to have a real good time once in a while. I know it is for me, definitely, and that's what we do as far as I'm concerned, really. And being able to direct that in some way or another is awfully nice.

I remember one time a long time ago - Ken Kesey and Wavy Gravy were involved with it too, I guess not coincidentally - we played someplace funny, like Cincinnati, at a university there, and they had Kesey speaking there, and the Hog Farm was there also, and this was in '69, maybe '68. We went there and played and the people got off on it, just enormously, and we left town, but the Hog Farmers stayed behind, and the day after the concert they got on the local FM radio station - back in those days, they had loose, free-form radio - and they said, there's this vacant lot - there was this lot in the black section of town that had old tires and bedsprings and junk and garbage and all kinds of shit - and they said, "Let's clean up this lot." And they got people to stop there, sort of steaming on the energy of the concert from the night before, kind of continuing that feeling.

At the end of the day, when those ladies came home from their jobs over on the white side of town, there was a *park* there. It's like taking the energy of that high - Wavy Gravy and the Hog Farmers have such grace in doing things like that - and to me, that's always been a great service model, you know, how can you turn this into something, how can you take it another step, without it turning into some kind of willful mind manipulation? And that was one of the times that happened, really spontaneously. It was just great, and we got such lovely feedback from it. But for me, it's always been this model of, if you get the right elements going there and people who are clear about that good energy, there's definitely stuff that you can make happen that turns out good, and everybody feels good about it.


The Japanese monkey, Macaca fuscata, had been observed in the wild for a period of over 30 years.

In 1952, on the island of Koshima, scientists were providing monkeys with sweet potatoes dropped in the sand. The monkeys like the taste of the raw sweet potatoes, but they found the dirt unpleasant.

An 18-month-old female named Imo found she could solve the problem by washing the potatoes in a nearby stream. She taught this trick to her mother. Her playmates also learned this new way and they taught their mothers too.

This cultural innovation was gradually picked up by various monkeys before the eyes of the scientists.

Between 1952 and 1958 all the young monkeys learned to wash the sandy sweet potatoes to make them more palatable. Only the adults who imitated their children learned this social improvement. Other adults kept eating the dirty sweet potatoes.

Then something startling took place. In the autumn of 1958, a certain number of Koshima monkeys were seen washing sweet potatoes -- the exact number is not known.

Let us suppose that when the sun rose one morning there were 99 monkeys on Koshima Island who had learned to wash sweet potatoes.

Let's further suppose that when the sun rose one morning, the hundredth monkey learned to wash potatoes.


By that evening almost everyone in the tribe was washing sweet potatoes before eating them.

The added energy of this hundredth monkey somehow created an ideological breakthrough!

But notice.

A most surprising thing observed by these scientists was that the habit of washing sweet potatoes then jumped over the sea.

Colonies of monkeys on other islands and the mainland troop of monkeys at Takasakiyama began washing their sweet potatoes.

Thus, when a certain critical number achieves an awareness, this new awareness may be communicated from mind to mind.

Although the exact number may vary, this Hundredth Monkey Phenomenon means that when only a limited number of people know of a new way, it may remain the conscious property of these people.

But there is a point at which if only one more person tunes-in to a new awareness, a field is strengthened so that this awareness is picked up by almost everyone!

From the book "The Hundredth Monkey" by Ken Keyes, Jr.
The book is not copyrighted and the material may be reproduced in whole or in part.

HotLink: Ted Alvy COSMOS TOPPER Home Page "Cosmic Consciousness with a Cosmic Giggle" featuring 60's L.A. Underground Radio (rebop from beatniks to hipsters to hippies), Mallard, Zoot Horn Rollo, Magic Band, Captain Beefheart, Little Feat, Neon Park, Firesign Theatre, Theodore Sturgeon, Grateful Dead, Jerry Garcia, Paul Krassner, Bruce Lee & Cosmos Topper

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Re: Very good interveiw with Jerry Garcia [Re: LeastResistance]
    #3805812 - 02/20/05 04:44 AM (11 years, 8 months ago)

The merry pranksters turn the Hell's Angels on to DMT and LSD for the first times in "the electric koolaid acid test."

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Re: Very good interveiw with Jerry Garcia [Re: dr_gonz]
    #3805982 - 02/20/05 07:47 AM (11 years, 8 months ago)

Thanks, that was a good read.


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The Girl withthe Sun in HerEyes

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Re: Very good interveiw with Jerry Garcia [Re: LeastResistance]
    #3806178 - 02/20/05 11:12 AM (11 years, 8 months ago)

Thank you, very good. I love hearing Garcia, he knows so much more than we do.
Ever noticed that? How Jerry can describe certain events to a person that was not there and have them understand, when so many cannot.
It's laughable.
I am left with one question though. The main subject was of the badness of the world, and Jerry said that positive energy always had an advantage to "get the weight".
So my one question is also my one fear," Was Jerry the 100th monkey?"
If the 100th monkey is dead, he was taken by the evil force of destructive drugs, thus, no chance for any thing good ever comming from [the acid tests], permanently.?.
Anyone else?

My [url=www.http://tinyurl.com/6valr target=_blank]Unitarian Jihad Name[/url] is: Sister Claymore of The Short Path
Get yours

If I was the sun, I'd look for the shade~Liberty

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Re: Very good interveiw with Jerry Garcia [Re: LouisSkolnick]
    #3806191 - 02/20/05 11:18 AM (11 years, 8 months ago)

Very interesting, especially the part about psycho-acoustic intereference with Jerry's equipment as a result of smoking DMT nearby. Could this actually be quantified or  measured? Or was this just an old hippie who was tuned into psychedelic phenomenon anyway? :smile:

"This whole idea that different is bad, that a change in consciousness is in itself harmful, is really one of the fundamental problems inherent in the drug war.” - Rick Doblin
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It's the psychedelic movement!
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Re: Very good interveiw with Jerry Garcia [Re: LeastResistance]
    #3806261 - 02/20/05 12:12 PM (11 years, 8 months ago)

Awesome! Thanks LR.


Mp3 of the month: The Loose Enz - The Black Door

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Re: Very good interveiw with Jerry Garcia [Re: Learyfan]
    #3806271 - 02/20/05 12:16 PM (11 years, 8 months ago)

Kind of off topic, but here's an interview with Owsley Stanley from the book "Conversations With The Dead", which I haven't read.



BEAR (Owsley Stanley)

January 13, 1991
Oakland, California, J

Bear: Kesey was the kind of guy that reached out, took your knobs, and

tweaked them all the way to 10. All of them. And the whole scene was running

at 10 all the time. It was almost as sudden, and as different, as discovering

psychedelics themselves for the first time, at another level.

Q: I would venture to say, then, that the social aspect of it - the

collective acid experience - probably was part of the eye-opener there, right?

I mean, everybody was tripping together, and in on the joke together, or in on

the multiple jokes?

Bear: I think it was more than that. They did specific things. They made

specific sounds. They did specific stuff. They'd loop tape machines together

and do delays and get reverberation, the sound reinforcing itself. There's a

certain persistence - like when you're really high and move your hand, you get

a smear. Well, there's also other kinds of persistence, and they reinforced

all these things.

It seemed as though they had rediscovered something from ancient ways and

ancient times. A lot of the music that's used in shamanic rituals does the

same thing, which we discovered later, but this totally came up in isolation.

None of these people in Kesey's scene had any roots in the shamanistic rituals

at all. That was the other group of people that I'd run into every so often,

that were more into those things. The Millbrook guys, [Oscar] Janiger [now

head of the Albert Hofmann Foundation], all those guys. They were more into

that. [I don't know] whether they actually got into the rituals or not,

because I just had some contacts with them - you know, take a few trips with

them, and that sort of thing - but I didn't follow that line, didn't go down,

never went to an Indian peyote meeting, although I've always had the desire to

do so. And I never went to a curandero in Mexico with the mushrooms or any of

those things. So I've never actually seen it. But from the best that I can

figure out, all those rituals contained a lot of the elements which the

Pranksters discovered, or rediscovered, or invented, or something.


Bear: For a long time, it was like no matter whatever else we were doing, we

had to be at the Acid Test every week. That was it. No matter what other shows

we did, or anything else, Saturday night we were there. Other than that, I

don't know how many of those I would have gone to. I didn't actually think of

myself as a Prankster per se. I found it all kind of scary, and every time,

it provided days and days and days of sorting it out and putting it together,

trying to get it together. It was sort of like a crash course in how to

become a jet pilot when you had never seen a jet before. The way they did it

was they dropped you in there, took you up, and said, "The controls are

yours!" [maniacal laugh] Whoa! Barrel rolls! Immelmans! Tailspins! Right

into the ground, some times. But psychically you recover from all this, I

guess, if you're tough. I guess most of us were. Occasionally some people

weren't; it's unfortunate. But because of the way in which it was undertaken

in those days, and the fact that we used to take huge amounts of acid - we

used to take 250, 300 mikes or more; Kesey preferred 400 or more. Albert

Hofmann told me that was a substantial overdose, and I said, "Yes, in

retrospect, I realize it was, but..."

Q: What do you consider an optimum dose?

Bear: Oh, I don't know. People nowadays seem to take around 100, 150,

something like that. They call 'em disco hits, I think.... All I know is that

the result is that people - it's like first you have training wheels on your

bike before you get the 1000-cc Yamaha. It's a little different effect, and

the result is that people don't get so crazy, I guess. But in those days

everybody got kind of crazy, and some people crash landed and other people

managed to make it further down the road, but the whole scene became very,

very, very loud and very weird, and it attracted a lot of attention. It

attracted a lot of social concern, because a lot of people were experimenting

with radically different social matrices which were frightening to our

cultural leaders and societal leaders. The police and the legislatures and

the business community - basically the people who were concerned with

maintaining a stable society - saw this as a very threatening and frightening

phenomenon. A lot of people acting very weird and doing things that just

didn't fit. They passed a lot of laws against it and tried to suppress it in

various ways.

Whether or not the psychedelics would have been included in the basic

matrix of anti-drug laws or not without the heavy influence of some people

like Art Linkletter, I doubt.

Q: That story about his daughter's suicide -

Bear: I heard that she was not on [LSD], but just the fact that she had been

taking it was enough. Somewhere in the past, she had taken it.

Q: There were a lot of bogus stories like that. "People went blind staring at

the sun!"

Bear: Chromosome damage!

Q: There were scientists ready to cough up all this crap to suit the

political agenda. We still see that.

Bear: Sure, we were taking large doses, because that's what we thought was

the right amount. Some people were psychically crashing into walls. Nobody

knew about it. We didn't come with a shaman, with a thousand years or ten

thousand years or a hundred thousand years of traditions and a ring of people

holding your hand to show you the right way to go. It's not something that

you started at puberty with. It's something, all of a sudden, bang! you're

shot from a cannon. And some people had a little problem with it, and so some

people did themselves in when they weren't on it, some people accidentally

died when they were on it - hey, I can't justify that stuff. I didn't know

any more than anyone else, right? All I knew was that it was better to take a

known substance in a known quantity than an unknown mixture of who-knows-what

at God-knows-what quantity. That was the only difference.

I didn't advocate it; I never told anybody to go out and take it, or

anything else, but I knew I wanted to. I knew it was important to me.

And I didn't want to poison myself, I didn't like Russian roulette with

chemicals. I didn't think it was appropriate.

Q: I would say, then, that what you were doing was essentially taking

responsibility for it, for yourself and for your partners.

Bear: You might say. It's one way of looking at it. It was all a matter of

consent at that point. But the fact is that out in the culture as a whole,

all kinds of bizarre things were happening.

In fact, it bothered me. I didn't know for a long time whether it was a

good thing or a bad thing. Eventually I realized that the psychedelic itself

was neither good nor bad, any more than a very sharp knife is good or bad.

You can use a knife to whittle a sculpture, you can use it to trim your nails,

you can use it to cut up your food, or you can use it to stab somebody. The

knife itself is not the operative thing there, but it took me a long time,

because of the fact that it's so powerful and it changes consciousness so



Mp3 of the month: The Loose Enz - The Black Door

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Re: Very good interveiw with Jerry Garcia *DELETED* [Re: ToolTroll]
    #3806313 - 02/20/05 12:36 PM (11 years, 8 months ago)

Post deleted by wandrnshaman

Reason for deletion: .

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Re: Very good interveiw with Jerry Garcia [Re: wandrnshaman]
    #3806402 - 02/20/05 01:04 PM (11 years, 8 months ago)

Holy Smokes! Thank you wandrnshaman, that is so cool! I will definitely check out that book. And thanks learyfan for the excerpt. :smile:

"This whole idea that different is bad, that a change in consciousness is in itself harmful, is really one of the fundamental problems inherent in the drug war.” - Rick Doblin
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Re: Very good interveiw with Jerry Garcia [Re: ToolTroll]
    #3806734 - 02/20/05 03:14 PM (11 years, 8 months ago)

good read :smile:

Work like you dont need the money.

Love like you never been hurt.

Dance like nobody is watching.

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Camp Pink Onion

Registered: 09/27/04
Posts: 808
Loc: Dairyland
Re: Very good interveiw with Jerry Garcia [Re: Vulture]
    #3807535 - 02/20/05 06:25 PM (11 years, 8 months ago)

man how I miss jerry and his ship of fools

"Weaving Spiders Come Not Here"

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