Lar's Memoirs, with final words by Al Rubottom
Lars Kampman's Memoirs
"Rock, Roll and Rumble" read the headline on the front page
of the San Francisco Chronicle on January 13, 1967 -- Friday the
13th, even. None of us took it as anything but a good omen. The
article started in a box and continued inside the paper under
the headline "Thunder in the Mountains." The writer, Jonathan
Cott, told about us, the Anonymous Artists of America, and how he
had found us by chance in our "rambling Mediterranean villa"
perched atop the San Francisco peninsula in the middle of a
redwood forest. From the house you could see the Pacific Ocean
twenty miles in the distance. Between us and the ocean was only
one building: an old barn that only added to the richness of the
scenery.
A week or two before the article appeared, Cott had dropped
in on us at Rancho Diablo, to see if we knew anything about a
runaway girl he was writing an article about. Everyone in San
Mateo county knew that we were a wild new band, somehow connected
with Ken Kesey's acid test and all the crazy happenings of the
Love Generation. We weren't famous yet, but certainly notorious.
Uninvited guests were not popular at our house, since we'd had
problems on several occasions with the local police and every
stranger was a police informer until proven otherwise. But Cott
convinced us of his credentials and even though we couldn't help
him find his runaway, we did convince him to write an article
about us. There wasn't much to say, really, since we hadn't done
a great deal. But Cott's reaction was the same as many others':
here was a group of attractive young people with a strong
appetite for the mushrooming hippy movement in San Francisco and
the Bay Area.
The Anonymous Artists of America started as a concept, as did
so many of the psychedelic phenomena. While I was a student at
Stanford University, I fell in with a number of students in the
art department. Beth Jensky was a drop-out who was a few years
older than me. She was tall and blonde and always ready to go.
Parties, art openings, thrift store explorations, anything was
occasion for having fun. In 1963 we were at a party together in
a house off-campus, and she asked me if I wanted to turn on. I
knew what she meant, but I had never tried it. Rather than admit
to my lack of experience I suavely accepted her offer, and we
retired to the bathroom.
In those days marijuana was not smoked in the open, even in
the more artistic circles. Thus it was not unusual to se ten
people or more squeeze into a bathroom together. Since I was
always on the inside, I don't know what it must have felt like on
the outside. Lonely, I'd think. But on this first occasion,
Beth and I were alone in the bathroom. Beth had a little film
can full of marijuana and a pack of ZigZag papers. Rolling a
joint is a precision operation. The paper has to be folded just
right and then the pot has to be carefully poured into the paper.
Too little pot results in a skinny little joint (a "viper") that
won't draw, and too much results in a "bomber" or, worse, in
spilled pot. Beth folded the paper and gave it to me to hold
while she poured the pot into it. I was trying to be ultra
smooth and act as if this was an every day occurrence, when in
fact I was thrilled to the gills that I was finally going to get
turned on. Just as Beth poured the pot I jerked my hand and all
the pot ended up in the deep-piled bath mat. "Oops," did not
adequately express my embarrassment, but after a while we managed
to salvage enough of the leafy matter to roll a joint and get
high. Whether or not I really got high, I can't tell. But the
power of suggestion is strong, and I certainly wanted to get
high. The rest of the night was spent dancing wildly to Chuck
Berry records. There must have been others who were high on
grass, but we didn't talk about it. It was still considered a
big deal.
During the next few years, however, everyone I knew began
turning on regularly. Marijuana was plentiful and cheap, and not
very good. For $15 you could buy a "lid" - an ounce - of Mexican
pot of indifferent quality, and for $25 you could buy the same
quantity of Acapulco Gold, a much better product. A kilo ("key")
of the cheap stuff went for $80 to $100, whereas the good stuff
cost as much as $250. As there is just over 16 ounces in a half
a key, profits were considerable. But as there was a very
limited number of users, the market was not great and I didn't
know anyone who sold drugs as a living. You did it as a favor to
friends, who all realized you were making a fairly large profit,
but who didn't care. No one was getting poor, and no one was
getting rich either.
Beth had a friend in the art department called Michael Moore.
Our group all agreed that he was the best painter at Stanford. He
was also the best-looking painter and everyone had a crush on
him. I know Beth did, and I certainly did myself. But at the
time I was still firmly in the closet and in any case Michael was
not interested in boys at all. He had grown up in Malibu and was
a prototype surfer-boy. Now he painted brilliantly psychedelic
landscapes. Abstract just enough to avoid being banal, yet
specific enough to appeal to everyone. His line drawings, too,
were exquisite: intricate cartoon-like studies of rock
formations, desert scapes, mountains, vividly colored and
embellished with psychedelic lettering ("turd writing" we called
it at first, since that's what the letters looked like).
In 1965 I met a girl named Carrie Heldman, who moved in with
me. We rented a house on Homer Lane in Menlo Park, where we soon
had a sort of salon for the art-and-fun crowd at Stanford. Night
after night we'd get together with a few joints, maybe a few
benzedrine tablets and a little beer or wine, and sit around
listening to music and drawing in our sketch books. You'd work on
a drawing for a while, then pass it on to someone else to
continue. The good artists worked right along with the truly bad.
Felt-tip pens were new and made everyone able to participate.
Everyone sat on the floor, talking and laughing, admiring each
other's contributions.
On one of these occasions Michael Moore came up with the
concept of the Anonymous Artists of America. "They terrorize the
country side. Riding from town to town, painting the center line
on all the highways in America red." The idea appealed to us
all. It didn't matter who you were, you could participate. And
there was no message behind the action. It was a Happening, pure
and simple. The Phantom Artist, egoless and pure of intent.
At about that time I became art editor of the Sequoia, the
Stanford literary magazine. Rather than put my own name on the
masthead, I decided to live out our new philosophy, and the
Anonymous Artists of America appeared instead. Light shows were
new, too. At Ken Kesey's Acid Tests we'd first seen them: liquid
overhead projectors, bathing the walls with amoeboid shapes in
various progressively muddier colors. Present day light shows
are very high tech with many strobes and video projections and
effects carefully synchronized with the music. But in these
early days all you needed was a projector and some glass petri
dishes to slosh around the colored water and oil. If you were
very ritzy you might have a strobe light and maybe even a black
light. But the investment was minimal.
We had to have our own light show too, of course. Adrienne
and Carrie and I somehow got our hands on a projector and hired
ourselves out to do the lights at parties. In fact we only
appeared three times. Our name: Anonymous Artists of America, of
course.
All this - the art salon, the lit mag, the light show -
happened in 1965, which must have been the birth year of the
Psychedelic movement. The Avalon Ballroom and the Fillmore
Auditorium presented three bands each every week-end. Admission
was $2 and you could always get in. Everyone would get dressed
up in their brightest party clothes and head for San Francisco.
By that time Acid -- LSD-25 -- had hit the scene. It was hard to
get, but only because it was so new. It wasn't even illegal to
possess it yet. Carrie's father had given her a huge, convertible
Oldsmobile, into which we'd all pile and head for the dance of
our choice. Sometimes just a few of us would go to a disco; a
popular one was the Tiger a Go-Go at the San Francisco Airport
Hilton Inn. No one suspected that we were a bunch of stoned out
hippies. We were just exuberant young students who loved to
dance. And there was a strange dance hall in Redwood City where
our friend Sara's ex-husband, Jerry Garcia, and his band played
to empty houses. The name of the band was the Warlocks, later to
become the Grateful Dead and the Acid Test house band.
I'm describing a movement, but that's not what it felt like.
It was my life. Later it became a movement. I'd come from
Denmark to America in 1959, to go to boarding school in
Massachusetts. My mother was American, so I had the choice of
becoming one, too. Since America was the land of Hollywood and I
wanted to be a movie star, what could be more natural than moving
to America? Under this reasoning was the knowledge that I was
homosexual and that this would be a problem for me at home.
Sure, Denmark had a reputation for being sexually liberated even
then, but the fact was that my family and social peers were not
ready to accept homosexuality. There were always condescending
jokes about gays and snide references to gay people. Even though
I had never done anything and in fact carried on with girls along
with the best of them, my tendency was towards men.
When I was only three or four my family took me to the circus
in Copenhagen. One of the acts was a strongman, painted gold all
over, wearing the tiniest pouch, displaying his muscles on a
revolving pedestal. My face flushed with heat and I couldn't
watch. I spilled my ice cream on my pants and onto the floor and
had to be taken to the bathroom by my father to be cleaned up.
How long did I watch? A minute at the most, and yet the image is
indelible in my memory.
My grandmother sent us Life magazine from America. One week
there was an ad for Jockey Skants, a new kind of very brief
underwear for men. Although it was just a drawing of a man
pulling down his T-shirt over his Skants, the picture excited me
like nothing ever had done before. I'd look at it whenever no
one else was around. But if someone came in I'd quickly put it
away. For some reason I was ashamed of the feelings this picture
stirred up in me, but I couldn't leave it alone.
When I was confirmed at the age of fourteen, my parents gave
me a trip to London. I stayed with friends of theirs in Chelsea
and was free to roam around the city by myself every day. I went
to museums, to movies, even saw the original production of My
Fair Lady. And of course The Mousetrap. But the most exciting
event was discovering "physique magazines". One was called
Adonis, the other Body Beautiful, I think. They were both small,
designed no doubt, to fit handily in a pocket. And both
contained photographs of young men as close to naked as possible.
Posed as sailors or Greek gods or what have you, they all wore
the same kind of pouch as the muscle man had in the circus. The
writing was minimal and, in retrospect, ridiculous. All about
how the guy in the picture devoted his time to exercise and
aspired to a career in films, or what have you. In the back were
many adds for sets of photos of the same models. I went to the
address of one place: 60 Greek Street, in Soho. There was just
an office building. I don't know what I expected to find;
beautiful men loitering around, waiting to take me to heaven?
In any case, I bought as many of these magazines as I could.
Asking for them was not easy, but somehow no one ever refused to
sell them to me, even though I was very young. Back at my
parents' friends house I'd carefully hide the day's new purchases
in my suitcase under the clothes. Whenever I looked at them I'd
become very aroused and then very ashamed, too. I kept the first
two I bought for a few days, then smuggled them out of the house
and threw them away in a public trash can. Then I saw an other
one in a different kiosk and had to have it. In the end I took
some back to Denmark with me and masturbated over them until the
fear of discovery made me get rid of them, too. But then I
discovered ads in the classifieds in the Sunday papers in Denmark
of stores that dealt in Danish gay magazine. One was called Eos,
and it featured not only totally nude shots, but wildly romantic
gay fiction, too, not to mention a letters column.
Parallel with this was my interest in movies. I wanted to be
a movie star. I subscribed to Photoplay and Silver Screen and
knew all about all the young actors and actresses in Hollywood. I
collected pictures of my favorite ones. My scrapbook of Audrey
Hepburn pictures was the biggest in Denmark. Other favorites
were Jane Wyman and Vera Ellen. But secretly it was Tab Hunter
who turned me on the most. I developed a fantasy that I would
move to Hollywood and be Tab Hunter's secretary (read: lover).
When the opportunity to go to boarding school in New England
presented itself, it seemed the perfect way to follow my dream,
and off I went. Unfortunately the freedom I had thought would be
mine once I left home, did not materialize. My grandmother lived
in New Jersey, and I spent all my vacations with her. She was
very "social" and arranged for me to participate in all the
dances and balls that young people were expected to go to around
1960. It soon became clear to me that I would be even more
stifled by family in this atmosphere than I had been in Denmark.
So when it came time to pick a college, I decided on Stanford
University. Just to show I could get in, I applied to Yale, too,
but I wanted to get farther away. My third choice was the
University of Hawaii!
During Christmas vacation my senior year at prep school, I
went to California to look at UCLA and Stanford. Staying by
myself in a hotel in Los Angeles was somehow too exciting. I was
free to roam the streets at night and what I saw terrified me. It
was too good to be true. The newsstands were full of physique
magazines in gorgeous color. This I could deal with. But what
was harder to take was all the men cruising the streets. There
could be no doubt as to what was on their minds. I dutifully
visited the UCLA campus, which scared me with its huge size, but
more terrifying was the thought of all those men. A friend of my
uncle was a director of TV-shows, and he took me to the set where
I met a then famous actor. I was amazed to find that this blonde
hunk was interested in me -- amazed and scared. I knew I'd never
be able to study if I went to UCLA -- there were too many
temptations in the street.
Stanford seemed much safer, and that's where I went. My
freshman year I lived in the dorm and acted like any other
student. Had dates with girls, went to football games, acted in
plays, even studied. But I knew about men and I knew what I
wanted.
I think it's an exaggeration to say that every choice I've
made in my life was determined by my desire to fulfil my
homosexual tendency. But it was definitely a big part of it. In
the end I don't think it made any difference, though. Motivation
is one thing, another is what actually happens. Yes, I went to
Stanford to avoid staying on the East Coast and because I was not
quite ready for what seemed like certain perdition in Los
Angeles. But when I got there it turned out to be the start of
the entire psychedelic movement, or flower power era, or what you
will, and that's what finally became important in my life. Under
it all I still struggled with my homosexuality, but it was not
the most important thing. On the contrary, the other things that
happened became that much more important because they allowed me
to avoid dealing with my sexuality.
In fact most of my homosexuality was known only to myself. On
the surface I went with girls and girls liked me. I was good
looking, smart and not too demanding. In prep school I fell in
love with a beautiful girl named Abby Angell. We carried on a
correspondence romance, primarily, and when we'd be together on
occasion, during vacation where we might go to a dance together,
we'd neck and make out a little, but there was never a question
of actually doing it. The summer after our graduation she came
to see me in Denmark. She'd been to Perugia to learn Italian and
had met someone else. No doubt a guy who was more interested in
sex with a girl that I was. Abby and I spent many days
romantically weeping over the impossibility of our love, and then
she left. What she didn't know was that I'd discovered the gay
bars in Copenhagen. My mother let me use her car and I'd drive
into town and pick up some guy and make out in the car with him
before hurrying home. I never saw any of these men again; that
would have been an admission of homosexuality on my part, and I
continued to go with girls at the same time, but I couldn't stop
going with these men.
After my freshman year at Stanford, it was the same. I went
steady with Georgina Simpson, a girl from England, and from time
to time had a roll in the hay with some guy who I'd never see
again. I joined a fraternity and became "pinned" to Georgina.
She even slept in my bed with me and we made a charming young
couple, but we never did it.
Oh, I'd done it all right, but it wasn't what turned me on.
The same summer that Abby visited me in Denmark, I spent a
week-end with my brother Christian in Aalborg, Denmark, where he
was working as a journalist. I was five years younger than him
and h is friends, but got along fine with them due to my
precociousness. One evening we all got very drunk -- we always
did in those days -- and I ended up in bed with a girlfriend of
his. Next day she stayed home from work and we continued our
romance. I remember that it was pleasurable, but more than that
it was scary. This was not what I really wanted, yet here I was
doing it. What made it ok was my brother's reaction: I was some
kind of guy to be making it with s woman five years older than
me.
The rest of the summer I'd make up stories to tell my mother
(my father never asked) about who I'd been with when I'd go to
Copenhagen to pick up men in bars or on the street. I had a job
working as an apprentice with a film company, so I knew some of
the popular actors in Denmark and could use their names to
impress with. My mother was thrilled when I'd tell her I'd been
out with this or that young beauty, when in fact I'd been
prowling the sleazy parts of town.
At Stanford it was very different. The excitement of college
and the camaraderie of belonging to the drama department kept me
out of trouble most of the time. Now and then I'd end up under a
bush with some guy at a pool party, but generally I stuck to
Georgina or the girl of the moment. The safest thing for me was
to find a somewhat famous girl to latch on to. Did I think I
wouldn't be expected to perform if the girl was famous or was I
just an early groupie? I don't know.
Through my involvement with the anti-war movement I met Joan
Baez and made up a story that we had a great romance. In fact,
we were friends and she reluctantly agreed to go to one party
with me. If I had been seriously romantic about her, this would
not have been enough, but since I just needed a smokescreen, it
was perfect. Ironically this was the time when she had her
subsequently famous lesbian relationship, so she probably used me
in the same way I used her.
We met at Kepler's bookstore in Menlo Park, which was run by
Ira Sandperl a peace activist and vegetarian. Kepler's was the
gathering place for the vaguely left-oriented population. Aside
from a truly good selection of books on all subjects, Kepler's
offered espresso coffee and KPFK on the radio -- the commercial
free, left leaning public radio station. Ira was a devotee of
Ghandi; everyone read the Life of Ghandi and The Autobiography of
a Yogi and so on, and devoted to non-violent demonstration
against nuclear arms. The Vietnam War was still in its infancy;
that wasn't what we protested against. No, it was the Bomb. Ira
had been in many demonstrations in San Francisco and been
arrested many times. Joan, who was a close friend of Ira and who
helped fund his work with some of her newly acquired wealth, hung
out at Kepler's, too, as did her friend Kim and two brothers
named Marc and Steve Weisbluth. I realize now that this was the
Jewish intellectual left of Palo Alto; at the time that was not a
factor. These were exciting and (not unimportantly) good-looking
people who were committed to a correct cause.
When school started after Spring break in 1963 hundreds of
fallout shelter signs had been put up all over campus. But there
were no fallout shelters; they had simply placed boxes of
hardtack crackers and drums full of water in the basements all
over campus. Ira was incensed: "They want us to accept the
possibility of surviving nuclear war. No one will survive even
one day in these so-called shelters. We have to get them to take
them down."
We students started a sit-in in front of the University
president's office round the clock. We also demonstrated a this
house. Everything was non-violent according to Ghandi's
principles, but the effect was anything but peaceful. We were
all threatened with expulsion from school if we didn't stop; our
parents were notified of our wicked behavior. I asked if my
parents supported me in my cause and was told that if I got
kicked out I was on my own. Of course we couldn't abandon such a
cause, and in the end we were not kicked out. Instead vacation
came and everything just petered out. The signs were not taken
down, but our point was made: the fallout shelters were a joke
and no one believed in them. Since only Stanford Students could
legally sit in on campus -- every one else was a trespasser --
those of us who were involved assumed somewhat heroic proportions
to the outside organizers.
The Quakers in Palo Alto stood up for us through it all. And
Joan, who was a Quaker, cheered us on, too. That's how I came to
date her. in the middle of all this was rush for fraternities
and eating clubs. I was not very interested in joining either
one, but some friends insisted I go to the rush parties. I
didn't give it much thought, but when the time came to go, I
asked Joan to go with me and she did. Yes, it was a bit of a
sensation, but not anything extraordinary. Yes, I was proud she
went with me, but I got over it pretty fast. And no, I didn't
end up joining the eating club, but rather a fraternity. Then
summer came, everyone left for vacation, and in the fall I moved
into a house off campus with some non-student friends I'd met at
summer school.
College is very much divided up by the vacations. It's as if
everything artificially is ended and you start off at square one
in the fall. If you happen to stay for the summer, the
atmosphere is very different than during the regular school year.
This first summer, the summer of '63, I stayed to take part in
the Absurd Theatre Festival at Stanford University.
Freshman year had been very much taken up with socializing
with other freshmen. My room-mate, Dick Potter, was from
Ventura, where he lived with his widowed mother. He had a
girlfriend named Marilyn back home, who was his main subject of
conversation. Over Thanksgiving I went with him to Ventura and
met Marilyn, a dark beauty. Her father was obviously very well
off; they had an automatic, built-in sprinkler system in their
garden. Marilyn went to the University of California at Santa
Barbara, which at the time was known strictly as a party school.
Dick and I went to see her there. I only remember that we saw
the Harlem Globetrotters perform and that Marilyn asked Dick to
bring his Old Spice aftershave so she could replenish the scent
in the T-shirt of his she slept in.
I was friendly with everyone in the dorm, but not very close.
I don't know where anyone is today, except by some stroke of
serendipity. Dave Shookhoff, an unprepossessing, pale Russian
Jew, is directing opera, I know; Ira Hall, who was the first
black student to integrate the Oklahoma public school system,
lives in Connecticut; Michael Shurtleff, the senior in charge of
our corridor, is the author of tofu cookbooks. I know these
things but they mean nothing to me. None of these people were
important to me then, nor are they now.
But during the summer I met people who were not part of the
school. On University Avenue in Palo Alto the place to meet was
St. Michael's Alley. Downstairs it was a coffee house where
everyone could go, and upstairs on the balcony they served beer
and you had to be 21 to go there. The rule was not very strictly
enforced and it was naturally much cooler to be upstairs than
downstairs. The record most frequently played that summer was
Miles Davis' Sketches of Spain. St. Mike's was the place where
Stanford met Palo Alto; and it was the place where I met Bette
Mejia, a tall woman with slightly buck teeth that pushed her full
lips into a permanent Brigitte Bardot pout, with straight blonde
hair to her waist. She must have owned a pair of ordinary shoes,
but I don't remember her ever wearing them. Either she was
barefoot or she was dancing in her flamenco shoes. She and her
former husband, Fred Mejia, had spent a year in Spain where he
studied the flamenco guitar and she studied dancing. She also
gave birth to a boy, Manolo. When they returned to San Francisco
they performed at the Old Spaghetti Factory together, and then
broke up. Fred moved to New York, where I would later meet him
and stay with him. Bette settled in Palo Alto.
At the time Bette seemed much older than me, but in fact she
was maybe two years my senior at the most. She roomed with a
secretary from Stanford, a woman named Sandy who originally was
from Queens. I was interested in Bette because anyone glamorous
always attracted me. Bette demanded attention wherever she went
and she generally got it. Later I was to discover that she
thrived on backbiting and intrigue, but at first all was fun and
excitement.
The Absurd Theatre Festival began. Among the visiting
professors for the summer were Martin Esslin, the British
scholar, and Carl Weber, who had been assistant to Brecht during
his last years in Berlin. Esslin was directing Becket's Endgame
and Weber was directing the English language premiere of Brecht's
adaptation of Lenz's play Der Hofmeister. In addition students
and faculty were staging a dozen or so other plays that loosely
fit the category of Absurd Theatre. In addition to working on
the crew of many productions, I was cast as the juvenile lead in
Der Hofmeister and given the task of designing costumes for
Endgame. The character of Fritz in Der Hofmeister was the typical
Aryan ideal: blonde, idealistic and a bit dumb.
At the first read-through of the play Weber told me I'd have
to bleach my hair for the performance. I was thrilled and
hurried over to Bette's to tell her about it. Immediately she
and Sandy set to work on me. First they stripped all the natural
colour out of my almost black hair. This took some time and
resulted in my scalp being covered with scaly and bleeding sores.
The pain was excruciating, but the result was worth it. Bette
decided we had better wait a couple of days before applying the
final dye - strawberry blonde, I think we picked - and so I
showed up for classes the next morning with Jean Harlow white
hair. By chance I sat next to a middle-aged elocution teacher
from Texas who was amassing credits for her Master's degree.
Behind us the class could be heard snickering quietly, when I
realized my hair was the exact same colour as this woman's. She
seemed oblivious and I tried not to laugh out loud.
"Is it true blondes have more fun?" became the standard joke
when people saw me with my blonde hair. I could only answer
"Yes". It looked great and I loved the attention it provoked
from all sides. The summer rushed by. Der Hofmeister received a
great deal of attention. We were reviewed in the New York Times,
my picture appeared in Theatre Arts Magazine and almost in Life
magazine. The production was mentioned in Time. Endgame made
less of a splash, but my costumes looked good and Paul Winfield,
who played Hamm, gave a powerful performance.
At the end of the summer Bette and I and two other friends
rented a house off campus together. I moved my stuff in and set
off for the East coast for a vacation. One of the new roommates
went with me. His name was Ken and I don't know now nor did I k
now then, what exactly he was doing. His mother was a producer
who currently had a big hit with Little Mary Sunshine, his father
was a society dentist in Manhattan. Ken had a crush of some sort
on me, but it was not reciprocated. He never came on to me
directly but instead started an affair of sorts with Bette.
The trip East took four days non-stop. Armed with a carton
of cigarettes each we drove and drove in my Volkswagen from Palo
Alto to New York. When one was driving, the other would sleep.
We had a passenger along, too; a girl from the theatre workshop
named Louisa Rawle. For some reason -- I think it was because
she had eaten at one in London -- Louisa insisted that we stop in
Chicago and eat at a Blimpie. This seemed perfectly reasonable,
even though there was no other good reason to stop there. All of
this is flooding back into my memory these twenty-five years
after the fact. I haven't thought about it since then, but here
it is, bubbling up to the surface.
I visited my grandmother in New Jersey and Ken visited his
family before heading for Boston where I was to pick him up.
Louisa was going back to her college in the East so instead
Carol, a classmate from Stanford, was riding back West with us. I
went to visit her family on Long Island before we set off for
Boston to pick up Ken. When we got to Boston Carol and I had an
accident which landed her in the hospital with some nasty cuts in
the face. Ken and I checked into a cheap hotel and I called my
grandmother to ask her to wire me some money so I could have the
car fixed. Carol's father flew up and it was decided that Carol
would not be well enough to drive with us to California but would
have to fly later. In fact, Carol was left with an ugly scar
over her eye. I ran into her in New York some ten years ago and
the scar was still there. I don't think the accident was my
fault --I certainly was not held accountable -- but I do think
Carol blamed me for it in her heart. I would probably have done
the same, had I been in the same situation.
The car needed repairs, so Ken and I had time to kill. He
talked me into going to a gay bar with him. This was the first
time I'd ever gone with anyone to such a place. In the past I'd
slink into a bar by myself and pick up some guy. But here we
were, flirting and chatting with all the preppy guys in this
Boston gay bar. Nothing happened, though, except that we got
roaring blind drunk. In order to fall asleep I had to keep one
foot on the floor and the overhead light on. Whenever I closed
my eyes the whole room started spinning.
We finally set off for California two days later. Again we
drove non-stop. The only setback occurred in the middle of the
night in Utah where we took the wrong turn somehow. This was
before the age of the Interstate so it was easier to get lost.
Ken was driving and I was sleeping. I awoke when I felt the car
had stopped. We were in the middle of the desert at the end of a
dead-end dirt road. "I think I took the wrong turn back a ways,"
apologized Ken. "How far back?" "A ways." Like an hour back.
Did we have amphetamines? Maybe not, but surely we had
NoDoze and lots of coffee and again one cigarette after the
other. Eventually we made it back to Stanford and my sophomore
year.
The first production of the fall quarter was Threepenny Opera
to be directed again by Carl Weber. I'd become great friends
with both him and his wife Marianne, and was cast in the small
but fun role of Filch. Georgina Simpson, a new student from
England, and Leith Speiden, an English literature student, were
cast as two of the whores. Georgina and I hit it off right away.
She was an only child of the owner of Simpson Piccadilly in
London. Spoiled, stubborn, bright, pretty and with an eye to
having a good time. Leith was nursing a broken heart by
over-eating and dressing sluttishly, but she too was bright and
fun to be around.
Meanwhile Ken and Bette were now an Item and our other
room-mate, Mike, had moved in a young dancer named Kat, so the
house off campus was filling up. After I moved out Ken and Mike
finally got together, much to everyone's excitement. As a
footnote I should mention that Mike had a brother named Anthony
with whom I'd tricked a couple of times. All these things went
on, but no one said anything about it. Georgina became my steady
girl. We threw a lot of parties at the house and generally the
house was a gathering place for the artsy fringe from Stanford.
The Queen of England's cousin, Prince William of Gloucester, was
at Stanford that fall, too, in the Business School, I think.
Georgina knew him from back home and he used to visit the house
regularly. An Egyptian heiress from Cairo who was in the drama
department with Georgina and me had her eye on William and
eventually followed him to London where they continued their
relationship until William was killed when he crashed his Lotus a
year or two later.
The reputation of our house was wild, but in fact the
goings-ons were quite innocent. A favorite pastime was cooking
big spaghetti dinners with lots of garlic bread and cheap red
wine, followed by reading from Winnie-the-Pooh. Really. On
occasion we had some pretty noisy parties. But the wild sex that
supposedly went on was all in people's minds, I think. Innocent
fun.
Georgina had the first of the Beatles' albums, which made us
very popular. We'd show up at St. Mike's with it and five
minutes later the whole place would be dancing - strictly against
the rules. Over and over we'd play it at our parties, along with
the American music of the time, too. Chuck Berry, Inez Fox, the
Coasters, Paul and Paula. The dances of the day were the Swim,
Walking the dog, mashed potato and the twist. The frug appeared
at the time, too.
When I decided to start writing my reminiscences it all
seemed very simple: just do it. But a person's memory doesn't
work sequentially. When I remember something I do it in the
context of my entire experience, whereas when someone else reads
this he has no idea what I'm talking about unless I explain it.
And yet I don't remember from point A to point B; I remember all
in a bunch. When Leith comes to visit me in Colorado in 1987
because I have AIDS and she wants to see me again, I experience
her visit in the context of our entire friendship; almost
twenty-five years of seeing each other on and off again. But
when a stranger reads about her visit it's about a disembodied
event in time. As soon as I start to explain who Leith is, I'm
in trouble, because it involves telling not only my story but
hers, too, spanning the many years. The reader of this paragraph
reasonably enough says "Wait a minute! How did you get AIDS?
How did you end up in Colorado?" I want to tell it all. But do
I just spill it all out disjointedly or do I try to create a
false sequence? Time is convenient as an organizer, but it is
artificial. Associations are much more formless than time.
Why it made a difference in my life that John Kennedy was
assassinated, I can't explain. But it apparently did. In any
event, a few days after it happened I moved out of the house off
campus with Bette, Mike, Ken and Kat, and into the Alpha Delta
Phi fraternity on campus. I had already been accepted as a
"brother", but had decided not to move in. The explanation I
gave myself for moving in was vaguely connected with the
assassination, but how could that be true? Looking at it now, I
think I was trying to avoid dealing with my sexuality, yet again.
It never ceases to amaze how much I was motivated by my sexuality
to make the choices in my life I've made. At this time, though,
I was unaware.
Alphadelt, as it was called, was the fraternity for people
who didn't want to belong to a fraternity. Several friends lived
there and the atmosphere was very low-keyed. The fraternity was
brand new, built on the very edge of campus, more like a
luxurious dormitory than a fraternity house. My room-mate was
Lupe Lupen, who had been rooming with Gary Fuller until I moved
in. Gary moved back in with his parents to save money, and so
there was suddenly a room for me. Across the hall from Lupe and
me, lived a classmate of mine named John Stolurow. John's ethnic
background was Greek, and he was a blindingly good-looking guy.
No doubt I had a great crush on him, but there was no question of
doing anything about it. Anyway, everyone knew I was going
steady with Georgina who was considered quite a catch. Not only
was she good looking, she was rich, too. John had a girlfriend
who spent a lot of time at the fraternity. Of course it was
against regulations to have girls sleep over, but no one paid any
attention to the regulations. Nor did they mind that John's room
was painted black and he kept a motorcycle under his platform
bed.
One day a big, dark-haired girl showed up. She was a
runaway. From Ohio, I think. Her name was Caroline Adams and
she was a friend of John's girlfriend. A nice enough girl, but a
little out of control, clearly in need of some kind of help.
Caroline moved in with John and his roommate. She was not a
student at Stanford, didn't work either. She spent her time
zooming around on a motorcycle. At times I would see her with a
rifle slung over her shoulder. We were not close friends, but we
were friendly. I must have been in a depression at the time; I
remember sleeping a great deal and not much else.
Yes, now I remember: I had my first affair with a man at this
time. His name was John, too. He was a senior in the English
department; tall, blond and a little boring. I had noticed him
around the student union for some time and finally we met through
friends. These friends -- Ken was one of them, a graduate
student in business named Lou was another -- were more "out" than
I was. I hung out with them, but by virtue of going steady with
Georgina I could persuade myself that I wasn't gay, somehow. It
seems like an eternity now, but in fact blond John's and my
relationship can't have lasted more than a month or so. And I
suddenly think I may have moved into the fraternity house to be
able to carry on this affair, since it was easier to come and go
unseen at the fraternity than it was in the house off campus.
Blond John rented a cottage in someone's garden, and I spent
the night with him a few times. That's all I can remember. The
end of the affair came with Christmas vacation. I went to
Denmark for a few weeks and when school started again, we moved
on to other adventures. The real reason we broke up was my
inability to accept having a gay relationship. And I was still
pretending to be romantically interested in Georgina. We even
got "pinned" when I was finally initiated into the fraternity.
Perhaps, too, the fact that blond John and I had nothing in
common beyond our sexual preference led to the end of the brief
affair. But as it was the first, it remains in my memory.
Over Christmas I visited Georgina in London. Carnaby Street
was in full swing, the Beatles were the hottest ticket. One
night we went to a party at some of Georgina's friends, where we
met Ray Davies of the Kinks, who were just becoming popular. I
also met an America, named Michael Bowen. A few years later I
would run into him again in the Haight Ashbury in San Francisco.
At this time he was hanging out in London and this night he had
some cocaine which he invited me to sample. As with my initial
experience with marijuana, it was somehow important for me to
give the impression I knew all about coke, had been using it for
years. We went to Michael's car and he laid out a few lines on a
mirror and handed me a rolled-up dollar bill. I put the
improvised straw to my nose and proceeded to exhale - in
preparation of inhaling deeply -- thereby blowing the entire
quantity of coke onto the floor of the car. "Oops," I laughed
feebly, as Michael produced another line for me, this time
admonishing me to be careful.
I don't remember if I felt anything. But I certainly felt
grown up and excited. That fall I'd acquired a bottle of
benzedrines, too. I can't remember from whom. But definitely
the drug age had begun. After visiting Georgina I went on to
join my family in Denmark for Christmas. I have an image of
smoking something - hash? - in the bathroom. And I know I took
speed. I told no one about it and got a great thrill out of
functioning normally despite my altered state of consciousness.
My parents didn't notice anything, though my father complained
about my too long hair and odd clothes: bell-bottom pants, wildly
flowered neckties, John Lennon cap. Look at the pictures today
and I appear completely conservative. But at the beginning of
1964 it was radical.
The 'sixties started in 1964, and they lasted until 1974. At
least for me.
My brother Henrik came to visit Trixie and me in the spring
of '66, it must have been. Trixie and I had just taken over the
house on Alpine Road where Norman and Ellie had lived while
Trixie and I lived on Homer Lane. Norman and Ellie had moved to
Rancho Diablo with Toni and Len and so Trixie and I had moved
into the run-down old summer cabin, which was much roomier than
the tiny little affair on stilts on Homer Lane.
Henrik was attending business school at Cornell for the year,
on his way to becoming a straight business man, just like our
father. This may have been a career he was well suited for, but
it didn't turn out that way. His visit to me that spring had a
lot to do with it, I think.
Trixie had dropped out of school when she moved in with me.
It didn't seem worth the effort. Her mental state was tenuous at
best and she found it absurd trying to attend classes and write
papers and the like. Instead she kept house for me and our many
friends and amused herself writing obscure poetry (I think),
producing troublingly twisted art (I'm sure) and dressing herself
in as bizarre a manner as was possible. She had entered our
relationship with a steamer trunk full of patterned stockings
from Henri Bendel's. I mean it.
The first time I laid eyes on her, I had recently returned to
Stanford from my time as an apprentice with the Actors' Workshop
in San Francisco, Spring '65. I was sitting in the student union
when the electric door swung open to reveal Trixie -- she was
still called Carrie at the time -- On her feet she wore purple
velvet high-heeled shoes with silver laces that wound around her
brightly stockinged calves to her knees, where commenced tweed
knickers of the kind Japanese golfers wear in old prints. Above
that she wore a "distressed" leather jacket; this was before that
look was considered chic, and the garment in question was a rag
to put it conservatively. Her make-up was clown-like: white lips
outlined in black, silver-dollar sized red circles on her cheeks,
copious amounts of mascara smudged all round the eyes. Topping
off this stunning vision was a purple satin Belle Epoque hat that
must have escaped from a musical comedy. At least three feet
wide, it had no crown, and was decorated with vast amounts of hot
pink ostrich feathers that swooped and swayed every which way. I
was not in lust, perhaps, but I was certainly in love, and our
relationship began.
The night Henrik was to arrive in San Francisco, Trixie,
Michael Katz, Adrienne and I set off in Trixie's battleship of an
Oldsmobile convertible. We were all festively dressed. Wild
paisleys were in; Adrienne had on her fake leopardskin vest,
probably; Michael no doubt wore his fancy new belt festooned with
red-white-and-blue pom-poms. Trixie wore a transparent green
Baby Doll-nightgown covered by a clear vinyl raincoat. Not the
most conventional outfit, but she was dressed in a manner. It
was a warm evening so she naturally carried her coat, which must
have been quite uncomfortable against all that bare flesh.
We met Henrik at his gate, introductions were made, and we
headed for the baggage area. While we stood around waiting,
Trixie put her coat on. Maybe it was drafty. Suddenly out of
nowhere a policeman swooped don on her and threw a blanket around
her. There had been complaints that a woman was promenading
naked around the airport, he blustered. We were highly
indignant; how dare he and so forth. In fact, her breasts may
have been visible from the side; but the truth is they were not
very big (still aren't). We got out of there with Henrik's
suitcase and headed back to Menlo Park, laughing riotously at our
experience.
I guess I was a bit of an evangelist. I wanted to
demonstrate the marvels of LSD to Henrik. We'd all started
taking it in the previous year -- it was still available directly
from Sandoz in Switzerland, from whom a number of friends
imported it quite legally. We could sit around the house and get
high, of course, and often did, but the real fun was doing
something while you were "tripping". We had decided to take him
to Disneyland. On Acid.
Our old college friend had an apartment on Melrose Avenue in
Los Angeles and was away at the time. She agreed to let us stay
there for a few days. Off we went in the Olds, top down, cruising
down the Coast highway. Michael, Trixie, Beth, Henrik and me.
We got to LA late in the afternoon and went to Nicky Wilder's
gallery to pick up the key to the apartment. He was having a
show of paintings by an unknown English painter named David
Hockney. We thought they were pretty but facile. Large flat
"portraits" of American tract houses with real milk bottles glued
to the front door. They were selling for the ridiculously huge
amount of $2000, I think -- for a huge painting. Never mind; we
didn't have any money anyway and if we had and had bought the
painting we would probably have cut it up to make collages or
some such psychedelic thing. Today Hockney's paintings are
masterpieces, Nicky Wilder is an artworld visionary, and we still
don't have any money. But we're happy.
We showed Henrik the Strip and went to hear the Byrds play.
Their song Eight Miles High was a big hit. All that twangy
twelve-string guitar was not my cup of tea exactly, but it was
clear that something important and memorable was going on. We
were all pretty loaded anyway and had a fine time.
Next morning we were up bright and early. Had breakfast at
Ben Frank's, dropped acid, and headed for Disneyland. We got
there just as the park was opening. It was a week-day, so it was
not particularly crowded. We were just getting high as we pulled
in to the vast, nearly empty parking lot. When acid begins to
come on, you often have a queazy feeling in the stomach, which
was increased by the eeriness of the vast, paved area. Like true
pilgrims we forged ahead to the gates. "Your hair's too long,"
said the ticket lady. What was she talking about? "We have a
rule here at Disneyland. No hair on men over six inches long."
She wielded a ruler. I was to run into this rule (and ruler)
years later in Denver, where I swam every day at a Disney-owned
pool. At this time the acid was coming on strong and the
situation threatened to become tiresome. It was Michael's and my
hair that was too long. Henrik's was perfectly proper. But even
ours was perfectly reasonable, styled after the Beatles. Bushy,
yes, but actually long, no. The ticket lady's tone of voice
meant business, there was obviously no point arguing. "We're
both students at Stanford and we're in a production of
Shakespeare's Hamlet and have to have long hair. We've come all
the way from Palo Alto to show my brother Disneyland. He's an
exchange student from Denmark ..." Yackety-yack, it worked and
they let us in.
The day remains in my memory as one of the best of that whole
period. No problems. Disneyland is the perfect place to take
acid, especially if no one suspects a thing. Everything is so
psychedelic it seems so logical. The tiny buildings, the
super-clean environment, the squeaky clean staff with their
frozen, twinkling smiles. And the wonderful rides. Even Trixie,
who normally had a very hard time with LSD, enjoyed herself this
day, and everyone was happy and tired when we returned to LA in
the evening.
I think we took a little speed in order to be able to go on.
Perhaps our youth gave us Herculean stamina. In any case, that
night we went to a garage in an alley of Hollywood Boulevard to
see a strange show. It consisted of Del Close, Hugh Romney
-- aka Wavy Gravy -- and Tiny Tim. The Tiny Tim. First came Del
Close who performed with a number of electrical devices which
were perilously connected to a bulb socket in the ceiling by a
vast network of ragged extension cords. His piece de resistance
was somehow causing fluorescent tubes to light up by merely
holding them in his hand. Del Close was an early devotee of the
ultra crackpot of all times, the great physicist Tesla.
Then came Hugh Romney with silly monologues. He hasn't
changed over the years, although he was a lot younger and slimmer
back then and of course hadn't started the Hog Farm yet. I don't
recall what he talked about, but it must have been all right, for
we were still there when it was Tiny Tim's turn.
We'd heard of Tiny Tim at Stanford. A friend of ours named
Denise had met him when she was with Ken Kesey and the Acid Test
in LA earlier that winter. So had Sara, who later became
Michael's girl friend and the singer in the AAA along with me.
"This guy is too much," they told us. "He's a fruitarian - eats
nothing but fruit, and only in private. Locks himself in the
room so no one can see him eat. He sings duets with himself. He
calls us Miss Denise and Miss Sara. We call him Mr. Tiny. He
had hair to the middle of his back." On and on they raved, and
that's the real reason we were there that night.
And still we couldn't believe what we saw. This hook-nosed,
chalk pale guy wearing a baggy old jacket and disheveled pants
sidled onto the stage carrying a brown shopping bag that had been
repaired with tape, apparently for years. Tape on tape on tape.
The man seemed intensely ill at ease at being on stage,
couldn't tell whether people were laughing with him or at him.
But the show must go on. Out of the bag he produced a tiny
ukulele, which also was mended with tape. He struck a chord.
Plink, it fell to the tiny stage. And he started to perform his
amazing repertoire of silly old songs. Duets between Jeanette
McDonald and Nelson Eddy, complete with the original
instrumentations and perfect recreation of the very scenes in the
movies. Our minds, already soft, were totally blown. Now it was
our turn to fall on the floor. Hysterical with laughter and joy.
He was so funny it hurt, so accurate the mind reeled, so innocent
and sweet you could weep. The man was clearly a genius, and we
felt we 'd discovered one of the wonders of the world.
As he became famous and eventually married Miss Vicky on
Johnny Carson and made albums with lush string accompaniments, he
became just a travesty. Today he is fat, dyes his hair red and
performs in the Borscht Belt. Wild horses couldn't drag me to se
e him. But then, in that little garage in Hollywood, a world
class artist revealed true genius to a privileged and select few.
Henrik had a lot to think about. The next day we took him to
the airport to send him back to Cornell. I have a snapshot of
him in the airport cafeteria. His chin is resting on his hands
clasped in front of him. There is a look of wonder on his face.
And indeed his life was never the same. It took a while for him
to work things out, but today he is living an unconventional and
happy life as an art dealer in Copenhagen. He has a wonderful
young wife and two adorable children by her.
My father held it against me that he gave up his career as a
big business man. When it came time for my sister to visit the
following year, he put his foot down and forbade it. I wasn't
going to poison her mind, too. But Henrik, who had been troubled
by nervousness in his youth and had a tendency to ulcers, chose
the unstressed life, and is today fat and happy. I'm proud to
have had a hand in that.
Later that year I went back to LA. This time with Dick
Alpert, who had been my neighbor on Homer Lane. Along with
Timothy Leary he might be held responsible for the entire LSD
phenomenon and all that it led to first in America and then in
the world. In any case he was fun to be around and attracted
exciting people. Stuff always happened around him. When we
decided to start the AAA band, Dick said he wanted to help us
out. So he bought us an electronic music synthesizer and gave us
100,000 micrograms of acid. That was enough for about 500 hefty
wallops. Nowadays more like a thousand. The theory was that
acid helped you learn. So we decided to take acid every day and
play music and in no time or less we'd be competent musicians.
That's not exactly how it turned out, but we could've fooled many
people.
Dick had just co-authored a tacky little book called, I
believe, LSD. The other author was a doctor named Sidney Cohen,
who specialized in organizing trips for people with money. His
most famous "tripsters" to date had been the Luces of Time-Life
fame, who were very enthusiastic about their experience. Dick
had told us all that Sidney Cohen only gave small doses, no more
than 125 micrograms, to his "tripsters", and so the experience
they had couldn't really be the true acid experience, as far as
we were concerned. You had to take at least double, and even
four times as much was not unheard of and led to much more of an
"out of body experience" than the pathetic little amount Cohen
dealt with. The third author was Lawrence Schiller. Schiller is
a rich man today with many irons in many fires. Back in '66 he
was still grubbing for deals and seemed willing to do anything to
get ahead. He worked for Capitol records.
Dick was scheduled to appear on the "Joe Pyne Show" with the
other two authors to promote the book, and I was to meet him on
the set. Afterwards we were going to hang out for a while and
then, at midnight, go to Stanley Livingstone's gorgeous Beverly
Hills home to discuss the possibility of Capitol backing the
anonymous Artists of America's idea of building a million dollar
pleasure palace called Headquarters in New York. Part of the
psychedelic thing was punning. Headquarters was of course the
center of it all, but also the place where "heads" met -- "heads"
were people who got high.
In keeping with our policy of being turned on at all times
(Kesey asked the question "Can you pass the acid test? and we
were always answering "Yes!), I dropped some acid and flew down
to LA, then took a cab to the studio, where I was admitted to the
live audience. Joe Pyne was an unpleasant man, the first
talk-show host to be deliberately rude to his guests. We all
knew this about him, but it was still galling to experience first
hand. He used other low tricks, I soon realized, aided in my
perception, perhaps, by my expanded state of consciousness. Pyne
had on about an inch of brightly colored make-up and was lit to
within an inch of his life. His guests, by contrast, looked
slimy and lifeless, since they had no make-up and were harshly
lit. But the sleaziest trick was something the guests couldn't
possibly be aware of, cause they couldn't see the monitors. From
my vantage point in the audience, though, I could see that Joe
Pyne was the only person who ever got to speak directly to the
camera. Everyone else was shot from the side. The camera crew
could control this by simply placing the cameras where they
wanted them. Pyne's cameras were head on in front of him or
behind the guests, so that when he spoke to them he still was
able to speak to the camera. But when the guests looked at him
to answer, they were photographed from the side. This put them
at a tremendous disadvantage and they didn't even know it.
The subject of Cohen's "controlled trips" was brought up and
he was blathering away about how insignificant his clients'
experiences had been, in fact he very much doubted that LSD could
cause the kind of revelatory experiences Alpert, Leary and their
followers claimed. Remember, this was early on and we felt
almost religious about acid. Later we learned that acid may be
able to show you the way, but it won't take you through the doors
of perception, in Huxley's words.
I was seething with rage when Joe Pyne looked at the studio
audience and asked if anyone in the audience had ever taken LSD.
The camera turned to the audience, the lights came on, and up
went my hand. Who remembers what I was wearing? I'm sure it was
out there. Probably skin tight suede pants and boots that came
over my knees and a shirt wildly patterned shirt, fluorescent, no
doubt. My hair was very avant garde. I was in the middle of
being tried for possession of marijuana, so I had to be able to
look somewhat straight in court. With this in mind I had fairly
short hair in back, but the front part was long enough to cover
my face, if I let it, but could be combed back for court
appearances. Oh, and it was bleached blonde. Joe Pyne asked me
to step up to the dock, I think they called it. "Tell us about
your experience."
I had figured out the cameras and rather than look at Pyne, I
looked at the camera with the little red light and told how swell
I thought acid was. I don't know what kept me from announcing
that I was at that moment on acid, but I didn't. Just as well. I
later found out my grandmother in New Jersey was watching,
mortified, of course. I asked Cohen about the size of the doses
he gave. Neither Pyne nor the other guests knew that I was a
friend of Dick's --they were taken aback at how well informed I
was, and when Dick joined in it seemed to us that we made a
pretty good showing. Pyne was annoyed. They kept switching
cameras on me, but I just followed the little red light and
managed to speak directly to the viewers. Twenty-odd years after
the fact this seems a minor accomplishment, at the time it seemed
a triumph.
Dick and I left the studio giddy with success (and acid) with
Larry Schiller. He was (and still is) a short and unattractive
man. Definitely not a flower child. I knew about him because he
was the photographer that released the nude shots of Marilyn
Monroe that he shot illegally on the set of her last and
incomplete picture Something's Got to Give. Some people said
they helped bring on the depression that led to her suicide. But
then others say she was murdered. In any case, I knew this was
the guy and furthermore, in my elevated mood, the guy gave me the
creeps. We decided to eat dinner in a Chinese restaurant, and on
the way Schiller told of his current projects at Capitol. The
latest thing was cassette and eight-track tapes. The studio
envisioned a big market for documentary tapes that people would
listen to while they drove. The boom-box thing had not occurred
to anyone yet, and there was clearly no market for tapes in the
home, where everyone had record players already. But tape decks
in the car made sense. His first project was about LSD. He
interviewed a group of young people before they got high. Then
they dropped acid and the far-out music began, sitars,
distortions, you know the stuff. Everyone is mellow, lots of
"Oh, wow, far out, man..." and so on. Then the police arrive
and everyone is arrested.
Schiller laughed: "I tipped off the police, of course,
thought it would be a dramatic way to end the tape." Dick and I
were horrified, but as we had had no illusions about the man
before, we kept our mouths shut. Next Schiller, who must not be
a very sensitive guy, told us about his "fag tape". Some other
producer at Capitol had produced a tape about homosexuals. This
was the era where the first glimmerings of understanding were
appearing. "This tape was so boring you wouldn't believe.
Perfectly ordinary sounding guys being interviewed. So I just
took the tapes and whenever it's the fag talking I speeded the
tape up just a little so you could at least hear it was a fag
talking. Effeminate, I mean."
I was still in the closet at the time, and so was Dick, but
we were both stunned at the coarseness of the guy. At dinner
Schiller went out to telephone. When he came back he told us
that Lenny Bruce had died. Of an overdose.
Dick had said something about having heard that Schiller was
a CIA agent. At the time we heard that about many people, and
with the Freedom of Information Act we discovered that in many
cases it was true. It later appeared that Lenny Bruce had been
killed by some very pure heroin supplied by the CIA. Who did
Schiller call that told him about Bruce hours before it hit the
news? I didn't like the guy then, I don't like what he does now,
and I'd love to think I was right in believing he called the
Company and got the scoop direct.
At midnight Dick and I proceeded to Stanley Livingstone's
house. We drove up to a concrete wall and spoke into the
intercom whereupon the gate swept open and admitted us to your
basic fabulous mansion. Lanais, swimming pool, tacky art,
conversation p its, grotesque lighting fixtures (why are the
lamps always by far the tackiest element in a tacky decor?).
Livingstone had not been president of Capitol for long, but he
was signing every band in sight, hoping to duplicate EMI's
success with the Beatles. For a while he rode the crest of the
wave, but when the bubble burst they let him go. So few of the
California bands panned out and John Hammond over at Columbia
signed the survivors. But for now, anything went. He had a
lovely new wife, a lovely new home, everything was copacetic.
For the next couple of hours I told him about Headquarters.
This was going to be a place where everything was available,
twenty-four hours a day. Concerts, of course, but also a
wonderful restaurant with the best deli food in New York (many of
the members of AAA were Jewish, of course we had to have deli!);
and a spa; and various room to trip out in, music listening
rooms, video rooms; a garden on the roof; fountains; boutiques.
In fact, everything to make a "head" happy. Livingstone was not
naive. Dick and I didn't have to mention drugs for him to get
the picture. He had eyes in his head and he knew the market we
were talking about existed and was willing to spend to satisfy
its whims. He agreed to bring the matter up with Lord Grade in
London.
And that was as far as the project ever got. Lord Grade
didn't live in LA, he lived in London where the psychedelic wave
hadn't broken yet. Oh yes, there was Carnaby Street and the Fab
Four, but it was several years before they headed to India to be
with the Maharishi.
That night in LA, though, all the signals seemed to be go,
and Dick and I headed for Kanter's to wait out the rest of the
night before flying back to San Francisco in the morning. Did we
take more drugs to stay awake? I don't remember putting anything
in my mouth, but I'm sure we did. And we probably smoked a
little pot, too. We always did, so why not now, too. Kanter's is
a Jewish deli that's open all night. It was the place for young
heads to hang out. All night long a succession of beautiful boys
paid court to Dick in our booth. At the time I knew but hid the
fact that I was gay; I suspected that Dick was, but wouldn't
think of mentioning it; but there was no doubt about these boys
of the night. They were, however, very deferential to Dick,
wanted advice about their acid trips, wanted to thank him for
having helped turn them on. Dick loved it all, and who wouldn't.
I felt oddly important to be there with him as his friend, but I
might as well not have been there as far as all the boys were
concerned. They were star struck and Dick Alpert was the star. I
was just another groupie, like themselves.
I'm forever talking about what we wore. Who gives a rat's
ass? you're probably saying, but it was a big deal to us. We
were, after all, the Anonymous Artists of America, and everything
we did was supposed to be a statement to that effect, was
supposed to blow your mind. It started pretty low-keyed. The
Beatles, again, and their mod gear, had opened our eyes to the
fact that it was possible to dress differently than basic Ivy
League. Drugs really did it, though. We discovered the beauty
of paisleys, of simple American country prints, later of the new
fluorescents that could be achieved with synthetics. The stores
were not full of bright clothes to suit the fancy of every
"head", so we had to make our own.
To begin with we sewed panels of pretty fabric on top of
storebought shirts. It didn't require much skill and it looked
swell. You could be elegant and tasteful or you could be wild
and use a different fabric for each panel. But soon that did not
suffice. I bought an old sewing machine and Trixie and I started
sewing. Beth was already a good sewer and cheered us on in our
first feeble efforts. We never thought of buying a pattern; in
our stoned state it would have been impossible to follow the
directions. We just cut up an old shirt and used it as a
pattern.
My first shirt was blue with little red flowers. The collar
was round and attached in a most peculiar way. The sleeves were
slightly puffy at the shoulder, which was easier to achieve than
the perfect smooth fit. The buttons were bright red plastic. It
took a whole night to make and, with its funky handstitched
buttonholes, it looked distinctly home made. A few nights later
Trixie and Adrienne and I were invited to have dinner with Ed
Janss, the great real estate tycoon and patron of the arts who
made his fortune developing Thousand Oaks, near LA. His daughter
Dagny was a classmate of mine and although we weren't close
friends, Dagny was sympathetic to what we were doing with the
AAA. Since Ed supported Harry Partch at the time, and invested
in the wildest art of the time and had himself dabbled in
psychedelics, it seemed natural to try to persuade him to back
our Headquarters plan. At this point we hadn't even bought our
instruments yet, but we did have the overhead projector and Ed
had been at a party the night before we were to have dinner, at
which we had done the lights without causing too many problems.
Everything seemed to be going well during dinner, pleasant
conversation, everyone a little stoned, nothing radical, we just
smoked a joint. Then the conversation hit on money. Ed didn't
say much, but Dagny was a little outraged that we had the nerve
to ask him to give us money. "Here you are in your flower-print
shirt with its red plastic buttons," she sneered. Maybe I
misremember, but I'm quite certain my shirt made her hostile.
And in fact I had spent maybe a dollar on the whole thing and
toiled through the night to be able to look my most turned-on.
I've never seen Dagny since then, so I've never been able to ask
her about it. She is now Dagny Corcoran, the famous art patron
and Martha's Vineyeard hostess, and I probably never will talk to
her about it, but if you read this, Dagny, try to remember that
night and what it was that rubbed you the wrong way.
Whatever it was, it didn't stop us from making clothes, and
we eventually got very good at it. Beth was the best. (That
sentence brings us to our motto: Life music is Beth's. It was a
pun based on the musicians' union's slogan Live music is best.
Life music! Like the music of the spheres, the sounds of life.)
The first complete outfit she made for me was a riot of rainbow
stripes. I'd bought a beautiful rainbow-striped western shirt at
the Goodwill for a quarter. To go with the shirt Beth bought
some narrow-striped rainbow material out of which she made
bellbottoms with big baby-blue buttons at the fly. Then I found
some wide-striped rainbow material and some camouflage, and we
topped the outfit off with a rainbow-caped lined with camouflage.
For Norman and Manny Beth made exquisite shirts copied from
Renaissance paintings. Norman's was paisley with a white ruff at
the top, and Manny's was a languid copy of the shirt Albrecht
Durer wears in his glamourous early self portrait where he more
or less pictures himself as Jesus. This is the painting that led
me to suspect that Durer was gay.
Trixie stuck with her short nightgowns for a while, but soon
branched out. One outfit consisted of large petals on a ribbon
tied at the waist, and a few petals glued to the nipples. Annie
had a similar outfit, but with feathers on the nipples. I
couldn't understand why she was so surprised that black men
wouldn't leave her alone when we performed in the park in the
ghetto. Here was a nearly naked, pink and delicate woman,
lustily playing the drums, her ample and firm breasts proudly
bobbing about. And healthy, horny men were supposed to ignore
her!? Come on...
Our costumes became a very important part of our show.
Michael had a pink satin clown suit that he wore with a motor
cycle helmet when we played at the Fillmore. He also wore very
dark sunglasses. Unfortunately he couldn't hear anything, nor
could he see, which caused a few problems in the music. Adrienne,
who was our drummer to begin with, until everyone had to admit
that she was unable to keep the beat, any beat, and was
reassigned to managerial duties, wore a pirate hat made of heavy
felt. Again, with the hat she couldn't hear the rest of the
band. It would be a lie to lay the blame for the singularity of
our sound on this one fact.
The first time we performed, at Lee Quarnstrom and Space
Daisy's wedding at the Fillmore in August of 1966, we were a few
amplifiers short, so two instruments had to share one amp. This
seemed regrettable but no biggie. The fact, however is, that the
two instruments cut each other out, so the two musicians who were
sharing found themselves alternately hogging the amp or not
coming out of it at all. Very frustrating, I'm sure. But never
mind, the very next day we were offered to sign with two
different record companies, and asked to come to a studio to make
a demo for Capitol records right away. We did.
After many hours of hard work the engineer was heard to say
that he sure hoped our sound didn't catch on, cause he certainly
couldn't figure out how to record us. This was understandable.
None of us was an expert musician. Norman and Manny had some
experience, the rest of us had never played a note until six
weeks earlier. So there was a certain element of -- shall we say
-- cacophony in our sound. But it was enthusiastic and very,
very loud. On top of it all was the synthesizer, which Len
played. Don Buchla, the inventor, had delivered it to us just a
few days earlier, and it wasn't clear to anyone how it would
function in the band.
It never became clear. For the time being, it made desultory
shooshing and swooping sounds at frequencies that seemed
completely random. We were all of the opinion that everything
was everything and were thrilled to be producing any sound at
all, so apparently the sound engineer never caught on that what
we did was much ruled by chance. He thought we were some kind of
far out harbinger of things to come. In fact, of course, that's
exactly what we were. But I think he would have had a happier
time recording us if we'd been able to control what we did a
little. As it was, we just let it rip and hoped for the best.
Clothes again: I had a harlequin shirt made of 100% polyester
in blindingly bright diamonds, with points at the cuffs and the
waist at the end of each hung a little bell. With the shirt I
usually wore navy bellbottoms painted with rainbows. I made my
self a pair of fluorescent pink satin bib overalls, skin-tight,
with big gloppy plastic buttons, pink, too. With them a pair of
work boots that I painted to look like yellow patent leather, and
a fluorescent paisley shirt with pink pom-poms at the cuffs.
Trixie made me a beautiful shirt based on the Fool in the Tarot.
Big batwing sleeves lined in mauve flower-print silk. With it I
wore a shoulder length blonde wig which I removed in the middle
of my pretty campy version of the Howling Wolf's "Three Hundred
Pounds". I made a little blue uniform with red trim, a sort of
psychedelic bell-hop outfit. And lots more.
Trixie, who had been dressing wildly before all this started,
has continued to do so to this day, and it has been very
satisfying to see that gradually over the years every outrageous
thing she has thought of has appeared among the designers in
Europe or the glitterati in America. She did it first. And, I
like to think, best. A tasteful brocade dress that swept the
floor but ended just below the breasts. The breasts were
daintily covered by two large ears. A miniskirt with no top
except two gold lame gloves, stuffed to look like arms, the
reached down over the shoulder (covering the breasts on their
way) to hold up the skirt between thumb and forefinger. Jewelry
made of raw vegetables. Panties and bras as hats. She appeared
as Rolling Stone's girl of the year, topless, playing the bass.
The magazine printed up a poster of her like that with the legend
"Get it here."
When we hit the road in 1969 to cross the country in our
psychedelic school bus, the clothes had to calm down a bit. You
couldn't drag a sewing machine everywhere. Or could you. We
didn't. Before we left I made an outfit to wear to my sister's
wedding in Denmark, and later to Sibyl and Ali's wedding in
Connecticut. I spared my family in Denmark, when I realized it
would just make my parents unhappy. But Sibyl and Ali loved it:
grey suede shoes (store bought) cut velvet bell bottoms,
burgundy, grey, fawn, a HUGE print suitable for a royal throne;
purple mother-of-pearl buttons the size of silver dollars at the
fly. A wildly romantic white shirt with miles of jabeau to wrap
around the neck and tie into a huge bow. Over this a black
velvet cutaway jacket with pink and turquoise paisley lining that
peaked through slits in the sleeves. Hair (to the middle of my
back) gathered in a gigantic black satin bow. Mozart on acid, we
decided. Not at all out of place at a wedding that took place on
a silver covered barge in the middle of a pond and was performed
by a lapsed Jesuit and a self-styled American Buddhist.
The rest of that summer I wore Indian cotton pyjamas or less.
It was more practical. And comfortable. But the costume
esthetic stayed with us and was not unique to us, and it was not
a question of wanting to provoke the straights. Fuck the
straights. We wanted to please the "heads", and we surely did.
The reason we started the band was simple. Every week-end we
went to either the Fillmore or the Avalon to dance to the bands.
This cost money. A good way to get in for free would be to work
there -- they might even pay us. And some of the bands who
played there were clearly total amateurs. This looked easy; easy
enough for even us to do.
The biggest thing happening was acid -- LSD. Every week-end
we'd take some and careen into San Francisco in Trixie's giant
convertible Oldsmobile. Why we didn't kill ourselves can only be
explained by saying it wasn't time yet. Through the LSD-high
what was happening at these dance halls seemed revolutionary. I
had chosen a career in the theatre. But this was much more
exciting theatre than sitting in rows staring passively at a
stage. I staged a rock'n'roll version of Lysistrata as my senior
project at Stanford. At the end of the play the audience was
invited on stage to dance with the cast. On the program I
printed the following:
Director's message spelled out: in San Jose, Mick Jagger of
the Rolling Stones, stood on the stage in the Civic Auditorium,
screaming, "I can't get no satisfaction". In the audience,
several thousand kids screamed that they wanted to give him just
that. But he didn't want it: at the climax of the evening
--which could have become something involving a great deal of
love -- a concrete-grey fire-curtain separated the Stones from
the audience, and everyone was herded into the street --
frustrated, rejected, and really believing that there is no
satisfaction to be had, except, maybe, in hate.
"Tonight, I ask everyone in the audience to admit it if they
fall in love with anybody in the cast. The cast is prepared to
fall in love with you. When somebody asks you to dance, do so, if
you want to. You won't be confusing the cast -- they all want
it. If you don't want it, just dig people digging each other. If
you don't dig, I'm sorry. I must have been dreaming ... Lars."
They dug. Every night after the show the strobe lights
blinked, the rock music rolled, and two hundred people, only a
little self-consciously, got on stage and celebrated the new
peace and love philosophy.
I was supposed to go to New York University in the Fall to
get my master of fine arts degree. I was already accepted. But
I didn't want to go. One reason was my fear of being gay. I
dreaded having to deal with this in New York, which was somehow
more "real" than San Francisco. I pictured myself being sucked
into the City of Night (John Rechy's book was big at the time and
it terrified and thrilled me) and somehow being destroyed by it.
My grandmother had set up trust funds for all her grand children.
So when I turned 21 in 1965 I came into about $20,000 worth of
stocks. I hadn't done anything with this money, but now seemed
to be the time. Why not start a rock'n'roll band? So what if we
didn't know how to play? We'd take a lot of acid every day and
learn. It couldn't be so hard. Some of the bands we paid to
hear could barely play. What mattered was attitude. If we were
cute enough and happy enough, people would love us.
Norman and Manny knew how to play the guitar and were sure
they could teach the rest of us. Norman was supposed to go to
Yale in the fall to teach economics. Ellie, his wife, was
furious at me for making the band possible, but there was nothing
she could do about. Norman didn't really want to go to Yale
anyway. He saw what the rest of us did: the Age of Aquarius was
really happening, though we didn't come right out and call it
that. Whatever it was, though, it was important and we wanted to
be a part of it. Anything else could wait.
A day in June, 1966, Norman, Manny, Michael, Sara, Adrienne
and I got dressed up in our best party clothes and headed for
downtown Palo Alto. We were colorful, to put it mildly. Later
we were to become much more colorful, but on this early date, we
caused a stir walking into the Wells Fargo Bank. In less than an
hour I had signed my stocks over to the bank and the bank had
loaned me $20,000. The idea was that we were going to become
successful so fast that we'd be able to pay back the loan and I'd
still have the stock. This is not how it turned out. In fact, a
month later I sold the stocks and paid off the loan in full. But
it seemed optimistic to take a loan at this point.
From the bank we headed to Swain's House of Music on
University Avenue. Mr. Swain was an elderly man who had seen
that electric instruments were here to stay and had stocked some
guitars and some amps. He was far from enthusiastic about our
strange group, but money talks, and ours talked quite loud. That
day we headed home to our mountain-top ranch with two electric
guitars, a bass, a set of drums, a Farfisa organ and all the amps
to run it all. Well, no, some amps had to be special ordered.
And mikes for the singers, not to mention tambourines, claves,
cowbells, rattles, maracas, triangles, kazoos, everything. One
of the first songs we wrote was called "Dr. Swain". It had
nothing to do with Mr. Swain, but from that day we always called
him Dr. Swain, much to his complete bafflement. The song was
about a Dr. Strange-like character, but we also liked to be just
a little more enigmatic than we had to. Herb Gold, in a short
story published the next year in Playboy, quotes the whole song.
The first night we had our instruments we set them up in the
huge living room at Rancho Diablo and each took a dose of LSD.
Ellie didn't participate; she stewed in her room with her little
daughter Maya, fretting about the irresponsibility of it all.
Over twenty years later Ellie is one of the people in the world I
love the most. At the time she seemed negative and hostile. But
now I can understand why. We were irresponsible, there's no
doubt about it. That first night we plugged everything in and
had at it. The mere fact that we were able to produce a sound
seemed like a miracle.
The favorite guru at the time was Meher Baba. Our friends
Steve Durkee, who later started Lama Foundation, and Dick ALpert,
had turned us on to Meher Baba. He had been fashionable in the
twenties; there was a wonderful photograph of him with Greta
Garbo from Hollywood. Meher Baba is communicating with a
spelling board, as he had taken a vow of silence. He is very
beautiful with dark, soft eyes and long silky hair and a big
beautiful moustache. In 1966 he was living quietly (yes, he was
still silent) in India, gaining popularity with our new
psychedelic generation. His message, printed on a calling card,
was simple "Don't worry, be happy," it said under his picture on
one side, and on the other: "I am the one who can love you more
that you can ever love yourself." In our psychedelic state this
seemed touchingly clear and eloquent. And that first night we
started whacking away at our instruments and droning the words of
Meher Baba's calling card. Our first song!
Beth, who had sewn many of our most beautiful clothes, and
who was our greatest fan from the beginning, became very pale and
soon had to go throw up. Somehow our music made her sick. Not a
good sign, but we were undaunted and hammered away.
That first night the band consisted of Norman and Manny on
guitars (Norman had taught Elvin Bishop his first guitar chords
at the University of Chicago and both he and Manny were close
friends of Paul Butterfield, Mike Bloomfield and Nick Gravenites.
They could even read music. Manny was a whiz on the banjo,
but we didn't need a banjo in an acid rock band, so he played
rhythm guitar); Carlton on bass (he had never held a bass in his
hands before, but he was Michael's roommate, and very cute
looking. He didn't last long, as he never came to practice.
After less than two weeks Trixie, whom we had considered too
flaky to be an active member of the band, took over on the bass.
Ironically she is the only one of the entire group who went on to
make a living as a professional musician. The rest of us, though
we stayed with the AAA for many years, eventually drifted into
other careers); Michael on organ (previous experience: nil);
Adrienne on drums (forget it); and Sara and I as singers. Sara
could actually sing. She was married to Jerry Garcia and had
performed with him locally singing folk songs. She had gone to
high school with Joan Baez and apparently the general drift at
the time was towards ethereal singing. I had a voice like a frog
but was convinced that performance was the crucial factor, not
vocal chords. I wasn't far off, either, although it did become
frustrating in the long run not to be able to produce the sounds
I could hear in my head.
Our friend Dick Alpert supported us in our venture by giving
us 100,000 micrograms of pure Sandoz LSD. Michael divided it up
into caps and every day we'd all take some before rehearsal
started. Trixie, Adrienne and I lived down the hill in Norman
and Ellie's old house; Michael, Sara and Carlton lived in Palo
Alto; and Norman, ELlie, Toni and Len lived up the hill at Rancho
Diablo. To begin with there were open hostilities towards the
band on the part of the non-participants. But after a very short
time it became clear that we were not going to give up right
away. At first Adrienne, Trixie, I and Annie (who was to take
over as drummer from Adrienne after a few weeks but who for the
time being hung around for the general excitement) were not
allowed to eat with the others. Two months later we all moved in
up the hill.
Dick Alpert gave us a synthesizer, too, but it had to be
built first. Don Buchla had invented this electronic instrument
for the composer Morton Subotnick, who had dibs on the first one.
Then we got the second one. There was no prototype and Len, who
was to play the synthesizer in the group, spent much time in
Oakland at Buchla' s studio, determining what the instrument
should do. What we eventually got was cumbersome but
entertaining. The biggest drawback was the inability to tune it.
Instruments could be channeled through the synthesizer, but the
result was always "pure sound", some might call it noise. We
didn't mind much, it sounded very far-out and made us unique in
the world.
An average day with the band started around nine AM, when
we'd struggle up to the surface and meet in the kitchen for
coffee and cereal. Everyone helped themselves. Around cup
number three we'd roll a joint and get a buzz on. Then we'd drop
a little acid (not a big dose, just enough to sensitize us for
the day's music) and head down to the garage which we'd fixed up
as a rehearsal hall. At least an hour would pass tuning up,
waiting for everyone to get their act together, and agreeing what
we were going to do first. Finally we'd play. It sounded awful.
We'd stop and smoke a joint and listen to the tape of what we'd
just done. One channel was out. Michael and Norman and Adrienne
would try to fix it. By now they were quite high and the
simplest task was a challenge. By and by we'd continue. Someone
was out of tune, but who? Big argument resulting in the need to
take another break and smoking another joint to get in the proper
mood to go on. Meanwhile the California sun is shining outside,
the redwood trees are swaying in the breeze, in the far distance
the Pacific Ocean is glittering.
We stop for lunch. At first those of us who lived down the
hill had to drive all the way back down (half an hour) to eat,
then back up for afternoon and evening rehearsals. Later, when
we all moved in together, we ate together, too. Ellie and Toni
did all the cooking. I put in what money I could (I still got an
allowance from my parents), but they did all the work at this
point. Then there'd be a couple of hours of trying to gather
everyone together for the afternoon's rehearsal. More screaming
and yelling. From the very start I felt paranoid about my
singing. At the time I thought it was just me, but I realize now
that everyone felt the same. None of us knew the slightest thing
about music (with the exception of Norman and Manny who were
quite impatient with the rest of us and in fact were just
frustrated by the fact that neither of them was a virtuoso
either) and yet here we were being a band.
The songs we played were either blues numbers (they were easy
to figure out the chord changes for) or original tunes with
simple changes. Trixie, Sara and I wrote most of the lyrics, and
Norman and Manny wrote the music. Amazingly we were able to
actually play after a very short time. Not very well, but play.
Our day would end with a play-back of the day's rehearsal,
more arguing and fault-finding, and then dinner. I think the LSD
made us more paranoid about our individual shortcomings, but it
also made us look at them with a greater sense of humour. In any
case, we forgave each other every day, smoked a lot of joints in
order to be able to fall asleep, and the next day we'd start all
over again. It seemed like this went on for many years, but in
fact after maybe a month, we felt ready to perform for the first
time. Our goal was to be international super-stars in less than a
year, with our own Headquarters in New York; so there was no time
to waste. We knew about twelve songs at this point, enough for
two "sets" if we played very long instrumental breaks.
We invited friends to come to the Ranch and everyone was very
enthusiastic. It was not our musicianship that turned people on,
it was our ingenuous attitude. We were so sure that we were
wonderful that our audiences became convinced of it. We were so
earnest in our efforts, that they almost seemed to succeed. And
don't forget, the audience was all high on something, too. And
the other bands who played were pretty odd, too. The Grateful
Dead, for example, would get so involved in tuning up that the
tune-up sometimes became the main thing. An hour would pass, two
hours, they were all on stage with their backs to the audience,
their instruments shrieking and moaning. "Have they started
yet?" was the recurring question. To this day it's not always
possible to tell when the Dead stop tuning up and "start
playing".
There were interruptions in the practice process. One of the
most tedious ones was when I got busted for possession of
marijuana. Trixie, Adrienne, Annie and I were still living down
the hill. One day we left Annie at home as here parents were
coming to visit her. In the early evening we got a call from
Carol that she had dropped by to see if anyone was home only to
find the police at the house. She turned around and left. I
called the house to see what was going on. The police answered.
I told them who I was, they wanted to know where I was. I told
them, and within minutes, it seemed, they arrived to arrest me.
Hands on the car, quick frisk, handcuffs, and off to jail in
Redwood City.
During the next hour I went through the possibility in my
mind that I'd spend the rest of my life in jail. I had some
pills in my pocket but managed to get rid of them in the
detention tank, where they put me after I was booked. Before I
had time to come down (oh, yes, I was high on acid, as usual), I
was bailed out and back home. The house was a complete shambles.
It turned out that when Annie's parents had arrived to visit her
she had decided to tell them that she not only liked to take LSD
but she was at that very moment high, in fact. Her parents were
the worst kind of reactionary and self-righteous Southerners and
had visions of insanity and depravity and decided they were going
to take ANnie away from all this. Annie didn't want to go, she
liked our life. A fight ensued with physical struggling,
upturning of a table. As Annie's parents dragged her from the
house, Annie screamed for help. The neighbors called the police,
thinking that someone was being kidnapped next door.
When the police arrived, Annie and her parents had left. The
house was wide open and a mess. The police went in and started
searching "Looking for a possible body" they later testified in
court. During this search they found a kilo of pot in my desk.
How did they know it was my desk? My passport was in it.
They also found some other drugs, but they were not illegal yet,
so were inadmissible evidence. For some reason they only
arrested me. But everyone had to deal with it.
Norman, Ellie, Toni, Len and Adrienne had been arrested a few
months earlier at the Ranch when the police came looking for Ken
Kesey, who was himself a fugitive from justice at the time, and
found them all in the middle of cleaning a kilo of pot. Norman
had tried to flush it down the toilet, but the plumbing was old
and weak and when the police broke down the door to the bathroom
they found Norman frantically trying to flush the toilet in which
a large amount of green vegetable matter slowly spun around.
We were sure the police was keeping an eye on us, that they
thought we were involved in some kind of plot. In fact we
thought they were all ridiculous, but we knew they had power, and
the less we had to do with them the happier we were. So my
arrest was a definite downer. My mother flew in from Denmark for
the preliminary hearing. She was totally understanding, did not
think pot was suck a bad thing, and laughed out loud when the DA
held up a syringe big enough for an elephant and entered it as
incriminating evidence. I don't remember where it came from, but
it was not intended for use on humans and I had it in my house
strictly for decorative purposes.
My lawyer was a friend of ours. He had gotten probation for
Norman and charges against everyone else dropped. He seemed
capable enough. And yet he presented a very weak case in my
defense and, sure enough, I was convicted of possession. I had
to meet my probation officer before sentencing. He was an
ex-Marine with a short-short crew cut and a big cigar. I was a
skinny hippy with bleached hair and weird clothes. "I think I'll
recommend ninety days in the county jail for you. Do you good."
He didn't like the fact that I was a conscientious objector,
either.
The judge put me on probation for two years during which time
I had to report to this guy every two weeks. Fortunately he left
the area. The judge put me on probation for two years during
which time I had to report to this guy every two weeks.
Fortunately he left the area shortly thereafter and my case was
transferred to a much more sympathetic person, who ended up
dropping out and starting a career making tie-dyes and batiks.
Trixie's cousin, Johnny Kaplan, had recently joined the
faculty at Stanford Law School. Just previous to this he had
worked as Jack Ruby's defense lawyer (when Ruby died his trial
became moot) and then he had re-written the California penal code
for marijuana. The man was considered one of the most brilliant
young lawyers around. He was always something of a wacko: he had
had a tiger suit made for himself, which he liked to wear lolling
about the house. He'd sit in his easy chair, twirling his long
tail idly. Not only that, on occasion he'd wear his tiger suit to
class at Stanford, causing quite a sensation.
When he heard of my conviction he was incensed. "What kind
of a dummy lawyer did you have? This is clearly a case of
illegal search and seizure." I told him about my lawyer,
including the fact that I'd recently discovered that the guy was
kind of flipped out. Apparently he was using an inordinate
amount of nitrous oxide (laughing gas) and it had started to
affect his mind. He refused to go anywhere without an umbrella
because if even a drop of rain hit him he could be damaged
forever. Maybe his entire energy had not been into defending me.
"How much did you pay this drug-crazed freak?" I had to confess
two thousand dollars. "I'll appeal your case and it won't cost
you a cent," said Johnny with a grand gesture. And sure enough.
A few months later the case was brought up. I had a new short
haircut and a pair of intelligent looking tortoise-rim glasses.
And I wore a grey flannel suit. Johnny stepped in front of the
judge, a man by the name of Rose, who was considered mean and
ornery, especially in the morning. It was nine AM. Before
saying a word Johnny paced up and down in front of the judge with
his hands on his back for a moment. The resemblance to Groucho
Marx was uncanny. Then in his best New York accent he started
presenting the case. Rather than deliver a dry and boring
harangue, he made the judge and everyone in the court room laugh
with his ironic asides.
When he finally introduced his argument the case was already
won. And thanks to Johnny a new precedent was set in California:
the police may only investigate the crime for which they are
called to the scene. In other words, since they were
investigating a possible kidnapping and looking for a body, they
were not allowed to enter my desk drawer, where they could not
possibly find a body, without obtaining a separate warrant for
that. Thanks to Adrienne's having been arrested for possession
not too long before, the other evidence collected by the police
could not be exclusively tied to me. I got off; my record was
expunged, and I was free to be arrested with a clean slate in the
future.
While the trial was still going on, however, I had another
run-in with the sheriff's department of San Mateo County.
Literally. Sara, Michael, Trixie, Norman, Manny and I were
driving up old La Honda road. Usually we drove on New La Honda
Road, which was wider, but occasionally we took the back way,
which was very windy and narrow, even unpaved in spots. I was
driving Trixie's enormous Oldsmobile. The top was down, we were
all feeling fine, probably a little high, dressed to go to a job
somewhere. From the radio poured loud rock'n'roll; the sun was
shining; everything was groovy. You couldn't really speed on
this road, the curves were too tight, but anything over five
miles an hour was too fast if you should happen to encounter any
oncoming traffic. Suddenly a big white sheriff's car lurched
around the corner and before either of us could do anything we'd
hit each other head on. Sara's arm was broken and the sheriff's
foot hurt, too, so he called for an ambulance on his radio. He
must have also called for other cops, because soon the place was
swarming with them. Norman went and threw a bunch of acid off a
bridge into a ravine. The cops spent hours combing the brush
trying to find it. When they succeeded it was all for naught,
since LSD was not to become illegal until three days later.
Other cops went through the Olds with a fine-tooth comb. They
brushed up the lint in the corners, they searched behind the
panels of the doors and inside the seats. But somehow they
didn't come up with anything incriminating. Back at the Ranch,
later on, we were all sitting in the library, a little shaken,
somehow expecting the police to descend on us and carry us all
away. Ellie was holding Maya, who was a year old, in her lap,
murmuring "School of hard knocks, Maya, that's what you're going
to have. School of hard knocks. Mm-mm." Even in this solemn
hour she sounded silly and we all laughed hysterically.
Eventually Michael returned. Sara had stayed the night in
the hospital, but she was okay. "The whole way in the ambulance
I'm riding next to the cop with my briefcase on my lap," cackled
Michael as he flipped it open. There was all the dope the cops so
desperately had been looking for: several kinds of pot, LSD, some
downers, some uppers, papers, pipes, you name it. Calm as a
cucumber, Michael had figured the best thing he could do was get
the evidence out of there before the cops started their search.
The one with the sprained foot was concerned about his own pain,
not busting the girl with the broken arm's boyfriend.
I myself was issued a summons for reckless driving. This
seemed a bit unfair since the sheriff was going just as fast as I
was. But when the time to appear in court came, I simply pleaded
nolo contendere, and the judge let me off with a small fine.
Fortunately it was not Judge Rose. He might have been less
amused.
Why was Michael carrying a whole briefcase full of drugs? Not
so we could take them all, but so we could take exactly the right
thing at the right time. Michael was a graduate student in the
psychology department before having a showdown with the head of
the department and dropping out. His greatest interest was
hypnosis and thought transference. During one hypnosis
experiment (during which he had been high), Michael and the
subject somehow got their wires crossed. The head of the
department, who was conducting the experiment, was not about to
admit that his assistant was having the thoughts that were
issuing from the subject, and vice versa; no such mumbo jumbo
could even be considered. But Michael swears that's what
happened: rather than the subject going into a deep trance,
Michael went, and the subject started having "Michael's
thoughts." When the head of the department refused to deal with
all of this, Michael quit the department and joined the Anonymous
Artists of America. And he also continued experimenting with
hypnosis.
For my birthday he designed a set of cards, each of which was
supposed to induce as different state of consciousness in me.
First he hypnotized me and pre-conditioned me to each card. One
would make me feel a little high on pot; another very high on
pot; a third, high on speed, and so on. Then I would no longer
need to take a drug to alter my consciousness, I could just look
at the card of my choice. Did it work? Not really. But
something happened. Could it work? Who knows. I wanted our
experiments to work, so I was a very willing subject for
hypnosis. But we were probably too inexperienced to design
sophisticated experiments like this. One evening Michael
hypnotized me and regressed me to my very early childhood.
Suddenly I could only speak Danish, which was very frustrating.
He then told me to forget the whole thing when I woke up, and
brought me out of the state. But I hadn't forgotten everything.
Instead I new I was supposed to forget, so I didn't admit that I
remembered. The feeling was one of frustration and finally I
persuaded Michael to put me under again and tell me to remember
everything.
The reason for carrying all these drugs wherever we went,
then, was to be able to induce just the right state of mind at
any time. Drugs were fun, sure, but they were modern tools, too,
to be used to create just the right effect at any given time.
Yes, we took a lot of drugs, but in the case of Michael it was
the potential of being able to control people's state of mind
that was exciting.
There were certain events that still remain as monumental.
The Human Be-In was one. On Haight street in San Francisco Ron
and Jay Thelin had opened the Psychedelic Bookstore. Norman sold
some silk screened mandalas there, so we dropped by regularly.
They sold books dealing with Tibetan mysticism and drugs. Aldous
Huxley, Alan Watts, stuff like that. And incense and prisms; and
ZigZag cigarette papers. At this time Bull Durham and Rizla were
the brands of cigarette paper that were readily avail able, and
they were ungummed. ZigZags were gummed, so infinitely better
for rolling joints. They were not exactly illegal, but you knew
that the guy selling them to you knew what you were going to use
them for. The Psychedelic Store was safe, we felt. One day we
saw a poster announcing the First Human Be-In to take place on a
Sunday in Golden Gate Park. No explanation as to what it might
be. But that was the way with the psychedelic movement: a lot of
information was communicated by the choice of words. The medium
was the message. Somehow we knew what they meant, and we planned
on attending.
On the day, thousands of hip people showed up. There was no
event as such, or rather, we were all the event. There was a
stage on some flatbed trucks from which Allen Ginzburg read
poetry and Dick Alpert spoke and, I think, the Grateful Dead
played some music. The Hell's Angels had been invited to provide
security, which offended some of us. But Kesey and Alpert
assured us they were cool, and there were no unpleasant
incidents. A parachutist landed in the middle of the field of
people, to every one's delight. Nothing happened. We were just
there; a human be-in. But for the first time we knew how many of
us there were. We had suspected it before, from the increasing
number of wildly painted cars you'd see, or long hair; and people
had started giving the "peace sign" to each other as a greeting
that conveyed that they recognized a fellow hip person. But the
Human Be-In was different: we were strong; something was
happening that was huge. Within weeks be-ins became love-ins,
and they were taking place all over the country. There was one
in New York that attracted many thousands, and in LA they became
a regular event; in San Diego, too. Soon you could buy tie-dyed
T-shirts and headbands; incense and rolling papers; psychedelic
posters, god's eyes. All the things you needed to make your trip
groovier. It was understood, all these things were drug related.
The papers wrote about the peace movement and the love children;
not so much about drugs. But in fact drugs started it all.
The first psychedelic dance was staged at the Longshoremen's
Hall in San Francisco by the Family Dog. The featured bands were
the Loving Spoonful and the Charlatans. The Spoonful had played
at Stanford University the previous week, outdoors at the student
union on a Saturday afternoon. Now they were going to play at
night in a situation where you could dance. Until then bands
only gave concerts at huge halls like the Cow Palace. You
couldn't dance. You had to sit there and listen. The dances let
the audience participate. At this first one there was no light
show. There was a bar, I remember, behind a roped off area. You
had to show your ID to get a drink. But most important, there
was a huge dance floor. The dance floor was the central item ,
not the band. We all went. I spent much of the evening dancing
with Allen Ginsberg and Neal Casady. For the first time that was
okay. The people who went to this affair were together as one:
men danced with men, women with women, or you could dance alone,
or everybody could dance together. Express yourself.
This turned out to be the last time the Loving Spoonful
appeared in San Francisco. One of their members had been busted
for pot and, in order to get off, he turned in a friend who
instead was prosecuted. Word got out, and the band was finished.
They were never forgiven.
But the idea of the psychedelic dance remained. Shortly
thereafter Ken Kesey started staging his Acid Tests. The very
first one was in San Jose on the night of the Rolling Stones'
concert. Norman, Ellie, Trixie and I went to the Stones concert
at the San Jose civic Auditorium. The atmosphere was cold and
unfriendly. The Stones played fine, but the vibes were bad. We
were on acid (not Ellie), so we were double sensitive.
Afterwards we walked over to the house where the Acid Test was to
take place.
On our way a girl ran up to me and asked if I was Rudolf
Nurejev; he had just defected from Russia and I may have had a
passing resemblance to him: high cheek bones, a big mouth, wild
hair.
We got to the house. Hundreds of people were crammed into a
small house. There were black lights in some rooms, strobes in
others. The Grateful Dead were playing (or tuning up, who could
tell); everybody was high on acid. Signs everywhere asked "Can
you pass the Acid Test"? That night we mainly milled around. Ron
Boise's thunder machine may have been in one room, but mostly
this initial acid test was like the Be-In; it just was. Later
ones were much better organized.
The Trips Festival was the most impressive one. Held at the
Longshoremen's Hall, it was organized by Bill Graham. He was the
business manager for the San Francisco Mime Troupe, and somehow
got involved with Kesey to stage this week-end long event. Kesey
and the Merry Pranksters appeared; and various bands; and
lightshows. Adrienne and Trixie and I showed up as the Anonymous
Artists of America, a light show. At one point we dropped a can
of film off the balcony and almost killed someone on the dance
floor below. General pandemonium reigned, fortunately, so we
were soon forgiven. Casady came by while I was chatting with
Ramon Sender from the tape center at Mills College. Casady must
have been very high -- he generally was -- because from that day
on he always called me Ramon, and I'm told he called Ramon, Lars.
The crowds at the Trips Festival were stunning. People had
to be turned away. And the most striking thing about it was that
the entertainment was not the crucial factor. The audience was
the entertainment. Being there was what counted. Everyone came
in elaborate costumes. Either beautiful or far out. The most
legendary costume, never to be forgotten, was a prankster who
wrapped his entire body and face in gauze and black electrical
tape and wore a sign saying "I am a pimply freak and you're in
the Pepsi Generation." No one needed to ask what he meant,
somehow.
A few weeks later Bill Graham and Ken Kesey again staged an
Acid Test at the Fillmore Auditorium in the heart of San
Francisco's black ghetto. To everyone's amazement it was no
problem attracting people to this seediest of neighborhoods.
This was the best acid test I ever went to. The Kool-Aid was
spiked and there was excitement in every corner. TV cameras were
set up for anyone to record what they felt was worthwhile. Ron
Boises's beautiful sculptures were placed all over for people to
play with. The Dead played -- were they tuning up, or were they
playing? Who cared, we all danced.
And from then on Bill Graham staged dances every week-end. At
first at the Fillmore, later at Winterland and the Starlight
Ballroom, which became known as Fillmore West. And on the other
side of town the Family Dog put on their dances at the Avalon
Ballroom, a much mellower and smaller place. And after a while
we friends saw the folly of being onlookers. Why not participate
actively? Become a band. The message of the day was clear: you
can do anything you want, given enough perseverance ... and
acid.
From the start I disliked the Jefferson Airplane. They were
much too earnest, they had no glamour. Their singer was
pregnant, for god's sake! They handed out buttons at their early
gigs, saying "Jefferson Airplane Loves You." Ick, I thought. So
when the time came for the AAA to have buttons, our message was
"We Love More" -- and you were supposed to interpret this every
possible way, especially with the emphasis on the last word: we
love MORE. That became the Triple A's leitmotif: excess in
everything.
Trixie, Adrienne, Annie and I kept living down the hill
throughout the fall of '66, though we spent less and less time
there. We had taken the house over from Norman and Ellie when
they moved up the Ranch, and we had redecorated radically. Juliet
of the Spirits made a profound impression on me. Clearly Fellini
was on some kind of psychedelics when he made it. The day after
seeing it I ran amok on the house. The bedroom became a fantasy
in pastels and white: pale cheesecloth draped over the bed in
many layers. All surfaces white. There was something innocent
about the effect. Many parties would end up in this bedroom, but
nothing every happened; we'd just lie in a big pile on the bed,
hugging and giggling. In fact, my experience of all this
so-called free love in the hippy movement, was very innocent.
Until we made our cross-country bus trip, at which point we made
up for lost time in a big way.
Next to the bedroom was the closet room: an entire room to
hold Trixie's and my many clothes. It was inspired by Mickey
Mouse and was painted vivid sky-blue, yellow and pink. The
washing machine was candy-apple red, for some reason. Outside
nature had its way. The house was set in a meadow run wild.
Over the picnic table was another Juliet-of-the-Spirits
arrangement of dyed cheesecloth. At the back of the property ran
a little creek where it was possible to fish for crayfish, though
we never did. To-day there are five large, suburban homes on this
piece of property. Twenty years ago it was for sale for $20.000.
Who had even twenty cents, though?
Before we started the band, Trixie's and my house was the
daily gathering place for the friends. Adrienne first dropped
in, later moved in. Len dropped in on the way up the hill;
Michael was always there. It was the place to be. We'd have a
drink and smoke a joint and listen to music and draw. And
fantasize about what was happening. Neal Casady would drop by on
occasion to see what drugs he could pick up on. Once he even
took one of Trixie's birth control pills. There was nothing else
around. On his way to court for sentencing for driving without a
license, he dropped a large dose of acid and several amphetamine
pills. Later he came back to recount, verbatim, the proceedings
in court. Although he was always in trouble for driving without
a license, he had told the judge that there was no chance that he
would ever stop driving. Driving was an organic part of him. So
the judge might as well accept this and give him back his
license. Unfortunately the judge didn't see it that way, and
Neal regularly served a couple of weeks in the County Jail. And
he never managed to get a license, so the prospect for an end to
this cycle was not bright.
Riding in a car with Neal at the wheel was better than
Disneyland. He could steer, roll a joint, talk independently to
every passenger in the car, and play the radio, all at the same
time. And you never felt like you were in danger. Play the
radio, that's not such a big deal, you might say. For Neal it was
an art. He would flip between the stations in such a way that he
created a separate, somehow coherent narrative, put together of
bits of commercials, newscasts, songs, talk shows. His mind was
able to pursue seemingly unlimited trains of thought and keep
track of them so that he could use them to his advantage. Once
he turned the sound off on the TV and narrated a movie made up by
himself, by flipping between the channels and creating a
separate, logical and hysterically funny program. At a party I
saw him converse with six people at once (I was one of them); six
different conversations about six different subject matters. Not
one of the six ever felt that he or she was waiting his or her
turn to speak. We all just held up our end of the conversation,
while Neal, literally spinning around, with no effort maintained
all six conversations at once. And what he said was interesting,
too, never boring. There's been a lot of writing about the
desperation that had a hold of this man. In fact he seemed
caught up in a life that moved so fast that his only problem was
finding people to be around who could move as fast as himself.
When he finally decided to end it all, in Mexico, perhaps it was
because he saw himself slowing down, becoming boring, being like
everyone else. Rather than sink into ordinariness, why not just
get out of it? He didn't seem desperate; he seemed to enjoy life
at a pace ordinary people could not keep up with.
Were we drug addicts? It didn't seem like it, but writing
about it now, we certainly seem to always have been taking drugs.
We were seeking out new experiences, not running away from the
ones we saw. How far could you take it? It was the "more"
syndrome. One time I shot up a thousand micrograms of acid.
Usually we did not use needles, but I'd tried shooting speed a
couple of times and had loved the rush, and now wanted to try
what it would be like to get high on acid instantly, without
waiting f or the sometimes unpleasant period of getting high.
Before the needle was out of my arm I was gone. Friends laid me
down on the floor and covered me to keep me warm. I was not
afraid in any way, but I had no ability to act or even think. I
just was. I could hear my friends talking, but I couldn't answer
them and I couldn't make out what they said, either. I was just
a part of the air in the room. No problem. After a few hours I
came down enough to participate. It had been a positive
experience.
I received my notice to appear for my physical exam. When I
turned eighteen and had to register for the draft, I had
registered as a conscientious objector. A few years later I had
had to back up my claim by writing essays and getting letters of
recommendation from teachers who knew me well enough to
corroborate my alleged pacifism. This had been no problem and my
CO status had been accepted at my draft board in New Jersey. But
now I had to go to the physical to see if they wanted to use me
for alternate service. The thought was appalling and I would do
anything to get out of it. Of course I could just tell them I
was homosexual and that would be that. But then I'd have to tell
my friends, too, and I wasn't ready for that. So I had to get
out of the draft some other way.
The night before the physical I took a lot of speed and
stayed up all night so as to look as wasted as possible. In the
morning I dressed in clothes that were too small: pants that were
too tight, a shirt that barely buttoned; and boots that reached
to the hips. I gathered up a handful of metal fingerpicks and
drown to Oakland in the Olds. At the induction center they made
me get undressed along with everyone else. I peed in a bottle, I
bent over, I turned my head and coughed. There was nothing wrong
with me. I asked to see the psychiatrist. Why? I used drugs
and I was a ... homosexual. In that order. They let me get
dressed. The psychiatrist looked at me with undisguised contempt
as I nervously tapped my fingers on his steel-topped desk. On
every finger I had slipped on a fingerpick, so the effect must
have been quite annoying. There was no arguing with the fact
that I was, at the time, a convicted felon, on probation for
possession of marijuana. Later in the Vietnam war this did not
deter them from drafting you, but at this early stage in the war
it did. "It says here you're homosexual?" I really didn't want
to talk about it, but I wanted even less to have to do anything
at all connected with the armed forces. I wanted to be a
rock'n'roll star, there wasn't time for this other stuff. So I
told him that well, maybe I was bisexual, actually, but I was
afraid if I was locked up with a lot of guys I'd get in trouble.
Yes, I had had sexual experiences. The psychiatrist let me go.
"You have to see a social worker before you leave."
The social worker sat in the middle of a room. Along the
wall were all the misfits who had to be interviewed before being
let off the hook. Perhaps the social worker was deaf, in any
case he spoke very loud. I think his job was to humiliate all of
us undesirables by shouting out the news of each of our
perversions. But at this point, who cared? We all knew it was
almost over and we wouldn't ever have to think about it again.
When I got home we had a party. I bragged about my ruse with
the fingerpicks and glossed over my story of being homosexual;
that was just something I said, of course, and they went for it.
Around Christmas we all moved up the Ranch: Sara and Michael
and Sara's daughter Heather lived downstairs next to Adrienne and
Annie; Norman and Ellie had the library; Toni and Len had the
master bedroom; and Trixie and I had the guest bedroom, with a
view across redwood forest clear to the Pacific Ocean, twenty
miles away. Beth took over the house on Alpine Road. The reason
for the move was to save money. Len was the only one of us with
a job, and he planned to quit as soon as his synthesizer was
finished. Otherwise we were living on what was left of my
$20.000 and my monthly allowance from my family, which amazingly
was still coming in. But there was no very promising sources of
income, so the less we spent, the better.
We did have occasional gigs. One loyal employer was the Barn
in Santa Cruz, where we somehow built up a following. We were
not known for the virtuosity of our playing; we were known as the
band who took acid everyday. Since a large number of our audience
did the same, there was a certain affinity between us. I'm not
sure the acid helped the music; it certainly complicated matters.
The Barn was a good forty-five minutes from the Ranch where we
lived. One of our first times there we reluctantly had to admit
that we had left one crucial cord at home. There was no way
around it, someone had to drive back and get it. By the time we
discovered the situation we were all tripping our tits off. I
got in the Olds and drove like the wind to be back in time for
our first set. It is a miracle that I survived, since I would
drive under any condition. It often felt like I was driving a
rocket and not a car, but I somehow always managed to get safely
to my destination. Except of course for the encounter with the
sheriff; but that had more to do with the road than the mental
condition, I like to think.
Finally all the equipment was operative and it was time to
tune up. Who could tell if we were in tune? Everything sounded
very interesting. I was a singer, so I didn't have to worry
about tuning the guitars, but if they were out of tune, my
singing suffered. There were occasions when we never got in tune
and the result was a feeling of malaise in the entire crowd. No
one could put their finger on the problem, but something was
definitely off. It was like feeling slightly nauseated, for no
particular reason. But we were wonderful, and the audiences
responded to that part of our show. It was possible to dance to
our music, although you probably could not understand the lyrics
to our songs. But the visuals were the best: we were always in
bright and elaborate costumes; sometimes we featured a belly
dancer; often there were kids on stage; when we played outdoors
we had our dogs along. The audience maybe saw in us a group of
people who dared do what they themselves only dreamed of. And
they forgave us our shortcomings. As the years passed we got a
lot better at playing. By the time I left the band we were much
better musicians, but somehow a little less wonderful.
The big event of 1967 was going to be the Acid Test
Graduation. Kesey had announced his return from Mexico, where he
was a fugitive from justice. He would take the rap. But first
he wanted to stage one last bash. Bill Graham had agreed to
stage it at Winterland, starring the Grateful Dead. It looked
like we would be involved, too, although in what capacity was not
clear. Bill Graham still didn't like us. We were convinced it
was because Adrienne had broken the door of the Fillmore with an
amp when we played at Lee and Space Daisy's wedding the year
before. Perhaps he just didn't think we were a very good band.
In any case, it was a great big deal and the papers were full of
it for weeks ahead of time. Then Kesey and Mountain Girl got
busted with a little bag of grass on the roof of some building in
San Francisco. Slight scandal: the family man Kesey with this
young girl who was Jerry Garcia's girlfriend; what were they
doing up there in the middle of the night, anyway. The answer
was fairly obvious.
Because Kesey was under such close scrutiny of the law, Bill
Graham suddenly got cold feet and decided not to have the Acid
Test Graduation at Winterland, after all. There was bound to be
trouble, he said. Hell's Angels, drugs; nothing but trouble.
What was more, the Dead were booked by Bill Graham to play at
Winterland, regardless of what the event was called. It was
Halloween, a big party night in San Francisco, and he wasn't
about to let go of his headliners.
Which left Kesey with his loyal Merry Pranksters; and us. He
hired a smallish warehouse around the corner from police
headquarters and put out flyers to the effect that the Graduation
ceremony would be taking place there. "Cleanliness is next!"
proclaimed the flyer in typical psychedelic enigmatic fashion.
The word in general was "No more drugs." Kesey announced that as
soon as the graduation was over he'd turn himself over to the
authorities to serve his sentence. This was his swan song.
Tom Wolfe, impeccable in his wife suit, showed up from New
York to chronicle the event for New York Magazine, which at the
time was the Sunday supplement for the New York Herald Tribune.
For several days before Halloween he hung out at Kesey's in La
Honda; he came to visit us at the ranch, too. We talked about
the whole acid scene and showed him our dining room table, which
used to be Kesey's; an old wire spool into the surface of which
all the hells angels and Merry Pranksters and other assorted
knights of the acid round table had carved their names.
Kesey asked us to play at the graduation. No one else seemed
to be available. The Pranksters were going to play too, but they
could not be counted on to produce anything that even remotely
resembled rock'n'roll. We had, by now, worked up a sufficient
repertoire, to get a crowd cooking. We were probably the only
people who were really happy about the developments. This was a
big deal, to be the main band at the Acid Test Graduation, an
obvious Historic Occasion.
We arrived at the warehouse in the afternoon with all our
costumes for the evening. There was a pile of risers lying in
one end of the room. We went to assemble them, to create a
stage. As I worked I suddenly realized I had built these risers
when I was an apprentice at the Actors' Workshop a couple of
years earlier. Cosmic coincidence!
Hundreds of people were milling around: all the Pranksters,
of course, but also a lot of people from the media, and Kesey's
friends from Stanford. I don't know what everyone was expecting,
but something. Would Kesey dose the San Francisco water supply ?
Or, conversely, announce that everyone should stop taking drugs
altogether? We were getting geared up to play and didn't give the
historical implications of the event much thought.
The evening certainly turned out to be a good party. If
anyone had thought it was going to be drug free, they were wrong.
Everyone was tripping their brains out. Since it was Halloween,
we were appropriately costumed: Sara was a princess, I was a
skull; our masks hung on the microphone stands in front of us.
They were to play a major part in Milton Greene's cover
illustration on New York Magazine a few weeks later.
Chaos of the best kind ruled. We did not suddenly become the
Beatles, but the vibes were right and everyone loved the Triple A
that night. Rumours had flown that the police meant to bust the
graduation in a massive way; that everyone would be carted off to
jail; that the police was really going to teach us hippies a
lesson. But nothing of the sort happened. Frenzied, sweaty
dancing, was the order of the night. Tom Wolfe remained
unruffled in his Edwardian finery, though he looked somewhat
stunned by the goings-on.
The rest of us, and there must have been no more than a few
hundred, gradually dissolved in sweat and acid-grins. In the
early hours of the morning, Ken started handing out diplomas to
some of his most loyal followers. It was not clear what made you
a graduate. He spoke for a long time. People who were just
there to party drifted away. Finally just the handful of
Pranksters and friends remained; the group that had been "on the
bus" from the start. We all knew that something was over. When
Kesey got out of jail he would not continue this wild and
provocative behavior. On the one hand that was sad, but on the
other it was a relief. How long could it have gone on without
leading to an ugly confrontation?
It was not the end of the world, but it was the end of the
beginning. Later came Altamont, Woodstock, rock festivals
everywhere. But the Acid Test did not return with its formless
intensity.
When the LA Free Press wrote up the graduation, it was
gratifying to read that the Anonymous Artists of America was the
best band the reviewer had ever heard. Gratifying, and
impossible to take too seriously: "That guy must reallly have
been stoned," was the general reaction.
Many of the members of the AAA had gone to the University of
Chicago. Norman and Ellie, Toni and Len, Adrienne, Manny; after
graduating they all moved West for the sun. Norman to go to
graduate school, Ellie cause she was his wife, and to finish her
own degree at Stanford, Adrienne to work as a research assistant
at the Stanford Hospital. At the University of Chicago they had
all lived in a sort of communist-inspired dormitory. The step
from communism to commune was easy to take.
There were other friends from CHicago who kept up the
connection. In particular Ron Polte and Julius Karpen. These
two men were into a little bit of everything, not necessarily on
the right side of the law, but in the late sixties they found
themselves managing rock'n'roll bands. Ron managed The
Quicksilver Messenger Service and Julius Big Brother and the
Holding Company. Julius was especially tight with Len and
Adrienne. Gradually it became clear that the Triple A was not
going to be an overnight sensation, instant super stars. That
would have been so convenient, but alas, it would take more work.
Julius agreed to become our manager. Our landlords at the Ranch
informed us that we'd have to move. There were some legal
complications pertaining to the ownership of the house which had
nothing to do with us, except that in order to clear everything
up they wanted the house uninhabited. We had to get out.
Julius' first assignment was to find us a house to live in
and to buy us a kilo of pot, to which end we furnished him with
some ridiculously small amount of money. Nonetheless, he
disappeared off the face of the earth. It turned out that he had
gone to Denver to look up some old girlfriend. All we knew was
that he had our money and w e were a little miffed. Not
seriously, though. Julius was an old friend; he might very well
fuck up, but it was inconceivable that he'd rip us off.
Meanwhile, though, we had to get out of the ranch. The upshot of
Julius' disappearance was that he did show up one day with a kilo
and for the next several years, it seemed, we never had to pay
for pot again.
We decided to move to San Francisco, where they action was.
Also we could live more cheaply. We rented a sad house with two
flats and a basement on Potrero Hill, just south of San
Francisco. This was not quite a slum, but almost; on the other
side of the hill were the truly grim slums, derelict emergency
housing from World War II, dilapidated housing projects for poor
blacks. Our block of Rhode Island Street was populated by a group
of teenagers who spent most of their time sniffing glue. They
never bothered us and occasionally would come into our practice
room to hear our music.
My father decided to stop sending me an allowance. This
seemed fairly reasonable to me. Why should he support a scene
that he disapproved totally of?But we still needed money to
live. Ellie and Toni took clerical jobs, just so we'd be able to
pay the rent. We may have made a little money on gigs, but it
wasn't much. Mostly we played for free. I sold a few shirts in
various stores in San Francisco, but it didn't amount to a great
deal of money. For all of our poverty, this is when I learned
that there was no point worrying about money; somehow things
would always work out. One day there was no food at all in the
house and no money to buy any. Nor was there any prospect of any
money coming in. We had communal finances, and the money box was
empty. I had some shirts on consignment in a store on Polk
street, so I decided to go and see if they'd sold any. Sure
enough: two shirts had been sold that very day, which meant I
could take home twenty-four dollars. Not a fortune, but enough
to buy dinner as well as food for breakfast the next day.
Occasionally we had paying gigs; at the New Orleans House in
Berkeley, at California Hall in San Francisco; the second-string
places. We must not have been such a great band, for it was a
struggle for JUlius to get us jobs. Other bands maybe just
showed up, played their music, collected their money and went
home. Not us. We descended on a place with all our babies and
dogs and hangers-on. Immediately the entire place would be
thrown into a chaotic state. While the band was trying to set up
the tons of equipment, mothers would be looking for a place to
change their babies; groupies would loll about, getting in
everyone's way. Finally we'd play; sometimes it sounded okay,
but at other times we'd never quite get it together. You
couldn't put your finger on it, but instead of creating a good
feeling, everyone would get sort of nervous.
We were hired to play at the Straight Theatre along with a
movie. A new concept in entertainment: rock'n'roll and sci-fi.
We had a drummer named Little Richard (no, not that little
Richard, a white boy from Dallas) who played two sets of drums
and was known for his cataclysmic solos. We'd met him in the
Panhandle of Golden Gate Park and invited him to join the band.
He had the same kind of theatricality we went for and we thought
he'd be an asset. And he was. Audiences loved his flamboyant
solos at the end of which he'd hurl himself into space, upsetting
all his drums.
The only problem was, he was not very good at keeping time,
so the music sometimes became quite tense. Norman in particular
would go crazy when the time was off. He'd scowl and generally
look disgusted. After each song he'd complain; everyone was
generally too high to have much control, but somehow the tension
would spread to the audience. This night at the Straight Theatre
was like that. The set dragged on and on; nobody was dancing.
The music got louder and louder, but not better and better. This
was often the case; we'd compensate by turning up the amps. The
management starting signalling for us to stop, but we still had
several songs left to play of our set and no lousy stage manager
was going to tell us when to stop. So they turned off the power.
The instruments fell silent, but Little Richard played on. For
the next half hour his drums thundered away. It was such a
bravura performance that by the time he finally threw himself off
the stage, all was forgiven. Everyone knew what had been going
on and everyone had gotten caught up in it.
It was often like that: our gigs were like psycho-drama;
exhausting, but never boring.
Julius and Ron hired California Hall to put on a concert with
Quicksilver and Big Brother. We got to be the warm-up act.
Another friend from the old Chicago days was the artist and
film-maker Bruce Conner. Like all aficionados of the absurd,
Bruce Conner was a great fan of ours. He loved Trixie's ding-bat
sluttish look and the high level of insanity in general of the
whole group. So when Aline Saarinen came to San Francisco to do
a piece for the Sunday Night News about the bands, it was only
natural that Bruce suggested she focus on us. She interviewed
us, filmed us at our house and wanted to show us playing, too.
This was a human interest piece, not a music piece.
It was decided that her TV crew would film us at California
Hall. For some reason Janis Joplin decided that this was just a
ruse, that in fact the TV crew was there to film her. No way was
she going to allow that, they didn't have a contract, she
certainly wasn't going to play and so on and so forth. Sulking
in the dressing room, sucking on a fifth of Southern Comfort,
Janis was getting ready to be a real drag. Julius assured her
that the TV crew was there to film the Triple A; they were not
interested in her at all, they wouldn't even stay around to hear
her set. That was the wrong thing to say. Now she threw herself
into a fury. Who did they think they were?Why did she have to
put up with being treated like this?
We all explained patiently that it had nothing to do with
music; the TV people were doing a human interest piece. Janis
wasn't convinced, and the evening was ruined for her. Somehow
she was not the undisputed center of attraction.
Mostly we played benefits. That was fine, but not a good way
to make a living. Or we played in the parks on week-ends. The
park gigs were our shining hour. Somehow the audiences were
prepared for anything in the park; no one was uptight. The more
critical members of the band took it a little easier, and the
good vibes in general overcame the possible problems.
Bruce Conner called us up one day and asked if some of us
wanted to be in a movie. They'd pay us twenty-five dollars a
piece. Sure! A hundred dollars was a lot. The movie was
Psych-Out, a sort of sequel to The Trip, only instead of being
about acid i t was about the new drug, STP. Trixie, Adrienne,
Richard and I were picked to appear as sort of a hallucination.
Susan Strasberg is the deaf girl who comes to find her crazy
brother, Bruce Dern (he sets fire to the Fillmore). As she rides
into the Haight on the bus she sees the four of us skipping along
in our wild outfits, and she follows us down to the Panhandle
where we cavort among the trees. Many traumas later, as she's
freaking freely in the middle of the Golden Gate Bridge and Dean
Stockwell has just been run over and god only know what has
happened to Jack Nicholson, she remembers us; we're sort of the
symbol of her lost innocence, I guess.
We had a lot of fun shooting the scene and couldn't believe
our good fortune. When the movie came out we all went to see it
in the drive-in (on a double bill with The Trip, in fact). We
were on the screen for all of a minute, at the most. But we were
there, and we were thrilled. And every now and then, at four
a.m. on the local movie channel, there we'll be, over twenty
years later. Is this immortality?
The next month we appeared in a magazine called Sick. I
forget what the caption was, but it was a put-down. We were
thrilled. Any publicity was good publicity.
In a house on the opposite side of Rhode Island Street we
discovered Charlie and Sandy. They were rooming with Denise, who
was a far-out friend of Norman's who played the guitar. Charlie
was a major organ player, really a musician; Sandy was his girl
friend. For some reason he was not in a band at the moment, and
when Michael and Sara decided they had had enough of acid rock
and that we probably would never become international superstars,
Charlie joined the Triple A. For the first time our sound
approached professionalism. Charlie satisfied Norman's need for
musicianship and he played with such a firm hand that even
Richard managed to keep time.
Within the house on Rhode Island Street some major soap
operas were unwinding, but as some of the participants are still
alive, I won't go into it. Suffice it to say that Annie left us
to move back home. That Adrienne became, along with Julius, our
manager, and that Michael and Sara moved out.
About this time the groupies and hangers-on started showing
up. Maurice and Walter were friends of friends from back East.
Maurice smarmed his way into the house until he drove everyone
crazy with his irritating pushiness; then we'd drive him over to
the Haight and tell him not to come back. Half an hour later a
cab would again deposit him in front of the house. "Surely we
didn't really mean that he had to stay away!" Surely we did.
Walter was some kind of mathematical genius on a set of pills. He
invaded our living room; scrubbed the desk to near sterility,
then covered it with Saranwrap before proceeding to work out the
formulas for the interaction of the overtones in a tambura. Later
he became a Scientologist and impossible to take, but in the
early speed-crazed days there was a great deal of charm in his
madness.
Corinna appeared out of nowhere. She fancied herself a witch
of sorts. A large, fleshy, pale girl who was probably much
younger than the sixteen she admitted to, she'd lead strange
rituals on the street in front of the house. Breaking eggs in
the gutter, strewing salt here and there. She claimed to have
been a girlfriend of Bob Dylan in Woodstock. Who knows? We did
discover that she had, in fact, lived in Woodstock. The image of
her that lasts indelibly for me is the time we had all smoked
some opium. "Can I have the scrapings?" she asked. Sure. She
proceeded to mix the scraping from the bowl of the pipe with a
little water and gouge a hole in her vein with a safety pin.
Into this she squirted the black sludge with an eyedropper.
There were friends who had their own homes, too. Sibyl
painted Norman and Ellie's room in the attic. Beth still led the
way in sewing the best costumes. A documentary film crew
discovered us in the park and followed us home. The movie is
called Revolution; I never run into it. But in it you see us
eating a spartan meal. On the soundtrack Maurice drones on in
his obnoxious manner. As I recall, everything looks a little
tawdry.
Reality, was in fact, rearing its ugly head. There was not
enough money coming in. Ellie and Toni had to go to work so we
could pay the rent. Julius kept us in pot, so that was not a
problem. But the kids needed to eat and the rent had to be paid.
Denise was a vegetarian, and the days she spent at our house
she'd cook up a delicious dinner for herself. "We ate bones,"
says Ellie when I ask her how we managed to survive. But Denise
cooked brown rice, lentils, a few stir-fried vegetables with soy
sauce. This was clearly more nourishing than "bones". Trixie
and I decided to become vegetarians.
Vegetarianism was a philosophy, an acknowledgment that you
take better care of your body than you had been. So I gave up
drinking coffee, too, and smoking cigarettes. Until now I was
never without a cigarette, even during performances. On some
level I thought this looked cool when in fact it just looks
sloppy. And think of what it did to my already inadequate
singing voice.
Sara decided we should start doing yoga exercises. We were
turning into sedentary creatures. So every morning we went into
our "back yard" and performed the salute to the sun together.
First we had to remove large amounts of dog turds and pull up
vast bunches of wild fennel. But eventually we created a place
where we enjoyed saluting the sun. We still smoked dope, but for
the first time in my life I had a sense of wanting to do the
right thing for my body.
There was a good deal of friction in the group, at this
point. Somehow when the going gets rough, people's real feelings
about each other tend to surface. Sara and Michael were not
happy in the group, and why should they be? Norman was becoming
more and more critical of those of us who were not musicians. I
suppose he was dissatisfied with himself; his old friends from
the University of Chicago were having great popular and critical
successes with their music, and here he was with a sort of joke
band. The band that takes acid every day. Suddenly Michael
didn't play good enough guitar. In truth, he didn't, but Norman
was not very diplomatic about it; and I sang off key. Which I
did, although when I listen to old tapes it was not as bad as all
that, just kind of thin. Sara started teaching me vocalises
which we performed every day for maybe two weeks. I didn't want
to practice; I wanted to be a star.
Annie's drumming became erratic; she got tangled in an
emotional mess. One day when she was swinging on the chinning
bar in the kitchen door way she fell on her head. A few hours
later she started acting strangely: she stuck her head in the
waste basket, she said things that made no sense. We took her to
the hospital, which was just a few blocks away, where they told
us she had a concussion. When she got better she moved home to
her parents. A couple of years later we heard she had a job
teaching painting somewhere. But I have never seen her since.
If I should name an "acid casualty", it would be Annie. I've
never quite forgiven myself for what happened to her. Somehow we
(I) could have helped Annie more; but we were too caught up in
our own interests to respond to her signals. And going home to
her parents was not the right thing, I'm sure of it. A creative
and highly-charged individual was squelched.
Little Richard became our drummer. He lived in a real hippy
crash pad in the Haight, run by a large, dishevelled woman named
Sylvia. Anyone could crash at her apartment, and many did.
Sylvia had a boy of about four and was hugely pregnant. The pad
was a mess. No one cleaned, no one took responsibility. Sylvia
and the longer-term crashers supported themselves making jewelry
they peddled to tourists in the streets. I imagine Sylvia got
welfare, too, so the daily needs were met. Despite the chaos
that prevailed, the feeling at Sylvia's crashpad was warm,
friendly and comforting. The door was never locked and everyone
was welcome.
The doctor from the Free Clinic dropped by to see how Sylvia
was doing from time to time. But the day she had her baby, he
did not happen to be there. We received a phone call to hurry
over, the baby was coming. Adrienne, Richard and I rushed over,
and by the time we got there, Sylvia was lying on her bed on a
bunch of newspapers (they were supposed to be sterile), with the
new baby in her arms. It was a girl, and she had obviously just
appeared.
Cowering in the corner of another room was Sylvia's little
boy. "When I went into labor, we all dropped acid," said Sylvia.
"Todd took some too. It's his first trip." The boy looked
terrified, but he was keeping a grip on himself. Somehow he
sensed that the birth took precedence. "We better get the
afterbirth," said Sylvia. Adrienne and I, who had no experience
in these matters, set to work. While we gently pressed on
Sylvia's abdomen, we pulled at the bloody substance hanging out
of Sylvia. Thank god she was such a big woman; there were no
problems. Suddenly she had one contraction and whoosh, out came
her afterbirth all in a piece. A number of stoned young hippies
watched and cheered. We wrapped the mess in some newspaper and
threw it in the garbage. For some reason all the windows in the
apartment were open. We closed the ones in Sylvia's room. When
we looked around it became obvious that the room had been cleaned
for the baby's birth, and fixed up. There was incense burning.
Some food had been set aside for Sylvia. Usually food was
devoured the instant it entered the apartment. Someone was sent
to the Free Clinic to get the doctor, who came quickly. He
treated the baby's eyes and pronounced her healthy. We propped
Sylvia up in her bed with her new baby and her boy, and went into
the Haight to celebrate the birth. Everything was groovy.
Denise was going to join our band, but one day we heard she
was in the mental hospital. This happened a lot in those days
and seemed unreasonable to me. Parents decided that their
children in deciding to drop out of straight life and become
hippies, had lost their minds. Some of them had, of course, gone
overboard, but often it was just a question of parents refusing
to accept that their might be a different approach to life than
the one they had opted for. Now that I'm the parental
generation, I see what they meant. At the time it seemed
unreasonable. When Denise got out she was somehow involved with
an all-girl band called the Ace of Cups. Julius was going to
manage them, too. So she didn't join the Triple A. But Charlie
and Sandy did. Or rather Charlie did; Sandi didn't play an
instrument.
It was a real turning point when Charlie joined the band. He
was an excellent musician, played fabulous Hammond organ. Norman
finally had someone he was proud to play with. And we others
realized (slowly) that Charlie considered what we did worthwhile.
He loved Trixie's songs. He thought I performed just fine.
Michael's guitar playing wasn't great, but it was adequate.
Richard's time was a problem, but if Charlie played with a firm
hand, he managed to keep it together. We gradually started to be
a little more bookable. We were not just a novelty-act. People
could actually dance to our music. Until now the main reaction
of all but the most far-out had been puzzlement. Now it became
approval.
Not that we became any less stoned or far-out. Every day we
practiced in our windowless basement. In order to muffle the
loud noise and avoid the neighbors' wrath, the room, whose
ceiling was so low your head grazed it, was lined with fiber
glass insulation. In order to absorb the most sound possible, we
hung it with the pink side facing in. At the end of rehearsal
we'd all have bits of fiberglass insulation clinging to our hair
and clothes. They say the stuff causes cancer. So far none of
us has developed it. But in any case, it was a creepy place to
spend the day. On the occasions when the glue-sniffing kids from
the block would drop in to listen to us rehearse, the grim scene
was complete. This was not just psychedelic, it was grotesque.
Julius and Ron were friends with the Grateful Dead's manager,
Ron Scully. So were we all, for that matter. The Dead had moved
to a big Victorian house on Ashbury Street, which became a kind
of center of groovy activities. The year was 1967, the Summer of
Love. Thousands of young people had poured into the Haight
Ashbury from all over the country. The word was out, San
Francisco was the place to be. In every tree in Golden Gate Park
you'd find someone camping out. The streets were lined with
panhandlers. The Diggers organized their daily free-food
program. At the time no one wondered where they got their money
from, nor would we have cared. This was the party everyone had
been waiting all their lives to go to. And the biggest
celebration of all was to be the Summer Solstice. A number of
bands would each be equipped with a flat bed truck with a PA
system and a generator. The mayor of San Francisco was
cooperating. We were allowed to cruise the park, play wherever
we wanted. Over a hundred thousand participants were expected.
The sheriff was going along. When George Harrison walked through
the park a few days before the Solstice, pandemonium broke out.
Tourist buses intensified the already daunting traffic jam.
Peace and Love were the rulers of the day.
When someone asked you if you had any spare change, you
reached in your pocket to see if maybe you did. Generally you
didn't. Our money was communal, kept in a cigar box. You didn't
take any for personal needs; what little there was went to food.
Once we all went to the twenty-five cent movies to see Bonnie and
Clyde which had not become a hit yet. And once, in a fit of
extravagance, we all went to the Cinerama movie theatre to see
Grand Prix. Michael had to see this film, and rather than send
him to see it by himself, everyone had to go. A major
undertaking. We claimed that we were trying to be communal. In
fact I think there was an underlying fear of missing out. If he
did it, we all should be allowed to do it. Because there wasn't
really enough to go around, what little there was should be
scrupulously divided among everyone.
Owsley Stanley, also known as the mad chemist, had helped
finance the Grateful Dead, or so we were told. How? By selling
vast quantities of LSD. Now, when we first started dropping
acid, it was not illegal. You could order it straight from
Sandoz in Switzerland, which many did. The formula was
accessible to anyone. The technology was very simple, it seemed.
All you needed was a rudimentary chemistry lab. Owsley, an
unpleasant little man, who always struck me as being paranoid,
became the king of acid. Genuine Owsley was the best that could
be said about any given acid. Somehow Owsley's Acid was more
psychedelic than Sandoz. It turned out that was because he put
speed in his acid, which caused hallucinations on a much greater
scale. Like any other entrepreneur, Owsley was too driven to
rest on his laurels. He had to come up with new drugs. His
major new development was called STP, and was launched to the
general public on the Summer Solstice. Thousands, maybe hundreds
of thousands, of pretty little colored pills were handed out,
free of charge, to anyone who wanted them. I put a huge handful
in my pocket and distributed them to everyone I met that day.
I'm not sure everyone took it, but a huge number did. It was
very strong, much stronger than acid. You could function okay,
maybe better than on acid, but the effect was intense beyond our
wildest imagination. Every sound was magnified. Every subtlety,
every tiny component of even the most trivial every-day sound,
became cosmically clear. During the celebrations in the park,
general euphoria ruled. Everyone's music sounded fabulous.
Unfortunately our truck had some engine problems -- could they
have been caused by our driving the truck into a ditch at one
point during the day? -- and barely made it back to the rental
place, black smoke enveloping it as we roared down the street.
The day was a brilliant success.
Except for the fact that Heather, Sara's five-year old
daughter, had taken some STP. A whole pill. She became very
quiet. Like she was listening closely to everything. Sara and
Michael took her to the Stanford Hospital in Palo Alto. She was
put under observation. Since no one knew what exactly STP was,
there was obviously no antidote. Eventually she came down, and
apparently she was fine. But it must have been hard for Sara,
and it might have had something to do with her and Michael
deciding to leave the communal life, although the rest of us
interpreted their decision as being somehow just selfish. They
were not cosmic enough to go through with it.
Meanwhile the rest of us were still very much high. The
first night was okay. I discovered overtones on the piano. I
had often heard about overtones, but I had never heard them
before, except in cases where they were very obvious, like the
record with Czechoslovakian folk songs, where the singers
consciously sang harmonies that created independent, totally
distinctive overtones.
Maurice showed me how to depress the sustain pedal and "rock"
between the tonic and the fifth of a chord. C and G, say. If
you listened closely you'd suddenly hear cascades of tones
playing under the two notes; every melody you'd ever heard was in
there, every harmony. Then, while continuing the drone between
those two notes, you could pick out a simple tune with the other
hand, which would set off even more intricate patterns of
overtones. All night I hung in the piano. This was the most
profound experience I've ever had in music. The effect has never
worn off, though it has lost some of its impact. We had a
tamboura at the house -- the Indian drone instrument. Now I
heard the infinite levels of overtones in it for the first time,
too.
Dawn came and I was still awake. So were many thousands of
hippies all over the city. I smoked a joint and tried to get
some sleep. Ha! Every note of music I'd ever heard was playing
in my ears. Every sound in the house, in the city, in the
country, in the universe, reverberated in my head. I was
exhausted, physically and emotionally, but I was not able to go
to sleep. The rest of the household woke up (Ellie did not take
drugs, the children didn't either) to find exhausted casualties
of the previous day's excesses.
All day I tried to rest, but the music of the spheres kept me
awake and alert and on edge. By that night I was in despair.
Would I ever sleep again? I cried, encouraging the tears,
remembering how as a child I'd sometimes been able to cry myself
to sleep. And indeed, after 48 hours, I did fall into a troubled
sleep.
Many people must have had the same experience. Owsley
decided the dose in the tablets had to be lowered. He made them
one tenth as strong in the future, and they were more manageable.
Like with a kind of booze that gets you sick drunk, many of us
developed an aversion to STP. I'm sure I took it again, but it
was not a favorite. The overtones, on the other hand, have
stayed with me. Well worth the price.
Bruce Conner got Trixie a part in another movie: Ben Van
Meter's Naked Zodiac. Idiotic as it sounds, this movie featured
twelve naked girls, one for each sign of the Zodiac. I never got
to see the movie, but it must exist in some vault somewhere,
since Ben Van Meter is one of the grandfathers of avant garde
cinema in this country. I did get to take Trixie to the world
premiere. Obviously there was not enough money in the cigar box
to allow me to enter the theatre. But it seems odd that Trixie
didn't get to take a guest. In any case, I had a Honda 50, on
the back of which I drove Trixie to the theatre. One day in 1988
I was talking to Trixie on the phone: "Do you realize I wore a
completely topless dress to the opening of Naked Zodiac?" "You
were constantly appearing topless, dear." "I'd never do that now.
What was I thinking of?"
What, indeed? In any case it made her notorious. The next
year, when we'd moved to Marin County, Rolling Stone magazine had
an issue about the groupies. Although she wasn't exactly a
groupie, Trixie was featured as the topless bass player for the
Anonymous Artists of America. I was described as her
yoga-practicing near-saint of a boyfriend who got up at six every
morning to do his asanas. The real excuse for the article, of
course, was to run pictures of Trixie. Topless. One where she
stands in a little mini-skirt and silver boots holding her bass
in one hand as if it were a dead fish or a foreign object of some
enigmatic origin. Another picture appeared as a poster for the
issue: Get it here! read the caption, and the picture showed
Trixie sitting on the floor playing her bass, one breast peeking
coquettishly over the instrument. The pictures were a big hit:
at year's end, Trixie was the Rolling Stone Girl of the Year.
Trixie and I were still room-mates, but we were not having
sex anymore. Somehow we avoided talking about why not. I
convinced myself I was just too cosmically oriented. Did I
really? Probably not. One evening I wandered into San Francisco
by myself. In a doorway I passed to hookers who whistled at my
long hair and hippy-dippy outfit. One was black, the other
white. I don't know how I came to be walking around by myself.
Usually no one did anything by themselves: everyone went
everywhere; it was as if we were afraid we'd miss out on
something. But this night I was alone; after wandering around
for many hours, probably dropping by gay bars, I was headed home,
when out of a second story window I saw a face looking out: the
black hooker. It must have been four in the morning. There was
no one in the street. The hooker asked me up; I was pretty sure
she was a drag queen, but not a hundred percent. I'd never had
sex with a drag queen before, the thought was exciting. So I
went on up. Very demurely we started having sex. Eventually the
very tight underpants she was wearing came off to reveal, as
suspected, a huge dick. The experience was a total success.
After having sex, I lay in bed with my new friend and took in the
house: a real fleabag boarding house. I slept for a few hours
and in the morning when I got up to go home, other lodgers were
up and about. As I walked out the stairs I was followed by
whistles and wolf calls. "Oh, Mary, you got yourself a hippy
this time," sing-songed one of my hooker's friends. Somehow I
was proud of having had this tacky experience. I didn't go back,
though; but I didn't have to pay, either. Not that I could've
paid, of course.
At a gig in San Jose, Trixie met Steve Miller. We all met
him, of course, but Trixie was the object of interest. She had
written a very elaborate song called "Swann's Way", inspired by
Marcel Proust, but not in any real way connected with his book.
The music for this song was so complicated it was hell to play.
There were endless chord and time-signature changes. But when we
managed to play the song through without coming to a dead halt,
it was indeed a lovely and unusual piece of music. Steve Miller
and his band walked into the dance hall just as we launched into
"Swann's Way", and for once it went off without a hitch. He
stood at the foot of the stage and listened slack-jawed.After
the set was over he came gushing over: "That was the most
beautiful song I've ever heard. Who wrote it?" Trixie did. And
thus began a flirtation that was to continue for the next year or
so.
Adrienne and I became sort of Trixie's Panders. Rather than
just show up at Steve Miller's house, she'd get us to go with
her, as if we just happened by. Since they always had great
dope, Adrienne and I didn't mind. Sometimes we'd just visit and
then all go home, but usually we'd leave Trixie there. While
Adrienne and I smoked opium with the other members of the band,
Trixie would vamp Steve Miller, who, it must be said, was a good
deal more attractive in his younger days than he became at the
height of his career.
We were completely poor. My father had cut off my allowance
and our only income came from Ellie and Toni who went to work
every day to support us, and from the occasional gig that
actually paid. Most were freebies. So when Christmas rolled
along there was no money for presents. If we wanted to give any,
we had to make them. That was fine by me, I always loved making
things. I decided to make candles. For weeks I saved up all the
cardboard tubes I could get my hands on. These were mostly from
paper towels or toilet paper rolls. The technique was to melt
wax, dye it in lots with old crayons, and pour it in the tubes
where I'd arranges wicks beforehand. The result was endearingly
coarse, and the candles did in fact burn. I was melting wax in a
coffee can on the stove. It must have gotten too hot: suddenly
it burst into flame. I quickly turned off the flame and covered
the can with a plate to starve the fire. In a moment the flames
were out and I removed the plate and grabbed the edge of the can
with a potholder, so I could carry it outside. Sickening fumes
were still pouring out of the can. As soon as I moved the can it
spontaneously burst into flame again. The hot wax splattered up
my hand. I was in agony as I dropped the can, screaming. My
hand immediately blistered up. The pain was excruciating. I
stood there staring at my disintegrating flesh, catatonic.
Adrienne whisked me into a car and rushed me through a dozen
red lights to San Francisco General Hospital, which fortunately
was in the neighborhood. The shock had worn off. I was in
agonizing pain. We rushed into the emergency room: "Quick, this
guy has third degree burns," hollered Adrienne. A laconic nurse
took a look at my burns and shrugged. "Come with me," she said.
I was moaning with pain. "I need a morphine shot," I begged. The
nurse gave me a fish-eyed look and sat me down on a stool in
front of a rickety old typewriter table. "Put your hand in this
water," she said and placed a basin of lukewarm water in front of
me. "And take this." She gave me an Excedrin. "The doctor will
see you as soon as possible."
I waited an hour like that, in excruciating pain. Finally a
doctor turned his attention to me. "Nasty burn you got here." He
cut off the hanging bits of skin and covered the whole burn with
some yellow ointment before bandaging it. "You have to come back
every day for a new bandage." Since I lived in the neighborhood,
that was no problem. Since it was Christmas, my daily visit to
the hospital was like seeing a new horror movie every day.
"Yeah," said one of the nurses who worked on me one day, "the
holidays are always the worst in the emergency room. People get
drunk and have accidents. They get drunk and shoot each other or
stab each other. They get drunk and set fire to their house. I
don't know, they just get drunk and get in trouble."
When Adrienne and I got back to the house, my friends had
mustered all their resources. Someone had found a couple of
Codeine; Walter had gotten out a lump of opium; and the communal
cigar box had yielded money for a bottle of brandy. Within an
hour I was feeling much better. The pain was still there, but it
didn't matter, and eventually I passed out.
After New Years we decided to move to the country. Living in
the city was depressing. If we were going to poor, we might at
least try to make the most of it. We saw an ad in the paper for
a large house in Novato, which is in Marin County. In 1968,
Novato was at the end of the line as far as Marin County went.
There were still farms and dirt roads. The owners of the house
we rented were leaving in a great hurry for Pago Pago. Really.
We were later to discover that they owed the bank a great deal of
money; eventually the bank repossessed the house and we rented
from the bank. But at first we worked out a deal with these
strange people: we'd take responsibility for their house and
their daughter-in-law's horse (!) and each month we'd deposit the
rent in the bank. It all seemed too good to be true. The house
consisted of a big main house with a number of bedrooms and a big
attic that became bedrooms for more people, eventually. In the
back yard was a garage/barn and an outbuilding with a bedroom,
that became Trixie's and mine, and a big ugly office, that became
our practice room. A creek ran through the corner of the
property; big trees shaded the drive way. And best of all, there
was a swimming pool. We had really landed in Heaven, somehow. A
half a mile away, the Grateful Dead rented a ranch where they
kept horses; many other bands lived in Marin County, too. Somehow
we were moving into the big league.
The only hitch was how to pay for all this. The solution we
came up with was that Adrienne would get a job working at the
linear accelerator at Stanford University. She could live free
of charge with our lawyer-friend, Jim Wolpman, and his wife
Anita. Every week-end she'd come home in the boat of a Lincoln
Supreme that she got to buy for commuting: it was white with
tinted glass and white leather upholstery. Everything was
power-controlled. You felt like you were sloshing around in a
vat of jello when you rode in it. It had a lot of power.
Eventually the thing died and had to be abandoned on the highway,
but for the time being it was a little compensation for having to
work. Also, Adrienne got a very nice bedroom with its own bath.
She became sort of the person of honor in the group.
Not very logically, Ellie decided to help Adrienne with
spending money. Every Sunday before Adrienne got ready to go back
to Palo Alto, Ellie would bake a batch of rogelach, traditional
Jewish pastries. Adrienne would take them to the Free University
's office in Palo Alto, where they'd be sold for a quarter each.
Whatever money she took in this way, she got to keep. It
couldn't have been more than a few dollars. It was the thought
that counted.
Our life was greatly improved. I'd go riding on the horse,
Emily, who was a sweet old thing. At the end of the road I
entered a huge cattle ranch with meandering trails where I could
ride around for hours without seeing anyone. And I did, in fact,
practice yoga. We all enjoyed the pool, at first greatly
shocking our neighbors who were German immigrants of the whitest,
most upright sort. Eventually we put up canvas on the fence
around the pool so they wouldn't have to watch us cavorting
naked. A few blocks away was a houseful of Christian hippies.
Their mission in life was feeding the hungry in the Haight
Ashbury. They had an arrangement with the local supermarket.
Every day they'd collect the produce that could no longer be
sold, and make a big vegetarian stew that they'd cart to the city
and ladle out free of charge. I suppose they dispensed Christian
pap, too. Since we were not Christians, we didn't get free food
from the store; but what the Christians didn't use for
themselves, they 'd give to us. Christian garbage, we laughingly
called it, and made plans for marketing canned food under that
label. The Christians brought their children over to swim in our
pool. When they left, they left behind paperback New Testaments
for our edification. We had to tell them to stop littering our
pool area or they would not be welcome to come back. But in the
long run their greatest offense was naivete, and we got along
fine with them.
I got a loom from someone, and set up a workshop in the
garage. Adrienne started grinding a lens for a telescope. Trixie
got involved in making huge collages from magazine clippings. We
lightened up, slowed down a bit.
We fell in with a group of hippies from San Diego. Dope
dealers, I realize now, but everyone was a dope dealer in those
days. They were also into rock'n'roll. Trixie started up an
affair with "Fred Tushe", who had a more conventional name, but
was given this one that has stuck to this day by Maya. He was
supplying the Jefferson Airplane with cocaine and talked big
about how big he was going to make the Triple A. Great, but
meanwhile we needed to eat. We found a place in Glen Ellen
called Rita's Mexican Kitchen, that was just our speed. Rita
could have stepped out of a Tennessee Williams play; very relaxed
about life and interested in having a good time. Her place was
kind of dirty and dilapidated and attracted a boozy, laid back
crowd. They liked us. Liked that we weren't too slick; that we
sometimes had to stop a song and start over again to get it
together. And no doubt liked that we'd play for dinner and a
hundred dollars.
Musicians flocked to Marin County. Bloomfield moved there,
Carlos Santana. When Butterfield came on tour (he lived in
Woodstock still), he and his wife stayed with us and everyone got
together to jam in our rehearsal room. These were the times when
Norman was the happiest: real musicians playing real music. When
they all left he'd be less happy again and more critical of the
rest of us and himself. Too bad we couldn't perform miracles and
suddenly turn into B.B. King and Howlin' Wolf.
My mother announced she was coming to visit, which was cause
for joy as she always made her visits into non-stop parties, even
the one that was caused by my bust. I think I was living out her
fantasy. She'd given up the wild life to marry my father and
have a family and here was I, thirty years later, living way out
on the edge. Although she had to feign concern, she approved.
Adrienne vacated her room so my mother could stay with us. We
started planning a big party to welcome her; a party she would,
of course, pay for herself. Then suddenly someone had an idea:
why not make it an occasion? Why not have a wedding? Yes, Toni
and Len would get married and we'd have a wedding party. It must
have been Toni and Len's idea to a certain extent, but somehow I
remember it as a group idea. In any case, it was a biggie. The
ceremony took place by the pool. Adrienne, in top hat and tails,
read from The Naked Lunch; Trixie read from Gerard Manley
Hopkins; our friend "The Rev", who was in a local soul band,
administered the actual vows. Everyone we'd ever known was there
and the party promised to never end.
Every few hours my mother would decide we didn't have enough
booze and she'd corner Adrienne to get her to go to the store for
fresh supplies. Fortunately the store was at the end of the
street. "I had to drive with one eye closed," half-bragged
Adrienne, aware that she might as well be in jail or in her
grave. "I just followed the center stripe till it stopped. I
knew that's where the store was."
The party went on for several days and no one seemed to need
to sleep. Cocaine was the reason. No one attempted to hide the
fact from my mother that drugs were flowing freely, and she was
fascinated: "Are you on or off?" she'd ask people, staring
intently in their faces. They were definitely "on".
We were not an easy band to book. People were intrigued by
what they saw and heard, but they were not so sure they liked it.
Some times we sounded pretty great and the general feeling of joy
would pervade the entire crowd where we appeared. But at other
times, not infrequent ones, unfortunately, there was something a
little off about our music. Maybe we were hassling each other,
which especially if it was Little Richard hassling with Norman,
would lead to erratic drumming and consequently a beat that was
impossible to dance to; or maybe Norman was just a little too
stoned to quite get his guitar in tune. The music proceeded, but
it kind of upset your stomach and produced a worried feeling in
the crowd that couldn't be explained. And we were not your
typical band: four guys and an equipment manager, maybe a couple
of groupies; no hassles beyond a little drunkenness. We brought
along everyone: naturally the children; but generally the dogs,
too; any friends who happened to be around were welcome. The
result was that to book us was to invite a motley invasion. On
good days this could result in a veritable love-in; on bad ones,
it was like veritable love-in; on bad ones, it was like booking
an encounter group.
So it was with considerable excitement that Julius told us
we'd been asked to play at the Sky River Rock Festival outside
Seattle. This was a weekend-long event put on to benefit the
Indians of the Pacific Northwest whose salmon-fishing rights were
being disputed by the department of the Interior. There was no
money in the gig, but all our expenses were covered. Which were
considerable: they flew us up to Seattle and put us up in a fancy
high-rise hotel downtown where we were allowed to order food from
room service. The groupies attached themselves immediately, much
to the thrill of the single males in the group. Charlie's
girlfriend Sandy took control of matters right away, decided who
could come up to the suite and who couldn't, and when. Her
organizational powers were considerable and we all agreed she
should start a cathouse some day.
The weather was abysmal; for days it had been pouring rain
and it was making no signs that it would stop. We could care
less, of course, since we were staying in the lap of luxury in
Seattle. But at the festival, it was another matter. Twenty
thousand people were camping out in two feet of slimy mud. It
was like a great seething stew. Amazingly everyone was very
happy. They just dubbed the event the Sky River Mud Festival,
dropped a little more acid, and decided to enjoy themselves. The
first day we played at sunset, immediately following Big Mama
Thornton. She's a hard act to follow, a real crowd grabber. But
this was our lucky day: we seemed to have it together. This was
by far the biggest crowd we'd ever played for: you couldn't see
the end from the stage. Our friend Glynn, who was a
belly-dancer, was performing with us, and the effect was quite
lovely. With the sun coloring the receding rain clouds all around
us, we struck up our music. The stage was huge, so Glynn had
ample room to twirl and sway, letting her rainbow colored scarves
fly up into the beams of the spotlights. The rain had stopped,
finally, and the feeling was definitely mellow. We were a hit.
The next morning I walked through the lobby of our hotel when
a man in full Indian drag approached me. "Hello, friend."
"Hello!" "What tribe are you from?" I could easily be mistaken
for an Indian; I wore my hair in braids, was clean shaven, and my
clothes, though hardly traditional in any way, might belong to
some kind of acid-crazed Indian. "Actually I'm from Denmark," I
smiled. This elicited a big laugh from my questioner, who
introduced himself as Rolling Thunder, from Nevada. He was here
to help the cause, too. I assured him again I was not an Indian
and he chuckled as he walked away. All day I noticed Rolling
Thunder eyeing me with a smile. Just before it was time for us to
play again, he came up to me once more: "Seriously, what tribe
are you from?" Again I looked him straight in the face and told
him the actual truth. Again he clearly thought I was kidding.
When I told someone about this incident later on, they explained
to me that I had exhibited typical Indian humour: when someone
asks a question you answer it so outlandishly that you can only
laugh. But you avoid telling the truth. Of course, I had been
telling the exact truth with no intention at creating a humorous
situation, but I was unable to convince Rolling Thunder. I met
him several times in the following couple of years, and he always
greeted me with a crooked, ironic smile, as if to say, "You
joker! You've really got me confused."
Ellie's sister, Joansie, told us about a wonderful Indian
guru who was coming to town. His name was Maharishi and he
taught a kind of meditation that anyone could do and that
inevitably led to Cosmic Consciousness. To be initiated you had
to pay twenty dollars and stop smoking dope for two weeks before
initiation. And you had to attend two introductory lectures.
Joansie had been initiated in the first group in Berkeley and was
thrilled.
Suddenly Maharishi was everywhere: on the cover of Time,
Newsweek, Look, Life. The Beatles were going to India to study
with him; so were a bunch of movie stars. Our friend Sibyl, who
was at Yale, told us she was getting initiated when they did the
first group in New Haven. Ellie and I decided to check it out.
We drove to Berkeley for the introductory lectures. They were
given by a man named Jerry Jarvis, who was also going to do the
actual initiation; he was Maharishi's right hand, so to speak. I
decided I could give up smoking dope for this. After all, dope
was just a way to get close to cosmic consciousness; maybe this
would really get me there, in which case giving up dope would in
no way seem like a hardship. Ellie didn't smoke dope or get high
in any other way, anyway.
We went to the headquarters of Students International
Meditation Society in Berkeley. It was in an old fraternity
house; in 1968 fraternities were at a low ebb and their houses
could be bought for a song. I line had formed outside of people
who wanted to sign up for initiation. Ellie's and my turn came
and we told a nice young man wearing a flasher-type raincoat over
shorts (no shirt) and bare feet in black businessman's shoes,
that we could not afford to pay twenty dollars each, but that we
really wanted to learn, so we hoped they understood. "What can
you pay?" he asked. "Well, the group has decided we can have ten
dollars for both of us." "Fine. Bring a clean handkerchief
each, three flowers, and some fruit and rice. They're part of
the initiation ceremony."
The day of the initiation Ellie and I got dressed in our
nicest clothes. For Ellie this meant a little red-white-and-blue
striped dress I'd made her; for me it meant rainbow-painted
bellbottoms and the fluorescent harlequin shirt, along with a
rainbow colored set of beads and matching head band I'd made
myself. Most of the other initiates were more soberly dressed,
but we were not the only ecstatic participants. The initiation
ceremony took place in a room with subdued lighting and was very
simple and somehow moving. Most of it was in a language I didn't
understand. Hindi? Sanskrit? But at the end, Jerry Jarvis
whispered my mantra in my ear and said: "When you plant a seed,
it grows best if you leave it be in the ground; don't disturb it.
A mantra is like a seed: don't say it, once you know it, just
think it."
Much has been made of this; obviously these people want to
make the maximum amount of money possible, so they don't want
anyone to tell anyone else their mantra. But their explanation
has always made sense to me and I have never spoken my mantra,
even when I was completely alone and no one could have heard me.
After initiation we were led to another room with a number of
chairs, where we were to meditate; to make sure we had a clear
idea of how you did it.
For once I was not high on any mind-altering substance, but I
was floating. Both Ellie and I felt euphoric and giddy.
Light-headed. At the toll-booth of the San Rafael bridge a big
hairy biker walked up to my window and indicated that I should
roll the window down. I didn't know what was going on, but I did
as he said. Before I could ask how I could help him, he punched
me in the mouth. "That'll teach you to cut a guy off." I was
completely stunned, I had no idea what he was talking about. But
probably in my blissful state I had failed to give him wide
enough passage. I always thought the real reason he hit me was
the vibes I was giving off; very much the opposite of what he was
exuding. In any case, no major damage was done, and Ellie and I
proceeded home.
Meditating changed my life. For the time being I stayed off
the drugs; I was getting high on meditating. This made for a
healthier and more peaceful life. And it made me see the
insanity in getting caught up in the various intrigues within the
group. Toni had started singing with the band, too. Being
black, she was supposed to be a natural singer. Only she wasn't.
But somehow I was made to feel that she was much better than me;
and Norman started singing as well. He wasn't so great, either.
I was perfectly aware that I was not a great singer; but from
there and to Toni and Norman being Aretha Franklin and Otis
Redding (I guess he'd prefer James Brown) was a long jump.
Rather than obssess about it, meditating let me deal with it
lightly. I made myself scarce at rehearsals and spent my days
doing other things that made me happy; cooked breakfast for the
kids, worked with my loom, painted fabrics, went riding on Emily.
I had my Honda 50, too, and went for long rides all the way up to
the mouth of the Russian River on nearly deserted country roads.
Trixie and I still lived together officially, but in fact she
was hanging out with Fred Tushe a lot by now. They stayed in a
tent by the pool; so I had the room to myself. An old college
friend of Trixie, Elaine, and her husband, Chip, had recently
moved to "Meatball Mountain" in Sonoma County. Chip had been in
a group called The Free Spirits with Larry Coryell and Gary
Burton; they'd had a quasi-hit with an Indian peyote chant,
"Wichitaito". But now they'd disbanded and Chip and Elaine had
move d out here. Like us, Chip was very interested in geodesic
domes. They shared their tiny house with a steady stream of
friends who came and went, among whom were Robert Sussman, a New
York artist, David Ackerman, a dope dealer and drummer and Ace
Hanson. This was not his real name, but a "prankster name", just
like Trixie Merkin wasn't her real name either, or Fred Tushe
his. It was the thing to do, to make up a name that somehow was
amusingly more appropriate than the one you had been given.
The first time I met Ace was at Chip and Elaine's house on
Meatball Mountain. He seemed strange. Far from good-looking, he
nevertheless exuded sexuality. He was always rubbing everyone's
back with more than normal intensity. You had the feeling he
wanted to have sex with everyone. Men, women, children, dogs,
cats. Chairs? If he could find a way, he'd do it. Nothing
happened between us that afternoon; I tried to stay away from
Ace, after all there were people all around, I couldn't just drop
all my inhibitions and start getting it on then and there. But I
was thinking about him all the time. My meditations became
struggles to accept my desires. Whenever I meditated, there was
Ace. I had to deal with it, there was no way around it.
Some days later Ace and Robert showed up at our house in
Novato in a huge Flexible Flyer bus. As they pulled over the
bridge to enter our yard, one of the front wheels ran off the
bridge and the bus got hung up, dangling there in our driveway.
It was evening and nothing could be done about it till the
morning. They decided to spend the night. When I said goodnight
and went to bed, Ace got up and went with me. I feeling quite
panicky. What would my friends think? But I was also determined
to admit to myself what I wanted and to go through with it. Ace
spent the night with me and it was wonderful. No one said
anything the next day, though there could be no doubt as to what
had gone one. I thank meditation for making me able to accept
who I really was and for giving me the courage to "come out" to
my friends.
Fred Tushe had a group of friends in San Diego; hippies in a
commune-like situation with dope-dealing as the main source of
income. Like the rest of us. Some of their "names" were Loose
George, Loose Nick, Anchovy, Hawk, Bobo. Loose George's father w
as a prominent business man. He lived in an elaborate house on
the beach in Del Mar. Picture windows overlooking the ocean,
swimming pool, indoor barbecue grill, the works. When his
parents were away on vacation, George set up a gig for us at the
University of San Diego in La Jolla. We'd stay at George's
parents' house. It sounded perfect.
As soon as we arrived at the house it was ascertained that
the bar was locked. No problem; we just removed the hinges. A
small party was planned for after the gig. Somehow word got
around and it turned into a rather large party. There were a lot
of bikers there; some fights broke out. By the end of the
week-end the house was fairly trashed. Everyone laughed and
joked about it, but we were not asked to stay there when we came
back a few months later. And George was definitely in trouble
with his parents.
Our return engagement in San Diego was to play at a new dance
hall that our group of friends had decided to open. The local
authorities were not thrilled and had been giving them a hard
time from the start; but somehow they had gotten all their
permits together and were staging dances every week-end.
We knew that the San Diego Police was as conservative as the
San Mateo Police or the Orange County Police and we were in no
way hoping to have a run-in with them.
Sibyl had met a guy at Yale named Al Rubottom. She called
him "Ali" and her "Tibetan prince". We knew she was given to
fantasy; but when she announced that they were going to get
married, we decided that we had to play at the wedding, even
though it was three thousand miles across the continent in
Connecticut.
Sandy had a friend named Lucretia whose boyfriend, Alan, was
the heir to a major hotdog fortune. He had a great deal of
money. It would be ingenuous of me if I pretended this fact had
nothing to do with our agreeing to let them move in; remember we
h ad a communal money system. "From each according to their
means, to each according to their needs." Well, there wasn't
quite enough for that. But we needed money, and Alan was willing
for us to have his. The fact that Alan was sliding into insanity
was just a minor detail we had to deal with. After all, who was
totally sane? So we set up a joint bank account between Alan and
Adrienne, and we started spending. Adrienne quit her job and
moved back home. If we were to go to the wedding, we had to have
a way of getting there; we bought an old school bus and painted
it up real bright and fixed it up with pretty curtains and tables
and benches.
Ellie had just had a new baby, a boy called Allright, and was
not in any condition to travel. So we left her alone in Novato
with Alan. To this day she has not forgiven us, but in fact
nothing happened other than possible psychological discomfort
caused by Alan's having begun to mutter incoherently to himself.
It turned out the Caballah was somehow closing in around him.
Off we went to San Diego where we were farmed out with
various friends, among them Ali's family who lived in La Mesa in
an old avocado grove. The bus may have been brightly painted,
but it was up to code and spiffy looking and no one harassed us.
Friday night we all got ready to go to the gig. I wore cut
velvet knee pants with slashes and flaps, a bat-wing shirt in a
fluorescent pattern and the bright colored shawl I had woven for
myself. In my hair I wave feathers and I had on a beaded head
band. I was one of the more flamboyant dressers in the group,
but no one wore a gray business suit.
There was a good crowd at the dance and the first set went
off fine. Then as we returned for the second set we noticed a
number of uniformed police entering the hall and heading for the
stage. Norman, who was still on probation for his pot bust, was
heading for the stage too, but rather than go up there, he kept
his guitar in his hand and headed out the door and got in a car.
The rest of us were arrested. We were never quite sure why.
There were never official charges filed, but we were told that we
"played too loud" and "disturbed the peace."
In any case, we were booked. Due to our extravagant dress
the booking was an event in itself. Then we were put in cells.
San Diego City Jail was located in Balboa Park in a Spanish
mission-style building. The cells were small and dismal. There
was a constant din and clatter, but since we did not expect to
spend much time on the inside, we took things with resignation.
It wasn't until the morning that we were finally bailed out.
Money had to be raised to pay the bail bondsman, lawyers had to
be contacted. Before we were released we got to experience
"breakfast": a heap of cold, gelatinous stuff, allegedly oatmeal.
It was affixed to an aluminum tray by its own adhesive power in
such a way that the tray could be turned to its vertical and pass
ed through the bars without the slightest danger of the foodstuff
falling off. Accompanying this was a tin mug of warmish, watery
reconstituted powdered milk. I skipped breakfast that morning.
By seven o'clock, we were out of there and headed for La Mesa to
rest up for the evening's performance.
The evening passed without incidence. The doors to the dance
hall were kept shut and perhaps we turned down our volume; the
police left us alone and the dance progressed as planned. At two
o'clock we packed up our equipment and headed to our various
homes. I was in a car that was going to La Mesa with, among
others, John Steinbeck, Jr. He is an old school friend of Ali's
and had spent time as a reporter in Vietnam. He had become
deeply interested in the Vietnamese culture and played peasant
flutes from that country.
We had not driven a hundred yards when red lights started
blinking and we were pulled over by the police. Apparently one
of our headlights was out. There had been nothing wrong with the
headlights when we parked the car earlier in the evening. A
thorough search was conducted. When the officer came across
John's flutes he became very agitated; clearly they were some
kind of dope paraphernalia. We were all arrested and taken to
the San Diego City Jail. The booking procedure this evening was
conduct ed amid unbounded hilarity. But the charges this time
were possession of illegal substances and paraphernalia; a felony
and a drag. Again our friends started calling around.
Fortunately Trixie was in the car this evening, so her father was
called. He was a powerful business man in Houston and within a
matter of hours we were out of jail again. But it was not until
weeks later and considerable lawyer's fees, that the charges were
dropped for lack of sufficient evidence.
We headed back north the next day; tired and wondering about
Southern California hospitality. We never played in San Diego
again after that. The striking thing about that week-end was
that we had clearly been subjected to harassment by the police.
You can be sure that if we had done anything even remotely
against the law we would not have gotten off so easily. And yet
we had no recourse. We just had to eat shit; pay the money to
the bail bondsman, which we never saw again; patiently wait for
the San Diego Police to finish their charade. Everyone knew what
was going on: we, fuming with impotent rage, and the police,
yukking it up with their idiotic shit-eating grins. And that was
the point that they wished to make: don't think you can get away
with anything we don't let you get away with, legal or not.
The Spring of 1969 was spent getting ready for the Big Bus
Trip. The bus was outfitted with a bench in front, and a table
that seated four. In the middle we installed Charley and Sandy's
king size mattress and way in the back, along with the storage
space for the amps and instruments, a double-decker bed that
became known as the torpedo tube. This was for serious sleeping,
like after you'd been driving all night and really needed to pass
out. The only trouble with the torpedo tube was that it was so
narrow that you could hardly get in or out of it, let alone move
around when you were in there. Everyone agreed that waking up in
the tube when it was very hot and you needed to get out of there
immediately, could cause severe claustrophobic panic.
We sewed pretty little curtains and painted every surface
brightly; we even installed a carpet. Len and Toni had inherited
Ron Boise's big old step van. It had a kitchen in it of sorts,
so we didn't have to install one in the bus. Ace Hanson had
clearly joined our group, and since he was an Ace mechanic (hence
his name), he was welcome. Unfortunately he had a notion of
himself as a saxophone player, but we discouraged it as best we
could and encouraged him to look after the motor.
Rock Scully had told Adrienne that we could leave our
Flexible at the Grateful Dead's studio in Fairfax for the summer.
So we packed all our earthly possessions together and drove the
wheezing old hulk the fifteen miles to "Alembic", which is what
they called their place. All of our clothes were in it, and
furniture, kitchen equipment, records, hi-fi, my loom, down
comforter, sheepskin coat, paintings; everything we owned, since
we were giving up the house. At each of our previous moves we'd
gotten rid of as much stuff as possible. No one had any books
anymore; I'd taken a suitcase full of tailor-made clothes to the
dump when we left San Francisco; the goal was definitely to be in
the here and now, unencumbered. Nevertheless that bus was
stuffed to the gills when we hove into the Dead's parking lot.
Since it barely ran and was almost impossible to start, when
it sputtered to a halt Adrienne announced that this is where we
were leaving it. Owsley appeared and said that it had to be
moved. "Oh, man," complained Adrienne and told him she had no
intention of moving it an inch. A screaming fight ensues. Owsley
was about as small as Adrienne; there was a definite element of
farce in these two pint-sized furies screaming invective at each
other. Finally Adrienne screamed the loudest and stalked out of
there with a resounding "Fuck you" to the fuming Owsley. On our
way back home Adrienne continued her harangue against that little
cock-sucker, who did that little asshole think he was, Sculley
had given her permission to park the bus there and Owsley wasn't
gonna suddenly tell her otherwise. "Okay, okay, okay," we all
tried to calm her down, and she just kept right on sputtering
with self-righteous rage.
When we returned to retrieve our stuff at the end of the
summer, the bus had been completely emptied: everything that
interested anyone was gone, and what was left lay scattered like
garbage, trampled and torn. "Owsley told us to help ourself to
anything we wanted," one groupie informed us. This was his
revenge. So we had to stage a search all over the studio. Some of
my paintings hung on a wall; my sheep skin coat was in a closet.
The loom was gone forever and the down quilt had been cut up to
make a baby quilt. But I'm getting ahead of the story.
My sister was getting married in Denmark at the same time, so
I was flying to Denmark to participate in those festivities and
then joining up with the band in Connecticut at Sibyl's house for
the wedding. The band would drive East without me. Alan the
hotdog heir was going along; he was after all the source of
funds. And we'd gotten a new drummer and guitar player in San
Diego, named Frank and Tim; we still had our old drummer, Little
Richard, too -- he was going to perform his solo act; Charley and
Sandy; Ellie and Norman and their two children, Maya and the
infant Allright; Toni and Len and their daughter Taeza; their son
Mazeo was on the way; Trixie and Fred Tushe; Adrienne; Ace
Hanson. Seventeen souls in a bus and a van, headed into the
blue.
I created an elaborate outfit for both weddings, though I
ended up only wearing it to Sibyl and Ali's; as a concession to
normalcy I agreed to wear a rented set of tails to my sister's.
But to make sure my integrity showed I wore the tails with a pair
of dove grey suede wing tips on my feet and a huge black satin
bow around my pony tail. The effect was theatrical but not
grotesque. For Sibyl and Ali's I made a velvet jacket with a
peacock print satin lining; stand up collar; silver and bakelite
buttons; ten inch wide cuffs. And grey and burgundy cut velvet
bell-bottoms with purple mother of pearl buttons the size of 45's
at the fly. A white shirt with a "jabot" many yards long that
tied into a truly extravagant bow. And the dove grey wing tips
and the satin bow. The effect, though odd, was profound. Like
someone plucked out of an elaborate children's theatre pageant.
Loony and festive.
I left before the bus did, but secure in my faith that
somehow they'd all show up at the right time in the right place.
Dropping into middle class Denmark for two weeks was a little
like visiting the moon. Or I should say visiting from the moon.
People looked at my long hair and hippy paraphernalia like I had
truly dropped from outer space. My grandmother from New Jersey
spent any time she was around me making little disapproving
clucking sounds in the back of her throat. The wedding itself
was an elaborate affair in the little church in Rungsted, where
we had grown up. Dozens of locals gathered to gawk at the bridal
party, which is the accepted custom; I remembered doing the same
many times in my childhood. The dinner was held at elaborate
rooms outside of Copenhagen, belonging to the Shooting club.
Women in long gowns, men in tails; long speeches, endless toasts,
followed by dancing to a feeble "jazz" quartet. Eventually this
glitch in time and space was over, and I flew to New York where
Sibyl and Ali met me and took me to their house in Newtown,
Connecticut.
Sibyl and Ali met at Yale. He was an undergraduate, she was
in the School of Art, getting her MFA. She had been Michael
Moore's girlfriend for several years. For a period they had
lived near our old house on Alpine Road in Menlo Park; this was
after the band had moved to San Francisco, but we still kept up
the connection, of course. When I was busted for pot and my
mother came to check out what was going on, we took her to the
Avalon for a dance. Sibyl and Michael were going along, so first
we went to their apartment in North Beach. They had just moved
in and were living like most of our friends, on a mattress on the
floor and out of a few orange crates. "You need some furniture,"
my mother kept saying. "How can they live without any furniture
at all?" Everyone found this screamingly funny. Furniture? Who
needed it? My mother had along her special flask that she called
her "gay deceiver": it looked like an eyeglass-case that your
spinster aunt might carry, but it contained a half pint. The
evening was a great success.
Eventually Sibyl had to leave Michael Moore; she'd developed
a severe allergy to him and often was reduced to a wheezing,
confused heap by his off-the-wall carryings-on, like when he'd
decide that all his paintings were shit and he'd cut them up into
ribbons. Occasionally he'd then isolate tiny little fragments
that were deemed worthy of re-stretching, resulting in a strange
assortment of miniatures. Those of us who knew that they had
started out as eight by ten foot canvases grieved. But at least
we got to go home; Sibyl had to live with it, and it became too
much.
She moved back to New Haven where, as I've mentioned, she met
her Tibetan Prince, Ali. After they decided to get married they
moved into a house in Newtown, Connecticut, with some friends
from Yale. Mac and Patricia lived in the master bedroom, and
Bill lived in the basement. Sibyl and Ali had a little cottage
next to the main house. Behind the house an undulating lawn
descended to a picture-perfect pond, willows weeping languorously
into its mirror-still surface, and beyond the pond the ground s
lost themselves in swampy woods full of skunk cabbages, dogwoods
and poison ivy.
This was an ideal spot for a hippy wedding, and no doubt the
house had something to do with Sibyl and Ali's decision to get
married at this time. The Triple A was invited to play; who
would ever dream that they'd actually show up? But we'd never
been known for our rational decisions; our band was hardly
streaking to the top of the charts, rock promoters were not
beating down our doors to book us into their dance halls; Sibyl
and Ali sent a gas credit card and Alan the hotdog heir was
available f or financing the rest of the trip, so why not hit the
road? Since our decision to migrate East was no more bizarre than
had been our decision to start the band in the first place,
everyone reacted very calmly when we announced we'd be at the
wedding, when in fact our presence threw the lives of many people
into near chaos.
I arrived from Denmark a few days before the wedding and
right away plunged myself into the preparations. Sibyl had
arranged a bed for me on the porch of her and Ali's little cabin.
Also living with them were Ali's brother, Sam, who had a bed in a
sleeping loft, and John Steinbeck and his wife, Crystal. They
had just returned from Southeast Asia and affected Vietnamese
dress: brown pajamas and Mao-shoes; they eschewed furniture, for
the most part, squatting in native fashion to cook or to hang o
ut. The effect was very decorative, as they were an extremely
handsome couple and as the cabin was ideally suited for tropical
decors: there was a skylight under which grew great ficus trees
and luxuriant gardenias; the entire cabin was surrounded by a
screened porch beyond which swayed the dense woods. Crickets and
mosquitoes whirred and hummed incessantly. The summer was an
unusually hot and humid one. You definitely felt like you had
landed in a rain forest somewhere unspecified between Florida and
South Vietnam.
The wedding was to take place on a silver barge in the pond.
Don Johnson, who had married Toni and Len, had since studied at
Yale and become friends with Sibyl and Ali, and he was to perform
the official ceremony, being a Jesuit. John and Crystal, in
their Vietnamese drag, would be on the barge, too, to give the
Buddhist touch. John would play his flutes. So we covered the
barge with silver mylar and hooked it up with ropes so it could
be pulled into the middle of the pond for the exchange of vow s.
A six-foot wide strip of silver mylar was laid down from the
house to the pond, on which two little girls preceding the bride
would scatter rose petals. In the lawn we planted hundreds of
petunias in full bloom. Balloons were festooned everywhere on
the actual wedding day. The stuffiest conservative would have
melted at the sight of the garden on the day of the wedding. It
was hot and muggy, sure, but it was beautiful, and it wasn't
raining.
There was one slight problem. The band had called from the
middle of Ohio a few days earlier, to tell us that the school bus
had blown up. They were staying at The Wayside Tavern, a
hang-out for hillbillies on the outskirts of Springfield.
Everyone w as treating them great; they'd pitched a big old tent
and every night was a party. Word was spreading in the area, of
the "heppies" who'd descended on the town, and folks were
crawling out of the woodwork to see these odd creatures, and
subsequently to get a little crazy dancing to their music. They
passed the hat after every set, and they were even making some
money. And drinks were free. It sounded like I might never see
them again.
"But don't worry," Adrienne assured me, "we've found a new
bus, bigger than the other one, and should be there in time for
the wedding."
Well, here was the wedding, but the band had not yet showed
up. There was nothing to do about it. The guests had arrived,
the hors d'oeuvres were arranged on the platters, all systems
were go. Down the silver runway glided Sibyl in romantic Empire
virginality and stepped onto the bobbing barge, where she was met
by Ali in a cream-colored Italian suit that looked good enough to
eat. Don was in his Jesuit robes, John was tootling away on his
flutes, Crystal squatting picturesquely at their feet. The barge
floated noiselessly into the middle of the pond. Don performed
the exchange of the vows, Crystal read a poem, John read
something Buddhist. The pond was surrounded by friends and
relatives of the bridal couple. Sibyl's parents had come over
from Vienna at the start of the War; many of their friends from
the old world were in attendance, puzzled no doubt by this
distinctly unorthodox ceremony; it was decidedly not Jewish, but
neither did it much resemble any other tradition. But it was
beautiful, no one could deny that.
The barge was tugged ashore and the bridal party made it to
dry land again, man and wife. Kissing and hugging; tears. Just
then the band arrived. They had bought the biggest possible size
school bus. There had been no time to decorate it, of course. It
was still yellow, with the legend Springfield Rte. 1 haphazardly
crossed out on both sides. Len and Toni's van lumbered after the
bus. Everyone looked like they'd slept in their clothes for the
last three weeks, which was probably not far from the truth. The
wedding guests eyed this arriving group with a mixture of panic
and curiosity. Clearly people were glad to see them arrive, it
was not a mistake. But bizarre!
Fred Tushe wandered over to me and gave me a hug, then he
showed me a little bottle and chortled wickedly before heading
towards the punch bowl. I saw him surreptitiously dump the
contents of the bottle into the punch. He was grinning widely as
I saw him ladling out drinks for all the elderly guests.
The result could have been a disaster, but for once the gods
were on our side. The band dragged out their equipment and
prepared to play. At first everyone was very nearly
electrocuted, since nothing was grounded and they were standing
on the bare ground. But eventually that problem was solved and
the music started up. By then the acid must have taken effect on
the crowd, for people who would normally have fled in horror from
this dreaded rock'n'roll, were suddenly dancing happily, smiling
and swaying. Champagne flowed along with the punch; no one
suspected anything out of the ordinary. It was just a lovely day
and a lovely wedding, and a most unusual group of young people,
but charming.
There are home movies that bear me out. Proper old ladies in
little silk suits with pill box hats, happily chatting with
miniskirted girls with flowers in their hair and bell-bottomed
hippies. The lion lay down with the lamb in Connecticut on that
particular June afternoon in 1969.
The day drew to a close and the guests departed. But the
Anonymous Artists of America stayed. Perhaps Sibyl and Ali had
not quite imagined the effect of eighteen house-guests, but
that's what they had. And we were there for the duration.
It was not until the following days and weeks that I heard
about the bus trip East. The wedding party rapidly progressed
from lighthearted intoxication to deep stoniness and no
information was forthcoming. Not to mention, everyone had to be
assigned sleeping spaces. Mac and Patricia, the couple from the
house, fled in horror, not to return for the rest of the summer.
In fact they didn't speak to Sibyl and Ali for years; as if it
was their fault that an innocent invitation to us to play at
their wedding turned into a massive occupation for two months by
close to twenty freaks.
The immediate reason for the band missing the wedding
ceremony was that the cops at a toll plaza in New Jersey decided
to slow them down. There was no real problem, but when the cop
decided to look inside the bus, someone said something
smart-assed and they were asked to pull over. As usual, nothing
happened, but meanwhile they'd wasted a couple of hours.
As usual? It seemed that almost every town they had driven
through, they had met the police or sheriff's department in
person. On several occasions in the south, they had been
escorted to the county line with unsmiling admonitions not to
stop. There was the time that Ace Hanson had driven the bus into
the gas station's overhang, ripping it off its supports; several
hundred dollars later, they were escorted out of time; and the
time Len backed his truck into a gas tank; another problem that
was worked out with cash.
Then there was the time the bus had to be raised on a
hydraulic lift for some work. While the mechanic worked under
the vehicle, several members of the band, stoned on Quaaludes,
had an orgy within, many feet in the air. And the time in
Louisiana when Trixie had thrown a temper tantrum and scattered
hundreds of the Rolling Stone posters with her topless self
proclaiming Get It Here all over a gas station.
But all in all it had been a great trip, everyone assured me,
and I kind of began looking forward to being part of the return,
when the time for that came. Alan the hotdog heir was still
along, but he was getting worse. He kept writing numbers on
pieces of paper, muttering about plots and coincidences ("Ha!
coincidence!"), working himself into a frenzy about the Caballah;
people in the group assumed symbolic roles in the universal plot
against himself. Something clearly had to be done, but what. And
meanwhile, where was the money going to come from?
Sandy met a woman who lived down the block; let's call her Ma
Fisher. Ma Fisher was a big, coarse, loud, good-natured woman in
her fifties or so. Her daughter was running for Miss Connecticut
(she won). Ma Fisher's husband had a road construction business
and was clearly involved with the mob. Ma Fisher herself earned
her pin money by dealing dope, pot and coke. Immediately Tushe
and Sandy were putting together deals with Ma, riding around with
her in her bright red convertible Cadillac. In addition to
putting together money-making dope deals for us, Ma Fisher found
us gigs. Strange gigs, but gigs. Like in a sleazy bar in Avon,
frequented by a handful of middle-aged Italian men who were
actually there to play pool; and at the high-school youth dance,
where we played for bewildered teen-agers who had expected
something more like Herman and the Hermits, but somehow adapted
to the Anonymous Artists of America; we even netted a few
groupies from this event, who needed to be discouraged from
hanging around our place which was not so subtly being surveilled
by the local heat.
We were not a popular presence in Newtown, Connecticut, which
tended to make us just a but rowdier. The consumption of Ripple
was impressive. We bought it by the case of pints and there were
members of the band who were never without a bottle in their hip
pocket.
It was a very hot and muggy summer; everyone sweated
profusely, resulting in monumental quantities of laundry. A trip
to the laundromat, which took place two or three times a week,
was like some mythological endurance test. Fifteen loads was not
uncommon; twenty-five within the realm of the possible. Of
course not everyone had to do the laundry; the band was
sacrosanct, as always; if you had rehearsal, things got done for
you. Understandably, resentments developed, but the laundry got
done.
Our presence in Newtown attracted other friends. Walter the
math whiz, who had joined up with Annie Goheen, an old college
mate of mine, started hanging out with us; Michael Moore and his
girlfriend, Poose; Ivan Tcherepnin, who had been married to Sandy
Carrot many years before. These were not groupies, these were
friends who wanted to be in on the fun. But of course they were
bodies, more bodies, expanding the ranks. A young couple with
twin babies showed up from somewhere; for a while they were
there, then they were gone. A young woman with a limp was around
for a while. She attached herself to Norman. Then she was gone.
Myself I picked up (aided by Ace Hanson) a gangly young boy of
seventeen who hung around for a while; I even stayed at his
mother's apartment in the village in New York. Then he was gone,
too.
Throughout the summer there was a strong effort to find jobs
for the band in the city. Our friend Vicky pictured herself
something of a Bohemian and lived at the Chelsea Hotel, despite
the fact that she made her living teaching third grade. Vicky
persuaded Shirley Clarke, the filmmaker, to lend her roof-garden
for a party featuring the Triple A. The event was a great
success. We played well, everyone was more or less together;
high but not incapacitated. A couple of men showed up who had
seen and heard us from the roof of the adjoining building. They
were going to be throwing a huge party a couple of weeks later,
to launch a new advertising agency. Were we available to play?
We certainly were.
The party turned out to be a huge production. Charlotte
Moorman, the topless cellist, played a cello of ice, topless,
while it melted all over her floor length skirt; Walter Carlos
(who is now Wendy Carlos) was set up in a weird cage with his at
the time futuristic synthesizers. He almost had heart failure
when Ace Hanson, tripping freely, crawled into the cage to check
out the equipment. A sculptor handed out plaster casts of his
ear. Andy Warhol, still looking gaunt and grey from Valerie
Solanos' attempt to kill him with a pistol shot, stood around
impassively. Dozens of other events were staged indoors and out
on many levels of three adjoining luxury penthouse apartments.
But unfortunately it rained. Heavily. Torrentially. Eventually
it became clear that the party would have to be postponed to the
next day. Basically we had no place to go; we could hang out at
Vicky's next door at the Chelsea, but she just had a studio
apartment; not enough room for the close to twenty people in our
group. So we just hung out, much to the hosts' dismay. Ace had
become quite woozy; as the guests left he sat naked in a lotus
position, eyes closed, groping their legs, feeling up and down,
hoping to start some kind of mass orgy. All he started was a
general feeling that a madman was on the loose.
By the following afternoon, when the party resumed, that was
not far off the mark. We had slept wherever we could find a
spot; some in the bus, some on the floor of the penthouses, a
couple at Vicky's. What we all had in common was that we hadn't
slept much, had gone to sleep stoned and proceeded to get stoned
again first thing in the morning, and were feeling frustrated
from the long wait to play.
While waiting to play on the second afternoon Sandy and I
lured a truly obnoxious woman to take a drink of a 7-up that was
heavily laced with LSD. She had given us a hard time since the
day before and we decided she needed to be psychedelicized. The
woman suspected something was amiss. "There's just some gin in
it," we lied. The woman took a huge swig. Right then and there
Sandy told her she'd been dosed. The woman panicked. Within
moments two psychiatrists had been summoned to supervise her. Her
husband was furious at us; you can't really blame him. I felt a
little sheepish, but part of me felt deeply satisfied that we'd
got the bitch. She'd probably done nothing to deserve this
treatment. No doubt we were just tired of waiting around and
wanted some action.
The party never reached the pitch of the first day. Some
performers didn't reappear; many guests, understandably, didn't
either. But just as we got ready to play on the roof top
terrace, Nina Simone swept into view. She was one of our great
idols. "Are we gonna play some music, babies?" she asked in her
loud raspy voice and joined Charlie at the organ. Suddenly
everything came together. Waiting around twenty-four hours had
its pay-off. The party came together for us; we were thrilled to
the gills.
Whether or not the organizers of this two-day happening were
glad they'd asked us is hard to say. But they certainly got our
total energy. Ace did his best to start an orgy; Sandy and I
tried to alter the dreary woman's level of consciousness; and
finally we played to a handful of people in ecstasy. The event
was a success, as far as we were all concerned.
There was a seedy little nightclub near Times Square, called
The Scene. The Velvet Underground played there, in fact everyone
played there. They paid five dollars a person a night, so the
money was not what drew people to play there. But it was
definitely the place to be seen. Adrienne set up an "audition"
for us. If it went well, we'd be hired back. The pay was five
bucks a man for the night; she talked them into throwing in a bar
tab, too.
The premises were in the basement. The walls were decorated
with tin foil (courtesy of Andy Warhol), and a few mylar balloons
hung in the dusty corners. The headliners the night we were
booked was a group called The McCoys; they'd had an AM radio hit
with "Hang on Sloopy", a song they had not originated themselves.
The McCoys consisted of three cute curly-haired blonde boys from
the Midwest somewhere. In particular one of them was very cute
and Ace Hanson and I both thought it'd be fun to seduce him a
little. So after we'd played our first set, when everyone was
feeling no pain, we lured this pretty boy off in our bus. We'd
been invited to go to somebody's apartment on Park Avenue to get
high. Adrienne was driving and way in the back of the bus Ace and
I were putting the make on the pretty boy. During the ride he
confessed that his two bandmates had talked him into leading Ace
and me on; just for fun. We both found this hilarious, as it was
much like the lamb leading the wolf astray. When he found
himself being accosted by both of us at the home of total
strangers, I think he realized the situation had not turned out
quite the way he had imagined it.
Unfortunately we had to go back and play the second set. When
we walked in, it was obvious that the band had become even more
stoned. Another group had gone across the street to the
manager's apartment, where they had taken some kind of downers.
The bartender had cut us off; the tab was up to four hundred
dollars. There was some ugly talk that we'd have to pay it;
nobody took it seriously, since we didn't have any money and they
were only paying us fifty dollars anyway. The little McCoy fled
back to his bandmates with a look of terror on his face. They
were giggling away, wanting to hear all about how he'd teased Ace
and me. They soon quieted down as the Triple A launched into a
raucous last set.
Bars stay open til four AM in New York, so it was very late
by the time we got out of there. We were not booked for a return
engagement. But it had been fun and we didn't care. By the time
we got home to Connecticut, it was broad daylight. Ace and I had
tried to persuade the pretty boy to come home with us, but to no
avail. I bet he thought twice before "teasing" anyone in the
near future. Nothing so terrible had actually happened. But we
had the impression that he'd expected us to sort of long for him
at a distance, when what happened was that at the first sign of
encouragement, we attacked him from all sides.
We were asked to play at Tompkins Square Park, way East in
the Village in what's known as Alphabet City, due to the fact
that the Avenues are called A, B, C and D over there. The
Motherfuckers were organizing the concert. What we didn't know
was that there had been a lot of friction in the neighborhood
between the Hispanics and the Hippies. This concert was supposed
to pour oil on the troubled waters. Park gigs had always been
our favorite events. Perhaps the music didn't sound so great
outdoors , but the feeling of celebration made up for it.
Charlie had gotten hold of some Quaaludes; by the time we got
to Tompkins Square Park, he was completely out of it. This was
too bad, since he was the guiding force in the band. A Latin
band was playing and making no signs that it was going to stop.
Ever. The organizers were looking worried. We were all feeling
no pain and leapt out of the bus and started dancing around in
our best hippy fashion, arms waving, hair flying. Bottles of
Ripple were passed around to the Latin musicians on stage.
Gradually the ice broke and after a while they stopped so we
could show them our stuff. We got the equipment hooked up okay,
but when we started to play it became obvious that Charlie was
totally incapacitated. His fingers seemed fused together. Instead
of playing runs, he played big honks of noise. Eventually he lay
down on the keyboard and went to sleep. We turned off his organ
and played our set without him. The effect was anything but
triumphant, but no one ever got hostile and the hippies in the
park carried on appropriately. The Hispanics sulked, but no one
threw anything.
After a few scrapes with the cops over possible traffic
violations, we got out of there and eventually were safely back
in Newtown. As we pulled in the driveway, Charlie lifted his
head and asked: "Is it time for us to play yet?"
Whenever the band went anywhere it was a raucous event. Tim
and Frank, the new members of the band, belonged to the "Yo,
mama" school of behavior. They felt honor-bound to shout at each
and every good-looking woman on the street. Since the bus was
not allowed on the West Side Highway, we always had to come
through the streets of Harlem. Hollering and whistling, we'd
make our way slowly thru the ghetto. The mood was contagious;
kids would jump on the bus, people would shout back at us.
Everyone was always friendly, though; I guess they'd never seen
anything like it.
This was the summer of Free Love, too. Until then Free Love
had been something we heard a lot of talk about, but it wasn't
going on anywhere that we knew of. Thanks to the proximity of
everyone on the bus and to the free flow of drugs that summer,
the phrase went from the conceptual to the actual that summer. On
several occasions ten or fifteen of us would find ourselves in a
big, naked heap, sucking and fucking indiscriminately. There
were many who would not participate, and no pressure was put on
them to do so. Some were just naturally modest and not
interested, others would have liked to take part but were too
up-tight over the fact that there were (brr) homosexuals
involved. But those of us who got down had a wonderful, silly
time. Unlike bathhouse orgies, where you find yourself in a heap
of strangers, here we were, the best friends in the world,
finally getting it on. It felt like the falling away of the last
defenses, a blessing. All of us were aware of how special it
was. And the best part of it was how much time we spent laughing
and giggling.
Walter told us of a drug from South America called yohimbine;
it was supposed to be this incredibly strong aphrodisiac. He
found a source for it and sent away for a bunch. The night we
were to take it, we were all pretty excited. We gathered in the
king size bed in Charlie and Sandy's bedroom and Walter
administered to drug intravenously to a whole group of us,
carefully using a new needle for each person; the whole
atmosphere was very hospital-like. Then we all sat there waiting
for the waves of lust to sweep over us. We looked at each other
expectantly. "Do you feel anything?" "Maybe a little, but I'm
not sure what. I don't feel very horny, though, that's for
sure."
After a while it became clear that nothing was going to
happen. Maybe the dose had been too small, maybe the drug they'd
sent was no good. Maybe the whole things was a hoax. Probably
the latter, since yohimbine has hardly become a household word.
If it worked, it surely would have caught on. Eventually we
dispersed and went to sleep, relieved, perhaps, that we hadn't
had to spend the night in frenzied lovemaking. And maybe just a
little disappointed, too.
Ace and I noticed that we had what looked like a rash on our
dicks. And when we looked real close, maybe we had it between
our fingers, too. It itched. It was spreading. We made an
appointment to see a public health doctor in Newtown. He worked
at the mental institution, but was the local VD doctor, too. When
we walked in his office we were met with a distinct chill. He
demonstratively pulled on rubber gloves and asked us to produce
our penises. He took a very cursory look at the rashes and told
us it was Herpes. There was nothing much to do about it, it
would go away by itself. We were not convinced that he was
right; we felt he just wanted to get rid of us, but we didn't
argue.
In the next weeks, one person after the other noticed the
same itchy little spots, particularly on their hands and feet. We
explained it as prickly heat, maybe. By the time we got back to
the West Coast, we all had it and soon Glynn, our belly dancer
friend, with whom we moved in, had it, too. Again we went to a
doctor. She was a psychiatrist, the mother of Sandy Carrot, our
good friend; but she had worked as a regular doctor during World
War II, and so she had seen our condition before. It was
scabies, a microscopic arachnid - spider - that lived in the
pores of the skin.
It seemed probable that Ace had picked it up while camping
out at a dome conference in Texas that spring. People got it from
cattle; there had been a lot of cattle where they'd camped out.
Normally scabies are easy to get rid of, but we all were infected
so completely that it took some of us months to get rid of it.
The treatment was highly uncomfortable: after soaking in as hot a
bath as you could stand you had to scrub your entire body with
brown soap. Vigorously, to open all the pores. Then you rubbed a
poison called Kwell all over. Not only did it smell, it made you
itch and was greasy, too. The procedure had to be repeated daily
for a week. Everything had to be fumigated: towels and
bedclothes had to be washed in extra hot water; blankets and
mattresses had to be sprayed with Lysol, all articles of clothing
had to be sterilized.
With sixteen people living in close quarters, the task was
formidable; dozens of loads of laundry were washed every day;
quarts of Kwell were appropriated. Ace and I got rid of the
scabies fast enough, but for Glynn it was a nightmare. She
danced barefoot, so the skin on her feet was very thick and tough
and somehow the Kwell didn't penetrate; she'd do the treatment
every day for two weeks. Then two weeks later she'd notice that
the scabies was back. It must have taken her six months to get
rid of it. By then we were hearing that there was an epidemic of
scabies in the bay area. This was odd since the affliction had
not been seen in those parts since the thirties. We tried to
keep quiet about it, but we suspected it was the Triple A who
started the epidemic. To a great extent we blamed the fastidious
doctor in Newtown. If he'd maybe put aside his distaste for us
smelly, long-haired deviates, could literally thousands of people
have been spared itching agony?
Frank, our drummer from San Diego, was homesick for his wife
and son and decided to return to the them. Since we had Little
Richard in reserve, this was not a disaster, although Norman was
less than happy about it. In fact, Norman was not happy about
our music in general. He had developed an ambition to be a heavy
rhythm-and-blues band on the line with Booker T and the MG's. We
were never going to be that, no matter what we did. Nevertheless
he'd decided that Toni and he should do more of the singing. He
thought they sounded more soulful. We rented time in a studio to
record a demo-tape of one of Norman's new songs. I was going to
sing only back-up and not much of that. Naturally I felt pretty
rotten about this, like I was being pushed out of the band. I
had no illusions about my singing abilities, but I knew that in
performance people responded to ll my jumping around and
shimmying and shaking. I listen to the tape today and I know
that I was not so bad, after all. Norman and Toni sound about
the same as me. None of us sound great. But the damage was
done; there was bad blood between Norman and me from that point
on, and to a certain extent between Toni and me, too.
Alan the hotdog heir was going from bad to worse. He'd spend
whole afternoons sitting on the lawn, yelling angrily, pounding
the ground with a hammer. One day we came home from an excursion
somewhere and Ellie was up in arms: "He glared at me all
afternoon, threatening me with a screw driver." Ellie had enough
to worry about as it was. Her baby cried incessantly; the only
time he was happy was when he was riding in the bus.
Adrienne was somehow in charge of Alan, and she had tried
everything. She had taken him to a psychiatrist. Alan was
convinced he was part of the plot against him and refused to see
him again. She had taken him to Hartford and showed him the
Institute for Living, a private psychiatric clinic with a great
reputation. Alan refused to go. Somehow he seemed to trust
Little Richard. Finally Richard persuaded Alan that he should go
to San Diego where Loose George's brother had an institute on the
line of Esalen. There were psychiatrists around and most
important there were people who'd be able to look after him. What
was for sure was that there was no way we could drive across
country with Alan on the bus; he was raving by now, and a month
or more in the confinement of the bus would very possibly send
him -- or all of us -- over the deep end.
Loose George was persuaded to take Alan and Adrienne and
Richard drove him to La Guardia airport where they put him on the
plane to San Diego. Five minutes later, as they were headed
towards the parking lot, they were paged. It was George:
"Listen, Adrienne, we're really not having any seminars here just
now. We can't take Alan after all." "You listen, George; I just
put him on the plane. You better be there when he gets off. And
don't send him back."
I've never seen Alan since. We continued to spend the money
in the joint account Adrienne had set up with him. Not until we
got back to the West Coast was the account closed. Maybe it was
just depleted. I have no idea what Alan is doing today. He
might be dead, he might be the CEO of a major corporation. Some
people keep popping up in one's life; others disappear without a
trace.
Michael Moore and Ace Hanson had spent the better part of the
summer fixing up the new bus. They had taken the engine out and
rebuilt it completely, in the process painting each different
part in its own vivid color. Michael had painted the outside of
the bus to within an inch of its life. It was mostly blue, with
a silver roof and rainbow-colored details. Floating over the
surface were psychedelic clouds, or was it popcorn? On both
sides as well as the front was the legend AAA, done in the
psychedelic clouds. On one side it said "Life Music is Beth's",
on the other "Universal Life Music". Ace wrote the word "Ozone"
under the driver's window. On the hood Michael painted a huge
symbol that looked like a Mayan glyph. On each window we stuck a
n American flag-decal. Sibyl painted the interior with flowers
and stars and floating ribbons and fantastic creatures. I sewed
blue and white striped curtains.
Michael and his girlfriend decided to drive west with us. His
truck was like a cartoon version of an army jeep. It was painted
in olive-drab camouflage. The front end was modified to include
a steel mesh milk carton on either side of the headlights. Over
the bed he'd constructed a "camper" with convex windows. On top
of this was a vast quantity of paintings and art supplies and
just plain stuff, all held down by an olive tarp and a lot of
rope. Rag-tag is an understatement.
The final vehicle in our convoy was Len's van which hadn't
gotten any less colorful in the course of the summer. But
despite the definite conspicuousness of our vehicles, to me they
seemed benign. There was nothing threatening about our
appearance, somehow. And although we drew attention to ourselves
wherever we went on our trip back west, we avoided any major
hassles. On the way East, which granted had been along the
southern route, they had had nothing but trouble with the law; on
the way west we sailed blithely through. Perhaps the key to our
success was assuring any agent of the law who stopped us that we
were "just passing through, officer", and smiling alot.
The entire East Coast heaved a sigh of relief when the
Anonymous Artists of America finally headed back to California.
Our first destination was Springfield, Ohio, where our friends at
the Wayside Tavern were planning a big reception for us
"Heppies", they called us fondly. But first we had to spend a
considerable amount of time in Ono, Pennsylvania, parked along
the side of the highway, repairing Michael's truck, I think it
was. It really didn't matter which vehicle was down. The whole
expedition ground to a halt at the smallest problem. It was hot
and muggy and ugly in Ono, at least the part we saw.
Aside from the irritation of being broken down, stopping for
any reason was very expensive. Everyone needed something: soft
drinks, candy bars, cigarettes, whatever. It was not unusual for
a pit stop to cost over a hundred dollars. Including gas, but
still. So we tried to gas up when everyone was asleep, but even
so, the cessation of motion usually woke up Ellie's baby who'd
start crying and wake up everyone. And then there'd be the run
on the candy-bars.
In Springfield, the folks at the Wayside had erected a big
tent for us to play under. I was not a returnee, but everyone
else was, and there was much excitement. We decided to stay for
several days. We drove over to Antioch College in Yellow
Springs, a few miles away, and arranged to play on the front
steps of the school's main building. Oddly enough, the front
steps faced the back of the building; somehow it had been built
backwards. The students at Antioch were very receptive to our
entire trip. We were invited to stay at people's houses; we were
taken swimming in a waterfall up the Mad River a ways. We spent
an afternoon wallowing in black mud and rinsing off in the
cascading falls. And we played for the students in the daytime
and the hillbillies in Springfield at night.
Then we continued to Chicago. Going to Chicago was a
sentimental journey for many of the members of the group. They
hadn't been back since their college days. But they still had
friends there. One of them lent us his apartment so we'd have a
place to bathe Danny Lyon, the photographer, arranged for us to
play on the Shakespearean stage at the University of Chicago. He
shot a little movie, documenting it. The mood is mellow;
students lolling about and dancing in the sunny, hot afternoon.
By this stage in the trip our costuming has calmed down
considerably. Comfort and convenience is more crucial than
theatricality. Laundry continued to be a Herculean task.
Adrienne's parents invited us to their home in Cicero for a
cook-out. They lived in a typical suburban house, complete with
a show-piece living room entirely slip-covered in clear plastic,
with a little gate across the doorway, lest anyone be tempted to
enter. We all gazed in wonder at this kitchy arrangement. To
this day Adrienne's mother talks about the laundry. Never in her
long life had she seen so much of it. Since we brought
everything with us wherever we went, of course we had our laundry
along, too. And when we saw a free washer, of course we set to
work. I'm sure it wasn't even that much; a mere six or eight
loads. But to a housewife with just her husband around that must
have been formidable. We were used to twenty loads. We didn't
like it, but we were used to it.
We stayed in the Hyde Park section of Chicago, near the
University. The bus and the vans we parked in an empty lot near
the apartment we borrowed. This being 1969, the year after the
Democratic Convention, we were prepared for the worst reception
imaginable from the police. But they surprised us. Yes, they
checked on us, but they didn't hassle us. We told them we were
just staying a couple of days. They told us to be careful, that
this was the big city, and then they left us alone.
Our next destination was Southern Colorado. Oh, we had some
stops to make on the way: we wanted to buy a new generator at a
huge tool store in Nebraska; we wanted to visit Little Richard's
brother in Denver. But our goal was Gardner, Colorado, in the
Sangre de Cristo mountains in the southernmost part of Colorado.
Chip and Elaine were spending the summer there, and so was David
Ackerman and Robert Sussman. They'd all heard about this magic
valley -- The Huerfano Valley -- from Dean and Linda Fleming and
Peter Rabbit and Tony Megar who'd all been at the dome conference
in Texas where Ace picked up the scabies (we think).
The drive was peppered with the usual amount of breakdowns
and delays. In Nebraska we found ourselves driving through
fields of marijuana, twelve feet tall. Had we died and gone to
heaven? We had to pick some. Ace stuffed two pillow cases full
and we headed to a laundromat where we dried it in the dryer.
Unfortunately it was no good. We've since learned that
cultivating marijuana is like cultivating anything else; you have
to develop the characteristics you're after. This pot, it turned
out, was grown for the hemp, not for the tetrahydracannabinol. It
made great rope, but it didn't get you high. But it was pot,
there was no denying it, and at a later stage we traded it with
some unsuspecting hippy for silk-screened T-shirts. Since we
made no claims as to the potency of the stuff, we didn't feel
guilty. And like I said, it was in fact pot. Richard's brother
was understandably less than thrilled by the invasion of his
attractive middle-class home by hordes of hippies. So as soon as
we'd taken care of our business -- as usual we needed to scour
the junk yards for some spare part or other for one or more of
our constantly ailing vehicles -- we headed south on I-25 to the
Huerfano Valley.
Since we couldn't park the bus in front of Richard's
brother's house, we spent the night in a public park. That would
have been unproblematic, had it not been for Ace Hanson. He had
recently decided that in order to become a great musician he
should feign blindness. Clearly sight interfered with hearing.
Look at Ray Charles, look at Stevie Wonder. He was not convinced
by any arguments that lots of really terrific musicians had 20-20
vision. He had started pretending to be blind around people who
didn't know any better. At the party in New York where he'd
groped everybody, it'd been as a blind person.
This night in Denver he wandered off with his saxophone. A
little later he was escorted back to the bus by a park ranger.
"Does this guy belong here?" Ace was acting kind of spacy. We
acknowledged that, yes, he was with us. "Well, keep him from
wandering off. He was playing his saxophone in the restroom. He
was waking all the campers up." "The acoustics were out of
sight," interjected Ace. "Never mind that. Just don't be
disturbing everybody's peace. If you do, you'll all have to
leave." "Thank you, we'll keep an eye on him." "You shouldn't
let him be walking around all alone, you know, being blind and
all." "Right; we won't; thank you." Ace could really piss you
off at times.
As we headed south the landscape changed. Vast prairielands
stretched to the east, while mountains rose out of the plains to
the immediate west. We went past Colorado Springs and Pike's
Peak, then through Pueblo with its belching smelters and
sweltering heat. And then there was only nature. Vast stretches
of black-eyed susans leading to the Wet Mountains and the Sangre
de Cristos in the distance. We turned off at Walsenburg and
headed west on Route 69 to Gardner. Our friend David Ackerman
was running a gas station there. He'd know how to find Chip and
Elaine as well as Robert.
Gardner is situated at the confluence of the Huerfano River
and the Muddy River, two insignificant streams, of interest only
to the local ranchers who depend on them for irrigation for their
otherwise parched fields. Since it doesn't have a particularly
glorious past, Gardner's present is quite unremarkable. Its
inhabitants are mostly of Mexican background with a strong
peppering of Native American. As a result of the Great
Depression, Anglos were able to buy out the original
homesteaders' descendants, so the large ranches are Texas-owned
nowadays.
A spectacular butte rising straight out of the plain marks
the site of Gardner. The day we drove past it for the first
time, an eagle was soaring around it. This, it turned out, is
not unusual, as eagles nest in the safety of the shear face of
the butte. The first thing we came to was David's gas station. A
Chicano boy was sitting on the ground. His name was Harold
Vargas and his parents were to become our great friends. Next to
the gas station was the Gardner Trading Post, a derelict building
straight of a Western movie. "Established 1868", it said on its
facade. I suppose that in the old days before cars and zipping
to Walsenburg for supplies, the trading post here in Gardner may
have been a going thing. But in 1969 as in 1988 it was just an
empty, falling down wreck of a building.
We all piled out of our various vehicles and started swarming
all over the place. Where was David? where was Chip? Robert? A
young woman with an Irish Setter introduced herself; her name was
Diane, she was waiting for a ride out of town so she could go
back to California. She was Robert's girlfriend; Robert and Chip
were in San Francisco and would be back that evening. David
would be back any minute.
We were all somewhat breathless from the altitude, but
ecstatic. Diane pointed out Mt. Greenhorn to the North: "That's
where Libre is." And the Sangre de Cristo Mountains to the West.
In fact in every direction except the East mountains rose to
considerable heights. We were in a self-contained valley almost.
Later, when we went up to Libre, we got a bird's eye view of the
Huerfano Valley. From up there you could see how the valley had
been formed through millions of years. How the mountains had
risen up, and then been worn down by rivers, even oceans. And
most spectacular of all, three or four different kinds of weather
was always visible at any given time: a thunder storm over there,
perfect sun over here, soaring clouds a third place. Nature
served itself up in a way none of us had ever seen before; it was
almost like a text book come to life.
When David showed up he took us to the house where he was
living with Sarah, about fifteen miles Southwest, in Chama. Chama
consisted of a church and a few houses, but it was a distinct
community. The house David and Sarah lived in had no water or
electricity. It was an old adobe that could use alot of fixing
up. But its setting was so spectacular that the house's
shortcomings seemed unimportant. Sarah was making pies. It was
very hot, so the crust was giving her a hard time. She stomped
around the kitchen in skin-tight leather pants, a satin cowboy
shirt and knee-high cowboy boots, cursing at the dough. When it
would break she'd ball it up and throw it in a rage at the wall.
"Throw it over here," joked Adrienne. But Sarah's rage was
really no joke; she seemed a little out of control.
Not far from the house ran an irrigation ditch. As soon as
we discovered it, Ace and I tore our clothes off and got in for a
bath. We even drank from the ditch, it looked so clean and
mountain pure. Fortunately none of the oldtimer locals saw us;
they would not, we later realized, have been able to handle naked
hippies wallowing in the ditch. We were just so thrilled at
being out of the bus and surrounded by this vast space that we
never considered the possibility of offending anyone. Blissed
out.
Ever since its first publication, The Whole Earth Catalogue
had played a significant role in our lives. We all read it
voraciously, fantasizing about the self-sufficient and
ecologically correct lives we could lead by following the ideas
of the books mentioned therein. In fact Stewart Brand was an
acquaintance of ours in California; after we left Rancho Diablo
and the legalities involving that property eventually were ironed
out, the Portola Institute, AKA the Whole Earth Catalogue, moved
in. Stewart was far from a back-to-nature pioneer; when he
travelled it was with an Airstream trailer, not a funky bus. But
we somehow avoided making the connection between Stewart the man
and the voice that spoke through the Whole Earth Catalogue. Of
all the guiding spirits behind both the WEC and much of what we
were thinking about, Buckminster Fuller was the one source of
constant inspiration. The way he presented the idea of geodesic
domes, that was obviously the solution to the housing needs of
the future.
At Libre we got to see domes in actual use for the first
time. Libre, about ten miles north of Gardner in the foothills
of Mt. Greenhorn, was an artists' commune. Some of the people
who lived there had been involved in Drop City, the prototype of
geodesic communes outside of Trinidad, Colorado. Drop City had
served its purpose and been abandoned to the bikers and junkies.
And now Libre was created. About half a dozen artists of every
sort had persuaded Rick Klein, a gentle musician who happened to
have some money, to pay for a piece of land for this venture.
Local people were mildly amused at the thought that these artists
were going to try to survive on this arid mountain side which was
normally thought fit for nothing but grazing. But the artists
were ready for it: Dean and Linda Fleming had moved from New
York, as had Toni and Marilyn Magar; Peter Rabbit came from Drop
City, and others from all over joined up early on, like Steve and
Pat Raines and Tom and Peggy Grow.
The Triple A was invited to play at Libre in one of the
domes. The first thing that strikes you when you finally get to
Libre is the panoramic view; suddenly you understand geology: you
just have to look at it to see how it works. We were met by the
inhabitants with hugs and smiles, truly welcome. First we were
given a tour. We saw Dean and Linda's brand new dome which they
had built for a few hundred dollars. It was an elegant and
spacious building whose roomy interior promised endless
possibilities. The fact that domes are extremely inconvenient to
live in only became apparent in subsequent years. There are no
flat walls to put things against or hang paintings on; they leak
like a son-of-a-bitch; the acoustics could drive anyone crazy.
None of these factors counted at this point. We saw elegant
structures built by amateurs for next to nothing. We could do
something like that, too!
Toni and Marilyn's dome, where we played, was a little
different. They had modified the strict geodesic design to lower
the ceiling and eliminate some of the overhead space. The
structure was not completed, but it turned us on. And then there
was Peter Rabbit's so-called Zome; a house that resembled a giant
molecule of some sort. It was built along geodesic principles in
order to take the best possible advantage of a piece of plywood.
The result was not pretty, but somehow it was the most succesful
building for a human being to live in.
For two days we partied with the hippies. Robert and Chip
showed up and we invited everyone to come to Chama for what
became the First Annual Red Wing International Pops Festival. It
consisted of the Triple A playing along with whoever felt like
sitting in. David and Sarah's landlord and his wife, Mr. and
Mrs. Martinez, attended, as did a number of local cowboys.
Linda and her year-old daughter Lia wore matching yellow
mini-dresses, the rest of us wore our hippie-special guru pajamas
and bedspread specials. At one point it rained and everybody got
under a huge plastic tarp where the music continued for all it
was worth.
When we left the Huerfano valley something had happened to us
all. We had known about communes and back to nature before, but
not first hand. Now we'd seen it. David and Sarah paid twenty
dollars a month rent. Libre had paid ten thousand dollars for
their big piece of land. So what if it wasn't luscious bottom
land? It was theirs; no one could take it away from them, and
they didn't have to pay anyone to stay there.
Maybe the most important thing in the world wasn't being an
international household word, after all. We were definitely
thoughtful as we headed west again. Trixie, Fred Tusche and
Little Richard had gone to Taos to visit friends of Tusche's at a
commune there called New Buffalo. David had played the drums
instead of Richard in the Pops Festival; I guess we'd managed
without a bass player. We met up with Richard in Fort Garland,
as planned. He was just as turned on as the rest of us were.
He'd helped make adobe bricks and seen a building go up. The
materials had cost next to nothing; all it took was manpower.
Trixie and Tusche had decided to make their own way back to San
Francisco. Telling about it later, Trixie tried to make it sound
funny, but it had been a bit of a nightmare with Tusche, who was
trying to deal with a pretty severe cocaine problem, flipping out
at regular intervals, throwing tantrums, beating up Trixie and
leaving her by the roadside, then begging her forgiveness in
floods of remorse. But they finally did get on a plane and made
it back to the Coast; and Tusche kicked his habit, too, by and
by.
I read the Whole Earth Catalogue more and more, when I wasn't
in the driver's seat. About goats and rabbits and canning fruit
and harnessing wind power. About organic gardening and
sun-drying berries and moccasins made by zuni Indians. We were
headed back to San Francisco where the future was completely up
in the air; we had no place to live and no one was waiting
anxiously for our return. I kept thinking about what we had just
seen. It looked very good.
The drive was not without its problems. Len's truck had
problems with its transmission and the bus had weak brakes. The
truck didn't hold in second gear, but popped out at even the
slightest pressure. This meant I -- I was driving the truck that
night -- had to use the brake as we came down through Wolf Creek
Pass that night. I could have kept the truck in first gear, and
probably should have, but I was impatient, and going three-four
miles an hour seemed out of the question. Adrienne was driving
the bus. I could tell she was having difficulty, too. Luckily
everyone was asleep as this drama was unfolding. We continued
our descent through the pass. Whenever I tried to use second
gear to hold the truck, it would slip and I'd start picking up
speed. I could smell the bus's brakes heating up. Adrienne
didn't seem to be able to control her speed, either. Finally we
signalled to each other to pull over. I stood on the brake with
both feet; the truck continued it's descent. Finally, inches
from the edge of an endless precipice, by jamming the truck into
first gear, grinding the transmission mercilessly, pulling on the
emergency brake with all my might, and bearing down on the brake
with my entire weight, I managed to stop. Across the road,
Adrienne had finally succeeded in stopping the bus, also inches
from the abyss. We both got out, a little shaky, and decided
that maybe we'd better take a brake to let the brakes cool off.
We smoked some hash and agreed that we might just as well be
lying at the foot of the cliff. When we continued, it was in
first gear. So what if it took a week to get down!
Fortunately no one had woken up, so we avoided general panic
over our brush with death. Only Adrienne and I knew how close
we'd come. The main objective for a driver was always to keep
going, no matter what. Once you stopped and people got out of
the bus or the van it might be hours before you could start
again. One person would go to take a leak, then just as he or
she got back on, another person would decide that they had to go,
too. So the drivers just tried to keep going. With this
objective in mind, the males among the drivers -- Adrienne was
the only regular woman driver -- learned to pee on the go. We'd
wiggle to the edge of the driver's seat and pee in a paper cup.
If you really had to go and the cup filled up before you were
done, you had to stop in the middle, which was against nature and
no mean feat, empty the cup out the window, and then complete the
task. Emptying the cup was tricky, too, if you wanted to avoid
having its contents splash into the bus a couple of windows d own
the line. But it was all possible, and it saved many delays.
This particular morning, Adrienne and I decided to risk
stopping; when we got down out of the mountains and found a
friendly looking diner somewhere near Durango, we stopped and
treated ourselves to a proper breakfast. For once everyone slept
on, and by the time daylight broke and everyone started to wake
up, we were zipping along towards Four Corners.
Meals on the road were primitive, but adequate. There was a
tiny little toy-like stove in Len's van where we could at least
heat water for coffee or scramble a big mess of eggs. It had a
Barbie-sized little oven in which we would bake macaroni and
cheese while we drove. During one rest stop we'd mix up the
stuff, then we'd stick it in the oven, fasten the door with a
bungee cord, and let it cook until the next rest stop. But
mainly we ate cereal, yogurt and candy bars; they were the
easiest.
We had decided to visit Monument Valley which, since Easy
Rider, had become something of a shrine for hippies. The fact
that it was part of the Navajo National Monument only made it
cooler. In the early afternoon we turned north off US 160 and
headed into the valley towards the famous and endlessly icon-ized
buttes. The bus sputtered to a halt after about a half a mile.
Ace and Adrienne set to work while the kids chased lizards and
horny toads in the desert. The temperature was at least a
hundred degrees. After a half hour our departure was announced.
We drove two hundred yards, then ground to a halt again. More
repairs. This went on almost until sunset, but eventually we
made it to the visitors' center, where we asked permission to
play from the terrace towards the setting sun. "There's no
electricity," apologized the Navajo custodian smugly. "No
problem, we have a generator." There was no way around it,
anyway, what harm could it do? Some of us drove around among the
spectacular buttes in Len's van and Michael's truck for a while.
Navajos tended their sheep and led their lives in their hogans in
the shadow of these breathtaking, brilliantly colored rock
formations. We were all deeply moved by what we saw. A way of
life that had nothing to do with the so-called "American way"; a
tradition that hadn't changed in thousands of years, it seemed.
Even though the band was incomplete, since Trixie was engaged
in a living psycho-drama somewhere in New Mexico, we played
beautifully that evening. Maybe we played the same as usual, but
the dazzling beauty of the sunset over Monument Valley colored
our perception. In any case, the Triple A along with the handful
of tourists and Navajos who happened to be around that afternoon,
experienced bliss for a few minutes.
Then we got back in the bus and van and continued our
progress towards the Pacific by fits and starts. We reached
Needles the next morning where it was about a hundred and twenty
degrees. So we forged on. Somewhere East of Los Angeles, Len's
van finally had had it. The transmission crapped out one last
time. Ever since I graduated from college I'd had a credit card
that the bank had sent me unsolicited. I'd never used it, but
I'd kept it. This was the time to use it. We bought a new
transmission, installed it, and continued on our way. When the
bill arrived, I wrote a deeply sincere letter explaining that I'd
never used the credit card, had in fact thrown it out, and that
it must have fallen into the hands of some bad person. By a
stroke of luck, they went for it. I did not feel like a criminal
perpetrating this fraud, although of course that was exactly what
I was. Somehow we were able to convince ourselves that the banks
could afford it (which was certainly true) and that we needed it
(no one could argue with that). And therefore it was ok. The
argument does not hold up under closer scrutiny.
It was beginning to feel like we might never get back to San
Francisco, but no one was very anxious about it, since there was
nothing awaiting us there. We visited Toni's parents north of
LA, then headed up the coast to Big Sur, where we had an in at
Esalen Institute.
Esalen was a new phenomenon; until this point it had
basically been an run-down old place with a spectacularly
situated hot springs, perched immediately over the Pacific Ocean.
In the past year, Fritz Perls and other, less exalted
gestalt-types had started giving seminars at this beautiful
place, and its doors were not as wide open to every groovy hippy
as they had been earlier. But thanks to our friend, we were
allowed to spend the night, although we were welcomed with
somewhat chilly smiles. Who were these awful looking hippies?
During the trip we'd been exposed to alot of this kind of
treatment and we'd developed a way of dealing with it: they think
we're going to be wild, let's run amok for them! We all headed
down to the tubs which are carved out of the rock, hanging over
the breaking surf. This is not the tropical, surfer-infested
Pacific Ocean that you see in Southern California; this is the
angry, forbidding Pacific Ocean of Jack London, wild and
dangerous. The spring water was s practically boiling, and the
night, starlit and windy, was chilly and brisk. As usual Ace
tried to start an orgy, but the other guests fled in terror,
leaving the baths to us. A couple of local hippy type girls, who
were friends of the friend who'd gotten us invited to stay,
offered to give us massages. On stone slabs, like altars before
the seething sea, we lay and felt the kinks of the seemingly
endless trip being worked out of us. We played our music that
night, but we were not particularly welcome; we may have felt
ecstatic and wanted to party hearty, but the people at Esalen who
were paying big bucks to take themselves very seriously were not
into getting crazy. Eventually we settled down and went to
sleep.
The Great Bus Trip had reached its last leg. The next
morning we made our way to San Francisco. Glyn, our belly dancer
friend, had invited us to stay with her until we got something
together. She probably imagined we'd be there a week or two; in
fact we stayed seven months.
Glynn's apartment -- or flat, as they call that kind of
floor-through apartment in San Francisco -- was in an old wooden
house across the street from Ghirardelli Square, on North Point.
She had moved in before the boutiques and restaurants had appear
ed, and she paid a ridiculously low rent despite the fact that
the neighborhood had come up a great deal in recent years. Behind
her building was another funky old wooden building where some of
the members of Big Brother lived; over them was an empty
apartment that had belonged to Carl Gottlieb but stood abandoned
since his move to Hollywood and the big time. We parked the bus
in the street and gradually oozed into these two apartments.
Glyn had a son and a roommate with two boys. The apartment
wasn't so enormous to begin with; but she let us occupy every
spare inch with no complaints. We even spread out to Carl
Gottlieb's abandoned place across the way. The back porch of
Glyn's apartment was made into a bedroom for Trixie and Tusche;
Ellie and Norman and their two kids got a tiny guest room.
Someone was always sleeping in the living room. At first I slept
in the bus, but the police bothered me almost every night.
Apparently it was illegal to camp in the streets. So I moved to
Stanley and Andrea's along with Adrienne and Ace. Adrienne slept
in their TV room, off the living room, and Ace and I had a room
in the basement that Stanley was planning to fix up some day.
For the present it was raw cement; whenever there was a heavy
rain, it flooded.
The band practiced at Stanley and Andrea's, too, although
somehow the activity of the band was not as intense as it had
been. Charlie and Sandi found a place to live in Marin and Sandi
got pregnant.
Seeing Libre had planted a new thought in most of our minds:
get out of the city. The San Francisco we returned to in the
fall of 1969 was a grim place. There were rumours circulating
that the CIA was dumping bad drugs -- heroin and speed -- in the
Haight-Ashbury in order to undermine the so-called flower power
movement. People called us paranoid, whenever we'd talk about
this; but history bore us out. With the Freedom of Information
Act during the Carter administration it turned out that that was
in fact what had happened. In any case, the street scene in San
Francisco had definitely soured. People were overdosing from bad
drugs; where there had been peace and love before, there was
hunger and crime now. Tourists no longer toured to look a t the
colourful hippies; they avoided the Haight-Ashbury like the
plague. Hippie stores went out of business; storefronts were
boarded up.
Like most of the people we knew, we were scrounging for a
hand-to-mouth existence. The mothers with children got on
welfare. I tried to pick up some dollars wherever I could, by
placing shirts on consignment in stores. But the hippy vogue was
on the decline, people were not buying psychedelic outfits as
much anymore. We shoplifted a little from the local Safeway near
Stanley and Andrea's; not a great deal, just to "supplement" our
money.
There was a very nice check-out girl named Gail. One day we
realized that she wasn't charging us for all our groceries. At
first it was not so noticeable, but it quickly became
outrageously obvious. So we decided to get to know her. Stanley
and I waited outside the store in his car. When she came out, we
waved her over and introduced ourselves and offered to drive her
home. "Thanks for all the free groceries you've been giving us."
"Oh, it's not just you. I do it on principle. Safeway is a
capitalist rip-off bloodsucker and I'm just trying to spread some
of their profits around." She was a Communist, she told us, and
had taken this job as check-out person in order to carry out this
political action. Mind-blowing! During the next couple of
months she must have given us many hundreds of dollars worth of
groceries. Christmas was the climax: Adrienne and I rolled up to
the checkout stand with a shopping cart mounded high with stuff.
Under the basket were cases of beer. We had a big turkey and all
the trimmings, a couple of roasts for the next days, several
cartons of cigarettes, wine, everything we needed for twenty
people to spend an ample Christmas. The total came to fourteen
dollars and change, thank you.
But like all good things, the era of Gail came to an end. One
day she wasn't at the Safeway anymore. Maybe she was sick. But
no, she didn't come back again. We asked about her at the
Communist bookstore in the neighborhood, where we knew she worked
as a volunteer. Eventually we connected with her: "I got fired.
I told you I was giving away groceries to everybody. Well, one
person who came to my line was a former Safeway manager, a
stockholder in the company. He noticed what was going on and
decided to come back and see if I was doing it consistently. I
was, so he reported me. I admitted everything, proudly. I think
I gave away over forty thousand dollars worth of stuff while I
worked there, in less than two months. That made me real good.
At first they were going to prosecute me, but they realized it
would be hard to prove. Who, other than the guy that busted me,
would testify?" Certainly not us.
There was no spare money for fun. Every cent was needed to
make ends meet. Ace devised a very effective way of panhandling.
Every moth-eaten hippy in town was standing around with his hand
out asking for spare change. That was not the way to score. S o
Ace would go to the more prosperous parts of town, like around
Union Square, and approach people with this line: "Excuse me, sir
(or more likely, madam), would you like to contribute to our
tribal joy fund?" People were not quite sure what he was talking
about, but it worked. And they would generally give a dollar,
not a dime or a quarter. The tribal joy fund, of course, was
money to buy new records or a gallon of wine or a fifth of
whiskey; the necessary non-necessities. And asking for
contributions to the tribal joy fund was in no way embarrassing;
it sounded so high toned.
Stanley and Andrea's house was a big ramshackle old
Victorian. It had a beautiful old stove with two ovens, where
Andrea and I started to bake vast amounts of bread to feed the
whole group. Jewish egg bread, or challah. The satisfaction of
baking was immense. Not only from the time spent with Andrea
getting the dough ready, and sitting around amid the satisfying
aroma of the baking bread, but just as much from the satisfaction
everyone had eating this healthy, home made bread. I learned to
make Danish rye bread, too, although this was not as popular as
the cake-like challah.
Glynn was into the Tarot. We'd spend hours listening to her
"tell people's stories". She didn't like to say she was fortune
telling. She made it like she was telling a fairy tale instead.
Every night she went to work in a Middle Eastern club in North
Beach as a belly dancer. Now and then we'd go see her. She was
very good and the Arabs loved her strawberry coloration and soft
curves. She did very well in tips. In everyday life she was a
very inconspicuous looking person. Glynn Straight was her
assumed name; she wanted to be listed in the telephone book as
Straight Glynn. She didn't want to be considered weird, she
didn't want to stick out. And yet she invited us to stay with
her. All of us. She got a thrill out of living a double life, I
think. When she danced with our band, the effect was always
pretty dazzling. People didn't expect something like that at a
rock concert; it was like spreading a little magic. This pretty
mousy looking young woman with secretary-glasses transformed hers
elf right there into a luscious, curvaceous creature, undulating
and spinning, promising delights out of the Arabian Nights.
There was going to be a second Sky River Rock Festival, and
we were invited. This time the accommodations would be slightly
less grand, but the event itself was on an even bigger scale than
last year; many more bands; food and crafts concessions, a much
bigger area. So a few weeks after getting off the bus, we were
back on it and heading north towards Seattle. Michael Moore came
along for the ride, so did Sandy Carrot. This was a fun outing
for all, a mere week in the bus which was running very w ell
thanks to Adrienne's and Ace's constant dickering.
We hadn't seen Ken and Fay Kesey or any of the other
Pranksters since they left the Bay Area right after the Acid Test
Graduation. A lot had happened. Most notably, Neal Casady had
killed himself in Mexico; when he saw that he'd have to slow down
hi s pace, he decided to just bring it to a halt entirely. Life
was not worth living in the slow lane, as far as Neal was
concerned.
Life at Kesey's farm in Oregon was at some kind of half-way
point between the old La Honda scene of fluorescent paints and
psychedelic messages ("Leave no turn unstoned" was a message that
had greeted the visitor in La Honda) and the orderly, disciplined
life of a peaceful dairy farm. Further, the notorious bus, sat
behind the barn, waiting for its one final glory-ride.
"Hey, we're going back East next week," Ken hollered, "why
don't you guys come, too. There's gonna be a big rock festival
at Woodstock, everybody's going. The Hog Farm will be there,
too. We're all going to serve food to the masses." The thought
of getting back on the bus and heading East again made us all
weak in the knees. We'd had it. Am I sorry now that we didn't
go? Definitely not. I know Woodstock was a historic event, but I
also know that for those who were there, trying to keep it
together with clean water to do the dishes and communication with
the medical staff to handle the drug flip-outs and overdoses, it
was a lot of hard work. In retrospect it became cosmic and by
the time the movie came out everyone realized they'd been at t he
eye of the hurricane for a moment. But at the time it was more
about finding a chemical toilet that hadn't overflowed yet than
it was about grooving on the mind-blowing psychedelic
togetherness of it all.
Of course we had to play for the Pranksters. The last time
they had heard us, we had been at a pretty primitive stage of
musicianship. Now we had Charlie who had upgraded the level of
the music considerably; all of us had improved, in fact. So we
set up our equipment in the barn and Kesey rolled out a huge tank
of nitrous oxide. Nitrous oxide was used at dairy farms to
"sniff" the bottles to make sure they're absolutely perfectly
clean. It also gets you high in a temporary and very silly way;
after all, it's laughing gas. Who knows what kind of music we
played? By the time we played we were all totally twisted. Ken
kept passing the gas around, even while we played. I remember
standing by the organ, holding the edge of its cover, when Ken
thrust the tube in my mouth. I took a huge inhalation, went
completely rigid, and then fell forward in slow motion, breaking
the sturdy mahogany cover of the organ off with a snap. I hit
the floor with a crash. My arm was bruised for weeks afterwards.
This was "fun". Fay observed the carryings-on the way Ellie
did. Bemused, removed, but not openly disapproving. Actually,
Ellie had stayed in San Francisco with the baby instead of going
on this trip, but the way she and Fay observed us was the same.
Sympathetic, but not at all convinced what we did was a good
idea.
The rock festival was a great success. For one thing, it
didn't rain. In fact, those of us who'd attended the by now
legendary Mud Festival of the previous year, kind of missed the
wild Neanderthal atmosphere. That was easy for me to say, since
I had had a luxury hotel in downtown Seattle to go to. The
audience had camped out in a foot of cold, slimy mud, and may
have been less amused. This year the weather was perfect. From
the stage you looked out over a vast sea of hippies. Some of
them were grooving to the music, but most of them were grooving
to the crowd. There were hundreds of booths where people sold
every kind of hippy craft: moccasins, tie-dye, macrame, beads,
bedspread dresses. And hippy food: brown rice, lentils, stir
fry, humus, Indian food. Loose George and Adrienne parlayed
ounces of the useless pot we'd picked in Nebraska into T-shirts,
food, elk skin moccasins. The guy with the moccasins traded them
for two hits if acid and an ounce of pot. When they went back to
see him again the next day he complained about the acid, which
was in fact Owsley's best, and very potent stuff; but the grass
was definitely superior, could he buy some more? You go figure.
As usual, the organization of the festival was a disaster.
There was no firm schedule and of course everyone wanted to play
at the prime times. One group, named after its leader Lee
Michaels, hadn't brought their Hammond Organ. Charley agreed to
let them use his, but on condition that we got to play first. Lee
Michaels didn't like that idea; he wanted to play now, at sunset.
So Charley decided they couldn't use his organ. But without the
organ they couldn't play. We had them over the barrel, but there
were bad feelings from then on. And The Flying Burrito Brothers
acted as if they were the only band at the festival.
Ostentatiously they occupied the performers' tent, playing poker
for large stakes, drinking Mexican beer, shouting insults and
lascivious remarks to every passing girl. We all thought they
were behaving "very L.A." and kept our distance.
Standing on the stage, looking out over the audience, was an
amazing experience. The masses of people lost themselves in the
distance. The smoke from all the food booths enveloped the huge
crowd in a haze that made the scene look like the heart of a city
in the third world. The organizers estimated that there were
about fifty thousand people -- not even half of Woodstock. And
yet it was an overwhelming experience to play for that many
people. I realized that only the smallest fraction of the
audience could even see the stage. This had nothing to do with
music; it was a celebration of the participants, the ultimate
extension of what had started way back at the Human Be-In. Being
there was the point; what went down was secondary.
When we got back to San Francisco we were at loose ends. The
city had palled while we were away, and we decided we didn't want
to live there any more. So we started looking for land to buy in
Marin, Napa and Sonoma counties. I don't know where we thought
we were going to get money to buy this land, but boring details
of this sort had never stopped us before. We saw many wonderful
places; some are famous vineyards today, all are worth many times
their cost at the time. The most exciting place was a property
that had belonged to Luther Burbank. It was perched on the side
of a mountain overlooking the Napa Valley. It had its own
electrical system, powered by a small waterfall. In the orchard
were trees onto which Luther Burbank himself had grafted seven or
eight different kinds of fruits. The feeling was definitely
magical. But we convinced ourselves it was too expensive, that
we wouldn't be able to make the payments. And since we were
still envisioning supporting ourselves through the in come from
the band, we couldn't have afforded it. There were so many bands
in the Bay Area by this time that they practically paid to play.
Only a handful managed to support themselves through their music.
Most had to deal dope on the side, or the fringe members had to
go to work to earn money for food and the rent.
There was nothing the matter with our spirits. During the
fall of 1969 we fell into an urban routine in San Francisco. Ace
and I lived at Stanley and Andrea's, where the band also
practiced, and the rest of the band, with the exception of
Charley and Sandy who were distancing themselves from the group
at this point, living in MArin, coming to town for gigs, were
cozily squeezed into Glynn Straight's flat in North Point.
The Family Dog had developed a policy where any group could
come in and suggest putting on any kind of event. We went to a
planning meeting and asked to stage a whole evening of
entertainment by the Anonymous Artists of America. Not only
would the ban d play rock'n'roll. With our new friend Bert
Wilson, a wild jazz-saxophonist who was confined to a wheelchair,
the band played a set of progressive jazz, too; Glynn
belly-danced; Chloe Scott performed her magical butterfly dance,
wearing an enormous parachute, bathed in the light of liquid
projections; our dentist, Dr. Pain ("the painless dentist")
played the bagpipes, even. And there were movies and free food,
not to mention electrical Kool-Aid for those who so desired. All
this for a dollar. The evening was a hit. No one made any money,
but everyone had a great time, and we repeated the event a month
later. This time we served home made bread and honey -- again
free of charge.
Ace became stranger and stranger. He would disappear into
the city with his saxophone and be gone for a couple of days at a
time. Finally some stranger would ring the door-bell at Stanley
and Andrea's house. Behind them would be Ace, "blind" and lost .
The unwitting stranger would speak to us rather sternly, telling
us they'd found Ace on top of some hill or under some bridge,
wailing away on his sax. He seemed lost and confused; they'd
finally offered to take him home. When the strangers left we 'd
scream and yell at Ace for putting us all through this shit. He'd
just grin and a few days later he'd do it again. He wasn't
really crazy, but in his mind a different sent of rules seemed to
be in effect.
Sandy Carrot was having a baby with Robert, but unfortunately
they were no longer together. She wanted to have natural
childbirth -- the Lamaze method -- and she needed a partner. So
she asked me to do it with her. That seemed like an exciting
opportunity for me. I didn't imagine I'd ever have children of
my own, and here I was being given the opportunity to witness a
birth as close as you could get. I gladly accepted. For two
months I attended Lamaze classes twice a week with Sandy, and
when the time finally came, we were ready. We went to the only
hospital in Berkeley that allowed natural childbirth as soon as
Sandy's contractions became regular. But nothing happened. All
day she was in painful labor. Finally we progressed to the
delivery room. We were blowing and puffing like a steam engine
by then, and yet in between her painful contractions Sandy
reminded me to set the focus, check the light, make sure I got
pictures of everything. After fourteen hours, Leda appeared on
Thanksgiving day. A beautiful baby, who has grown into a
wonderful person.
I was the proud father, as far as everyone at the hospital
was concerned. "Boy or girl?" asked the nurses on the floor, as
well as people in the elevator. I wasn't going to ruin the
glorious high of being at the very center of life by saying that
I wasn't the father. I just thanked them all and told them about
the brand new little girl. I don't see her very often, but
somehow she is "my" child. And the bond between Sandy and me has
remained strong ever since.
I went to Denmark to celebrate Christmas that year. My
grandmother was getting very old and week. This would be the
last time we all gathered together at her house. There is a
series of very beautiful black-and-white photographs taken by my
sister-in -law, using only candle light. My grandmother is as
thin as a baby bird and looks a thousand years old. She has her
arms around my oldest brother, looking at him with concern. The
children all look like angels. I'm shrouded in masses of long
hair and a beard. There is a magic quality about the scene. The
end of something.
When I got back to San Francisco we began preparing to move
to Colorado. Sandy and Charley decided to stay behind, but Chip
and Elaine threw in their lot with the rest of us. Land was too
expensive in California, so why not go somewhere where it was
cheap. Of course it never occurred to us to wonder why it was so
cheap. We would make our living from the land, live communally,
share joys and tribulations.
Norman, Len and Chip were sent ahead on a scouting mission.
They rented a farm in Gardner for us. $25.00 a month. Surely we
could come up with that! But better still, they got to know
Benny and Shirley Abila, who owned the Central Tavern in
Walsenburg, and who promised them that the Triple A could play
there on week-ends.
One day in the beginning of March, we all got in the bus and
the truck and headed East for Colorado. Starting the band in
1966 had been a big decision, but this was bigger. Armed with
the Whole Earth Catalogue and a bunch of government pamphlets
about chickens, goats, pumps and adobe bricks, as well as plans
for building domes of every frequency, we were intrepid travelers
heading for a pioneer way of life that was to prove much more
challenging than we could ever have imagined.
Spring was in full swing in Gardner. Our landlord, Ted
Gomez, gave us permission to make as big a vegetable garden as we
pleased, and immediately Elaine and I fenced off an area that
seemed appropriate. It turned out to be big, but not daunting.
First things first: my birthday present had been a handbound (by
Adrienne) copy of Organic Gardening which I studied in great
detail and at great length. A compost heap had to be constructed
immediately. Ted gave us permission to use as much of his manure
as we wanted (he had a whole cowshed full), and in no time we had
heaped up a huge mound which soon was so hot that the snow melted
right off it.
Meanwhile the housing arrangements were barely adequate.
Norman and Ellie with their two kids shared the house proper with
Chip and Elaine and their two kids. That took care of the
bedroom and the living room and the dining room, too. So the
kitchen and the bathroom served as the common spaces: it was not
uncommon to find someone taking a bath, someone else on the
toilet, a third person dressing in the communal closet, and
perhaps someone checking the progress of the beer-brewing
project. All in the bathroom.We soon learned to get over
modesty: there just wasn't room for privacy. Len and Toni moved
into the chicken coop: a concrete structure with a dirt floor.
Fortunately the chickens had moved out several years before.
They were to disc over, as it warmed up, that the flies had
stayed behind. The maggots that crawled out of the ground made
them think they had landed in some grade B horror movie.
The rest of us moved into the hayloft in the barn. Adrienne,
Trixie and myself to begin with.Later to be joined by Bessie.
There were gaping holes in the walls of the barn. We covered
them with black tar paper and wood slab.This made it a little
less windy but not a great deal warmer.We installed a huge,
cylindrical wood-burning stove.Unfortunately it had such a
severe tendency to belch out clouds of smoke that we often found
ourselves lying on the floor, gasping for air, as the windows at
both ends of the loft were thrown open. Not only smoke but also
heat escaped.
A few days after our arrival it snowed. "A beautiful spring
snow, just what we needed," Ted Gomez grinned. We were less
sure. There were about three feet of wet, sticky snow. That day
the plumbing gave out: the septic tank had not been designed for
the heavy use we gave it and had simply filled up.We started
digging through the snow to shit under the trees.Then the
stomach flu arrived. We probably weren't accustomed to the local
water. Whatever the reason, everyone was tramping through t he
snow day and night, feebly digging inadequate holes to relieve
themselves in.When the snow finally ended we had to do a major
clean-up; there were turds in great quantity.
Little Richard showed up during the storm and moved in to the
barn. Eventually the snow melted, creating a sea of mud that was
all but impenetrable for any of our vehicles.
"Lars needs to have a goat!" "I do?" "Oh, yes, you
definitely need a goat to go with your new country boy look." I
wore my hair in pigtails, had let my beard grow in all scruffy
and wild, never trimming it, ignoring the fact that it left
consider able hairless patches.And on my feet great, clumsy
clogs from Denmark.Combined with my bib overalls and old
fashioned undershirt, I did look like some kind of hick.
So a few days later Ted showed up with a small goat in the
back of his pick-up. She seemed a little nervous, but settled
down pretty soon. She was very pretty; grey hind quarters and
front legs, and white across the chest and shoulders. Her horns
curved gently away from her head. She had recently come fresh,
so she was ready to be milked, which was to be my task. I had
witnessed the milking of a cow once in my life, when I was four
years old and my beloved nurse Minna took me home with her to her
family's farm for her summer vacation. The memory was less than
vivid in my mind. But somehow I was sure that one had to grab
the tit firmly at the top, let the milk flow down into it, and
then press the milk out into the bucket with a firm down ward
motion of the thumb.
My goat turned out to be quite docile. We named her Alice
after a song of Chip's called "Dallas Alice". When it was
milking time I'd just step onto the kitchen porch and call
"A-a-a-a-lice," braying on the a-a-a-a part, and right away Alice
would come trotting over to be milked. It was not necessary to
tie her up.She stood perfectly still when I milked her,
patiently letting me learn the technique, in fact she seemed to
love being milked, and would turn her head and nibble at my
hairline fondly. I knew nothing about goats, so assumed that they
were all like this one. But apparently this was not so. Our
friend Sergio dropped by and saw that we had acquired a goat and
sneered, "Goats, they're just too much trouble.Always jumping
on the table." I didn't know what he was talking about.Alice
was the perfect lady.
We let her graze freely in Ted's alfalfa field. Everyone
warned us that she'd overeat and bloat herself to death. But she
didn't. And she slept in the oat bin: a large room in the barn
that contained several tons of oats. She ate what she felt like,
but never bloated.
To make matters even more perfect, her milk was delicious.
"Ick, goat's milk", was the reaction of most people who heard of
our new family member. But Alice's milk was mild and fresh
tasting, without even a hint of mustiness. She gave about a
gallon a day, so we had enough for all our needs, and often gave
away the creamy yogurt we made to our friends.
It was quite clear that Alice was in love with me. She
followed me everywhere, and if I slept too late in the morning
after a late-night gig, she'd tip-toe over to the barn and stand
at the foot of the ladder leading to the hayloft, where I slept,
calling for me: "La-a-a-a-a-a-rs!"
The ultimate proof of her devotion came when I once
discovered her little round turds on my bed. While I was away,
she had climbed the ladder to the hayloft, sniffed out my bed,
upon which she got so excited that she left me a little memento.
This was one time when I was truly grateful that my friends had
decided I needed a goat and not a cow.
Ted had a neighbor known as the Goat Man.He was a recluse
who kept a large herd of goats.When it was time to breed ALice
again, we took her to the Goat Man.No wonder he lived by
himself. The smell around his place was truly high. People will
tell you that billy goats don't smell unless they're around a
nanny who's in heat. Well, the goat man's billy goat positively
reeked. And rude only feebly describes this animal's behaviour.
He tried to butt everyone who came near him; but his worst
offense was licking his own penis incessantly and squirting the
resulting substance all over his own face. I was not proud of
leaving Alice with this brutish creature, but everyone assured me
he was just glad to see her.Apparently so, for not too much
later she gave birth to a truly cute kid. Unfortunately it was a
billy.We'd have to either eat him or give him away.At the
time we were too squeamish to eat him, so we gave him to the Red
Rockers, who named him Clark Dimond after a friend of theirs in
New York. Years later I finally met the goat's namesake, but saw
no resemblance.The Rockers kept him as a pet (we had castrated
him, so he didn't develop nasty habits), but one day the game was
up. They slaughtered Clark Dimond and invited us to the feast.
It was a pretty glum affair with children whimpering and mewling
all about "I don't want to eat Clark." or "I want to play with
Clark, where is he?" "Hush, dear, and eat your dinner."
"Waaaah!"
Sergio's brother Benny owned the Central Tavern in
Walsenburg. It was an ordinary bar where many of Walsenburg's
old drunks hung out drinking fifteen-cent glasses of beer. A
pitcher was a dollar. Greasy Mexican food was served at lunch,
featuring an excellent green chile that kept people coming back.
As the hippy population increased, we too made the Central our
hangout when we went to town. Norman, Chip and Len had met Benny
when they first 'scoped Gardner for a place for us to stay, and
Benny had promised that we could play in his bar on Saturday
nights. He'd even pay us. I think we got fifty dollars to begin
with and all the beer we could drink, which added considerably to
the actual value of the pay.
We knew we could expect a decent audience, since all the
hippies craved a chance to kick up their heels. Sure enough,
everyone showed up and danced like maniacs till the bar closed.
Anyone with the slightest musical ability wanted to sit in with
the band, so the quality of the music was in constant jeopardy.
But no one cared. We were all so turned on by the realization
that here we actually were, in the mountains, fending for
ourselves, back to the earth, and partying our butts off. We
were ecstatic.
Then a wonderful thing happened: the feeling spread. Before
long the bar would be stuffed every Saturday night, not just with
hippies anymore, but with cowboys and chicanos and local anglos
as well. And no one was fighting. Everyone was there together,
too busy having a good time to remember all the resentments that
kept the community separated during the week. Benny was so happy
he doubled our pay.
So every Saturday night we'd pile into our school bus with
all our equipment and head for town. Some week-ends we even
played in sleazy mafioso bars in Pueblo, but these gigs were
depressing. The frenzy of an evening at the Central pumped you
up in a special way.
When Benny sold the Central, the bubble burst. It's hard to
tell exactly what happened, but the new owners didn't have Benny
and Shirley's charisma, and businesses slumped right away. We
discovered the Starlight, just around the corner from the
Central, and moved our gigs over there. Soon the crowds were
even bigger there than they had been at the old place. Maybe
because the shape of the room was better. Ellie's daughter Maya,
who was five or six years old at the time, recounts how the
children were terrified that they'd get stomped to death at one
of these bacchanalian events. We'd bring them all along, of
course, and put them to sleep on the floor at the side of the
stage. I always thought they were oblivious to everything, but
apparently this was not so. Let it be known, though, that we
never lost a one.
The most horrific event happened one night on the way home
from Walsenburg. About half way to Gardner there is a sharp
curve around an outcropping, where deer like to cross the road to
get to the river. Everyone knows about this, and still, deer are
frequently killed at this spot by passing vehicles. This night
the bus hit a young doe. The law says you must leave the deer by
the wayside for the game warden. But this particular night, high
from the evenings excitement and indulgences, we decided not to
let the meat go to waste. Norman leaped out of the bus and with
his pocket knife he and David soon gutted the animal and threw it
in the back. They looked like they'd been in some bloody battle
when they got home and into the light. But the me at was good,
and it was free. And the game warden did not discover what had
happened.
Gardening in Gardner was a treat. Ted had a very high
priority on the water in the river, and he said we could use as
much as we wanted since it was a wet year. So Elaine and I made
an irrigation system just for us: from the ditch we led the water
to the garden area where we constructed a series of little canals
into which we were able to guide the water so it gently slaked
the thirst of our thriving plants. Aside from the usual peas and
carrots, lettuce, cabbage, broccoli and so on, we had tomatoes
and melons, which we were to discover in later years do not grow
in the area. But they did for us that year. Local people
dropped by to marvel at our garden. We took it for granted.
Since we were following the advice of Organic Gardening magazine,
how could we fail? The nourishment from the immense compost heap
and the stinking barrel of "Manure tea" gave us a bountiful crop
that was never to be duplicated.
Toni's father, mother and siblings came to visit. Louis, her
father, worked for Ebony magazine, and decided to write an
article about being "black in a white commune" for the
publication. A convenient way to pay for their visit to Toni's
new home. In the article you see us in our garden; everything is
healthy and luscious. By some miracle Alice never once got
through the fence, which had been one of our biggest worries.
That first summer in Gardner, despite the cramped quarters and
lack of money , was idyllic.
My mom came to visit. She always wanted to be in on what was
happening. My dad didn't want to know about it. The whole
business disgusted him. We were obviously out of our minds to be
doing what we were doing. But Mom thought it sounded kind of
fun. She arrived at the Pueblo airport in a six-passenger plane.
"I need a drink!" She always needed a drink, but in this case I
could sympathize. Adrienne and she had established a firm
friendship based on partying, so she joined Mom at the bar. On
the w ay home we picked up about a case of assorted spirits.
There was clearly no place for Mom to stay in our cramped
quarters, so we had reserved a room for her at the Gardner Hotel.
Legend had it that someone built the Gardner Hotel on spec about
a hundred years ago when it looked like the stage coach would
change it route and come through Gardner. But instead the
railroad came and it followed an altogether different route, so
the Gardner Hotel never opened. In the late sixties and
octogenarian homeopath and his nurse/wife occupied it and they
rented out rooms to hunters during deer hunting season.
The room they put my mother in held three bads, two
refrigerators and a gas stove. What more could you want? Over
the bed she chose to sleep was a large hand tinted print of the
college of homeopathy in St. Louis, Missouri. The bathroom was
down t he hall, but since there were no other guests, it was for
all practical purposes private. Undaunted by the bizarre hotel,
Mom unpacked and we proceeded to the other side of the river
where we lived. It was still mud season and Mom had on a dainty
pair of spectators. Adrienne chivalrously laid down boards and
Mom got into the house with no problem. During the next few days
Mom took in our lives; there's a snapshot of Mom in her camel
hair coat and brown and white spectator shoes with stacked heels,
standing on a board next to Maya, who's planted firmly in the mud
and myself in bib overalls and clogs, holding Alice by the horn.
The look on Mom's face is bemused but cheerful.
When we took her to the plane to go back to Denmark, she
asked what we really needed. "A four-wheel drive pickup truck,"
answered Adrienne. "How much?" "Oh, about fifteen hundred
dollars." As soon as she got back to Denmark she arranged for
the money to be sent. We couldn't have made it through the next
year without that truck.
Dr. Knight came back into our lives with full force later in
the summer, when he delivered Elaine's baby. Home births were
the hip order of the day. Also they were a great deal cheaper
than hospital births. But there was no midwife available in our
area, since the woman who had been delivering everyone's babies
in the traditional manner had recently been arrested for
illegally practicing midwifery. The authorities had discovered
that she never had bothered getting a license. And the doctors
in Walsenburg were not willing to perform home births. This left
Dr. Knight, who was very excited when Elaine and Chip approached
him about it. He bragged about the hundreds (was it thousands)
of babies he'd delivered in the course of his illustrious career.
Mrs. Knight nodded assent, murmuring admiring observations about
"the doctor".
Birthing was definitely a communal event. Everyone planned
on participating in Elaine's delivery, so when the night of the
big event arrived, we were all up and rarin' to go. Chip fetched
Dr. Knight on the other side of the river while the rest of us
supervised Elaine's Lamaze breathing technique. Team birthing,
this. Chip was soon back with the octogenarian homeopath. He
stepped out of the car and proceeded to walk full force into the
fence, a good six feet to the right of the gate which was wide
open. Chip guided him safely through the opening and into the
house where water was happily boiling on every burner. Cries of
"Breathe, Elaine," emanated from the bedroom. A bright light
shone on the bed where Elaine was laboring away.
Dr. Knight got his instruments ready and gowned up and then
examined Elaine. "The water doesn't seem to have gone," he
observed, and before we knew what was happening, he grabbed a
pair of very pointed and sharp looking scissors and prepared to
pierce the bag. Unfortunately his hand shook so severely that it
seemed unlikely that he'd be able to control its action. We all
held our communal breath watching the lethal looking instrument
stab at Elaine. The second the bag burst and the water erupted,
Chip grabbed the scissors out of the doctor's hand, with a
relieved "Thank you, doc."
Minutes later Elaine produced a big, healthy girl, easy as
could be. They called her Mavis after no one in particular
(unless it was the scented talcum powder of that name, which I
doubt).
Next door to the Gardner hotel lived Ralph and Lena Vargas,
who were our best friends and greatest helpers. They were not
really married, but had four sons and a daughter. Mr. Vargas
had stolen Mrs. Vargas away from her husband many years earlier
and they had had to flee the area to avoid retaliation. So they
rode the rails during the depression and eventually settled out
East near La Junta (in Swink, to be exact) until the day when
they were safely able to move back to Gardner, where Lena had two
brothers, Fred and Dan, both lifetime cowboys.
Adrienne and I often went to visit the Vargases. Lena would
usually sit us down and serve us a delicious meal of some sort.
Best of all was when she brought out some of her tender, home
made tamales. And when the waves really were high, Mr. Vargas
would interpret the Bible for us (especially the Apocalypse) and
treat us to a glass of plum wine. If we'd helped do some heavy
task around the place, he'd put a shot of whiskey in the wine,
creating a real depth bomb.
Mrs. Vargas kept chickens, a couple of cows and a huge dog
named Lib ("I got him from Libre, so I call him Lib..."). Her
place was a sort of peaceable kingdom where the chickens
scratched for food around the sleeping calves and Mrs. Vargas
pulled the oversized Lib around in a little red wagon, a
peculiarly strange and wonderful sight.
Once I drove Mr. Vargas to La Junta to pay his taxes, which
were several years overdue, and to go to the livestock auction.
We took along a couple of fifty gallon drums. "Gasoline is very
cheap out East." The possibility of the gasoline blowing up in
the scorching heat apparently did not occur to him. And indeed
nothing happened. Perhaps because I drove very carefully that
day. But probably more because Providence kept a protective hand
over Mr. Vargas.
Mr. Vargas was born in Mexico. At the age of fifteen, he
stole some money from his father, with whom he had a falling out,
and accompanied by an older friend, headed for the States. The
first night out the friend suggested quite logically that since
he was the older of the two, it would be safer if he held the
money. Ralph handed over his ill-gotten loot and they settled
into sleep for the night. In the morning the friend was gone,
much to Ralph's surprise and dismay. He clearly could not go
back home, so he continued across the border, and during the next
many years engaged in a variety of (to Adrienne and me)
interesting occupations. He herded sheep in Montana with Basque
shepherds -- and coincidentally learned their language. He
worked for the sugar company in Holly. He cowboyed all over and
got into fights everywhere. Then he met Lena, fell in love, and
finally settled in Gardner for the rest of his life.
Somehow Ted Gomez convinced us that we should help him with
his chores around the place. We looked at it as an opportunity
to learn the ropes. And Ted got some inept, but free,
assistance. What really happened was that we revealed our
incredible naivete about farming and ranching and being
self-sufficient. Disking the field was not so bad. It was just
tedious driving the tractor up and down all day long, and
unpleasant when the freezing wind blew the knife-sharp particles
of dust in our faces. But the real horror show was branding over
a hundred calves. First we rounded them up in the corral behind
the barn. That wasn't too bad, although since we had no horses,
it took a while. Trying to run through foot-deep mud wearing
clogs is not easy. The clog sticks in the mud, the body
continues forward, the foot sinks into the mud, now only wearing
a sock, or in case of real bad luck, the clogless foot sinks into
a fresh cow pie. Mm-mm! And there's no time to go change. It's
branding time!
"Throw him down on his side," Ted casually hollered. I'd
grab a calf, suddenly realizing how big and strong the cute
little darling was. After a considerable struggle, I'd finally
get the legs pulled out from under the calf and throw myself
across it s squirming mass to keep it from getting up. Then Ted
planted the white-hot branding iron on the calf's side.
Immediately it let a roar of pain. It's strength doubled as it
kicked and fought to get away. Another hippy threw himself over
the bewildered animal. A sickening smell of burning hair and
flesh permeated the atmosphere. "Now put on the band!" ordered
Ted. With an instrument that was probably invented for the
Spanish Inquisition we were then supposed to quickly slip a
rubber band over the calf's scrotum. Eventually the testicles
atrophy and the calf is castrated. This system is less gruesome
than simply cutting 'em off with a knife. But the calf protests
strenuously, none the less. Finally "Cut off their horns!" With
what looks like a huge wirecutter we had to trim each calf's
horns. This made the meat more valuable, since the grown steers
would not be able to injure each other under transportation to
the slaughter house.
This final insult put the calf in a catatonic state of
tortured misery. After cutting the horns off, we gave each
animal a huge shot of antibiotics and dusted sulfa powder on the
bleeding base of the horn. All around us calfs were bleating in
agony. Blood shot out of the severed horns, pulsing in time to
each heart beat. The smell was nauseating and heart breaking.
"Okay, let's break for lunch!" called Ted and hopped in his
pickup to head home. Leaving us exhausted and disgusted (I was a
vegetarian, for heaven's sake) and not very hungry. But we did
get through the day, and although the locals had many laughs on
our behalf, they respected us for trying. And when we moved to
our own land the next year, everyone was more than willing to
give us a helping hand when asked to do so. But I hope never to
participate in such a gruesome bloodbath again.
During all this, we were searching for a piece of land to
settle on. We had no actual money, but were confident that if we
could find the right place, the money would materialize.One
rancher tried to sell us his summer pasture."It's a beautiful
place, lots of water." He took me to see it.Rather, I helped
drive his cattle up there for the summer.Even though the last
snow in Gardner had melted six weeks earlier, there were snow
drifts under the trees and in the north facing arroyos. "What' s
the altitude here?" I asked. "Oh, eight-ten thousand feet, I
don't know exactly..." It was nine thousand seven hundred. Yes,
it was very green, yes there was huge amounts of water and the
view was breath taking (or was it the altitude?). But the l and
was inaccessible from November to April, a minor drawback that
the rancher forgot to mention.
Another gorgeous piece had no access road.We would have to
hike in two miles.This was no problem as far as groceries
went, but what about building supplies? And one piece had no
water. It had a well all right, but there was no water in it.
We ventured into the neighboring valley, even though we
really wanted to settle in the Huerfano. Here were green
pastures and once ranch after the other for sale.But there was
an eerie feeling about everything.Where were all the people.
Eventually we came to a ghost town.It looked like there had
been a mine here in the old days.Row upon row of houses stood
empty and abandoned.Streets were crumbling. "What is this
place?" we all asked. As we pulled out of town, we turned and
saw the sign "Ludlow, Colorado." "Shit," said Norman, "this is
where they had the massacre of all the women and children during
the Coal Mine Wars." Most of us had never heard of this dark
chapter in America's history before, but Norman, who had healthy
socialist leanings, told us all about it. Suddenly we all
understood about the creepy feeling we'd had all day. We would
not be able to live in this valley.
One day Benny's brother, Sergio, asked us if we'd like to
look at some land of his. He'd known all along we were looking
for a home. He'd probably just waited to see if we were for
real; so we felt very happy when he offered to show us his land.
It wasn't really for sale, but we could at least see if that was
the kind of place we were interested in. As it turned out it was
next door to a piece we had tried everything to buy, but the
owner just wasn't selling. Sergio owned 640 acres, split into
three pieces, all abutting 560 acres of grazing land that he
leased from the Bureau of Land Management. There were no
improvements except some pretty good fencing. But there was a
spring on the land that was legally deeded to the owner and a
local water witch assured us that a well would be easy to
establish. The price was $75,000.
Once we decided we'd like to live here, everyone set out to
raise the money. My mother grandly gave me $25,000. Bessie came
up with ten, David and Sarah with ten. Friends in California
each sent a thousand. Trixie's grandmother died right on cue,
leaving Trixie thirteen thousand to invest. Ellie's sister and
brother-in-law came in. With relatively little effort we came up
with the full amount. Sergio's eyes fairly popped the day we met
to close the deal at our lawyer's office. We signed on the
dotted line and I handed him $75,000 cash. Luckily the lawyer's
office is in the bank building, so Sergio went straight down to
make a deposit.
We continued to live in Gardner for another six months. After
all the land we bought was totally unimproved, so we had to
devise ways in which to keep it together when we moved up there.
Being self-sufficient was the goal of the day. Already we felt
pretty great: the garden was a total success; I baked all the
bread the ate with flour I ground. But it seems doubtful that we
would have made it without food stamps. Back then the Federal
food stamp program was very liberal. You had to make some money
to qualify, and of course make less than a certain amount, but
that was about it. Aside from what the band made, which I don't
think we declared, I made about thirty dollars a month on my
stuffed toys. When we were living in California I'd made dolls
for Maya and Taeza. They were popular with everyone, so I made a
few to sell on commission in the local craft shoppes. They sold
right away. One day I received a letter from some people asking
if I'd make a special doll for the newborn baby of their best
friends. Over the next couple of years they wrote me every time
friends had babies. I never met these people, but we became
friends at a distance.
And I was making enough to qualify for food stamps. Somehow
everyone else did, too. Or actual welfare. In a way we were
kidding ourselves about being so self-sufficient. Yes, we worked
hard, but the US Government made it possible.
The tricky part here, is that the US Government is pretty
stingy. Somehow there was barely enough, despite the garden and
the almost constant baking of bread. Gluttony was not the order
of the day. One time when Norman blithely ate the last hunk of
cheese (there was enough to make a couple of sandwiches out of,
but he made no sandwich, he just munched the whole thing), I was
so infuriated that I attacked him physically. His unthinking
selfishness finally pushed me over the edge. But generally we
shared and shared alike. There was always plenty of brown rice
or lentils, so no one went hungry to bed unless Toni had been
cook for the night. Toni had a horror of leftovers, so she
always prepared much too little food. On her nights you had
better be there when dinner was served or you could easily go
without.
Rice and lentils and beans; stir-fried vegetables; soups and
stews. These were our staples. And bread. Two or three times a
week I baked six loaves of Jewish egg bread and two loaves of
Danish rye. The rye bread become known as adobe brick bread, due
to its great weight and dense consistency. To form the crispy
crust, I turned the oven all the way up when I put the loaves in
and threw a cup of cold water on top of it. Vast clouds of steam
poured out. The trick was to close the door quickly and make
sure the gas flame was still burning. The method may have been
unorthodox, but the result was always good.
We were doing for ourselves to an unprecedented extent. But
soon we were going to live primitively beyond our wildest dreams.
There was no running water on our new land and no electricity.
There were no houses of any sort. We ordered a book on
tepee-making from the Whole Earth Catalogue, and several hundred
yards of canvas. Bessie and I offered to sew them, at least the
first ones. Patsy let us work at her house. She lived in a
former church with a big enough floor to lay out the fabric.
Bessie had a good sewing machine, but it was far from an
industrial one, so sewing the thick canvas was a struggle and led
to much cursing and complaining on my part. "I don't mind the
mess you make," said Patsy, "but I can't stand the screaming and
yelling. Mellow out, please, or I'll have to ask you to stop."
I controlled myself, and the first tepees rolled off the
production line.
Norman and Len and Chip cut the lodgepole pines for the poles
on Mt. Greenhorn. They were free so long as you had a permit
from the Forest Service. Tall, perfectly straight, elegantly
slender, the trees then had to skinned before they were ready to
u se. Skinning was done with a draw knife, an ancient instrument
that made you feel like a pioneer. The poles had to be perfectly
smooth. Any knots had to be imperceptible. If not, water would
drip from them whenever it rained. A good tepee-pole allowed the
rain drops to run all the way to the ground. If we ever thought
this was less than essential, we soon found our otherwise. Being
awoken by a drip in the face was not amusing.
Ted asked us to move out of the Gardner house in April, 1971.
We were far from ready, but probably never would be, so now was
as good a time as any.
Tuesday, March 7: Abelone had to be at the airport at 8 a.m.
Lars got up early and came in the kitchen in a very good mood
because the morphine was still new in his system. It was the
most beautiful sight: as we drove out the driveway and down the
street, Lars was throwing flower petals and blowing kisses to
Abo. He had on his orange cardigan and white caftan.
I cried as I drove away because in my heart I knew it was his
goodbye to Abo, that he would not see her again, even as she was
saying she would come back to help him die. But she had already
done that in her most beautiful, loving, innocent way. Each day
she made him stronger as he grew weaker. His heart was full.
So that day was the beginning of the goodbyes. I continued
from the airport to the studio to finish the library job (the
banners). I knew Lars would be looked after that day by Sara and
Heather Katz, who arrived at 11 a.m.
Wednesday, March 8: Sara and Heather left after dinner.
During the day they had taken Lars to Mercy Hospital to have his
blood checked for the transfusion the next day. Lars said his
visit with Sara and Heather was good. And he was most pleased
that Heather seemed happy and had said, when he asked her if she
meditated, "I have my music."
Thursday, March 9: I took Lars at 8:45 a.m. to Mercy for his
transfusion. On the way there I told him I had learned much at
his knee about cooking, and he answered, "I have learned more at
your knee about living life in a bubble of bliss and happiness."
He asked me to bring him soup for lunch at the hospital, as he
hated their food. Even if he wasn't absorbing much food, he
cared about what kind he ate. So we agreed I would bring him
lentil soup from the farmer's market. I came at lunch time and
we didn't talk much. He just wanted my company. He introduced
me to the man, Carl, next to him who was getting a transfusion
too. When I was about to leave, Carl asked me, "Is Lars your
father?" I was shocked, first thinking Lars would be hurt by such
a remark, and I said, "Oh no, we're the same age, Lars is just
very sick, so he looks older." Lars added, "Yes, and if I lose
more weight next week, they'll ask if I'm your son!"
I picked Lars up at 5:00. He had taken 4 pints of blood. It
took all day. On the way home he worried about my driving. He
had taken some morphine and was fairly out of it. It was hard to
stay with his rhythm.
Friday, March 10: Lars wanted to go to Paul's biography
fair. Paul was Leonardo da Vinci and Lars had helped consult on
his costume and cared about the whole project. But Lars was s
bit morphine crazed and couldn't make up his mind about going. We
finally agreed I would take my mother (Eva) in my car, to stop on
the way at Trader Joe's, and Ali would take Lars directly there
later. I knew the whole thing would be somewhat of a zoo, but
Lars definitely wanted to go. So be it. One of his reasons for
going was "I had a transfusion yesterday and I'll have plenty of
energy." The fair was all a bit much for him. At one point,
while dozens of children from ages 5 to 12 ran and milled around,
he turned to me and said, "These children have too much sugar in
their diet -- that's why their energy level is so high." But he
seemed very glad he had come. I went straight to the studio and
Ali took Eva and Lars home.
[Ali: As we left school and headed for the freeway, we saw a
curious sight that Lars and Eva remarked on at length. A van was
burning in the middle of Genesee near La Jolla Village Drive and
the whole street was closed off. Later we learned that this was
the van of a teacher from Paul and Otis's school that had been
bombed just minutes earlier (by Iranian raghead terrorists
presumably). We got home and I escorted Lars back to his chaise
in the backyard. These last few weeks during the nice weather
Lars spent many hours each day in the patio stretched out,
sitting up, on the dayglo Mexican blanket on the chaise longue.
When he could, he read. Much of his visiting time during
February and March was spent there, sitting with Abo and others.]
Friday evening we went to Christine and Barry's for dinner. I
could see that Lars was so weak but still wanted very much to go.
It was all so noisy and hectic -- for him -- and I felt so
responsible for him. I thought I just shouldn't let him go to
dinner parties any more. Little did I know.
Saturday, March 11: Ali and I asked Lars to cut back on his
morphine that day so that we could talk. We realized we didn't
know anything about how to take care of him, how his insurance
worked, where his will was, who he really wanted with him when he
died, so many questions that were practical (?), yet we hadn't
really talked about them, because up 'til then he was OK, and so
very self-sufficient in every way. But the morphine was starting
to cloud his thinking -- or so we thought. In retrospect, it's
hard to know how much his mind was affected by the changes that
were brewing as the virus advanced.
Saturday morning he came into the kitchen saying, "Mary is
coming today, and Brent and Babs." I said, "No sweetie, that's
next Saturday" instead of just agreeing, "Oh right." He made me
walk back to his house and look in his calendar to make sure I
was right. This took a long time, because he was so weak and
walking was getting harder; each small foray was a major
production. So after we checked his calendar, he agreed it was
indeed the next Saturday, March 18, that they were coming. And
so the day went. In the afternoon we talked a little about what
he wanted. "You guys must be worried about me," he said. We
were, even though we didn't fully know how much right then.
Saturday night he woke up a lot. Ali had to help him get to
the toilet and back into bed. Also Sunday night he needed Ali's
help to get to the bathroom, both day and night. Each trip from
bed to bath took many minutes, even as he insisted he could still
do things himself.
Sunday, March 12: Lars announced he would rest and stay in
bed. I agreed he should. That day Paul had a friend over to
play, and at this point Lars did look just terrible -- emaciated
and unsteady on his feet -- and I was relieved he would not
insist on moving around the house. That may sound cruel, but I
felt that Paul deserved to have a friend visit and just have a
fun day himself. So many days lately had been given over to
careful adjustments to cater to Lars's condition. But it turned
out to be the most peaceful, beautiful day I had with Lars. He
would nap or doze off and I just sat by his bed on the floor. I
meditated and the birds sang. It was so lovely. He would talk a
little and we just hung out in a way that seemed filled with love
and quiet. I found myself thinking, I wish he could just die in
his sleep now, he was napping and seemed so happy. To me he did
die that Sunday afternoon, because he was so at peace, and he
never regained much lucidity later.
The rest of the week got more frantic and "real" each day.
The death and dying seminar, as we joked about it much later.
In the late afternoon Lars tried to call his cousin Lisa, but
he said the phone didn't work. I then realized that he could no
longer push the numbers. It was all getting too hard for him. He
wanted to take a shower and he appeared in the living room with
his towel and soap and headed for our bathroom. He never bathed
there normally. I stayed half in the shower with him because I
feared he might fall. He wanted to shower in our shower because
it was too hard to bathe in his bathtub or too cool to use the
outdoor shower on the guest house. I helped him dry off. He was
so weak that it was an effort just to lift his feet up to put his
pants on. "This is high aerobics for you," I joked. He said,
"You know, when I first got warts on my feet in the beginning, I
was sure I was going to die. Little did I know." (Meaning that
the warts were nothing.)
That night I made stir-fried vegetables, which he always
liked. Lars wanted so much to come to the table for supper. I
said I could bring him dinner in his room, since after all he was
sick, and once in a while that's allowed. But he said he wanted
to come, so we walked to the kitchen. As it turned out, the
vegetables were too spicy, so I made him a soft-boiled egg. When
he sat down in his chair, exhausted, he said, "It's so beautiful
here." I helped him go to bed that night and tucked him in. He
was so sweet and thanked me saying, "There are no words I can say
for all you do and how much I love you." I realize how much all
those little remarks mean to me now. He was happy with us. It
pleased him. He felt truly at home.
Sunday night he awoke frequently and Ali helped him back to
bed. He would nod out while sitting on the toilet. It was a
long night, as we were up with him a lot.
Monday, March 13: We agreed Lars was very sick and so Ali
called Dr. Vrhel to see if we could come in that morning rather
than wait for the afternoon appointment. Of course no one called
back for hours, and they finally said just come as scheduled.
Lars was quite out of it (from the morphine?) even though he
hadn't taken any all day Saturday and just a sliver that morning
for the pain. Ali took him at 3:30 and I met them there because
I wanted to meet Vrhel and hear what we should do for Lasse. It
was not a satisfying visit. Dr. Vrhel was nice, but he didn't
really tell us much -- meaning, how to cope or prepare for the
next days. Lars agreed to the hyper-al feeding hook-up and a
nurse was to come the next day to set it all up. I thought,
Good, we'll have some help. By then I was beginning to feel we
could not do it all ourselves.
So that night we were still alone with a very sick Lars. He
could no longer hook up his drip alone (the DHPG medicine for the
CMV). Ali had been hooking him up for past few days. He started
the drip but had to go to a meeting. Panic! He forgot to tell
me how to unhook him. So Lars tried to remember how in his
morphine haze and actually tried to do it himself, but his hands
shook too much. Ali called me from his meeting and talked me
through the procedure. Whew! That kind of stuff is not my cup
of tea -- syringes, etc. I begin to realize that without Ali I
cannot care for Lars.
Ali becomes the prime caretaker. He puts Lars to sleep and
tries to get him to promise not to get up so much in the night
--so we can sleep! But it's all beyond that by this point. I
print our phone number in big letters, because he said he tried
to call us on his phone the night before but couldn't remember
the numbers. That all is pointless too, I realize later, because
the phone itself is just too complicated. We need a buzzer. We
need a nurse!
Tuesday, March 14: It is a big day for me. I am to install
the banners at the La Jolla library. Lars is worried he is
losing his other eye's sight. He has an appointment at the eye
clinic. Ali has an interview to go to. Mama agrees to take Lars
to the clinic. So first I shower him. (He still cares mightily
about looking fresh!) I just get right in with him, as it is all
he can do to just stand upright while I soap him off. He did
excuse himself when he had to pee. I said it was OK, everyone
pees in the shower. Then we did our aerobics -- drying off and
dressing. I couldn't help thinking, this is so dumb for him to
go to the eye clinic, but he wanted to do it! He hated the route
Mama took, her driving, and he ranted the whole way. He made
quite a stink, our sweet Lasse! At the eye clinic they said his
eye was OK. He wasn't losing his sight, but he was probably
losing his mind, was their explanation.
When I came home from the library, the nurse still hadn't
come. A mix-up at the office! Another night of craziness. Lars
had not had much nourishment -- if he could even absorb anything
from what he did take in. He was pretty out of it. In a lucid
moment he thanked me for the nice bottle of wine I had put behind
his bed. Of course that was a hallucination, but he did say it
was an excellent wine!
Tuesday evening Paul came to get me from Lars's house because
I had a phone call. Paul then stayed with Lars while I went to
talk on the phone. A few minutes later Paul came into the
kitchen sobbing. I got off the phone and held him and tried to
comfort him. I told him I had no idea how difficult all this
would be for us when I invited Lars to come and stay with us. In
essence I was apologizing to Paul for the situation. He looked
up at me and said, "No Mom, it's good for me to know all this." I
left the kitchen to see Lars and when I came back Paul had made
that wonderful drawing (that's on the death announcement). What
a kid.
Wednesday, March 15: The nurse finally came today to "assess
the situation." She asked Lars about his insurance. He was able
to answer some questions but not quickly. What he said was I
understand your questions but it is hard for me to find the words
to answer. She said she would request an all-day nursing
assistant. She showed Ali how to hook up the liquid food
(hyper-al) drip and the morphine pump. Lars could not swallow a
pill and the dosage could be calibrated better. Ali was
excellent at all this. I couldn't take it and left the room.
Now we were left with a really hooked-up sick person. Lots
of tubes. One funny thing: While the nurse was there she and I
changed Lars's bed. The wood of the wedding bed made a knocking
sound as we clambered around to change the sheets. Lars kept
saying "Come in." We said no one was there. It turned out that
there WAS someone at the front door knocking -- the man with the
medicine and supplies. Black humor everywhere.
That night Ali had to help him to the bathroom repeatedly.
Once he even got out of bed and sat on the floor seeming to want
to look at the TV (something he rarely did in his room anyway).
It was so hard to figure out what he wanted -- if he really knew.
In the evening I brought him a lemon ice, because it seemed
easier to suck it than to drink from a glass. He gobbled that
down so fast that I was afraid he'd choke. When he was done, he
said, "Tissue, please." He could barely talk but he was very
sweet. It was a hard night for Ali. I didn't sleep much either.
I had bought a baby monitor so Ali could hear him from our bed.
When he started to moan or call out, Ali would go help him.
Thursday, March 16: Another nurse came and I begged her to
send a full-time nurse. By then I didn't care if insurance
covered it or not. We'd figure out a way to pay somehow. She
promised one would come by the afternoon. I had called Babs to
come and sit with Lars from 12 to 3 p.m., because I had to go to
the studio. And I wanted someone to help Ali. Babs came with
Francis and brought freesias. They were one of Lars's favorite
flowers. I hadn't gotten any flowers that week for Lars. I
always kept some in his room, but that week I hadn't gotten any
yet.
The very young nursing aide came at 3 p.m. She was
wonderful. By this time it was clear that Lars was getting worse
by the hour. He was starting to have lots of mucus come up and
was breathing heavily. He was comatose or simply out of it. The
nurse kept wiping the mucus away. I just burst into tears when I
saw him and had to leave the room. A lot of help I was. By now
we were beginning to realize that this was the end, or near to
it. But being new at this process, it wasn't clear how near.
[Ali: The home care nurse came by after the nursing aide
arrived. She took Lars's temperature, noted that his fever was
rising. By then he was breathing with difficulty. She candidly
told me, "I doubt he'll last the week-end, maybe not even the
night." When the fever from the CMV gets into the brain and
breathing center, there is virtually nothing one can do, short of
life-support machines, which was exactly what Lars wanted not to
have done.]
Ali hooked up his regular medicine for the nightly drip, but
it all seemed so pointless. But Lars always followed the
routine, so we did too. That evening we began calling Michael
Katz because we didn't know what to do about the advancing
symptoms. Lots of phone calls back and forth. We called Vrhel to
ask if we should go to the hospital or get a suction machine. He
said no, it's better to stay at home, and that's what Lars always
wanted.
[Lars specified in his Living Will that he did not want to be
kept alive by extraordinary life support, like intubation or
breathing machines, after he had become incompetent,
uncommunicative, or unconscious for more than 48 hours. By then
we had gone almost that long without much rational exchanges with
Lars.]
His breathing was very labored. Ali had gotten Tylenol
suppositories to help control the fever but it made no real
difference. All systems were in decline. Ali had hooked him up
to a condom catheter earlier so his pee wouldn't just soak the
bedding -- one more tube. As the night wore on I would go out to
see him for a while and come back in to get ready for the next
round.
Ali: For those last few hours, I felt that Lars was gone.
He was not seeing, though his eyes were open. He looked as if he
had stepped away from a non-working body. I hovered over his
drips, checking things with the aide, and I couldn't really think
beyond the immediate crisis. I just knew he wasn't going to last
much longer. The second shift nursing aide came on at 11 p.m. I
briefed her on all we had been doing. The pace was slower and
yet more intense. His breathing was just a reflex action. I
knew, without knowing exactly what was happening, that the end
was very close. At 11:57 p.m. he drifted off and stopped
breathing. He looked relieved. I felt relieved for him. We
called Abo and Niels in Denmark. We arranged for the body to be
picked up. They came within the hour. We were quite spacy and
took hours to wind down and go to bed. My dreams were full of
images of Lars smiling. That's how I remember him.]
It was hardly the perfectly peaceful ending we all
envisioned. But I guess it was, ultimately. He was really OK
the last month, in his head. He seemed to be at peace about
Christian and about himself. Only on Monday and Tuesday did I
realize how much he had done himself. He really took care of
himself, by himself, throughout the years of his illness. We all
just gave him some shelter from the cold.