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Registered: 07/26/04
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Jerry Garcia dead at 53 [This day in history, 1995]
    #4513049 - 08/09/05 02:43 AM (12 years, 9 months ago)

August 9, 2005 - Asbury Park Press

Jerry Garcia's legacy thrives 10 years after his death

On Aug. 9, 1995, grown men wept in public. They were men who at first glance might not be united - truck drivers, lawyers, bikers, doctors, conservatives and liberals - all in mourning over the same man.

The outpouring of sympathy and broken hearts was not totally unexpected, but preparing for the inevitable doesn't dry the tears. Singer/guitarist Jerry Garcia was dead, and for legions of Grateful Dead fans the world over, their lives were forever altered.

Garcia died in his sleep with a grin on his face and an apple clutched close to his chest. Years of drug abuse, smoking and a poor diet that would have given Elvis Presley a run for his beloved fried peanut-butter-and-banana sandwiches finally caught up with Garcia, who died at age 53 in the drug detoxification unit of a Northern California rehabilitation facility.

The irony of Garcia literally dying to get straight was too much for some. For others, it was the final incident in a life full of serendipitous prankersterism, the kind of stuff that made Garcia a legend.

Estate alive and well

Ten years after his passing, Garcia's legacy thrives in more ways than one. His estate, run by his third wife, Deborah Koons, is in the middle of a windfall as a "Pure Jerry" line of solo concert recordings, neckties and wine does brisk business at jerrygarcia.com. Garcia's primitive yet passionate art fetches big dollars at highbrow galleries. In 2004, the estate grossed more than $5 million.

His former bandmates in the Grateful Dead have released more than 30 concert recordings from their deep and prodigious vaults through the "Dick's Picks" series. These shows barely scratch the surface, as there are close to 2,800 shows available online for download.

This fall will see a release of a book of Grateful Dead lyrics and a 10-CD boxed set from the band's highly successful run of shows at San Francisco's Fillmore in 1980.

Even in death, Garcia still has the faithful grateful and wanting more.

"The cynic would say that the estate is making money off poor Jerry," said Aeve Baldwin, editor of Relix Magazine, the authority on all things Grateful Dead. "I think if he were around and cleaned himself up, he would have been doing art. He would be designing neckties and doing these different things."

Dennis McNally, the official historian of the Grateful Dead, served as the band's publicist for more than a decade. McNally personally knows what money meant to Garcia when he was alive.

"He didn't want to be rich. As a point of fact, he spent the money faster than he made it, so that way it didn't have any hold over him," said McNally from his San Francisco-area office. "He didn't want to be poor, he didn't want to be rich, he didn't want to be bothered and he managed to keep it that way. That is what makes him a success.

"At the same time, he didn't pay attention to the basics that we all know to do - like staying healthy is a good idea."

Even when the band first started out in the post-beatnik, pre-hippie days of the mid-1960s, money wasn't a concern for Garcia and his band. Their art was top priority, even when they were flat broke.

"There's a story that Jerry told about when they named the band the Grateful Dead," said McNally. "He was talking to a clerk at a music store where they owed money, and they owed money to every instrument store in the greater Palo Alto area. The clerk said, "How do you spell grateful?' So Jerry spells it, and she says, "No matter how you spell it, you are never going to get anywhere with a name like that.' "

McNally believes fierce independence and faith in the music is what separates their legacy from other bands of their generation.

"Jerry Garcia and the Grateful Dead are something unique in American history, in that they achieved absolute success, measured on whatever rule of thumb you want to measure it," said McNally. "Whether it was financial success, great admiration or lots of girls . . . they did it completely on their own terms. They did it by systematically by breaking every rule they were ever taught. They created music strictly on their terms. They went a long way because of the magical music."

"One of my clearest memories of the Grateful Dead was in the parking lot of the Brendan Byrne Arena, circa 1986," said Baldwin. "It was the height of the yuppie era, and I distinctly remember seeing a guy pull up in a BMW, step out of his car, unbutton his shirt and tie to reveal a Grateful Dead shirt underneath as shaggy hippies around him cheered him on.

"If you look at the number of white-collar deadheads, it wasn't just about the drugs or tuning out. There are senators. The Gores are Deadheads. It was about the music and a promise it held out."

Impressed by improvisation

Mark Diomede is the guitarist for the Juggling Suns, the most successful "jam band" to ever call the Jersey Shore home. The 47-year-old's life was changed on Aug. 1, 1973 (Garcia's birthday), at Jersey City's Roosevelt Stadium, his first Grateful Dead experience. Thirty two years later, Diomede carries Garcia's improvisational torch at the Shore.

"I was 15 at the time. What really attracted me to their music was their ability to take a song and turn into a sound journey," said Diomede, of Bradley Beach. "The way they interacted and weaved their instruments, together would take you on a ride in your head and take you to other places. They are like the 1969 New York Knicks, where everyone scored 18 points a game. There was a teamwork-oriented approach to their improvisation."

Former Clark resident Jay Blakesberg worked with the Grateful Dead as a photographer from the late '80s to the band's demise in 1994. For the lifelong Deadhead, his introduction to the band came at the Shore.

"I remember in 1976, a friend told me we have to go see the Grateful Dead before they break up. First, I did a Jerry Garcia Band show in July 1977 in Asbury Park. My first Dead show was at Englishtown, Labor Day weekend 1977. I was 15," said Blakesberg from his Northern California studio. "Within two years, I would travel to shows that were five or more hours away. I met people who were like me."

Baldwin knows what the initial and lasting attraction to Garcia's music is.

"What a lot people missed was that they were so good at incorporating all forms of American music. The fact that they would always reach back and dip into what was done before them and put a new twist on it. I think people miss that a lot," said Baldwin. "There's such a profession of the Dead being a stoner band, but at the same time, look at the people who are covering their music today - it's like a big cosmic circle."

The Dead in N.J.

New Jersey Deadheads were extremely lucky as the band played the area at least twice a year for two decades, and some of those concerts are considered some of the best nights ever for the Dead.

Their impact was such that after Garcia's death, tie-dye flags flew at half-staff below the stars and stripes in front of East Rutherford's Meadowlands arena and Philadelphia's Spectrum.

As a band, the Grateful Dead played New Jersey 54 times, starting at Paterson State College in 1970. The Dead's final Garden State appearance was less than two months before Garcia's death - at Giants Stadium on Father's Day 1995. The band's shows at the Passaic's Capitol Theatre, Jersey City's Roosevelt Stadium and the Stanley Theater in particular have stood the test of time as evidenced by their release on CD through "Dick's Picks."

Shore fan base

Bob Municchi has owned the Grateful Dead-inspired store, Tye 1 On, a fixture on the north end of the Seaside Heights boardwalk for the past 11 years. By his admission, he had seen the Dead play "hundreds" of times, starting with their free show in New York City's Tompkins Square Park in the East Village in 1970 and culminating with Garcia's final performance at Soldier Field in Chicago on July 9, 1995.

"There are tens of thousands of Dead fans in New Jersey, especially here at the Shore. And we all know each other," said Municchi. "It was an easy drive to Boston, upstate New York or out to Long Island and down to Philly and D.C. from here. It really was the perfect place to be a Deadhead."

Garcia's in-state solo concerts were plentiful as well, specifically his shows at Kean College in Union in 1980, considered two of his best shows ever and released last year in the "Pure Jerry" series. His shows at Convention Hall in Asbury Park have reached epic status.

"The NY/NJ area is the anti-San Francisco. San Francisco is a more relaxed place," said McNally. "It's not a place to have huge screaming ambition; it's a place you can be civilized and live well. It doesn't attract the people who want to get to the top of Wall Street or publishing. Yet, the Dead had an affinity for it."

"We went in 1968, '69, '70 - it was the place where they made a living. The only place besides San Francisco they could sell tickets was the Fillmore East, and that carried them a couple years. In 1970, they started playing colleges around the area and started to develop an economic base, which is an essential part of functioning," McNally added.

The Dead functioned like a machine in the metro area, thanks to North Jersey concert promoter John Scher, who booked the band's national and international tours. Scher remains in the Dead inner circle to this day, managing Dead alum Bob Weir and his band, Ratdog.

But for Scher, who got his start in show business at the Sunshine Inn in Asbury Park in the late '60s and booked hundreds of Dead shows, one weekend in 1977 tops it all.

"If everyone who says they saw the Grateful Dead at Englishtown Raceway Labor Day weekend in 1977, then there would have been a million people there. It's like the first Woodstock in that respect," said Scher. "But there were close to 100,000 people there. What we went through to get that show off the ground was amazing. There was a climate of conservatism at the Shore during that time, and the locals didn't want the hippies coming to town.

"They tried to stop the show and we had to go to court. The judge sided with us and said, "What law are they breaking?' He told the towns not to be cute. Well, one town decided to do "construction' on one of the roads leading in, causing this horrific traffic situation. People left their cars wherever they could, so they ended up causing what they didn't want in the first place."

The music is what still resonates with Blakesberg, who listens to the show to this day thanks to the "Dick's Picks" series.

"I can still go back and listen to the Englishtown show and listen to the "He's Gone/Not Fade Away' jam at full volume and have the hair stand up on the back of my neck," said Blakesberg. "That 35-plus minute section of music is some of the most inspiring playing I have ever experienced, and compared to anything else being played in 1977 by any other artist, it is so completely original and truly mind-blowing."

Late-career acceptance

By 1987, the secret was out. The Grateful Dead was no longer the greatest house band for an intimate gathering; they had a Top 10 single ("Touch of Grey") and a video in heavy rotation on MTV. The Deadheads were over run by an element that was not there for the music - they were there for the party.

Shows in Saratoga Springs, N.Y., and Indianapolis were marred by gate-crashing and rioting. Death threats were made against Garcia. What had turned out be an all-inclusive happening was being threatened by its very attraction.

"The party that went on was well under control. To this day, the Dead's crowd was the best self-patrolling crowd in the world, better than a sports crowd, or any other rock crowd," said Scher. "Before "Touch of Grey,' everybody took care of one another. Then people started coming for the wrong reasons."

McNally dealt with the downside of Garcia's fame on a daily basis.

"Jerry never left his hotel room the last 20 years when he was in New York City, it was too much," said McNally. "The city is intense enough, and when you are famous, it's just too much.

"One time Jerry made a driver stop the van in the middle of Times Square and hopped out to run into Nathan's to get a hot dog. He loved those things, but in the end it did him in."

"Too many people went to shows with absolutely no intention of going in - they were there to party," said Municchi, the Dead-inspired store owner. "There were so many kids who went out on tour who were lost souls and never contacted their parents. Some of these parents were so incensed that they started calling in death threats on Jerry. It was really hairy. None of it was his fault. He was an artist - all he wanted to do was play music."

Eventually the unwelcome tide receded for the band, but Garcia's battles with substance abuse and diabetes raged on. The Grateful Dead was a corporation employing dozens of people on the road and in their San Rafael office in California. The musicians were no longer playing for the music but playing to provide food for their workers. They were amazing one evening, lackluster the next.

Something seemed amiss by the summer of 1995.

"On some nights, they weren't very good," said McNally. "But the hope was that the next show would be spectacular, and it often was."

When word came down that Garcia had died, Mark Diomede was doing his morning routine of playing guitar scales in front of the television, something he took from Garcia's repertoire.

"I sat down and started flipping around the TV and I saw Jerry's face, and at that point I knew," says Diomede. "At that point, my phone started ringing. I think I spoke with every newspaper in New Jersey that night."

Municchi's experience was more premonitory then anything.

"The night before, I saw Ratdog in Central Park," he said. "I saw Bobby (Weir) and asked him how Jerry was. He told me that "Everyone has crosses to bear and their own demons. But Jerry was Jerry, and he was going to be all right.' That night was also the 50th anniversary of the bombing of Hiroshima; there were hundreds of people there, so I stopped and said a little a prayer for Jerry. Twelve hours later, the world was turned upside down."

The day after Garcia's death, Diomede and his band retreated to the comfort of the Metro in Long Branch for their weekly gig when fate walked in the door.

"Bruce Springsteen came in the bar to check on having a birthday party for his wife, Patti," said Diomede. "We approached him and told him it was a tough day for Deadheads and asked him if he would like to sit in with us for a little bit. He said, "If you can get me a guitar, I'm up there.'

"We did five or six songs with him. We did a 10-minute version of "Not Fade Away' with him - we were trading solos back and forth, and he can really play guitar. Everybody was out because everybody needed to be with friends. It's what people really needed."

Garcia's sense of humor

The most common misconception of Garcia was that he was a shaman-like guru dispensing knowledge with each guitar lick. In fact, he was erudite and extremely well-read and could be bitingly sarcastic.

"Jerry was extremely smart and funny," said Scher. "He had a wealth of knowledge when it came to pop culture stuff, old movies and all kinds of music. His sense of humor was great.

"He had given me a painting of his after I busted him about not having one. So he gives it to me; I have it hanging in my house to this day. I brought it back to my office and noticed he didn't sign it. So I go back to him, and he says, "I was expecting you; what took you so long?' He took out a pen, laughed, and signed it."

Blakesberg's dealings with Garcia during photo shoots left him impressed with Garcia the man.

"I realized that Jerry was just a regular guy who did not really like all the limelight stuff that came with being a rock star," said Blakesberg. "He didn't really care about the photo shoot and was only there because he was told it was part of the deal for the interview. He became a very human guy to me that day, but still a guy that could play music that moved people in ways they didn't even know they could move."

The last words Garcia sang in New Jersey were haunting and forthcoming. They're from the song "Brokedown Palace":

"Fare you well, fare you well, I love you more than words can tell, listen to the river sing sweet songs to rock my soul."

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Registered: 07/26/04
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Re: Jerry Garcia dead at 53 [This day in history, 1995] [Re: veggie]
    #4525111 - 08/12/05 03:06 AM (12 years, 9 months ago)

Jerry Garcia: Has It Really Been Ten Years?
A Look Back on Jerry Garcia the Musician
August 11, 2005 - earvolution.com

The mellow sound of a fingerpicked acoustic guitar exits from the speakers, over which a voice sings of picking up a guitar and improvising a melody not simply for its own sake, but for the cold comfort that is provided as the artist thinks about an unnamed person and an ambiguous "Rosebud." Upon a casual listen, the lyrics could easily be interpreted as a forlorn cry to a distant love, a love long passed and faded in the mind and heart of its subject. The jilted lover responds by crafting a ballad that is complimented expertly by haunting steel guitar lines that fade in and around the track.

Deadheads immediately knew that this track appearing on the second disc of Ryan Adams' Cold Roses (Lost Highway, 2005) was not crafted about a love lost, but music lost; the principal subject of the ballad was not a woman, but an inanimate object- specifically, a guitar crafted in 1990 by California luthier Doug Irwin for Jerry Garcia. The guitar - dubbed 'Rosebud' after an inlay of a female skeleton carrying an un-bloomed rose and flashing an ossified peace sign that appeared on the guitar's ebony cover plate - served as Garcia's primary stage instrument upon its completion. (Although it was eventually cast aside in favor of the Stephen Cripe-constructed Lightning Bolt during August 1993, it was Rosebud that was played at the last Grateful Dead show at Chicago's Soldier Field on July 9, 1995.)

Music lovers and musicians alike are often puzzled by the apotheosis of Garcia by his legion of fans. His guitar playing is neither flashy nor particularly speedy; he often dismissed the use of distortion, a rock staple for guitar players since the Sixties; and, his untrained voice did not possess the qualities typically associated with the rock frontmen regularly strutting their stuff in cavernous basketball arenas during Garcia's time. Nevertheless, Garcia himself was able to sell out these very same venues - sans his Grateful Dead bandmates - beginning in the late 1980’s.

So exactly what is it, then, that marks Garcia as a rock 'n roll icon? It would be too simplistic - and ignorant - to dismiss his popularity as a result of the drug-induced delusions of a bunch of relics from the Summer of Love era. After all, how many relics (and curious onlookers) are there such that the Grateful Dead were able to fill 100,000 seat racetracks and 60,000 seat stadiums during summer tours in the Seventies and Nineties, respectively? There was certainly something that others were seeing that went far, far beyond a bunch of hippies engaging in reefer madness as part of an all-out effort to avoid the trappings of a regular life and its attendant responsibilities.

There really is no one stock answer to the Garcia question; however, one should be quick to recognize that Garcia himself constituted a tripartite musical order that was one part soulful singer, one part superior songwriter (with lyricist and chum Robert Hunter) and one part uncanny guitar player. It is rare for one person to truly be gifted in but one of these areas- let alone all three. (John Lennon, of course, also immediately comes to mind- which shows Garcia to be in pretty elite company.)

For comparison, imagine Bob Dylan - or Ray LaMontagne, to use a more recent example -and augmenting their considerable talents with the additional capability of laying down a remarkable, memorable and precise lead break between verses of one of their most moving ballads. Now imagine further that these lead guitar lines are never played the exactly same way again - occasionally for the worse, usually consistent, and sometimes so creatively and perfectly so as to be sublime - in city upon city, night after night.

But the ability to improvise effectively - the most cherished, most sought-after skill among serious musicians - isn't the only facet of Garcia's playing that separates him from others in the rock realm. Garcia also was able to meld an understanding of music theory with his ability to adeptly move his pick and fingers around the instrument. Most rock guitar players - from the Sixties through today - simply chose one blues or pentatonic scale and let it rip over all of a song’s chord changes, playing the same notes scrambled in different patterns throughout the guitar's neck. Garcia, in contrast, often considered each chord or series of chords in a certain progression as a separate and distinct entity, using a combination of different scales and arpeggios to outline the changes in the same way that a jazz musician would approach the instrument. A track like Dark Star from 1969's Live Dead- even with the remarkable contributions from the other musicians- is nonetheless likely reduced to an inconsistent, acid-drenched and pedestrian effort afforded only cult status if not driven by Garcia's modal guitar lines. Instead, his lyrical, creative playing elevates it to an example of transcendental psychedelia that must be heard to be believed.

It is not just the foundations of psychedelic music that were shaken by Garcia's approach, for he applied his knowledge to the Dead's more conventional music as well. The compilation Without a Net, culled from multitrack tapes from the Dead's 1989 and 1990 tours before keyboardist Brent Mydland's death, shows that Garcia continued to progress throughout his career rather than lazily drifting off into dinosaur status. Garcia's lead guitar fluidly outlines the chord changes between the verses of Mississippi Half-Step Uptown Toodeloo, making somewhat tricky rock improvisations seem absolutely effortless. Similarly, Garcia adds some off-the-cuff- yet scintillating - jazzy guitar passages in between guest Branford Marsalis' saxophone lines as Eyes of the World nears its conclusion. Garcia's continued progress is even more remarkable when one considers that Garcia essentially had to relearn the instrument following a diabetic coma that almost killed him in 1986.

Those who are quick to dismiss Garcia as a guitar hero often lack an appreciation as to what truly makes him a special guitar player. Undoubtedly, some people just prefer other sounds - and one cannot be faulted for that. Garcia himself once commented during an interview with Rolling Stone that the Grateful Dead was like licorice - some people enjoy it, while others absolutely hate it. But others who seek to diminish- or even attack- Garcia's contributions to the guitar fail to see what separates him from the rest of the lot. Speed and large amounts of overdrive were the hallmarks of guitar virtuosity during the Eighties and Nineties, neither of which were ever espoused by Garcia. His lead playing was unique - not just because he played with a clean, clear tone and typically rejected distortion, but because he had his own voice on the instrument that was immediately recognizable. The lead break on the studio version Unbroken Chain contained on From the Mars Hotel provides such an example. And for those who are intimately familiar with the work of Grateful Dead associate Bruce Hornsby, was there any doubt that it was JG laying down those (admittedly overdriven) solos on Across the River and Cruise Control?

Garcia, of course, is not the only guitar player with sonic trademarks - Clapton, Page, Hendrix, Van Halen and even latter-day blazers like Satriani and Vai all possess tones, phrasing and riffs that make them uniquely identifiable even by those music lovers bordering on tone deafness. But when Garcia was on, it seemed like he always played the right note - yet it would be the note that was often completely unexpected. Witness Garcia's uncanny pedal steel playing on the Crosby, Stills & Nash hit Teach Your Children - especially at the song's conclusion, when Garcia suspends a haunting, high-pitched tone before picking, pedaling and sliding into some outro licks.

Binding Garcia's talents together was an air of authenticity that surrounded his work. Part of it came from his roots as a banjo player and his love for bluegrass, but much of it probably came from the man himself. Garcia was blessed with "soul," however un-definable that term may prove to be. It's the reason why Garcia doesn't sound the least bit out of place during a bluegrass foray with the Jerry Garcia Acoustic Band. It doesn't sound like Jerry Garcia playing bluegrass music - it is bluegrass music, and it just so happens to be the lead guitar icon of the Grateful Dead performing it.

It is this last point that is lost on the devotees of other jam bands that have proliferated in the wake of the passing of the Grateful Dead. Trey Anastasio is an absolutely fantastic guitar player, but one does not get the impression that he is reaching back into the very core of American music as he plays, serving as a medium as he projects the ghosts of musical days gone by into the audience. Certainly, no individual musician can be faulted for this. Garcia is unique precisely because his music possesses a quality which proves elusive to 99% of the people that ever pick up their instrument.

Despite all the rightful praise that can be pushed Garcia's way, it would be na?ve- and completely erroneous- to suggest that he constantly approached perfection as a musician. Garcia was fully human, and various CDs, downloads and good ol' fashioned tapes reveal that he would occasionally miss a note or phrase here and there on even his most brilliant nights. (The end of one of his several spectacular solos on the version of Desolation Row on the Downhill From Here DVD provides such an example- with the camera squarely placed on Garcia's fingers as he briefly stumbles at the end of an otherwise well-played gem.) Ironically, this humanizing aspect to Garcia's playing is what endeared him to many. It really wasn't a robot or a superhuman guitar slinger up there on stage; he was an immense talent, but also like the rest of us in some small way as Garcia made some of the same mistakes that you make riffing in your basement or local watering hole.

Garcia's declining heath and unfortunate addiction to a particularly potent form of heroin took much away from many performances during the last few years of his life. Jerry became too human right before the eyes of many Deadheads. Garcia's fingers sometimes struggled and fumbled their way around the guitar neck, and more intricate passages such as the diminished arpeggios in Slipknot! became a painful- even tragic- listen at times. The studio brilliance that appeared on Unbroken Chain decades earlier did not surface on the live versions of the song when it finally debuted in 1995; Garcia, despite his guitar abilities continuing to progress through the first few tours of the Nineties, was unable (or simply unwilling) to outline the chord changes of the jazzy lead break with his formerly adept and inspired playing. On many solos- perhaps due to carpal tunnel syndrome, a loss of sensitivity in his fingertips, malaise, or just plain boredom - Jerry would tend to utilize notes that were a half-step away from his intended targets, thus creating an unintended dissonance where there was formerly a lyrical consonance.

There were still moments and shows that were indeed sublime- the version of Visions of Johanna from the 1995 Spectrum run and many shows during October 1994 come to mind- but these moments were certainly fewer and farther between. These moments, however, are still worth seeking out- to entirely dismiss the years 1993-1995 would deprive a listener of some quality music.

Garcia's vocals unfortunately followed the same sad path in the later years. He often mumbled his way through rock numbers that the Dead had been performing regularly for decades. Garcia himself certainly recognized this- anyone who plays at a high level for so long must- but the tapes suggest that Garcia may have tried to compensate by taking the Dead's mournful ballads to new levels with his singing voice as his guitar voice and vocal prowess on other numbers diminished. See So Many Roads- perhaps the lone highlight from the final Grateful Dead performance at Soldier Field- for an example of Garcia crying to the Lord on vocals and mustering what remains of his guitar ability on a night when he otherwise fell flat. Garcia died exactly one month later.

To dwell on Jerry Garcia's shortcomings, however, would certainly be shortsighted. The bulk of his enormous creative output between 1965 and 1995 is original, inspired and provides an shining example of a musician with a unique approach to his craft - and there will likely never be another. Garcia was born of a love of music that is long forgotten in many circles, at a time when LSD experiments were being conducted at Stanford University and a social movement was sweeping San Francisco and the rest of the nation. And above all, he was supremely talented, soulful and authentic. These elements and abilities may never again converge in one place at one time and in one person. If they should, then we will be blessed to have witnessed it. But for now, we should consider ourselves lucky to have on discs, hard drives and cassette tapes what now remains of Garcia's musical legacy.

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Re: Jerry Garcia dead at 53 [This day in history, 1995] [Re: veggie]
    #4525298 - 08/12/05 04:23 AM (12 years, 9 months ago)

:sun: :heart:


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Re: Jerry Garcia dead at 53 [This day in history, 1995] [Re: delta9]
    #4531128 - 08/13/05 09:49 PM (12 years, 9 months ago)

both very good reads. thanks veggie


Not all who wander are lost - J.R.R. Tolkien

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Re: Jerry Garcia dead at 53 [This day in history, 1995] [Re: nightkrawler]
    #7277922 - 08/09/07 03:06 PM (10 years, 9 months ago)

Bump to tell the story to the fresh heads on the board.

A heavy heart for Jerry today. :heart:

"Comes a time when the blind man takes your hand,
Says, 'Don't you see?'
Gotta make it somehow on the dreams you still believe.
Don't give it up.
You got an empty cup only love can fill."

Jerry Garcia

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Re: Jerry Garcia dead at 53 [This day in history, 1995] [Re: TheFish]
    #7281256 - 08/10/07 02:06 PM (10 years, 9 months ago)

keep on truckin

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