Steelhead, Grand Ronde River, Oregon
Pigpen (Ron McKernan) of the Grateful Dead, Europe ‘72 tour, by Rosie McGee
E. O. Wilson
- Loren Eiseley, "The Fire-Apes" (1949)
Danny Rifkin’s business card — original co-manager of the Dead
best record ever? perhaps
Fairport Convention “Liege And Leaf” promo, Rolling Stone magazine, June 11. 1970.
It was Reed who defined the band’s sensibility, embodied its contradictions. He was a romantic alienated bohemian and an antiromantic pop ironist, a middle-class Jewish kid from Brooklyn who came on like a streetwise punk in tight jeans and shades, a classical piano student turned rock and roller, Bob Dylan-cum-Nelson Algren-cum-Jean Genet. He talked his songs in an expressive semi-mumble that made you think of James Dean without the naiveté.
Not that Lou did not display his own kind of innocence. His songs hinted, when you least expected it, that underneath the meanness and paranoia, the affectless brutality that smothered pain, there was after all the possibility of love.