Podcast Summary — GOOD OL' GRATEFUL DEADCAST

Episode: In and Out Of The Garden: Madison Square Garden, 10/83
Date: September 29, 2022
Host(s): Rich Mahan, Jesse Jarnow

Overview:

This episode is the finale of a three-part mini-series focusing on the Grateful Dead’s iconic runs at Madison Square Garden, as featured in the new box set “In and Out of the Garden: Madison Square Garden 81, 82 & 83”. Hosts Rich Mahan and Jesse Jarnow, along with a broad cast of guests—band associates, Deadheads, historians, and artists—explore the pivotal Fall 1983 shows at the Garden, digging deep into the recording innovations of the time, the ever-evolving Deadhead community, memorable moments like the return of “St. Stephen”, and the bustling NYC scene surrounding the Dead’s presence. The episode weaves together the technical, communal, and personal aspects of Dead fandom in the early 80s, showing how the band's legacy extended well beyond the stage.

Key Discussion Points and Insights:

1. The Grateful Dead in Transition (1983 Context)

• A Transition Year: The early ‘80s were a “transition” period for the Dead—no new studio albums, few major headlines, but constant undercurrents of change and exploration in tech and business.
• “Change was absolutely constant with the Grateful Dead… It was practically genetic.” — Jesse Jarnow (04:22)

2. Recording Innovations and Challenges

• Cassette and Digital Recording: Band archivist David Lemieux explains how the shows were recorded (Betamax digital AND analog cassettes), noting limitations and quirks of these early digital attempts.
  • Notable quote: "Sometimes new tech doesn’t quite pan out, but the Dead were on it.” — Jesse Jarnow (07:11)
• Betamax Tapes: Used for the 1983 MSG shows but ultimately, cassette masters sounded best and were used for the box set.
  • “For these shows, the only ones that we had Beta for were the Garden show with the 83 shows. And they didn't sound nearly as good as the cassette masters. So we used the cassette on these ones and they sound fantastic.” — David Lemieux (07:24)

3. Emergence of Mail Order Tickets & Deadhead Community

• Grateful Dead Ticket Sales: 1983 marked the successful rollout of mail order ticketing, distributing tickets directly and strengthening the band-community connection.
  • “The demand for tickets and trying to get in there first was such a big hassle that… doing it ourselves was the easiest route.” — Alan Trist (09:21)
• The Official Book of the Dead Heads: Documenting the vibrant Deadhead culture—“It’s their publication… it’s them addressing themselves. I think that is really proper.” — Jerry Garcia to MTV (11:46)

4. Grassroots Economy: Tapes, Zines, Setlists, and Art

• DIY Culture: Tape labels, setlist printouts, zines, and T-shirts funded tours and forged connections.
  • “We lived like kings. We really did.” — Eric Schwartz on selling tape labels (14:11)
• Setlist Culture: Fans like the Leopolds chronicled shows and shared setlists, a precursor to today’s instant digital setlists.
  • “By 83 we had definitely met Michael… it was our goal every show to find Michael, to get a sticker for our tour book and a newsletter…” — Eric Schwartz (18:14)
• Art and Fashion: The visual legacy of parking lot art continues through artists like Elijah Funk and Alex Ross of Online Ceramics, connecting past and present.
  • “It’s almost like the ultimate fan art in a way…” — Elijah Funk (21:22)

5. Parking Lot Innovation: Performance and Hustle

• Fire Juggling, Ecosystem of Creatives: Performers, T-shirt artists, and tour “families” thrived in the parking lot, epitomizing the creative, entrepreneurial Deadhead spirit (25:26–27:18).

6. Technical Progression: Lighting and Sound

• Moving Lights Introduction: Dan English (Morpheus Lights) details the dead’s adoption of cutting-edge computerized lighting, debuting at the Warfield in 1983 and quickly becoming a signature of their show.
  • “One of the first shows… was Diva. She saw that, and she. Her mind was blown. And she was like, we have got to have this now.” — Dan English (28:33)
• Stage Operations: He describes programming the lights and working alongside Candace Brightman and Dan Healy, with unique setups and daily challenges.

7. Taping Culture and Artifacts

• Charlie Miller & the Tapers: Tales of drawing power from parents’ credit cards and the innovation among tapers in gear and technique.
  • “My mom gave me her credit card… and I came home and said I had an emergency. I had to buy a D6 and batteries and tapes.” — Charlie Miller (34:21)
• Mark Rodriguez's Artifacts Book: Showcasing the artistry of tape “J cards”—labels that became their own folk art.

8. NYC Deadhead Storytelling: Parkys, Graffiti Writers, Avenue Scenes

• The Parkys and Deadhead Youth: Descriptions of how Central Park, graffiti, the disco skate scene, and early hip-hop all intersected with Deadhead culture in 1980s New York.
  • “There were city kids, they were like tough kids, but they were Deadheads too… graffiti as tangential to hip hop, but… there was plenty of kids that were definitely into the dead.” — Lee Greenfeld (39:39)
• Upper West Side, Graffiti and Mixtapes: Dead tapes circulated among graffiti crews, further blurring subcultural lines.

9. October 1983: The MSG Shows

• Fan Perspectives: Guests recall their first Dead show, the significance of the venue, and personal journeys to the venue, sometimes literally “by boat” after a transatlantic voyage.
  • “I found myself at my very first Grateful Dead show after coming all the way across the sea from Italy.” — Rich Farrell (48:28)
• Atmosphere: The excitement in the air, the absence of a "formal" Shakedown Street, and the commingling with the streets of Midtown Manhattan.
  • “Your parking lot was the streets of the west side Midtown.” — Eric Pooley (53:54)

10. St. Stephen Returns — Breakout Moment

• The Crowd Erupts: The return of “St. Stephen” after five years is a major highlight. Everyone present recalls the joyous, explosive reaction.
  • “There was nothing like it. It was incredible.” — Eric Schwartz (71:08)
  • “From the first note, those fans went bonkers and raised the roof and energy level on the Garden, to which I’ve never experienced it since.” — Dean Heiser (71:34)
  • “The crowd noise at the beginning of St. Stephen was unbelievable. It definitely drowned out the band for a while. And it was joyous. It was fun.” — Eric Pooley (71:08)
  • Audio tapers and fans called friends across the country, pre-internet, to spread word immediately.

11. Second Night at the Garden: New Songs and Noteworthy Moments

• Multiple new or recent songs: “Throwing Stones,” “Touch of Grey,” “Hell in a Bucket,” “My Brother Esau.”
• Phil Lesh joins Bob Weir for a “Revolution” encore—unexpected and special.
  • “It was very unusual to see Bobby and Phil at the same mic.” — Bob Minkin (108:30)

12. Fandom, Information Exchange, Deadbase, and Social Networks

• Analog Social Media: Detailed accounts of how news and setlists spread among fans in the pre-internet era—through phone calls, newsletters, directories, and impromptu public phone broadcasts.
  • “I asked the front desk, ‘Is there a Deadhead in your lobby?’…They pass the phone to some random Deadhead and be like, ‘Hello, is it my mom?’” — David Lemieux (80:01)

13. Legacy and Innovations Sparked at These MSG Shows

• The “Taper Section” would debut the following year, a direct result of the proliferation (and sometimes intrusive placement) of microphones.
• The close of the episode nods to forthcoming changes in Dead touring, charitable ventures (Rex Foundation), and the band's next NYC era after Garcia’s illness and comeback.

Notable Quotes & Moments with Timestamps:

• “Change was absolutely constant with the Grateful Dead… It was practically genetic.” – Jesse Jarnow (04:22)
• “Sometimes new tech doesn’t quite pan out, but the Dead were on it.” – Jesse Jarnow (07:11)
• “It’s their publication… it’s them addressing themselves. I think that is really proper.” – Jerry Garcia (11:46)
• “We lived like kings. We really did.” – Eric Schwartz (14:11)
• “It’s almost like the ultimate fan art in a way…” – Elijah Funk (21:22)
• “There was nothing like it. It was incredible.” – Eric Schwartz on “St. Stephen” (71:08)
• “The crowd noise at the beginning of St. Stephen was unbelievable. It definitely drowned out the band for a while. And it was joyous. It was fun.” – Eric Pooley (71:08)
• “From the first note, those fans went bonkers… I remember sitting next to a guy, he was about 6’5, 260 pounds.…he was bawling like a baby.” – Dean Heiser (71:34)
• “I asked the front desk, ‘Is there a Deadhead in your lobby?’…” – David Lemieux (80:01)
• “I found myself at my very first Grateful Dead show after coming all the way across the sea from Italy.” – Rich Farrell (48:28)
• “It was very unusual to see Bobby and Phil at the same mic.” – Bob Minkin (108:30)

Timestamps for Major Segments

| Segment | Timestamp | |--------------------------------------------------------------|-----------| | Early 80s context & Dead's changing world | 04:22 | | Recording innovations/cassettes/Betamax | 05:46-08:18 | | Mail order ticketing & community | 09:21 | | DIY Deadhead culture: zines, tape labels | 13:30-15:43| | Parking lot art and performances/Online Ceramics | 21:22 | | Light & sound: Morpheus Lights, tech at shows | 28:33-32:49| | Central Park the Parkys, NYC Deadhead graffiti | 39:08-46:02| | Getting to the Garden, fan stories | 48:28 | | St. Stephen breakout at MSG | 69:13-72:48| | Fandom communication and setlist sharing | 80:01 | | New songs and “Revolution” encore | 106:34-108:30| | Impact, legacy, and wrap-up | 109:45-113:40|

Episode Conclusion

This episode presents the 1983 MSG shows as a crossroad for the Grateful Dead in both their business and their subculture. Through vivid first-person stories and expert commentary, we see how innovative technology, community DIY spirit, and the joy of musical discovery defined the era. The Garden run’s legendary “St. Stephen” breakout becomes a communal lightning rod, emblematic of how Dead fandom thrived in anticipation, surprise, and shared experience—long before social media, but with its own makeshift analog networks.

The 1983 Madison Square Garden shows marked not just a musical landmark, but a moment when community, technology, and ritual converged to propel the Dead—and their fans—into a new era.

Summary by GOOD OL’ GRATEFUL DEADCAST Summarizer – for the committed and the curious.