strange trip meaning

• Artists add

Grateful Dead

Truckin' lyrics.

All I have to say is.... WOW! You people have absolutely no heart for the Grateful Dead. the stereotypical OOOh, "DRUGS, HOOKERS, DRUGS, DRUGS"... You people need to learn how to listen to music and stop assuming its about gettin all f*cked up. Now, I'll set this straight... The song "Truckin'" is about life on the road, as you've said, and the realization that you only live once, so you should take risky chances...

"What in the world ever became of sweet Jane? She lost her sparkle, you know she isn't the same Living on reds, vitamin C and cocaine all a friend can say is "ain't it a shame"

This is simply about a girl named Jane who lives on "Marlboro Full-Flavored" cigarettes (marb reds), Vitamin C, and Cocaine. NOTHING ABOUT MARY JANE! ps: JAYMAN... you suck for sayin that sh*t

@Ziggy8687 "Reds" in the '60s and '70s at least referred to Seconal, a barbiturate (i.e., addictive depressant drug used as a sleep agent) which was sold in red capsules. This is a reference to a girl or young woman who used to have energy, flair, and "sparkle," then drifted into hard drugs, cocaine and barbiturates. I know classic Marlboros are sold in red (and white) packs but this is not a reference to cigarettes but to downers, barbs, barbies, reds, "alcohol in pill form" (barbiturates and alcohol are often considered interchangeable in terms of their effects, and cross-tolerance is high)....

@Ziggy8687 "Reds" in the '60s and '70s at least referred to Seconal, a barbiturate (i.e., addictive depressant drug used as a sleep agent) which was sold in red capsules. This is a reference to a girl or young woman who used to have energy, flair, and "sparkle," then drifted into hard drugs, cocaine and barbiturates. I know classic Marlboros are sold in red (and white) packs but this is not a reference to cigarettes but to downers, barbs, barbies, reds, "alcohol in pill form" (barbiturates and alcohol are often considered interchangeable in terms of their effects, and cross-tolerance is high).

@Ziggy8687 "Sweet Jane" is a reference to Mary Jane (i.e., Marijuana). Marijuana "isn't the same" and "lots her sparkle" because they moved on to hard drugs like Barbituates (reds - a sleeping pill) and Cocaine (to wake them up).

Alright. Honestly, I cannot believe that nobody has yet mentioned what this song is actually supposed to be about. In a way, it is about drugs, and it's also about traveling, but it's not the Dead alone who are doing the traveling, it's also Owsley "Bear" Stanley, the Dead's early sound guy who was arrested for manufacturing and attempting to transport LSD. They were all arrested for real in New Orleans, (which is where Bourbon St. is), but the charges were dropped for everyone but Owsley who already had past manufacturing charges against him. It's a great song, and plenty of the Dead's songs have little to do with drugs, but this is not one of them. It's also foolish to say that LSD did not have a massive influence on their music--it did. On the cover of Aoxomoxoa "The Greatful Dead" can also be read "WE ATE THE ACID."

Also, the line with "reds, vitamin C, and cocaine" is very clearly about drugs. "Reds" (as anyone who were actually alive in the era, or an active drug user at any time, would know) are any drugs that are depressants and have sedative effects. This includes various barbiturates and opiates. The term originates from opium poppies, which are red. "Vitamin C and cocaine" is referring not to ketamine (known as vitamin K) which may not have even existed, and certainly was not yet popular, at the time this song was written (it certainly was not called vitamin K yet, as it was first called that in a book written in the early-mid eighties, where it was used as an altered states therapy drug, but not identified in order to prevent what the writer of the book considered to be "abuse"), but rather, it is referring to cut cocaine, more specifically cocaine that has been cut with vitamin C, a very common white-powder drug adulterant.

Anyway, you guys should try to get your facts straight before you get all holier than now, and act like you know exactly what the song was about.

This song is not about drugs or women. It's a nice wholesome song about the weariness of constant travel and how Jesus can save you from a life of confusion.

at the high school i went to the graduating class always got tshirts at the end of the year. well one year they had "what a long strange trip it's been" printed in huge spiraling letters on the front. i thought it was so funny that someone talked their oblivious class advisor to make shirts with a blantant drug reference from the grateful dead. i have always loved this song and now it reminds me of major mile stones in life (ie graduation) and silly high school traditions, oh and dumb people who don't know a dead reference when they hear it.

yea this song is about touring.. but i think its more just about drug addiction.. i mean it comes out and says it

What in the world ever became of sweet Jane? She lost her sparkle, you know she isn't the same Living on reds, vitamin C and cocaine all a friend can say is "ain't it a shame"

There it says that pot just doesnt do it for him anymore. So he turns to harder drugs like reds which is a barbituate called Seconal, vitamin C is Ketamine and coke..

Then i think there are just a lot of things that can either be interpreted as touring or drug addiction so the rest is up to you

i read a book called the car by gary paulsen and they used the term truckin in it, it means to travel without knowing where u r going and possibly be on drugs at the time

kamyatek is on the target. Robert Hunter wrote many other verses as well. He jotted down lines as the band did their tour, and culled a lot of them from the final draft. It's discussed in a documentary called, I believe, "Anthem To Beauty," an excellent work which focuses on the recordings and surrounding times of the Anthem Of The Sun" & "American Beauty" albums. Highly recommended and featuring footage of an awesome early Sugar Mag.

The New Orleans setup bust is an interesting story in its own right, but only warrants that small part of the song.

I'm not sure if it was Hunter or not, but someone in the Dead's touring circle said Sweet Jane was inspired, at least in part, by Janis Joplin, and they said "cocaine" instead of "heroin," (her drug of choice) because it fit better.

IN 1983 or so, Bobby changed the lyrics a few times to "What in the world ever became of sweet Jane? She lost her sparkle; y,know, she isn't the same Ever since she went and had a sexchange All a friend can say: "It's a f#$kin' shame . . . she just AIN'T the same"

Personally I think they are lamenting going from smoking pot to doing heavier drugs..

But it also has to do with their arrests for possession, etc.

What are all GD songs about?...cmon now. "what a long strange trip its been". lol u know its about drugs. GD's music will never die man.

I think what this song is about is traveling, but I also think there's a hidden meaning in the word "trip".

The Meaning Behind The Song: Truckin’ (what a long strange trip version) by The Grateful Dead

Table of Contents

Truckin’ is an iconic rock song by The Grateful Dead, released in 1970 as part of their album American Beauty. The song was written by Robert Hunter, Jerry Garcia, Phil Lesh, and Bob Weir. It has become one of the band’s most popular and enduring tracks. Truckin’ is a song that captures the essence of the long and strange journey of life.

The lyrics of Truckin’ paint a vivid picture of life on the road, filled with adventure, struggles, and moments of reflection. The song begins with the lines “Truckin’, got my chips cashed in, keep truckin’, like the do-dah man, together, more or less in line, just keep truckin’ on.” These lines imply a sense of embracing life’s challenges and moving forward despite the ups and downs.

The first verse of the song mentions “arrows of neon and flashing marquees out on Main Street,” referencing the vibrant and exciting city life. The lyrics mention cities like Chicago, New York, and Detroit, emphasizing the universal experiences shared by people living in cities. The line “hang it up and see what tomorrow brings” suggests a desire to let go of worries about the future and live in the present moment.

The refrain of the song mentions different cities and their characteristics. “Dallas, got a soft machine, Houston, too close to New Orleans, New York got the ways and means, but just won’t let you be.” The lyrics highlight the distinct qualities and challenges of each city, emphasizing the constant movement and the struggle to find peace and freedom.

The second verse of Truckin’ reflects on the transient nature of relationships and the longing for something more. It mentions cats (people) on the streets who often speak of true love but end up sitting and crying at home. The lyrics express a desire for change and a realization that one must step out of their comfort zone to find true fulfillment.

The bridge of the song portrays the contrast between moments of clarity and times of uncertainty. “Sometimes the light’s all shinin’ on me, other times I can barely see, lately it occurs to me, what a long, strange trip it’s been.” These lines capture the duality of life’s journey, filled with both moments of clarity and confusion.

In the third verse of Truckin’, the lyrics mention a character named “sweet Jane” who lost her sparkle and turned to drugs. The song touches on the darker side of life and the consequences of self-destructive behavior. The line “all her friends can say is ‘ain’t it a shame'” reflects the sadness and concern felt by those close to her.

The fourth verse tells a story of being on the run, staying in hotel rooms, and the constant threat of the law. It portrays a sense of restlessness and a desire for freedom. The lyrics mention being “busted, down on Bourbon Street, set up, like a bowling pin, knocked down, it gets to wearin’ thin, they just won’t let you be.” These lines highlight the struggle against societal constraints and the need to keep pushing forward despite obstacles.

In the fifth verse, the lyrics touch on the desire to travel and experience new things, while also acknowledging the longing for stability. The line “I guess they can’t revoke your soul for tryin’, get out of the door and light out and look all around” suggests a sense of optimism and a willingness to explore the world.

The final bridge of the song reinforces the idea that life is a long and strange journey, with moments of clarity and moments of confusion. It reflects on the ever-changing nature of life and the need to adapt and keep moving forward.

Truckin’ is a song that resonates with many listeners due to its relatable themes of life’s ups and downs, the desire for adventure, the struggle for freedom, and the constant search for meaning. Personally, this song has accompanied me on many road trips and long drives. It has always captivated me with its timeless lyrics and the sense of freedom and adventure it conveys.

As the chorus kicks in, I often find myself singing along, embracing the spirit of the song and allowing it to transport me to a different time and place. The Grateful Dead’s unique blend of rock and folk elements, along with their improvisational style, adds to the song’s charm and appeal.

Truckin’ has become an anthem for those seeking to embrace life’s challenges, find their own path, and keep moving forward despite the obstacles they may face. It reminds us that life is indeed a long and strange trip, and it is up to us to make the most of it.

So the next time you embark on a road trip or find yourself pondering the twists and turns of life’s journey, remember to crank up the volume and let Truckin’ by The Grateful Dead be your companion on the open road.

Explore More Song Meanings

About The Author

Rhonda Weston

Leave a comment cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Epic Grateful Dead Doc ‘Long Strange Trip’: 10 Things We Learned

By Steve Smith

Steve Smith

It sounds like a punch line: “There’s a new Grateful Dead documentary – and it’s four hours long. ” But Long Strange Trip , directed by Amir Bar-Lev ( The Tillman Story, Happy Valley ) and executive-produced by Martin Scorsese, is no amiably noodling shuffle through a defunct band’s yellowed back pages. What the film chronicles, imaginatively and unflinchingly, is the flowering of an exuberant American counterculture – its triumph, its corruption and the toll exacted at either extreme – as viewed through the prism of a singular band of anarchists and their charismatic yet unwilling ringmaster, Jerry Garcia .

In structure and pacing, Long Strange Trip, which opens in theaters Friday, and then comes to Amazon Prime Video June 2nd, resembles a classic Dead show. Much of the first half presents familiar themes in discrete episodes, served up at a measured pace: Garcia’s childhood; the band’s unlikely coalescing; psychedelic hijinks and rustic retreats; and the tragic 1973 death of co-founder Ron “Pigpen” McKernan. The second half is more wayward and contemplative, with exploratory detours into the Deadhead experience and the tape-trading phenomenon, yet it builds inexorably to the band’s incandescent commercial peak before turning to Garcia’s harrowing decline.

Apart from a handful of startling omissions (no acknowledgment of drummer Mickey Hart’s self-imposed exile of 1971–74, no attention paid to keyboardists Tom Constanten and Vince Welnick and touring pianist Bruce Hornsby), Long Strange Trip is rich in detail, with voices representing all whose lives were touched by the Dead: members, crew, industry figures, intimates and fans. Complementing each segment with the perfect Dead tune, Bar-Lev deftly mixes new footage with vintage clips (some previously unseen) to provide a panoramic, enveloping experience. Here are 10 things we learned from Long Strange Trip.

Editor’s picks

Every awful thing trump has promised to do in a second term, the 250 greatest guitarists of all time, the 500 greatest albums of all time, the 50 worst decisions in movie history.

1. Jerry Garcia was obsessed with Frankenstein. “I used to draw pictures of the Frankenstein monster over and over, endlessly, in different positions,” Garcia says near the start of Long Strange Trip, his voice playing over a montage of his sketches. He recalls seeing Abbott and Costello Meet Frankenstein in 1948, one year after his father had drowned. Images and film clips from Frankenstein films recur throughout the documentary. The interview, taped for a television program called The Movie That Changed My Life, returns at the end of the documentary, providing closure. “It touched something, I don’t know what, something very strong,” Garcia says. “It might have been the thing of a dead thing brought to life. Frankenstein’s monster is, after all, a drive to reanimate, or to produce life, and it hit me in that archetypal center.”

2. Garcia’s formative influence was bluegrass banjo legend Earl Scruggs. “My mother was an amateur musician, my father was a professional musician, so I grew up in a musical household,” Garcia relates in another archival interview. “But the first time I decided that it was something I wanted to do was when I heard … Earl Scruggs play five-string banjo. I fell in love with the sound, and I thought, ‘That’s something I have to be able to do.'” Color film footage of an impossibly young Garcia showing his pluck reveals that he was a quick study. “Bluegrass is conversational music – the instruments kind of talk to each other,” Garcia adds, citing a credo that he carried over into what would become the Grateful Dead .

3. The Dead achieved commercial success by going country. Driven out of San Francisco by curiosity seekers intent on spotting hippies, the Dead sought refuge in the countryside, and their music soon grew to reflect the new setting: a shift seen in rare footage of Garcia, Bob Weir and Phil Lesh working out vocal harmonies for “Candyman” while strumming acoustic guitars. “When it came time to do Workingman’s Dead and American Beauty – that’s really kind of really one long record – I talked to the guys, said, ‘Why don’t we approach this one as though it were, like, a country & western record?'” Garcia explains in an archival interview. “Or California country & western, like Bakersfield. And why don’t we put more energy into the vocals, and making the vocals sound as good as they can, and not getting hung up on the instrumental surroundings?”

4. During an early TV appearance, the Dead dosed a cast of extras with LSD. Confronted with unfamiliar, potentially awkward situations as their fame began to rise, the Grateful Dead weren’t above employing “LSD as self-defense,” as then-tour manager Sam Cutler put it. Such was the case when in 1969 the band was booked to perform on Playboy After Dark, a syndicated television show hosted by Hugh Hefner. “All the people who are at the party are extras, you know – they’re from central casting, and they’re sitting there with glasses of ginger ale,” Garcia relates in an archival interview. “It’s laid out like an apartment, but it’s a Hollywood soundstage, and there’s Hugh Hefner and all these melons. And the coffee pot got dosed, and the whole thing turned from an artificial party into an authentic party.”

The Dark Side of the Grateful Dead: Inside the New Doc 'Long Strange Trip'

5. Keith and Donna Godchaux decided one day to join the Dead – and did. “We had been seeing the Grateful Dead whenever we could,” explains Donna Godchaux, whose husband, classically trained pianist Keith Godchaux, joined the band in 1971. “I came home one day and said, ‘Let’s listen to the Grateful Dead.’ And Keith said, ‘I don’t want to listen to it anymore; I want to play it.’ … And I said, ‘OK, let’s go get in the band.'” Donna, who would join the Dead herself as a backing vocalist in 1972, approached Garcia after a concert and announced, “Keith is your next keyboard player.” Soon after, he was.

6. The Dead’s towering “Wall of Sound” PA system was designed by an LSD pioneer. Owsley “Bear” Stanley, a fabled sound engineer and chemist whose special brand of acid fueled the Dead as well as Ken Kesey and his Merry Pranksters, became the group’s official soundman (and unofficial financier) starting in 1965. Asked in 1974 to produce a sound system powerful enough for the increasingly large spaces the Dead were playing, Stanley and his associates designed a towering rig that featured more than 500 speakers, plus noise-canceling parallel microphones, delivering clear sound for a quarter mile. “The Wall of Sound … I loved that thing,” Lesh says, laughing. “It was the best PA, ever. It was the best sound I can possibly imagine. And it was also the biggest – it was absolutely apocalyptic.” He should know; his bass stack alone was 32 feet tall. “It was like the voice of God,” he adds.

Olympian Stephen Nedoroscik Knows Just How Viral His Pommel Horse Routine Went: 'I Had to Turn My Notifications Off'

Trump and his maga movement are actively ‘hijacking’ georgia’s elections, rnc speaker slams trump’s comments to musk: ‘economic terrorism’, the heartbreakers' benmont tench and mike campbell will reunite for 'last waltz' tribute tour.

7. Two Dead factions, divided according to their respective drug of choice, clashed during the band’s fabled 1974 Winterland run. Viewed at the time as a farewell engagement before a planned hiatus, the Dead’s October 1974 shows at San Francisco’s Winterland Arena were filmed for posterity as The Grateful Dead Movie. But behind the scenes, not everything was harmonious among the band members: Acid heads were feuding with cocaine enthusiasts. Rex Jackson, a stalwart roadie, took matters into his own hands, dosing everyone who took the stage. “‘Everybody who comes up these stairs, they’re gonna get acid,'” Steve Parish, another long-serving roadie, reports Jackson having declared. “‘They’ll just get LSD up the ass, and then they better fuckin’ behave.'”

8. Deadheads split themselves into a number of different tribes. The diehard fans that followed the Dead from town to town were no uniform population. “The physical layout of a Grateful Dead show was like a mandala with different regions,” recalls Steve Silberman, a science journalist and longtime Deadhead. Denizens of the “Phil Zone,” he relates, positioned themselves to savor Lesh’s bass emanations, while in the “Deaf Zone,” hearing-impaired fans absorbed musical vibrations through inflated balloons while translators signed lyrics. “There was a whole crew of Wharf Rats, who were people following the 12-step path who would have meetings during the set breaks,” Silberman says. “Spinners would be out in the hall, having literally religious experiences, because they though Garcia was a prophet and they’d be bowing down.”

9. The Dead were hobbled by the enormity of their own success. “Has success spoiled the Grateful Dead?” an unseen reporter asks Garcia in a clip from the band’s commercial peak, when the album In the Dark and hit single “Touch of Grey” had hit the charts. Garcia doesn’t hesitate: “Yeah.” Unanticipated popularity had prompted a move from arenas to stadiums, where newcomers elbowed in among diehard Deadheads. “Playing in the stadiums [was] akin to playing in the studio,” Kreutzman recalls. “There were 60,000 people there, but basically you didn’t have any touch with those people – they were hundreds of feet away from you.” And even then, the band couldn’t satisfy demand, a situation that led to members recording public-service announcements imploring fans without tickets not to loiter outside the concerts. “Jerry just couldn’t bring himself to do one of those,” Dead publicist and historian Dennis McNally notes ruefully.

10. Garcia considered stepping away from the Dead permanently in the Nineties. Briefly reunited in 1993 with Barbara Meier, the former girlfriend who decades earlier had given him his first guitar, Garcia swept her away to Hawaii, took her scuba diving and proposed marriage. “I think he had been suffering for a long time under the weight and responsibility of this behemoth,” Meier says, relating a conversation in which Garcia mulled stepping out of the limelight. “I said, ‘Why don’t you?'” Meier recalls. She recounts his reply: “‘Do you know how many people are depending on this show going down the road?’ I understood in that moment that it was a machine by then. It wasn’t just a bunch of guys getting together and making music. This enormous community was demanding that he be the Grateful Dead’s Jerry Garcia.” Not long afterward, gripped anew by addiction, Garcia again dismissed Meier from his life. She never saw him again.

Rob Schneider Asks Elle King for His Forgiveness After She Called Him 'Toxic'

• Sorry Schneider
• By Tomás Mier

Katy Perry ‘Adhered to All Regulations’ While Filming at Dunes in Spain, Says Team

• Under Investigation
• By Kalia Richardson and Tomás Mier

Judge Rules Nick Carter Can't Sue Accuser for Defamation: 'The Truth Is an Absolute Defense'

• 'aggressive tactics'
• By Nancy Dillon

Demi Lovato Says She Might Never Tour Again: 'Takes a Toll on Your Body'

• Off the Road

Del Water Gap's Liquid Courage Comes Back to Haunt Him on New Song 'Purple Teeth, the Bravery'

• Afraid I Said Too Much
• By Larisha Paul

Most Popular

Robert downey jr. turned down iron man cameo in 'deadpool & wolverine' after reading scene; writers also had an idea to bring the six original avengers back, ‘alien: romulus’: first reactions after the premiere, kate middleton & prince william’s surprise appearance shows william’s drastic hair transformation, marcus jordan, michael jordan's son, appears to sniff white substance in new photos, you might also like, casey wasserman tabloid scandal brings professional fallout for agency owner and l.a. olympics chief (exclusive) , the st. regis is bringing back old hollywood glamour with new jazz club concept, the best yoga mats for any practice, according to instructors, gena rowlands, who created the blueprint for the modern independent film star, dead at 94, ‘caitlin clark effect’ hits bottom line in indiana fever finance report.

Rolling Stone is a part of Penske Media Corporation. © 2024 Rolling Stone, LLC. All rights reserved.

The Enlightened Mindset

Exploring the World of Knowledge and Understanding

Welcome to the world's first fully AI generated website!

A Long Strange Trip: Exploring Its Origins, Meaning and Popular Culture Use

By Happy Sharer

Introduction

Have you ever heard the phrase “a long strange trip”? While it may seem like a simple phrase, it can have profound implications. This article will explore the origin and evolution of the phrase, its meaning, personal reflections, its use in popular culture, and different interpretations from various perspectives.

Origin and Evolution of the Phrase

The phrase “a long strange trip” first appeared in the early 1960s. It was used by American beatnik poet Allen Ginsberg in his poem “Howl,” which served as an anthem for the Beat Generation. The phrase became popularized in the late 1960s when it was used by the Grateful Dead in their song “Truckin'”, which is also considered to be an anthem of sorts for the hippie counterculture movement.

Since then, the phrase has been used in many different contexts. It has been used to describe a wide range of experiences, from life-changing journeys to mundane everyday tasks. It has become a catchphrase for describing any experience that is unpredictable, difficult, or unexpected.

Meaning Behind the Phrase

The phrase “a long strange trip” has several layers of meaning. On one level, it can be taken literally, as a description of a journey that is lengthy and filled with surprises. On another level, it can be seen as a metaphor for life itself, with its highs and lows, twists and turns, and unexpected detours.

The phrase can also be interpreted as a call to embrace life’s uncertainties and to take risks. By doing so, we open ourselves up to new experiences and possibilities. As author Toni Morrison said, “If there’s a book you really want to read, but it hasn’t been written yet, then you must write it.” In other words, if you want something, you have to take a chance and go for it.

Interview with Someone Who Has Experienced a Long Strange Trip

To gain further insight into the concept of “a long strange trip,” I spoke with my friend, Sarah, who recently took a year-long backpacking trip through South America. She described her experience as “both exciting and scary, but so worth it in the end.” She said that she learned a lot about herself during her travels and that the experience has changed her life in many ways.

When asked what advice she would give to someone considering taking a similar journey, Sarah said, “Be prepared for anything. You never know what will happen on the road, so it’s best to stay flexible and open-minded. Also, don’t be afraid to ask for help if you need it. There are so many kind people out there willing to lend a hand.”

Popular Culture Use of the Phrase

The phrase “a long strange trip” has become a popular trope in movies and music. Films such as The Big Lebowski (1998) and Fear and Loathing in Las Vegas (1998) use the phrase to describe characters’ surreal and often drug-induced adventures. In music, the phrase has been used by a wide range of artists, from Bob Dylan to Kendrick Lamar, to describe the ups and downs of life.

These works often explore themes such as self-discovery, identity, and the search for meaning. They remind us that life is a journey, full of unexpected twists and turns, and that it is important to embrace the unknown.

Different Interpretations from Various Perspectives

The phrase “a long strange trip” can be interpreted in many different ways, depending on one’s perspective. From a psychological perspective, it can be seen as a metaphor for the process of individuation, or the development of the self. From a religious perspective, it can be seen as a journey of faith and spiritual growth. And from a philosophical perspective, it can be seen as an exploration of the nature of reality.

No matter how one chooses to interpret the phrase, it is clear that it has had a lasting impact on society. It serves as a reminder that life is full of surprises, and that it is important to stay open to new experiences and possibilities.

In conclusion, the phrase “a long strange trip” has had an enduring impact on society. It originated in the Beat Generation and was popularized in the hippie counterculture movement. It is a call to embrace life’s uncertainties and to take risks. It is a reminder that life is a journey, full of unexpected twists and turns, and that it is important to stay open to new experiences and possibilities. Finally, it can be interpreted in many different ways, depending on one’s perspective.

As the Grateful Dead once sang, “What a long strange trip it’s been.” Indeed, life is a journey that is both beautiful and unpredictable. So, take a chance and go for it. You never know where it might lead.

(Note: Is this article not meeting your expectations? Do you have knowledge or insights to share? Unlock new opportunities and expand your reach by joining our authors team. Click Registration to join us and share your expertise with our readers.)

Hi, I'm Happy Sharer and I love sharing interesting and useful knowledge with others. I have a passion for learning and enjoy explaining complex concepts in a simple way.

Related Post

Exploring japan: a comprehensive guide for your memorable journey, your ultimate guide to packing for a perfect trip to hawaii, the ultimate packing checklist: essentials for a week-long work trip, leave a reply cancel reply.

Your email address will not be published. Required fields are marked *

Expert Guide: Removing Gel Nail Polish at Home Safely

Trading crypto in bull and bear markets: a comprehensive examination of the differences, making croatia travel arrangements, make their day extra special: celebrate with a customized cake.

“Truckin,’” The Grateful Dead

Jim Beviglia

Updated: 

It’s become a bit of a cliché among music fans who don’t consider themselves Deadheads to dismiss the band’s studio albums with the exception of 1970’s divine doubleheader, Workingman’s Dead and American Beauty . That’s a bit of an oversimplification, but there’s no doubting that there’s a certain magic about those two albums and the songs contained on them that shines through without any need for on-stage embellishment.

Videos by American Songwriter

That’s because the band’s songwriting was at its sharpest in this period, and “Truckin,” the final song on American Beauty , is a prime example of this. As with most Dead songs, Robert Hunter handled the lyrics while, in this case, Jerry Garcia, Bob Weir, and Phil Lesh combined to write the music, which was distinguished by a chunky country-blues groove and Garcia’s stinging lead guitar licks.

Part of the reason for the band’s improved studio work at this time was that Hunter was becoming more incorporated into their never-ending tour, allowing for songs that reflected on the band’s lifestyle and music that was more organically in tune with the lyrics. With “Truckin,” Hunter channeled the Dead’s life on the road with eerie accuracy, as Weir told VH1 in 1997: “We left some smoking craters of some Holiday Inns, I’ll say that, and there are a lot of places that wouldn’t have us back. All of this is absolutely autobiographical, all the stuff in ‘Truckin.’”

Yet the song is successful because it not only captures the revelry of life on the road but also its lonely flip side. Weir sounds frazzled on the lead vocal, a performance full of itchy energy that suits the lyrics. “Arrows of neon and flashing marquees out on Main Street,” he sings, following that up with the world-weary ennui of the long-distance traveler: “Chicago, New York, Detroit it’s all on the same street.”

It’s also interesting that a band known as leaders of the drug culture unflinchingly shows the seedier side of that lifestyle with the cautionary tale of Sweet Jane: “Living on reds, vitamin C and cocaine/All a friend can say is ‘Ain’t it a shame.’” And they don’t shy away from discussing their own travails with the law: “Got a tip they’re gonna kick down the door again/I’d like to get some sleep before I travel/But if you got a warrant, I guess you’re gonna come in.”

The choruses, with Garcia joining in on vocal, release the tension of the music a bit even as the travelogue they detail yields endless problems. The up-and-down of it all gets summed up brilliantly in the bridge, which provides the group’s motto: “Sometimes the light’s all shining on me/Other times I can barely see/Lately it occurs to me/What a long strange trip it’s been.”

At the time of the song’s release, no one could have imagined how prophetic that final line would be for this band. Yet “Truckin” should be remembered for more than just one memorable line. It’s a great song in every sense, making it similar to many other standouts found on those two landmark albums, at a time when The Grateful Dead proved they could deliver studio material on a par with their legendary live performances.

“Truckin’”

Truckin’ got my chips cashed in Keep truckin’ like the doodah man Together, more or less in line Just keep truckin’ on

Arrows of neon and flashing marquees out on Main Street Chicago, New York, Detroit and its all the same street Your typical city involved in a typical daydream Hang it up and see what tomorrow brings

Dallas got a soft machine Houston too close to New Orleans New York got the ways and means But just won’t let you be

Most of the cats that you meet on the street speak of true love Most of the time they’re sitting and crying at home One of these days they know they gotta get going Out of the door and into the street all alone

Truckin’ like the doodah man Once told me “Gotta play your hand Sometimes the cards ain’t worth a dime If you don’t lay them down”

Sometimes the lights all shining on me Other times I can barely see Lately it occurs to me What a long strange trip it’s been

What in the world ever became of sweet Jane? She lost her sparkle you know she isn’t the same Living on reds and vitamin C and cocaine All her friends can say is ain’t it a shame

Truckin’ up to Buffalo Been thinking you got to mellow slow Takes time, you pick a place to go Just keep truckin’ on

Sitting and staring out of the hotel window Got a tip they’re gonna kick the door in again Like to get some sleep before I travel But if you got a warrant I guess you’re gonna come in

Busted down on Bourbon Street Set up like a bowling pin Knocked down, it gets to wearing thin They just won’t let you be

You’re sick of hanging around, you’d like to travel Get tired of travelling you want to settle down I guess they can’t revoke your soul for trying Get out of the door, light out and look all around

Truckin’ I’m a going home Whoa, whoa, baby, back where I belong Back home, sit down and patch my bones And get back truckin’ on Lyrics By Robert Hunter, Music By Jerry Garcia/Bob Weir/Phil Lesh

Leave a Reply

Only members can comment. Become a member. Already a member? Log in.

More From: Lyric Of The Week

Revisiting the Meaning of “Bohemian Rhapsody” by Queen

Grateful Dead, “Foolish Heart”

The Cars, “Touch And Go”

Vern Gosdin, “Chiseled in Stone”

The Police, “Synchronicity II”

Jeff Buckley, “Grace”

You may also like.

Lyric Of The Week: Guy Clark, “L.A. Freeway”

Lyric Of The Week: “Ballad Of The Absent Mare,” Leonard Cohen

Lyric Of The Week: The Righteous Brothers, “You’ve Lost That Lovin’ Feeling”

Lyric of the Week: Pink Floyd, “Mother”

Lyric Of The Week: Bob Dylan, “Isis”

Cookie banner

We use cookies and other tracking technologies to improve your browsing experience on our site, show personalized content and targeted ads, analyze site traffic, and understand where our audiences come from. To learn more or opt-out, read our Cookie Policy . Please also read our Privacy Notice and Terms of Use , which became effective December 20, 2019.

By choosing I Accept , you consent to our use of cookies and other tracking technologies.

Filed under:

• Pop Culture

Making America Grateful Again

An epic new documentary examines the legacy of the Grateful Dead, more than 50 years after the band was born. What do the Dead mean now?

Share this story

• Share this on Facebook
• Share this on Twitter
• Share All sharing options

Share All sharing options for: Making America Grateful Again

Late in life, Jerry Garcia took up scuba diving. He was introduced to the sport by Vicki Jensen, a friend and former ranch hand of Garcia’s bandmate, Mickey Hart. This was Hawaii, sometime in the late ’80s. Garcia had recently come out of a diabetic coma and was so fat that he had to carry extra weight to help achieve buoyancy, but he loved the water and the water asked nothing in return.

The experience spawned a fixation. Garcia took classes, bought gear, outfitted his goggles with prescription lenses. Later he set a record at the local scuba shop, Jack’s Diving Locker, by staying under for 109 minutes on one tank of air. "I can’t do exercise," he told Rolling Stone in an interview from 1991. Compared with his music with the Grateful Dead, Garcia’s interviews were refreshingly frank. "I can’t jog," he went on. "I can’t ride a bicycle. I can’t do any of that shit. And at this stage of my life, I have to do something that’s kind of healthy" — "this stage," in other words, meaning the end.

The story — about Garcia falling in love with the ocean, about the ocean as a place where Garcia could both reconnect with the world and retreat from it — is told in nearly every account of the Grateful Dead. Bill Kreutzmann, one of the band’s drummers, opens his memoir, Deal , with a scene of him and Garcia diving. Phil Lesh, the band’s bassist, writes about how he and Garcia shared a special bond over their total uninterest in exercise — that is, until Garcia convinced him to dive. You can see footage of the man in the water in The Other One , a documentary about the band’s cofrontman Bob Weir. Garcia glides through the water like he belongs there. He paddles up to an eel cautiously emerging from a coral hut and strokes it under its chin like a housecat. It’s remarkable to see a fat man move with such grace, not to mention a man of so many prisons — addiction, success — move so freely in a place where nobody knew his name.

But the most telling instance of Garcia’s diving history is from the September/October 1995 issue of People Magazine . Part of a tribute issue printed a month after Garcia died of a heart attack, the story catches up with Vicki Jensen and the staff at Jack’s Diving Locker, recounting Garcia’s early encounters with the water and his and the band’s financial commitments to the restoration of coral reefs, invoking Garcia’s rich sense of humor, and closing with the requisite speculation that diving might’ve made his short life just a little bit longer.

Substitute another name for Garcia’s and you can see how routine the story is: a lost star’s difficult attempt to reclaim solid ground. Flip, then, to the magazine’s cover, a picture of Garcia looking into the camera with his sunglasses lowered, lit from behind so as to create a halo at the edges of his hair. To understand how big the Grateful Dead had become by the time of Garcia’s death, how grossly saturated in the culture, look here. Other People cover subjects that season included Courteney Cox, Princess Diana, and a double issue called "The Year of the Big Splits," promising "an inside report on Hollywood’s divorce epidemic." You see why Garcia went under in the first place.

The scuba story comes up again in Long Strange Trip , a new documentary about the band directed by Amir Bar-Lev and due to be released Friday by Amazon Studios. At four hours, the movie is probably more exposure than many people have ever had — or wanted — to the Grateful Dead. It’s also a sad story, and a beautiful one, told with the reverence you’d expect and some poetry you might not. Split into six sections, it follows the band from the back of a pizza parlor in Menlo Park to stadiums so large they could no longer make out the faces of the people they were playing to. For all the journeying they did, the band always seemed to boomerang to Northern California, a place once synonymous with the counterculture and now — through decades of evolution — with the entrepreneurial frontier of Silicon Valley.

Garcia grew up alongside the beat generation, taking special inspiration from Jack Kerouac’s unbroken ream of typewritten pages — a predecessor to Garcia’s own guitar solos, which, like Kerouac’s writing, analogized a creativity so expansive it threatened to break the page. (Or, in a more Freudian light, here were men who could go all night long.) The beats were famously interested in speed; the Dead were famously interested in LSD, a drug that at the band’s inception was so off the cultural grid that nobody had bothered to make it illegal.

The way Long Strange Trip tells it, the impact of the drug on the band’s creativity was seismic. At their most enlightened, Grateful Dead performances, like acid, break familiar shapes into protozoan states, squiggles of guitar filigree and synaptic splashes of drums that seem to predate known musical forms that the band then bends — sometimes remarkably, sometimes with great injury to patience — back into something you can tap your foot to. No wonder people come out of hearing things like the Cornell 1977 performance of "Scarlet Begonias" into "Fire on the Mountain" thinking the band are gods: The music dramatized evolution.

For 20 years, they were primarily an underground concern. They put out records that — with the exception of the folksy, atypically simple American Beauty and Workingman’s Dead — most people didn’t buy, and instead focused on live shows, seeding an audience that by the late 1970s and early 1980s had become so complex and multifaceted as to warrant anthropological study. (As Neurotribes author Steve Silberman puts it in Long Strange Trip , Dead shows were like a mandala — a Hindu or Buddhist diagram of the cosmos — with the band at the center.)

Like all good stories about art — or about entrepreneurs, for that matter — Long Strange Trip becomes a parable about people who succeed in part by doing it wrong. Not recorded but live. Not scripted but improvised. Not concision but sprawl. Not entertainment but journey. Even when the band adapted to the times — the hillbilly jazz of the early ’70s, the disco Dead of a few years later — they seemed happily out of step, a talisman against business, fashion, and other methods of control.

The movie ends with Garcia’s death, while the other surviving members have soldiered on in various — and often multiple — Dead-centric reparatory groups, including the Other Ones, Furthur, Dead & Company, and Phil Lesh and Friends. After an extravagant 2015 tour publicized as the final time the band’s surviving original members would play together, a group of them are about to go out again. Whether you see the temporal scope of the movie as implicit criticism or just acquiescence to logistics probably depends on what you think of the idea of John Mayer singing with the Grateful Dead, which begins this weekend and will be happening throughout the summer and likely for some summers to come. For his part, Garcia famously said the band had been trying to sell out for years but nobody was buying. If a French exit is leaving without saying goodbye, the Grateful Dead have found its opposite.

L ong Strange Trip follows certain conventions of the rock documentary. There’s the moment when the band becomes too big for its members to handle and the moment when the drugs stop being fun. There’s the suggestion that the band transcended the confines of reality and were eventually grounded for ignoring them. It makes its subjects look like decent people, or at least people chastened by the passage of time.

The portrait is as selective as any. For all the ideals surrounding the band’s music, the day-to-day culture seemed macho and banal. In his biography of the band (called, incidentally, A Long Strange Trip ), longtime publicist Dennis McNally quotes Bob Weir as saying that the band’s early benefactor (and LSD manufacturer) Owsley Stanley could "abuse a waitress like no one else in the world." Bill Kreutzmann’s memoir, Deal , contains a story wherein Kreutzmann has sex with 13 women in a row and another in which he blows cocaine while suspended upside down in an Alfa Romeo he had crashed seconds earlier. (You don’t have to snort the coke if you’re already upside down.) One of the most salient images in Long Strange Trip isn’t of the band but their crew, a fraternity of bruisers who spent all night fucked up beyond cognizance, setting up and breaking down the band’s 75-ton sound system before trucking it to the next show. How any of them drove goes unexplained. "If you’re looking for comfort," Garcia said in 1991, "join a club or something. The Grateful Dead is not where you’re going to find comfort. In fact, if anything, you’ll catch a lot of shit. And if you don’t catch it from the band, you’ll get it from the roadies. They’re merciless. They’ll just gnaw you like a dog." Initially, the back cover of the 1970 album American Beauty was supposed to be a photograph of the band, heavily armed.

The band presented as socialists but the core of their philosophy was libertarian. Garcia, for example, was outspoken about drugs being a matter of personal choice, a convenient position for a heroin addict. Three months after a member of the Hells Angels stabbed a concertgoer to death at the Altamont Speedway, Garcia told an interviewer that the Hells Angels "happened because of freedom. They’re free to happen, you know, and they’re a manifestation of what freedom is" — the idea being that freedom isn’t good or bad, just free, while rules remain the currency of parents and cops.

Toward the end of Garcia’s life, the band’s shows got so chaotically overattended that the members issued an open letter. One request was that people without a ticket stay home. The second was that people don’t show up just to sell stuff, because that attracts people without tickets. The third — broadly applicable — was that the true Dead Heads help keep the phonies in line.

"Want to end the touring life of the Grateful Dead?" one line reads. "Allow the bottle-throwing gate crashers to keep on thinking they’re cool anarchists instead of the creeps they are." One fan in Long Strange Trip protests that they’re only doing what the Dead taught them. I ask Eric Eisner, the movie’s lead producer, what he thinks about this. "I get it," he says. "It’s an ethos. It’s like utopia: It doesn’t work in reality, but on paper it looks great." His first Grateful Dead show was on December 9, 1988, at the Long Beach Arena — the last time the band played there on account of (in Eisner’s recollection) too many people camping outside. In a perverted, Shakespearean way, this is how things had to go down.

The saddest story in Long Strange Trip is about Garcia’s late-in-life reconnection with Barbara Meier, a girlfriend Garcia had not seen since before the Grateful Dead were even called the Warlocks. It was Meier, a beautiful teenager making a pre-inflation-$100-a-day modeling for catalogs, who bought Garcia his first guitar. The relationship — in the telling, at least — is one of irreconcilable innocence, the point from which our best selves spring and to which we can never safely return. (In a Victorian flourish, Dennis McNally writes that Garcia remained "remorseful" for taking Meier’s virginity even 20 years later — because what are women if not angels or whores?)

According to Meier, she and Garcia reconnected after McNally pressed her to interview Garcia for the Buddhist magazine Tricycle . He made her laugh. He invited her scuba diving. She went. He proposed. She accepted. He was such a beautiful diver. At the time, Garcia was clean. He started using heroin again shortly thereafter. When Meier approaches Garcia about his relapse (something she finds out from his doctor), Garcia severs the relationship. Her parting shot is of him standing in a doorway saying, "I think you should go now." An addict until the end, Garcia seemed to have a knack for making neglect look like a favor to the neglected. What the movie doesn’t cover is that Garcia was married to another woman, Deborah Koons, within a year, or that, as McNally writes, he told Barbara Meier and all four of his wives that they were the loves of his life. And it certainly doesn’t talk about the bitter disputes surrounding Garcia’s estate. Nobody wants to be the boss.

As for that music. The sharpest criticism of the Grateful Dead I’ve ever read was in the online comic strip Achewood . In it , a bear named Téodor sits in front of his computer listening to "Touch of Grey" on repeat. "Grey," which came out in 1987, was the band’s only quantifiable hit, a slick, feel-good song about — what else — keepin’ on. An alcoholic tiger named Lyle storms into the room and demands Téodor turn the song off. Téodor refuses. "Dude," he says. "I think I’m becoming a Dead Head." Lyle recommends he listen to a few more of the band’s songs on YouTube.

What follows is the visual articulation of what I imagine is a common response to the band’s music. Spotlights in every direction. A string of musical notes, some grinning, one vomiting. A lute with a thought bubble coming out of it reading "Leave me alone!" Téodor struggling with a musical note wrapped around his neck, either choking himself or being choked. Hovering near the middle, slightly tilted, a parenthetical that reads "(the sound of eight confused men getting paid, then…)."

The shape and volume of the space is unclear — it literally has no form. The parentheses, the ellipses, the word "then" — all of it nauseatingly inconclusive, signs that nobody really knows what’s going on but whatever it is, it’s going to go on forever. Kreutzmann said the band sometimes stretched the music out so far that he had to be reminded what song they were playing.

The Grateful Dead always had a dark side that I loved. The skulls split by lightning bolts. The laughing gas. The homeless kids camped out in vans babbling about angels . The way everything tilted toward chaos. When I think of the Grateful Dead I think of the man standing behind the stage at the Veneta, Oregon, show in August 1972, naked and sunburned, shaking his head as though trying to get a better signal . I don’t laugh at the man, I worry about him. If this is freedom, keep me caged, but let me watch.

It’s hard to find this vector in the band’s music. Even the darkest passages of the Grateful Dead sound like the shallow side of the deep end. These were people who shared good times with dangerous men. To date, five of their members have died. If they ever felt angry, or trapped, or like throwing a brick through a window, you’d never know it from their music. Maybe this is why the punks hated them so much: They pretended violence didn’t exist.

My favorite Grateful Dead song is "Black Peter," from Workingman’s Dead . The song tells the story of a guy lying in bed with a fever. He’s pretty sure he’s going to die, but he doesn’t. Maybe he’ll die tomorrow. Either way, he feels a little out of it. Everything seems important ("See here how everything lead up to this day") and then not ("and it’s just like any other day that’s ever been"). "Take a look at poor Peter, he’s lying in pain," Garcia sings toward the end. "Now, let’s go run and see." It’s an eerie moment, the glimmer from behind a dark door. He repeats the line — "run and see" — and the music dilates, then fades away.

According to The SetList Program , a searchable database of Grateful Dead shows covering 1965 to Garcia’s death in 1995, the band played "Black Peter" live 343 times, among the top 20 in their repertoire. It usually came toward the end of the night, though it was never the last song — too ominous, too inconclusive. Headyversion , a community site ranking fans’ favorite live versions of Grateful Dead songs, currently puts a performance from October 29, 1977, at the top. It’s all right but doesn’t seem to understand why it exists. My favorite — March 25, 1990 — comes a little further down the list, at no. 6. Garcia coughs and wails. The band plays like they’ve been chained to the wall of the same sports bar for 200 years. The sum is a report from the void: haggard, luminous, undead.

It’s in these late groupings of "run and see" — the way the song gathers into a wave but never breaks, the way Brent Mydland’s organ melts from solid into liquid and solidifies again — that I glimpse what I always imagined this band was: the good time that isn’t, the night you get so far out you’re not sure if you’re still there. Garcia once told an interviewer he never bothered going into the woods to take acid because it only showed him how pretty things were. His favorite trip was the one that peaked with him continuously dying. In 1986, he fell into a diabetic coma for about five days. By then, he took psychedelics only once in awhile to, in his words, "blow out the tubes." He preferred heroin. In 1970, "Black Peter" was a dream; in 1990 it was a diary.

My own introduction to the band was through a guy I grew up with. Let’s call him Mark. Mark and I met on the tennis team, where we were briefly doubles partners. He was a sinister kid, spoiled and mixed up, said awful things about girls and talked constantly about how much he hated his "old man." Mark didn’t laugh, he cackled. We used to speed around the backroads of southern Connecticut in his BMW convertible drinking beer and listening to tapes of the Grateful Dead live. The music made no sense to me. It had no urgency, no imperative. I felt like Téodor the bear, drowning in a sea of broken notes. Mark said I was a pussy and that the Dead were the fucking best.

This was my first association with the band: not the curious, openhearted hippies of the late 1960s but emotionally damaged kids who drove sports cars. Mark, I learned, was not unique. I met dozens of guys like him in college: preppy, conservative, intelligent but incurious, zigzagging across the lawn to "Franklin’s Tower." Even the ones not obviously racked with darkness would say things that made me realize they thought poor people were trash or gay people were sick.

What people whose lives had been defined by the exclusionary levers of privilege got out of music so inclusive was beyond me. If they were anything like Mark, their privilege didn’t do much to make them feel at home in the world. Not that any of this was the band’s fault, of course. Only to say that I showed up in 1998 and found the dream in tatters. Maybe their open letter had been right. I learn now that Mark is serving a six-to-eight-year sentence for getting drunk and crashing his Porsche Boxster, killing a 25-year-old in the passenger seat. You who choose to lead must follow, but if you fall, you fall alone .

The way Long Strange Trip tells it, two encounters haunted Garcia for most of his life. One was with the Watts Towers, a cluster of sculptures in South Los Angeles built by a local using scrap metal and rebar. Garcia first saw the towers around dawn after the Watts Acid Test . He couldn’t figure out why anyone would want to make anything so permanent. It was still on his mind nearly 10 years later. "The County of Los Angeles couldn’t pull the towers down," he told an interviewer . "So they made them a park. They wanted to destroy them."

His other hound was the movie Abbott and Costello Meet Frankenstein . He first saw it when he was 6, about a year after his father had died from drowning. It scared him so badly he could barely look at the screen. (Dennis McNally writes that Garcia spent so much time looking at the seat in front of him he could still remember the pattern of the fabric.)

Long Strange Trip turns the Frankenstein fixation into a motif, cutting footage from the movie into the narrative at moments of synchronistic resonance, the idea being that the monster was on Garcia’s mind even when it wasn’t. Like Charles Foster Kane and Rosebud, the suggestion here is that we spend our adulthood turning our hearts into fortresses but can’t ever protect ourselves from the aftershocks of youth. Half watching Frankenstein behind the seat in front of him, Garcia formed a concept of fear not as something to avoid but as the point of seduction, the gantlet between you and the unknown.

Talking about his acid/death epiphany, Garcia said , "It started to get more and more in kind of a feedback loop, this thing where I was suddenly in the last frames of my life. And then it was like, ‘Here’s that moment where I die.’ I run up the stairs and there’s this demon with a spear who gets me right between the eyes. I run up the stairs there’s a woman with a knife who stabs me in the back. I run up the stairs and there’s this business partner who shoots me." Die that often and it’s no wonder you feel weird about permanence.

And yet here stands a four-hour-long documentary made from film and magnetic tape telling the story of a band whose reluctant leader claimed no goal other than to ride the transience of a beautiful moment but kept returning to Frankenstein , to the idea of the Watts Towers, to the ocean. Garcia’s lapse in understanding here was a mortal one: You don’t build monuments outside time; time builds them inside you.

How to Start a Professional Sports Team, Win Games, and Save the Town

The spiritual realm of sydney mclaughlin, how michael cole got over.

Dennis McNally

Author, Historian and Music Publicist

A Long Strange Trip: The Inside History of the Grateful Dead

A Long Strange Trip: The Inside History of the Grateful Dead Available at Amazon

“Be careful of what you wish for – you might just get it.”   And I did…no regrets.  After wanting to write the history of the Grateful Dead for seven years, I got to hear the words, “Jerry said, ‘Why not us?’” – which is to say, would I like to do a history of the G.D.?  I said I thought I could fit it in.  It turned into a 22 year ride, and of course it entirely changed the course of my life.

I had a ton of material that didn’t really fit into a chronological framework, and I devised what I thought of as a hypothetical (and hyper-real) way to depict a typical year (there was such a thing) in the life of the Dead say between 1980 and 1995.  And in the course of that year I portrayed a “typical” show (I know, I know – no two shows were alike).  So here’s an imaginary – but real for all that – opening of a second set in the Fall…

Sample Chapter

39. Interlude: Into the Zone (Second Set Begins) September, Madison Square Garden Garcia is back onstage twenty minutes before the end of the break, infected by the sheer nervous energy that is the Grateful Dead at the corner of 7th Avenue and 33rd Street, the innermost circle of performance rock and roll, the Dead’s home away from home even though it is an antipodal mirror for this bunch of San Franciscans. It is a Monday night in late September, and Ram Rod has a TV perched on his road case with… Read More

Jerry in 1961 – the dashing young guitar teacher. Courtesy of Brigid Meier

And the years pass…Jerry, benign, in 1993. Posing for Susana – they were old pals. Photo by Susana Millman

Dick Latvala in the vault, his true home. Dick introduced me to my future wife, Susana Millman. Not the least of the things I owe him for. Photo by Susana Millman

The GD office staff on the day of shooting the “Hell in a Bucket” video – a video shoot is intrinsically boring (lots of standing around), but it was a fun day. Left to right: Mary Joe Meinolf (who asked about who was going to deal with media and got me my job); Eileen Law, Queen Mother of all Dead Heads and, with Ram Rod, the heart of the G.D.; Sue Stephens, Jerry’s assistant and my mentor; Trixie Garcia, Jerry’s third daughter; Janet Soto-Mayor Knudsen, one of the bookkeeping staff, a great lady; Diane Geoppo, a sweetheart; Frances Shurtliff, wife of crew chief Ram Rod and heart of the GD family; Basia Raizene, another of the number crunchers and a terrific soul; Nancy Mallonee (Chief Financial person and a great boss); Maruska Nelson (tour accountant, wife of David Nelson, and a love); Jon McIntire (band manager – he passed last year); standing behind car – Steve Marcus, head of the ticket office, a true believer. Photo by Susana Millman

One of the great GD adventures – being smuggled onto a Columbia campus locked down by a strike. Boy, did the strike leaders want that sound system! Photo by Rosie McGee

Garcia gives Mickey’s son Taro a guitar lesson. Photo by Susana Millman

Garcia in Central Park, 1968 – sweet early days. Photo by Rosie McGee

New York Times book review of A Long Strange Trip by Dennis McNally: An Insider’s History of the Dead, Both Serious and Profane

BOOKS OF THE TIMES; An Insider’s History of the Dead, Both Serious and Profane

The first lines of ”A Long Strange Trip” do not bode well. ”Shortly before every Grateful Dead concert, there is a luminous, suspended moment,” Dennis McNally writes. ”Bathed in the subliminal hum of the stage’s electric potential, you smell the ozone of 133,000 burning watts …  Read More

Download the original review in Entertainment Weekly (pdf – 778 kB)

Touch of Great A Long Strange Trip: The Inside History of the Grateful Dead (2002)

Most people who love good music hate the Grateful Dead. They’re wrong, of course, but it isn’t hard to see their point. A flawed band even at its best, the Dead was capable of maddening laziness and ineptitude. Then there were the hardcore fans, a certain highly visible segment of… Read More

New York Times Sunday Review: download the original (pdf, 400k)

Publishers Weekly: Download the original review (pdf, 421k )

Relix review: download the original (pdf, 424k)

McNally, Dennis – Long Strange Trip – Rolling Stone Review 09/19/2, download original (pdf, 260k)

McNally, Dennis – Long Strange Trip – Variety 08-05-02: download original (pdf 334k)

Buy it at Amazon: paperback, e-book, hardcover

Things you buy through our links may earn  Vox Media  a commission.

Long Strange Trip Is the Definitive Grateful Dead Documentary

With today’s new Long Strange Trip , producer Martin Scorsese, director Amir Bar-Lev, and Amazon Studios have finally crafted the definitive Grateful Dead documentary. Others have tried: 2014’s affecting The Other One: The Long, Strange Trip of Bob Weir and 1977’s hokey, self-directed The Grateful Dead Movie both captured pieces of the story. Countless concert tapes bore witness to the band’s radical, improvised psychedelic blues. But the new film trumps its predecessors in both method and scope. In assuming the loose expanse of the Dead’s live shows as its structure, it barrels along just as stoned and free as its subjects. It’s four-hours long and split up into six chapters, the same way Dead shows were divided into themed sets. The “Drums > Space” section tries to get you to dissociate. You might cry during “Brokedown Palace.”

Long Strange Trip splits the difference between your typical talking-head documentary and a mix of trippy visuals, career-spanning show footage, and home movies. The pool of source material is impressively vast, since the Dead rank high among the most meticulously documented musical acts of all time. The wealth of juicy archival footage ultimately tells two stories. The journey of the Dead mirrors that of ’60s counterculture in miniature: It exploded in San Francisco, skipped town when the Haight got too hot, nearly lost itself in the druggy excess of the ’70s, and enjoyed a reappraisal in the ’80s thanks to the birth of the classic-rock radio format and a new generation anxious to tune in and turn on.

The band’s triumphs and struggles have never been so soulfully rendered on-camera, which makes this essential viewing for diehards. Lifers and collectors get rarities like disorienting footage from an aborted early-’70s Dead doc deliberately sabotaged when the band dosed the crew with acid, and the cameramen proceeded to film their own trip instead of capturing their subjects’ experiences on tour in Europe. Warner had hoped to turn the trip into a career-boosting classic-rock doc. They meant well but never quite knew what to do with the band, and it’s a frequent point of comedy throughout early chapters. The official soundtrack digs up ephemera like a 1970 run through the Live/Dead centerpiece and live-show juggernaut “Dark Star.” (The funniest moment in a documentary peppered with cracked laugh-out-loud moments comes when the crew goes on a quest to figure out what the song’s inscrutable poetry even means.)

Long Strange Trip is also accessible for newcomers. It smartly catalogues epochal shifts in the Dead’s relationship to both the recording industry and the American counterculture, from confounding labels and audiences alike in the acid tests with Ken Kesey’s Merry Pranksters in the ’60s to struggling to control the ticketless masses holding tailgate parties outside the sold-out stadium shows of the ’90s. Superfan Senator Al Franken explains the finer points of tape collecting, fixating on nuances in guitar solos across different performances of the same song. Everyone involved recalls their time in or around the band with the warmth and detail of a fondly remembered acid trip. The only thing the Dead did better than music was to make sure that everyone in its path got or at least felt stunningly high.

Long Strange Trip finds the surviving band members nostalgic and charmingly offbeat. Singer and rhythm guitarist Bob Weir gives his main interview in a half-lotus pose on top of a pillow in the top floor of a rustic vista. We find percussionist Mickey Hart in a studio describing the drums as instruments of time travel. Weir’s songwriting buddy John Perry Barlow is introduced on a drive to the final resting place of deceased founding Dead member Ron “Pigpen” McKernan, where he recoils at the sight of guitar picks fans have left on a keyboard player’s gravestone.

The most colorful characters in the documentary are holdovers from the Dead’s traveling detail of staff, friends, roadies, and management. Early ’70s tour manager Sam Cutler punctuates the prevailing fondness for the band’s 1970 folk period with hard facts about the era’s astounding shortsightedness: “The Grateful Dead are dumb … They make fabulous music, wonderful, amazing music … When it came to business decisions, stupid.” The band’s entourage ballooned with hangers-on who were allowed to have a say in business deals. We learn that the Dead’s titanic, Owsley-designed “wall of sound” speaker rig took four hours to set up and bust down, meaning audiences got perfect sound, but roadies got no sleep.

The Grateful Dead’s unbreakable commitment to flux and motion was the spark that first shot it out into the lunatic fringe of the ’60s, but those same devotions laid the latticework for its undoing. Early on, Jerry Garcia’s reluctance to take charge as front man was a gift and a curse; the lack of top-down leadership kept the Dead inclusive and unpredictable, but unpredictability sometimes made it unmanageable. When the band became a stadium-grade touring operation, Jerry buckled under the weight of responsibility for both his crew’s financial well-being and the happiness of tens of thousands of fans. Suddenly, a band designed to sidestep responsibilities had become a crushing obligation of its own. Garcia began as the reluctant, de facto focal point of the band’s energy but grew wan and weary as it lingered. He burned out, and everyone knew it; the Dead’s faith in his enduring resilience proved as destructive as any of the bad drugs that ensnared him.

The central paradox of the film is one that has plagued the band for decades: How can this thing that brings people so much joy have caused so much trouble for everyone close to it? In its detailed examinations of unlikely successes and grisly fates, Long Strange Trip offers an answer: The price for constant motion is wear. The human body is not built to sustain it, though the mind is game to try. The Grateful Dead spent 30 years in an elaborate dance with death and stardom, and discovered creative methods of evading both for years. But when the band’s demons cornered it in the mid-’90s, it was woefully unprepared to do the only thing that could save it, to cease to exist. “The secret of longevity in the music business,” a tanned and beaming Cutler wisely notes near the end of the film’s final chapter, “is to get away from it. You gotta leave it, man. Fuck off.”

• vulture homepage lede
• grateful dead
• long strange trip

Most Viewed Stories

• Cinematrix No. 141: August 14, 2024
• Without Brandon Lee, The Crow Doesn’t Fly
• There Will Never Be Another Molly-Mae and Tommy Fury
• Who Are Claim to Fame ’s Celeb Family Members?
• What Is Men Have Called Her Crazy Really About?
• The Master of Compulsively Watchable TV
• Love Is Blind: UK Recap: Momzillas and Mortgages

Editor’s Picks

Most Popular

What is your email.

This email will be used to sign into all New York sites. By submitting your email, you agree to our Terms and Privacy Policy and to receive email correspondence from us.

Sign In To Continue Reading

Create your free account.

Password must be at least 8 characters and contain:

• Lower case letters (a-z)
• Upper case letters (A-Z)
• Numbers (0-9)
• Special Characters (!@#$%^&*)

As part of your account, you’ll receive occasional updates and offers from New York , which you can opt out of anytime.

Advertisement

Supported by

Review: Living It Up With the Grateful Dead in ‘Long Strange Trip’

• Share full article

By Daniel M. Gold

• May 25, 2017

The Grateful Dead have been such fixed dark stars in rock ’n’ roll’s cosmology that it’s surprising there has never really been an extended cinematic exploration of the band.

“ Long Strange Trip ,” ambitiously assembled and elegantly directed by Amir Bar-Lev , fills that void. The band’s main four surviving members — Bob Weir, Phil Lesh, Bill Kreutzmann and Mickey Hart — are all credited as executive producers and speak at length; Dennis McNally, the band’s publicist and biographer, whose similarly titled history was clearly consulted, is a presence as well. A bountiful trove of archival images and rare footage sketches their communal life offstage and the counterculture in which they played so formative a part. Crew members, family and fans share memories and lore.

The Dead, Mr. McNally contends, was “the greatest American band,” mixing rock, blues, folk, soul, R&B, gospel, country and jazz into an improvisational musical gumbo that was risky and uneven but that promised something different, possibly transcendent, every night. Even so, Mr. Bar-Lev tells a familiar industry tale. The road and alcohol and drug use take a lethal toll on the band: first Pigpen McKernan; then Brent Mydland; then finally its charismatic, shamanistic lead guitarist, Jerry Garcia , in 1995.

The film’s four hours (with an intermission) cover a lot of ground: Garcia’s teenage years in a bohemian Bay Area; the group’s roots as a jug band; its members’ service as house musicians for the Acid Trips of Ken Kesey and the Merry Pranksters. Despite driving its music label crazy, the Dead eventually rise to the top of the touring charts, playing for monster stadium crowds through the 1980s and into the ’90s.

More than that, “Trip” places the band at the ecstatic center of the counterculture. It includes glimpses of the notorious Neal Cassady, the link between Jack Kerouac and Kesey, and of Owsley Stanley , the LSD chemist who was also the Dead’s sound engineer. One fascinating clip shows Garcia instructing Mr. Weir how to harmonize on “Candyman,” as the band moved from the psychedelic fringe to folk rock.

The film is neither comprehensive nor definitive. The promoter Bill Graham, as important to the Dead’s success as anyone but constantly at odds with them, gets a passing mention; Robert Hunter, the reclusive lyricist behind many of the band’s best songs, sits for one brief scene. And a project to define the band’s place in social and cultural history stops short at Garcia’s death, without discussing the Dead’s continuing influence.

These are quibbles, the sort of nits Deadheads pick while arguing over the band’s best performances. Senator Al Franken is on hand to enthuse about his favorite version of “Althea”: Nassau Coliseum, May 16, 1980 . Right tour, wrong show, Senator: Try San Diego, July 1.

Long Strange Trip Rated R for unapologetic drug use and the occasional hippie nudity. Running time: 4 hours 1 minute.

Explore More in TV and Movies

Not sure what to watch next we can help..

Haley Joel Osment Sees Contentment:  Twenty-five years after breaking through in the smash hit “Sixth Sense,” the actor has worked steadily , finding a balance that has eluded some child stars.

The Blake Lively Brand:  The images onscreen in the movie “It Ends With Us” are informed by the actress’s offscreen businesses, making the movie a fascinating study in the uses of star power .

Composed Under Pressure:  Myha’la, a star of HBO’s Gen Z financial drama “Industry,” plays Harper Stern, a character with “killer, quiet confidence .”

The Uncertain Reality of ‘Blair Witch’:  Twenty-five years ago, the indie horror blockbuster compelled audiences  to ask, “Was that real?” The question now permeates our age of misinformation.

Streaming Guides:  If you are overwhelmed by the endless options, don’t despair — we put together the best offerings   on Netflix , Max , Disney+ , Amazon Prime  and Hulu  to make choosing your next binge a little easier.

Watching Newsletter:  Sign up to get recommendations on the best films and TV shows  to stream and watch, delivered to your inbox.

• Songwriter Interviews
• Song Writing
• Fact or Fiction
• They're Playing My Song
• Songfacts Pages
• Songwriting Legends
• Songfacts Podcast
• Amanda Flinner
• Bruce Pollock
• Corey O'Flanagan
• Dan MacIntosh
• Laura Antonelli
• Leslie Michele Derrough
• Maggie Grimason
• Nicole Roberge
• Roger Catlin
• Shawna Ortega
• Stephanie Myers
• Trevor Morelli

Truckin' by Grateful Dead

• Truckin' got my chips cashed in Keep truckin' like the doodah man Together, more or less in line Just keep truckin' on Arrows of neon and flashing marquees out on Main Street Chicago, New York, Detroit and its all the same street Your typical city involved in a typical daydream Hang it up and see what tomorrow brings Dallas got a soft machine Houston too close to New Orleans New York got the ways and means But just won't let you be Most of the cats that you meet on the street speak of true love Most of the time they're sitting and crying at home One of these days they know they gotta get going Out of the door and into the street all alone Truckin' like the doodah man Once told me "Gotta play your hand Sometimes the cards ain't worth a dime If you don't lay them down" Sometimes the lights all shining on me Other times I can barely see Lately it occurs to me What a long strange trip it's been What in the world ever became of sweet Jane? (note 1) She lost her sparkle you know she isn't the same Living on reds and vitamin C and cocaine All her friends can say is ain't it a shame Truckin' up to Buffalo Been thinking you got to mellow slow Takes time, you pick a place to go Just keep truckin' on Sitting and staring out of the hotel window Got a tip they're gonna kick the door in again Like to get some sleep before I travel But if you got a warrant I guess you're gonna come in Busted down on Bourbon Street Set up like a bowling pin Knocked down, it gets to wearing thin They just won't let you be You're sick of hanging around, you'd like to travel Get tired of travelling you want to settle down I guess they can't revoke your soul for trying Get out of the door, light out and look all around Sometimes the lights all shining on me Other times I can barely see Lately it occurs to me What a long strange trip it's been Truckin' I'm a going home Whoa, whoa, baby, back where I belong Back home, sit down and patch my bones And get back truckin' on Writer/s: Jerome J. Garcia, Philip Lesh, Robert C. Christie Hunter, Robert Hall Weir Publisher: Universal Music Publishing Group Lyrics licensed and provided by LyricFind
• More songs from Grateful Dead
• More songs about traveling
• More songs that contain drug references
• More songs about encounters with the law
• More trucking songs
• More songs with occupations in the title
• More songs that started catch phrases
• More songs from 1970
• Truckin' Songfacts
• Grateful Dead Artistfacts

Comments: 42

• Jeff from Lacey, Washington The band originally meant for the song to keep evolving as the band went along. Hunter meant to keep adding and rearranging verses, but it didn't quite work out. Hunter: "I thought, we all thought, that maybe we'd just keep adding to Truckin' over the years. But the funny thing is, once you get it down, it is down, you don't go back to revisit it."
• Rotunda from Tulsa, Ok Back in '70 I bought the album when I was a grad student at University of Kansas. A controversial album at the time. However. I loved most of The Dead's music. It was a time of the hippy & druggie cultures spreading across the U.S. Yes, I was caught up in it all. I'm lucky to have survived. Back when I first heard this song was when I visited a friend in his dorm room, thru clouds of heavy incense. And I mean Clouds of it! To mask the odor of weed. The album was playing. Two of his pals were hidden under piles of clothes & they had passed out. I was fascinated by the song so I had to buy my own copy of the album. What strange times they were.
• Hugh Mcphee from Wick, United Kingdom Pass that joint me mate. Lol. Not sure Garcia even sang lead on this. It doesn't sound like him. Oh well. Still a rather rippingly good tune. Of course this would have been banned by the BBC. The dear old BBC. Guess they objected to drug references. Not that I partake of the smoking of pot but I do feel it should be legalized. Oh wait didn't Bill Clinton smoke at Oxford? I guess since he did not inhale it doesn't count. Lulz.
• Gregmon from Intelbuquerque, Nm Yes, lots of loose references in the dead lyrics. My thoughts have always been along these lines. By 1970, the Haight-Ashbury scene had changed for the worst. Everybody and his sister had moved to the area bringing no money, of course. Many people were selfish assholes, crime was getting out of hand. Stronger drugs were in use. It was a drag. Sweet Jane was no longer enough. Reds are certainly Seconal vitamin C is acid. It was a bad scene. Cassidy 1967, Garland 1969, and Hendrix 1970, amongst others died from reds. "A friend" refers to a friend of weed.
• Robert from Elgin, Tx R from Seattle asked about the lyrics Dallas, got a soft machine, in the line Dallas, got a soft machine, Houston (not Dallas as mentioned by Johnny from LA) too close to New Orleans... As a Texas resident I recongized the description of the city's business/political operations immediately. Dallas was known for trying to project an image that was very efficient and businesslike [machine] but also deliberate about showing itself as relatively classy and gracious [soft], at least in contrast to other cities of the region. Hence a soft machine. Houston was too close to New Orleans (which was disliked by the Dead due to the bust) geographically at least but possibly also in the well-known problems with the actions of the police of both cities exhibiting disdain for the civil rights of persons for whom they had a dislike, such as hippies, including planting drugs and guns on persons that they arrested and/or shot.
• Jake from Los Angeles, Ca Getting back to "Sweet Jane" In 1982, they changed the lyrics. I beleive it was April 6, 1982 in Philadelphia (Because on April 2, 1982, in Durham NC they sang the regular lyrics) ANyway, on 4/6/82 (and any time in 1982 after that, when they sang Truckin') they changed it to: "What in the world ever became of Sweet Jane / She lost her sparkle, you know she isn' the same / Ever since she went and had a Sex change / All her friends can say is Ain't it a Shame" So, what was THAT all about?
• Pepper from Liverpool, United Kingdom This song sounds like the song School Days by Chuck Berry. Any thoughts on this? Lol. And lololol at that last comment James, from New York. xDDD "I love you." "you're so beautiful." xD I've seen chicks and guys do s--t like that. Lololol. I must've seen acid trippers!
• Pat from Houston, Tx Don't recall how I found this, but felt compelled to comment. Yes, I'm an old and aging Deadhead - first concert in March 1967 at Winterland, the last (for the full band) 1995 at Soldier's Field. (In between, every concert I could manage to get to, across America and Europe.) Psychedelics and other substances were sometimes part of it, sometimes not. Anyway, the Dead's music has been analyzed, ripped apart, put back together, examined under a microscope, and then re-examined, all in the search for some deep philosophical "meaning" to it. Ponderous tomes have been published, giving this or that opinion as the real meaning. The true meaning of any song is known only to the artists that created and performed it.For the rest of us, the 'meaning' of the song is what we make of it, how we perceive it, what we believe it to be. That is found only in our minds and souls. What I believe "Truckin' " or "Box of Rain" means is mine, and mine alone, and it is the "real" meaning. Others will have different meanings and interpretations that are just as valid. The Dead had moments of transcendence, yes. But sometimes (ok, more than sometimes), they were out of tune, with unclean harmonies and thythms out of synch. The energy, the vibes tho were intense. It started well before the actual concert, in the parking lot, and built and built, then exploding and washing over everyone as the first chords were struck, transporting those that would accept it into another space and time. Even now, as I listen to the New Orleans concert of Jan 1970, I can still feel and know the energy, the transport, the sheer joy of the Dead. Indeed, it has been a long strange trip. Peace. PS. James, yes old Deadheads have tried X - after all, its been around a good 25 years or so, if not more.
• Russell from Corona, Ca I don't believe James knows what he's talking about or ever really went to a Dead concert. First off, Skeletons from the Closet didn't come out until '74 - the band only tripped as a unit in the '60's according to the 3 Biographies I have read. They still took drugs and drank but the days of LSD Experimentation were over. Second - the line about the smooth harmonies live definately does not sound like the Dead unless you were on some sort of Halucinegetic. Bob Weir is horrible at harmonizing (I've listened to hundreds of shows and attended 20 in my life). The Dead were not very good at harmonizing live but we forgave them for that because their hearts were there & Jerry's voice was so sincere I always believed him. Three - all of the Deads "Deep Meaning" tunes? What songs is he talking about? "Mason's Children" is not deep meaning and thats the only one I can think of not available at the time - some songs were not released on Studio albums but they were released on live ones. Fourth - Sound levels off, Out of tune instruments? I have never heard this - true, they did not always play well, but their instruments were tuned. This guy is probably a Born Again Christian as they are well known to lie and make up stories to support their particular point of view (all for some greater good in their head) - nothing personal & not directed at all Cristians, I just see this behavior a lot on the Internet. lastly, Truckin is about the band touring period. There used to be a Annotated Site for the Grateful Dead's lyrics that was based on research and insight to the band and Lyricist Robert Hunter - maybe it still exists - I would go there for further insite.
• Bill from Rensselaer, Ny Nobody mentioned that "Sweet Jane" was Janis Joplin
• R.h. from Pauls Valley, Ok James from NY... there is absolutely no way you can even remotely comprehend what "tripping" is like without actually doing it. In the 70s I did EVERYTHING! blotter, microdot, orange sunshine, window pane, pure LSD(L-25), mescaline (the best!) peyote, mushrooms. I could talk until I was blue in the face trying to descibe in as much detail as possible and I can assure you that you STILL would not be able to grasp the mindset. Trust me!!! Am I right people or am I right? LOL
• Guy from Boulder, Co Trying to figure out the meaning of this song, or any song, from a single line or phrase completely obscures the obvious. Simply, this song is about life on the road. In this case, a rock band. Beneath that come the thrills, weird people, bad situations, longing for home, maturing, burnout and, once home, the longing to "get back Truckin on." Hunter is huge on metaphors. The line about Sweet Jane probably reflects a broader view of the folks the Dead would see time and time again as they toured the country. Just replace "Sweet Jane" with "young people" and Hunter sounds like a disappointed parent getting down on "these kids today." The Dead saw early and clear the dark side of the hippie movement, and it wasn't pretty. By 1970 it was a complete charade to them. Look how the Dead all but abandoned their attempt at psychedelic music and returned to their roots of bluegrass, country and Americana music. Out of many of the Dead songs, this one is pretty straight forward. The road at top, then the toll, the excitement, disappointment and a view into the world of a touring rock band - the Grateful Dead no-less!
• Paul from Staten Island , Ny Grateful Dead songs are known by their family to be full of abstract musical imagery and visual lyricism, to be interpreted individually and correctly by anyone that listens to them. Another words, there is no absolutely correct interpretation of any Grateful Dead lyric, their beauty and meaning is truly and correctly in the eye, and ear, of the individual beholder. It amazes me how many postings here are conceived by ignorant and uninformed "critics". How can one possibly interpret lyrics when they are completely uneducated and ignorant about the artist in the spotlight? I might as well give my insight to Einstein about his theories...I would probably be more correct than most of the folks here attempting to analyze this song. I miss Jerry Garcia, his song was of love, brotherhood, and beauty... unlike today, where the "hit" pop songs are of greed, lust, and intolerance. WAKE UP AMERICA
• Elbert from Ocala, Fl I'm now 70 years old and saw the Dead two times in the early 1970's and loved their music. I'm a Christian, never have done drugs or gotten high. I just enjoy the music without reading ANYTHING into it, just the raw energy. Still have a large collection of their music and still listen to it.
• Pete from Buffalo, Ny In the stanza about "sweet Jane", i believe that they are referring to the song by the Velvet Underground, Sweet Jane, and Lou Reed. they say "what in the world ever became of sweet Jane," which means what ever happened to Lou Reed after he was using red, cocaine and vitamin c, they wanted the old Lou back. They also say that sweet Jane lost her sparkle, meaning Lou was never the same after we used and kept using. tell me what u think, im only 15 thanks -pete from buffalo
• Robert from San Francisco, Ca In the mid-60's, Jerry Garcia and Pigpen used to sit on the front stairs of their Ashbury Street flat in the afternoons. Their flat was about one block from the corner of Haight and Ashbury St. I went to High School three blocks from Haight Street from 1965 to 1968. On occasions, Haight Street would have so many people strolling around that the police closed the street to cars. The Dead and the Airplane, amongst a myriad of others, would play free concerts at Speedway meadows in the Park. My take on certain lines in this song is this: the group had the money to afford all the drugs they want on a daily basis. They also know that these drugs can be the end to their lifestyle, so they find a way to take them but also maintain their health with large amounts of vitamin C. Coke to take them up, reds to bring them down, and vitamin C to restore health.
• Simon from Northeast, Ny First, let me say that while I happen to really like this song, particularly because of the line talked about, and also (and this is from memory, and I've never looked at the actual lyrics), "I like to get some sleep before I travel. But if you've got a warrant I guess you're gonna come in. Busted down on Bourbon Street... (while there may be numerous Bourbon Streets in the U.S., the most noted one IS in New Orleans, thus the comments about the group actually being busted rings true). But here are some facts: Reds are without any doubt a reference to Seconal Sodium (C-II) (Secobarbital Sodium, Ranbaxy). But the reference is so old that not very many people are familiar with it. I am because I was always fascinated by such references when I was a kid. The drug used to be manufactured by Eli Lilly & Sons. Of course, the two companies have a good relationship, but that's a different story. The drug was off the market for around two (beginning around 2002), but is now commercially available again. The drug is primarily prescribed for insomnia, and used in hospitals for sedation. I should know!!! Another pharmaceutical/chemical fact: Vitamin C POTENTIATES secobarbital. It was even used in some combination drugs (e.g., Curbetite L.A Tablets). If you've never heard of Curbetite L.A., don't worry, it's been off the market for decades. Vitamin C may have effects on illicit drugs, with which I'm unfamiliar, but the fact that it's mentioned in the lyrics immediately after the reference to secobarbital suggests, at least to me, the possibility that the songwriter may have used it, or known of its use in this capacity. I don't know who Robert Hunter is. But the slang term "reds" did not come into existence until the 1960's. So, I don't know how it could be a parody of commercials from the 1940's. Anyway, he's quoting from another site. In life, sometimes if something is said enough it BECOMES the truth, even if it's not. The Internet is a great place for information, but if posted information isn't correct, misinformation could spread like wildfire. I do think sites like Winkipedia are very good, because they allow for addition to and correction of information. As for secobarbital being a cure for a "bad trip"... well, I've never taken LSD. However, it is my understanding that Thorazine (chlorpromazine, Smith Kline Glaxo) was predominantly used for this purpose. Like many lyrics, I think the lines are open to interpretation. Certainly Sweet Jane is a slang reference to marijuana. My personal interpretation is that the songwriter is saying that marijuana used to be just great, but after all the touring they've done, they're now using secobarbital, Vitamin C and cocaine (and ain't it a shame). One last comment. I am of the opinion that secobarbital is also alluded to in the song, "Casey Jones" ("trouble ahead the lady in RED, take my advice you'd be better off dead"). Simon
• David from Wilson, Ny It sounds like bob weir says sweet jane lost her "sparkle", not her "spot". it means weed wasnt as fun with lsd and cocaine and reds available.
• Tristan from Philadelphia, Pa well james, you've admitedly never dropped acid before, so why are you telling people what needs to be done in order to have a "safe" trip. Acid doesn't usually work in the way of moodswings, such as your example of a young girl. Without drugs there never would have been so much great music in the sixties, it was a new thing and many artists were just trying it out, it was inspirational.
• Barb from Virginia Beach, Va Dwight Yoakam did a twangy cover of this song on the 1991 Grateful Dead tribute album called Deadicated.
• N.i. from Baltimore, Md Okay, as someone admittedly ignorant of most Dead music, I have the following question: is Garcia the singer of the verses? Whoever it is, his vocals seem like a direct imitation of Chuck Berry. I suspect it was intentional, for I just found out that this song was used as a B-side to their version of "Johnny B. Goode."
• Rachel from Fort Smith, Ar i think that part also refers to how pot lost a lot of its spiritual value, and became more of a fad in some cases.
• Max from New Brunswick, Nj Ok, the line as mentioned abover, What in the world ever became of sweet Jane? She lost her sparkle, you know she isn't the same Livin' on reds, Vitamin C, and cocaine, All a friend can say is, "Ain't it a shame?" Its talking about how people, usually, use marijuana as one of the first drugs they try. they try it and like it but after a while it no longer does what it used to, ur body gets used to it and it isnt as much fun any more. "What in the world ever became of Sweet Jane (marijuana) she lost her sparkle you know she aint the same (not as good as it used to be). therefore, people turn to other drugs such as acid (reds, seconal), mushrooms, (vitamin c is a catalyst for a mushroom trip), and cocain. (obviously stated). all a friend can sa is "aint it a shame" people never realize that pot will eventually turn them onto other drugs and as time goes by you slowly but surely realize that you had no intention of doing what you do now, but since pot no longer works for you, u choose something else. EVERYONE CHOOSES THEIR OWN POISON, some more dangerous than others.
• Don from Pownal, Vt Dave is right- "Reds" are Seconal, the pharmaceutical cure for a bad acid trip.
• Honest Abe from Raleigh, Nc I believe the term reds in this song is refering to what truck drivers call bennies to keep them awake for days at a time. I didn't know I would become a truck driver from listening to grateful dead when I first heard this.
• Patrick from Tallapoosa, Ga At my old high school the Senior class that graduated before mine had shirts made up with the line "What a long strange trip it's been." I always thought someone was a Deadhead and contributed the phrase.
• R from Seattle, Wa This is an interesting page, "The Annotated 'Truckin'" http://arts.ucsc.edu/gdead/AGDL/truckin.html It explains some of the obscure references, but does not fully explain the one I have always wondered about, e.g. "Dallas, got a Soft Machine..." Soft Machine is a novel by WS Burroughs and a British band named after the novel. What either has to do with Dallas, no one seems to know...
• Joe from Buffalo, Ny The first guy was wrong...the dead were playing new orleans with fleetwood mack...after the show the dead were parting in the hotel when the cops came for noise and busted everyone in the band for weed...they all spent the night in jail and mickey harts father had to bail them out. They didnt go back to new orleans until ten years later. That is why the dead wrote truckin...the bust in new orleans.
• Mike from Warwick, Ri James, you'd be a better person today if you had dropped a hit or two during a GD show. Has anyone seen Molly? The Dead rules and following them around attending their shows is a great way to spend a week, or two, or a few months. Sorry Mom, school was boring and the Dead were in town so I went for a few trips. Long Live Jerry. Wall of Sound tour was the best. Drugs don't provide answers - they provide questions. I love you!
• Michael from Idaho Falls, Id James of "Ragin' Rochester" whats going on with you man? You obviously don't know what you're talking about. The most spontaneous trips are invariably the best. Same thing with the music, you were too sober to appreciate the spontaneity and you mistook it for "The whining screech of bad guitar slide work" and "a dueling drums solo that didn't stay in time or even try to flow into any rhythm." And what's all this about drugs not solving our problems? As if you would know. If that's really what you believe, then you don't know what you're talking about.
• Johnny from Los Angeles, Ca Hal is right, this drug part of this song is the Grateful Dead drug bust in New Orleans. I think the line "Dallas, too close to New Orleans" has something to do with that. But this song is mainly about touring: "Sometimes the lights are shining on me, other times I can barley see, lately it occurs to me, what a long strange trip it's been." And truckin is goin' around on tours. Hope I provoked some thoguht
• Dave from Baltimore, Ma reds=seconals
• Scooter from San Francisco, Ca reds = barbituates (how quickly we forget)
• Ali from East Lansing, Mi reds = marlboro reds, not amphetamines
• Amanda from New York City, Ny the songs central message is that yeah, life is hard sometimes but you just have to get through it.
• Trebor from Seoul, Korea - South As another poster said, this song WAS about an actual bust. Robert Hunter said that the "Whatever happened..." line was a PARODY of coomecials from the 40s: http://arts.ucsc.edu/gdead/agdl/truckin.html And to me it seems the sense of the line is not anti-drug, but a lament about people movie from mild drugs (Sweet Jane being marijuana) to harder ones: reds=amphetmanines, vitamin C used to enhance LSD, and cocaine.
• Barry from New York, Nc The song made its live debut on August 17, 1970 at Fillmore West in San Francisco. This was as an acoustic version. However, Dead tape collectors do not have this version. The earliest version in circulation is from the next night (August 18, 1970).
• Ken from Louisville, Ky The song WAS about a Grateful Dead drug bust. Hence the line "I'd like to get some sleep before we travel/But if you got a warrent, I guess you're gonna come in".
• Stefanie Magura from Rock Hill, Sc the bad guitar, and drum solos, and the instruments being out of tune and all of that... isn't that part of psychadelic music, in some ways. I've never been to a Dead concert, but I know that people like Jimi Hendricks would distort their instruments to create different sounds. They would also experiment with different rhythms. Don't you think they could have been doing that as a symbol to show what it's like experiencing an acid trip.
• Hal from Gaithersburg, Md "Busted down on Bourbon St" and "set up like a bowlin pin, knocked down gets to wearin thin" refers to the fact that dead actually were set up and raided where they were stayin in New Orleans and were busted on drug charges.
• Mike from Santa Cruz, Ca I went to a Dead concert back in the day, it was mostly young republicans in suites munching browings. Casey Jones should be up here. Theres a bold metaphor.
• James from Ragin' Rochester, Ny I always knew of and liked "The Dead", but the only albums(yes I mean vinyl)that I bought were 'skeletons from the closet' and 'workingman's dead'. Considered to be the "nice songs" that made popular radio air time. After meeting a true Deadhead, I found out about the open recording policy for their concerts. And all the other deeper meaning tunes available on the streets not in stores. Fans were encouraged to bring recording equipment to concerts and so many bootleg tapes were being sold that you never knew what the actual industry sold and what was just a poor sound quality collection from ten rows back. I was talked into going to one concert by my "old lady". I knew of her occasional acid trips and that there was no stopping her from taking some blotter to enhance her listening pleasure, but refused to take any myself for reasons I will explain some other time. The crowd all arrived early and seemed to instinctively know just when to take the acid on cue. When they started playing, I was impressed with the smooth harmonies. Two drummers holding together a clean mellow sound. Then a short intermission about 3 hours after the audience had taken their enhancements. When The Dead came back on stage, it was like a totally different group. The sound levels were off. The instruments were out of tune. The whining screech of bad guitar slide work did not help prepare for a dueling drums solo that didn't stay in time or even try to flow into any rhythm. But, Oh my God, the crowd went ape-googely. They were in seventh heaven listening to noise that didn't rate a biker bar dive. For the record, I have witnessed many acid trips. This was the only time I had seen a cohesive group enjoying the trip. LSD taken by newbies needs to be supervised by a spiritual leader guiding and comforting along the way. Not a one hit trial at a Robin Trower concert. Ever see a young girl falling from person to person saying "Ilove you" "your so beautiful" one minute and later dropping to the middle of the road asking for someone to help them die because "nobody loves me" and "I'm a bad person, run over me with a car" I wonder if The Deadheads would use ecstasy now that acid is an older drug? Any thoughts?

More Songfacts:

Yesterday The Beatles

The melody to "Yesterday" came to Paul McCartney in a dream, but the lyrics he had to write consciously. His first attempt at the title was "Scrabble Eggs."

Don't Bring Me Down Electric Light Orchestra

Jeff Lynne sang the word "groose" in the chorus of "Don't Bring Me Down" as a nonsense placeholder, but left it in when he found out it means "greetings" in German ("gruss").

I Walk The Line Johnny Cash

Johnny Cash promised to stay true to his first wife in "I Walk The Line," but when the song became a hit he found himself on the road, having an affair with June Carter, who became his second wife.

Machinehead Bush

An Allen Ginsberg line from his poem Howl inspired "Machinehead" by Bush: "Machine says I saw the best minds of my generation."

Umbrella Rihanna

When Rihanna's "Umbrella" was a hit in the summer of 2007, it rained constantly in London, prompting their newspaper The Sun to suggest a "Rihanna Curse."

Our House Crosby, Stills, Nash & Young

Graham Nash wrote the domestic tranquility classic "Our House" about the house he shared with Joni Mitchell. It was a very very very fine house.

Editor's Picks

Reverend Horton Heat Songwriter Interviews

The Reverend rants on psychobilly and the egghead academics he bashes in one of his more popular songs.

Donnie Iris (Ah! Leah!, The Rapper) Songwriter Interviews

Before "Rap" was a form of music, it was something guys did to pick up girls in nightclubs. Donnie talks about "The Rapper" and reveals the identity of Leah.

Director Paul Rachman on "Hunger Strike," "Man in the Box," Kiss Song Writing

After cutting his teeth on hardcore punk videos, Paul defined the grunge look with his work on "Hunger Strike" and "Man in the Box."

Superman in Song Song Writing

Not everyone can be a superhero, but that hasn't stopped generations of musicians from trying to be Superman.

Dwight Twilley Songwriter Interviews

Since his debut single "I'm On Fire" in 1975, Dwight has been providing Spinal-Tap moments and misadventure.

Chad Channing (Nirvana, Before Cars) Songwriter Interviews

Chad tells tales from his time as drummer for Nirvana, and talks about his group Before Cars.

Songfacts® Newsletter

A monthly update on our latest interviews, stories and added songs

Information

• Terms of Service
• Our Privacy Policy
• Google Privacy Policy
• Songfacts API
• Music History Calendar
• Song Licensing
• Affiliate Disclosure
• Privacy Manager
• X (Twitter)

Contribution

• Message Boards
• Songfacts Writers

©2024 Songfacts, LLC

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• 83% Alien: Romulus Link to Alien: Romulus
• 77% Cuckoo Link to Cuckoo
• 97% Good One Link to Good One

New TV Tonight

• 96% Industry: Season 3
• 91% Bad Monkey: Season 1
• 100% Solar Opposites: Season 5
• -- Emily in Paris: Season 4
• -- Bel-Air: Season 3
• -- Rick and Morty: The Anime: Season 1
• -- SEAL Team: Season 7
• -- RuPaul's Drag Race Global All Stars: Season 1
• -- Star Wars: Young Jedi Adventures: Season 2
• -- Worst Ex Ever: Season 1

Most Popular TV on RT

• 56% The Umbrella Academy: Season 4
• 82% A Good Girl's Guide to Murder: Season 1
• 78% Star Wars: The Acolyte: Season 1
• 100% Supacell: Season 1
• 100% Women in Blue: Season 1
• 82% Mr. Throwback: Season 1
• 95% Batman: Caped Crusader: Season 1
• 77% Lady in the Lake: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• 96% Industry: Season 3 Link to Industry: Season 3
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

The 100 Best Movies of 2009, Ranked by Tomatometer

All Alien Movies, Ranked by Tomatometer

What to Watch: In Theaters and On Streaming

Awards Tour

Alien: Romulus First Reviews: The Best in the Franchise Since Aliens

Renewed and Cancelled TV Shows 2024

• Trending on RT
• Renewed and Cancelled TV
• Best Movies of 2024
• Popular TV Shows
• Re-Release Calendar

Long Strange Trip

Where to watch.

Rent Long Strange Trip on Fandango at Home, Apple TV, or buy it on Fandango at Home, Apple TV.

What to Know

Like the Grateful Dead's best music, this documentary justifies its expansive running time -- and offers audiences a Long Strange Trip that's well worth taking.

Critics Reviews

Audience reviews, cast & crew.

Amir Bar-Lev

Bill Kreutzmann

Mickey Hart

Ken Dornstein

More Like This

Related movie news.

• Newsletters
• Reading History

‘Long Strange Trip’: New Grateful Dead documentary captures psychadelic vibe

News News | Aug 4, 2022

The “Long Strange Trip” documentary could’ve emerged long ago, shortly after the Grateful Dead first toured Europe in 1972, but the Dead had no intention of becoming icons, or solidifying the dynamic, spontaneous and ever-evolving Dead experience. After all, when Warner Bros. signed the band, it took the company 18 months to get the musicians to agree to a press photograph. So when a film crew showed up to document the 1972 tour, the Dead gave them LSD in the spirit of participation over observation. Tripping, the crew ultimately abandoned their cameras, and Jerry Garcia ended up graciously talking them down. Later, he said, “Music should be holy — it shouldn’t be business.”

And so it wasn’t until 2017 that “Long Strange Trip” debuted, through an entirely new crew.

“The Grateful Dead’s story was ‘untold’ in part because one of the last documentary film teams that tried to tell it got dosed with LSD. There’s lots of unseen archival footage, but my favorite is that documentary that never was,” director Amir Bar-Lev said. “The Dead didn’t like people to put them under the microscope. There’s a great scene where Garcia realizes the high cameraman is struggling to do his job and tells him, ‘You can always just put down your equipment … and split.’ Classic Jerry: Always taking the psychedelic perspective.”

Bar-Lev, who knew more about the Dead “than is healthy,” he said, began the project in June 2003 by emailing Alan Trist, who ran the Dead’s publishing company. Trist sent him the aforementioned, unreleased “dosed” documentary and told him he should carry it forward. While Trist was easy, it took another 11 years to get everyone else’s blessing in the band.

“It wasn’t easy convincing the band to do this,” Bar-Lev said. “They have a healthy mistrust of anything publicity-related. And perhaps most importantly they were concerned that a film might provide a definitive meaning to their story instead of keeping it open to different interpretations and perspectives.”

Support Local Journalism

Although the nearly four-hour film, featuring never-before-seen footage and unvarnished interviews, could be called definitive, printing that just might cause Garcia to roll over in his grave, so let’s just use the term groundbreaking.

With backing from Martin Scorsese, the film blends a massive amount of archival material, including the entire vault the Dead opened up to the crew and multiple years’ worth of footage the filmmakers scoured the world for, along with more recent interviews to create a cohesive, yet still very Dead-esque, experiential narrative. Multiple editors spent three years editing the film and five months mixing the soundtrack, building a score from the Dead’s original studio multitrack masters. They used the surround channels and remixed the masters. With the live music, they often blended the vault’s clean soundboard recording with an audience version of the same show, to provide a sense of being enveloped by the music and the crowd.

“I knew that this film would spend a lot of time in the past via archival material, but I wanted it to have the feel of taking place in the present moment,” Bar-Lev said. “More specifically, I wanted the film to collapse time. So, for example, whenever possible we discover the archival material in a story beat in the present: people playing a tape recording, or finding a reel of film.”

In one scene, the audience hears the band in 1970, in addition to the camera crew talking about filming the band that same year and tour manager Sam Cutler narrating the scene from Brooklyn and Bob Weir watching from some imagined screening room, complete with the whir of the projector.

“The idea was to capture what I think the band is singing about in ‘Ripple,’ the notion that there’s a wave moving through time with a message for you,” Bar-Lev said.   

Seventeen interviewees weave in and out of the film “as eye-witnesses rather than commentators,” Bar-Lev said.

“Another key idea was that no one voice is sacrosanct. The closer the audience can take in seemingly disparate perspectives, the closer they can get at the truth of the matter,” he said, mirroring the Dead’s philosophy of no one, ultimate authority. As the documentary points out, some days, if the truck’s carburetor blew, it became boss.

As one clip points out: “The narrative of the Grateful Dead is we’re the same as you, you’re the same as us; there is no real distinction. There’s a powerful camaraderie and fellowship,” albeit one filled with “experimenting with psychedelics as much as we were playing music,” which bass player Phil Lesh credits (the acid test experience) for forming the band as a “group mind.”

Overall, as the film notes: “It’s a philosophy of leaving yourself open to possibility and leaving yourself open to magic.”

And the Dead certainly attracted a wild and magical mandala, filled with spinners reveling in religious experiences, “because they thought Garcia was a prophet”; audiences positioning themselves in the Phil zone and the Jerry side; people who were deaf watching signers and holding balloons to take in the vibrations of the music; Wharf Rats meeting during set breaks, committed to a sober path; tapers sharing the shows; and sometimes menacing presences, including the Hells Angels.

“It was total chaos,” percussionist Mickey Hart says in the documentary. “Jerry Garcia did not bargain to be the mayor of a traveling counterculture town.”

He didn’t quite embrace the role. “When asked to guide the ship, Jerry chose instead to let the scene morph into whatever it did based on the aggregate of how each individual chose to act,” Bar-Lev said.

“It’s not up to us to define the Grateful Dead,” Garcia says in the film. “It’s a living, breathing thing, and that’s one of the parts of its magic. Not defining it is that it becomes everything.”

“Long Strange Trip” provides an immersive experience into the Dead’s fiercely independent vision, constant evolution and uncompromising commitment and intimacy with their audience. It’s the first full-length documentary of its kind, weaving candid interviews with the musicians, roadies, family members and dedicated Deadheads to portray a freewheeling psychedelic subculture, insight into Garcia’s psyche, dynamic shows and unguarded, offstage moments.

“I feel the Dead’s story is more vital now than ever. What the Dead and the Deadheads did, we could do today,” Bar-Lev said. “To paraphrase Jerry Garcia, when he talks about slipping acid into coffee at the Playboy Channel show, it would ‘turn an artificial party into an authentic one.’”

Filmmakers intended the documentary to be much shorter than its nearly four hours, “but it resisted our efforts,” Bar-Lev said, which seems entirely fitting. It ends in 1995, with Garcia expressing his hope that “something carries on after he and the band are dead and gone,” Bar-Lev said. “It’s a beautiful sentiment, because he’s very clear to say he doesn’t mean the Grateful Dead, or jam band music or even music at all. We figured if we ended the film precisely at that point, we’re letting the band say to the viewer: The next move is yours.”

What: ‘Long Strange Trip’ Grateful Dead documentary drive-in screening

When: 8 p.m. (gates at 6:30 p.m.) Sunday

Note: If you arrive late, you will be asked to “fade away.”

Food trucks: 6:30-8:30 p.m. (Chamo’s Mexican cuisine and The Dreamery’s ice cream)

Where: Snowmass Town Park Center parking lot, 2735 Brush Creek Road

Presented: By Aspen Film, in conjunction with Snowmass

Tickets: $40 general admission per vehicle; $32 for Aspen Film members

Purchase: aspenfilm.org/drive-in-movie-long-strange-trip

Aspen Film’s Summer of Cinema Drive-in is back for another outdoor film experience. The Grateful Dead documentary airs on a huge, inflatable 40-inch screen as music blares from your FM radio Sunday, intentionally scheduled to fall in “The Days Between” Garcia’s birth (Aug. 1) and death (Aug. 9). The communal scene offers a night of picnicking (in addition to food trucks, you can bring your own food and beverages, but alcohol is not permitted), dancing and socializing outside vehicles.

“A lot of locals will come out for this, and Dead fans. The music does do really well here,” said Aspen Film executive and artistic director Susan Wrubel.

“Long Strange Trip” last screened to a sold-out Aspen audience in 2018 at the Isis Theatre. Since then, Wrubel has been “looking for a way to bring this world-class and defining documentary back to Aspen,” she said. “Commemorating what would have been Jerry Garcia’s 80 th birthday and showing this film during ‘The Days Between’ seems ideal. The response to the film, and the appreciation for the Grateful Dead in this valley is palpable. A drive-in setting allows viewers and fans to dance and shake their bones in a concert-like atmosphere.”

The film debuted at Sundance then had several large screenings throughout 2018.

“I must’ve seen the film about 20 times in a theater setting and loved the communal events, which felt a lot like Grateful Dead shows,” said Alex Blavatnik, producer of “Long Strange Trip.” “I am excited to have that feeling back by screening this film in Aspen Snowmass, one of my favorite areas, with such a fun crowd. I am also excited for new viewers to experience the film, as it will be incredibly fun to watch in a drive-in setting.”

“Deadheads far and wide will say, ‘Wow, they really did a deep dive,” Wrubel said, adding that love and appreciation for the Dead never fades away; it just grows, generation after generation. “It’s truly like the music never stops.”

EDEN Gallery Aspen debuts The Art of Observation exhibition

Aug 14, 2024

This weekend, EDEN Gallery Aspen debuts The Art of Observation exhibition, which showcases various ways artists capture the essence of observing nature, art, society, dreams, and other surroundings.

Theatre Aspen’s ‘Come From Away’ is a lesson in kindness

Latinx House hosts third annual Raizado Festival in Aspen

Aug 13, 2024

Pianist Simone Dinnerstein plays Bach and more at AMFS

Aug 12, 2024

Mucking with Movies: ‘Trap’

Aug 10, 2024

A cautionary tale on how to be bear (and human) aware in the Roaring Fork Valley

Last weekend, four longtime friends and hikers undertook a hike on the Aspen side of West Maroon Pass.

Former President Donald Trump’s upcoming Aspen visit to cause slight delays on Highway 82, Colorado State Patrol says

Aug 8, 2024

PHOTOS: Trump’s motorcade arrives in Aspen ahead of fundraising dinner

Aug 11, 2024

Update: Colorado Highway 82 eastbound lanes open near Thunder River Market after debris slides

‘Fix the damn bridge’: Aspenites plead with city council to decide on Castle Creek Bridge

Readers around Aspen and Snowmass Village make the Aspen Times’ work possible. Your financial contribution supports our efforts to deliver quality, locally relevant journalism.

Now more than ever, your support is critical to help us keep our community informed about the evolving coronavirus pandemic and the impact it is having locally. Every contribution, however large or small, will make a difference.

Each donation will be used exclusively for the development and creation of increased news coverage.

SIGN UP FOR OUR NEWSLETTER

Subscribe to our mailing list to be the first to hear about new music and latest offers.

Remove Gift Card?

Long Strange Trip: The Untold Story Of The Grateful Dead

Select Styles for Availability

The greatest story ever told is coming to DVD and Blu-ray!   LONG STRANGE TRIP: THE UNTOLD STORY OF THE GRATEFUL DEAD DELUXE EDITION will be available on November 9, 2018 on three DVDs or two Blu-rays.   Directed by award-winning documentary filmmaker Amir Bar-Lev (“Happy Valley,” “The Tillman Story”) with Martin Scorsese serving as executive producer, LONG STRANGE TRIP brings together never-before-seen performance footage, vintage interviews, and other candid moments unearthed from the Grateful Dead’s vast vaults. The film also includes newly captured conversations with Mickey, Bill, Phil, and Bob, as well as many other characters and pranksters from the Dead universe.   All versions include the original documentary with 3 audio tracks: Stereo, 5.1 Surround and Commentary track with Director Amir Bar-Lev and Editor John Walter. This DELUXE EDITION boasts a previously unreleased, six-song live performance from the band’s first show overseas, recorded on May 24, 1970 in England at the Hollywood Festival, along with backstage footage from the band’s first trip over the pond. It also features two live performances from 1989 (“Dear Mr. Fantasy” and “Death Don’t Have No Mercy”). Snippets of all the bonus content were used in the film, but this marks the first time they will be released in their entirety.   “Around 2003, while winding through the 16mm film outtakes for The Grateful Dead Movie in preparation for its DVD release, I came across a couple of unlabeled cans of 16mm film. I loaded the first reel onto the Steenbeck film viewing/editing table and was amazed by what I saw. Not only rare, exceptional quality material from the performance at the Hollywood Festival, but loads of other terrific footage, showing the band at a Warner Bros. Records party in London (Pigpen surrounded by suits!), at a photo shoot (‘that's one uncooperative bunch of musicians!’), at a rehearsal hall performing ‘Candyman’ vocal harmonies and, most exciting of all, backstage at the festival. This is truly some of the most remarkable, candid, and interesting footage in existence of the Grateful Dead and we're thrilled to be releasing the entirety of this wonderful historical document.” - David Lemieux   Order the Long Strange Trip T-Shirt or Litho along with the DVD or Blu-ray and save. *Discount applied automatically at checkout.

Bundle includes:

• Instant Download Of dead.net Graphic

Keep in touch! We`ll send you an email when this product is back in stock. Back to product

Try again! Your email address doesn`t seem valid. Back to product

• Product Details

Release Date: November 9, 2018 The Discs are All-Region. Limited Edition.

Bonus Content: A Live Performance Filmed At The Hollywood Festival In The U.K. In 1970, Including Backstage Footage. Two live performances from 1989 (“Dear Mr. Fantasy” and “Death Don’t Have No Mercy”)

• Cambridge Dictionary +Plus

Meaning of trip in English

Your browser doesn't support HTML5 audio

trip noun ( JOURNEY )

• You should always check your oil , water and tyres before taking your car on a long trip.
• How about a trip to the zoo this afternoon ?
• She's going on a trip to New York, all expenses paid .
• The travel company has written giving information about the trip.
• He's always going off around the world on business trips, leaving his wife to cope with the babies by herself.
• break-journey
• circumnavigation

trip noun ( FALL )

• collapse under someone's/something's weight
• collapse/fall in a heap idiom
• drop like flies idiom
• knock someone over
• let go idiom
• overbalance
• parachutist
• trip (someone) up

trip noun ( EXPERIENCE )

• abstinence-only
• altered state of consciousness
• magic mushroom
• solvent abuse

trip verb ( LOSE BALANCE )

• fall She slipped and fell.
• drop Several apples dropped from the tree.
• collapse Several buildings collapsed in the earthquake.
• crumple He fainted and crumpled into a heap on the floor.
• tumble A huge rock tumbled down the mountain.
• plunge Four of the mountaineers plunged to their deaths when their ropes broke.
• The bowler tripped as he was delivering the ball .
• She tripped and fell over.
• I tripped as I got off the bus .
• She tripped over the rug .
• I tripped on a piece of wire that someone had stretched across the path .

trip verb ( MOVE )

• bowl down/along something
• make a dash for something
• make good time idiom
• make haste idiom

trip verb ( SWITCH )

• anti-static
• capacitance
• electricity
• high-voltage
• multiconductor
• non-electric
• non-electrical
• solid-state
• transistorized
• voltaic cell

trip verb ( EXPERIENCE )

Phrasal verb, trip | american dictionary, trip noun [c] ( travel ), trip noun [c] ( experience ), trip verb [i/t] ( lose balance ), trip | business english, examples of trip, collocations with trip.

These are words often used in combination with trip .

Click on a collocation to see more examples of it.

Translations of trip

Get a quick, free translation!

Word of the Day

the left wing

the political left

Simply the best! (Ways to describe the best)

Learn more with +Plus

• Recent and Recommended {{#preferredDictionaries}} {{name}} {{/preferredDictionaries}}
• Definitions Clear explanations of natural written and spoken English English Learner’s Dictionary Essential British English Essential American English
• Grammar and thesaurus Usage explanations of natural written and spoken English Grammar Thesaurus
• Pronunciation British and American pronunciations with audio English Pronunciation
• English–Chinese (Simplified) Chinese (Simplified)–English
• English–Chinese (Traditional) Chinese (Traditional)–English
• English–Dutch Dutch–English
• English–French French–English
• English–German German–English
• English–Indonesian Indonesian–English
• English–Italian Italian–English
• English–Japanese Japanese–English
• English–Norwegian Norwegian–English
• English–Polish Polish–English
• English–Portuguese Portuguese–English
• English–Spanish Spanish–English
• English–Swedish Swedish–English
• Dictionary +Plus Word Lists
• trip (JOURNEY)
• trip (FALL)
• trip (EXPERIENCE)
• guilt/power/ego trip
• trip (LOSE BALANCE)
• trip (MOVE)
• trip (SWITCH)
• trip (TRAVEL)
• Business    Noun
• Collocations
• Translations
• All translations

To add trip to a word list please sign up or log in.

Add trip to one of your lists below, or create a new one.

{{message}}

Something went wrong.

There was a problem sending your report.