Sunshine Daydream: Veneta, 8/27/72, part 1

Summary

GOOD OL' GRATEFUL DEADCAST

Episode: Sunshine Daydream: Veneta, 8/27/72, Part 1

Date Released: August 18, 2022
Hosts: Rich Mahan & Jesse Jarnow

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Episode Overview

The kickoff to Season 6 of the Good Ol’ Grateful Deadcast celebrates the 50th anniversary of the legendary Veneta, Oregon “Field Trip” show played by the Grateful Dead on August 27, 1972. This first part delves deep into the cultural context of the event, the intertwining histories of the Grateful Dead and the Springfield Creamery, and the vibrant countercultural scene of early ’70s Oregon. The episode features a rich tapestry of archival and original interviews with band associates, the Kesey family, community members, historians, and special guests, expertly weaving the story of how music, food, and community activism resulted in one of the most storied concerts in rock history.

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Key Discussion Points & Insights

1. Setting the Scene: Veneta, Oregon, August 1972

• The show took place at a benefit for Springfield Creamery, featuring three Dead sets on a sweltering day and immortalized in the film Sunshine Daydream.
• David Lemieux, Dead archivist, calls it his pick for the Grateful Dead show he’d most want to attend:

  “The one show? Without a doubt… it would be Veneta.” (05:29)

• Johnny Dwork, Deadhead historian, frames the show as “the most historically important, most culturally essential, and most experientially powerful Grateful Dead show.” (06:27)

2. The Springfield Creamery Story & the Kesey Family

• Founded in the 1960s by the Keseys, it became famous for its pioneering yogurt (Nancy’s Honey Yogurt).
• The Creamery’s counter-cultural roots: an “activist” food business on the cutting edge of organic, probiotic products before the market or terminology existed.
  • Sue Kesey: “There was this former creamery building in Springfield… we could set up a little processing plant.” (10:04)
• Ken Kesey, famed author and Merry Prankster, briefly worked at the Creamery after writing One Flew Over the Cuckoo’s Nest.
• The infamous “apple wine incident” and subsequent media attention exemplified their outsider status:

  “I came back and it was full of cops, like 25 cops … Our reputation went down the drain with the apples.” (18:28)

3. Counterculture & the Natural Foods Revolution

• Historian Joshua Clark Davis outlines how health food, organic produce, and businesses like Springfield Creamery blurred boundaries between commerce and activism.
  • “It's yogurt, it's tofu, it's organic produce… All the things that were happening—music, drugs, food, counterculture—it’s all clicking in right at that moment.” (15:45)
  • Health food had “freak connotations,” leading to suspicion and resistance from mainstream authorities. (17:27)
• The rising “head shop–to–Whole Foods” pipeline: interconnected networks of alternative products and businesses.

4. Nancy’s Honey Yogurt: Creation Myth and Personalities

• Nancy Hamren, namesake and lifer at the Creamery, shares recollections of moving from Haight Ashbury hippie to Oregon food pioneer.
  • “One day [the co-op manager] called up to order some more, and she said, give me some of that Nancy’s yogurt. It just got named for us.” (24:45)
• Community validation of the yogurt’s cultural stature:
  • “It was spoken of in reverent tones, as though you were talking about something that was in the Whole Earth Catalog.” (Richard Sutton, 25:52)

5. Huey Lewis’s Surprising Role

• Future star Huey Lewis co-founded a natural foods distribution business based on Nancy’s Yogurt, driving deliveries from Oregon to the Bay Area.
  • “Huey always said that he wrote ‘Workin’ for a Living’ while he was driving their truck down to Santa Cruz to make deliveries.” (30:25)
• He remembers:

  “We would drive the truck up to Eugene… load the truck and take a nap at Rosanna’s house and then drive to the Bay Area and then go to our various and distribute it as well.” (31:31)

6. The Creamery as Community Anchor

• The Health Food & Pool Store: a natural foods hub and local gathering place, replete with a pool table.

  “We just started putting together a natural food store… and it was called the health food and pool store.” (Sue Kesey, 35:13)

• The “incubator” effect: the store helped launch regional food brands and allowed other small producers to test out their products (e.g., Kettle Chips, local granola and tofu).

7. The Origin of the Benefit Concert

• The Creamery found itself in financial trouble, notably following payroll tax issues.
  • “We needed some kind of good idea to pull us out of this dilemma.” (Sue Kesey, 41:10)
• The Dead agreed—decidedly due to Oregon roots and support from roadie Ramrod (himself an Oregon native).

  “Their head roadie… said, these are good people. They need to be saved. This is worth doing. And they agreed.” (43:02)

• 28 days to pull off an outdoor event on land connected to the Oregon Renaissance Fair—a location with strong ties to alternative communities.

8. Building the Event: Renaissance Fair, Community, & DIY Spirit

• Construction and organization handled on a shoestring by local volunteers.
  • “We built a city in 28 days and had a concert with a lot of help. It was mostly volunteers.” (Sue Kesey, 48:43)
• Tickets printed on yogurt labels, sold for $3–$3.50, with an estimated 13,000 sold and 25,000 attending (50:22, 81:34).
• Posters and art work by local creatives, solidifying the event’s DIY ethos.
• The Oregon Renaissance/Country Fair as an event locus for the region's alternative culture.

9. The Sunshine Daydream Film Crew

• John Norris and Sam Field initiated filming, following the Dead on the Europe ’72 tour and then assembling local film talent to capture Veneta.
  • Director Adrian Aran shares the backstory of getting the production going, shadowing the Dead before the benefit was green-lit. (53:26)
• Local film collective FWAPS (Far West Action Picture Services) joined, capturing not only the show but also the surrounding alternative culture.

10. Local Communes and Counterculture Networks

• Local communes (Mud Farm, Goat Farm, Church of the Creative, Rainbow Family, etc.) played vital roles as event labor, security (Hodads), and logistical support.
• The area was a haven for political radicals and underground figures; even the famed actor Al Strobel (“Mike” from Twin Peaks) was a commune member and builder.
• Strider Brown, avatar for “the committed and the curious,” shares his journey from the East Coast, through the Rainbow Gathering, to Oregon for the show, guiding listeners through the typical Dead freak’s odyssey of the time.

11. The Day of the Show: August 27, 1972

• Community excitement and word-of-mouth spread rapidly, with attendees caravanning from across the region.
  • “We drove over in the panel truck and then we start getting into the traffic coming out of Eugene. We crawled along, you know, at a snail pace… Parked and nobody was even taking tickets.” (Strider Brown, 79:26)
• Early arrivals staked out precious shade as temperatures soared above 100°F.
• The New Riders of the Purple Sage opened, and the festival included “parachutists, trains rolling by, salt tablets, and plenty of blue acid.”
  • “Parachutist landed near the stable.” (85:04)
  • Public Service Announcement: “Give him a salt tablet, someone, please. Salt. The water is all drained from my body… The salt tablets over there at the Whitebird tent is where they’re at.” (Ken Babs, 86:05)

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Notable Quotes & Moments

• David Lemieux:

  “The one show? Without a doubt… it would be Veneta.” (05:29)

• Johnny Dwork:

  “I've long held that the Aug. 27 field trip is the most historically important, most culturally essential, and most experientially powerful Grateful Dead show in the band's long and deep, deservedly legendary history.” (06:27)

• Sue Kesey:

  “We built a city in 28 days and had a concert with a lot of help. With a lot of help. It was mostly volunteers. Almost everything was volunteers. The stage was built with volunteers.” (48:43)

• Huey Lewis:

  “Huey always said that he wrote ‘Workin’ for a Living’ while he was driving their truck down to Santa Cruz to make deliveries.” (30:25)

• Ken Babs (as MC):

  “Thank you, ladies and gentlemen. Today's program has been brought to you by ST standing for salt tablet. Now it's been recommended by our sponsor that everybody take one or two… Alrighty already. So the salt tablets over there at the Whitebird tent is where they're at.” (86:05)

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Important Timestamps

• [05:29] David Lemieux’s “show I’d attend” pick
• [06:27] Johnny Dwork’s commentary on Veneta’s significance
• [15:45] Joshua Clark Davis on food/culture synergy
• [24:45] Nancy’s Yogurt gets its name
• [30:25] Huey Lewis’s yogurt-trucking side hustle
• [35:13] Opening of the Health Food & Pool Store
• [41:10] The Creamery in financial trouble
• [43:02] Ramrod’s support and the Dead’s commitment
• [48:43] Organizing the benefit & volunteer mobilization
• [53:26] Sunshine Daydream film background
• [79:26] Arrival at the concert: “Nobody was even taking tickets.”
• [86:05] Salt tablet public service announcement

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Tone and Storytelling

The episode’s tone is affectionate, warm, and highly detailed, invoking a sense of nostalgia and deep community lore. The conversation blends first-person reminiscence, social history, humor, and Deadhead mythmaking—staying true to the show’s tagline: “For the committed and the curious.”

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Conclusion

Part one of this deep dive sets the stage for both the mythic music and the practical, human-scale efforts that made the Veneta show legendary: from financial struggle to grassroots mobilization, from the birth of Nancy’s Yogurt to the lived-in reality of Oregon’s hippie counterculture. The Grateful Dead, true to form, show up as both rock stars and community members, entwined in a scene built on music, food, activism, and a singular spirit of togetherness under the hot August sun.

Stay tuned for Part 2, which promises more tales from the day, musical highlights, and the full story of the performance itself—Sunshine Daydream indeed.

Transcript

[Rich Mahan]

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[Jesse Jarno]

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[Jesse Jarno]

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[Jesse Jarno]

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[Jesse Jarno]

Dead Cast the Official Podcast of the Grateful Dead I'm Rich Mahan with Jesse Jarno exploring the music and legacy of the Grateful Dead for the committed and the curious. Ladies and gentlemen, fellow Deadheads, welcome to season six of the Good Old Grateful Dead cast. I'm your co host Rich Mahan.

[Rich Mahan]

Thanks for tuning in to another deep dive into the world of the Grateful Dead.

[Jesse Jarno]

We are kicking off season six with two episodes celebrating the 50th anniversary of.

[Rich Mahan]

What many Deadheads consider to be one of the best shows the band ever played.

[Jesse Jarno]

August 27, 1972 found the band on.

[Rich Mahan]

Stage at a benefit for the Springfield.

[Jesse Jarno]

Creamery in Veneto, Oregon.

[Rich Mahan]

Well documented in the film Sunshine Daydream, this Show Sports Vintage 72 dead playing.

[Jesse Jarno]

Their hearts out for an enthusiastic crowd in scorching temper temperatures.

[Rich Mahan]

Our website dead.netdeadcast has extra materials for.

[Jesse Jarno]

You to explore from this episode.

[Rich Mahan]

[e-mail] deadcast all of our past episodes.

[Jesse Jarno]

Including complete seasons one through five and you can link from there to your favorite podcasting platform so you can listen where you like to listen.

[Rich Mahan]

Also new for you to explore are.

[Jesse Jarno]

Transcripts for many of the episodes in seasons one through five. Head over to dead.net/deadcast index and click.

[Rich Mahan]

The transcript link on the episode you'd like to explore.

[Jesse Jarno]

Thanks to everyone who has contributed their [e-mail] a fair amount of you made it into the podcast, so thanks very much for your input.

[Rich Mahan]

Were you at any of the Madison Square garden shows in 81, 82 or 83? Well, if you were, we need your stories. Head over to stories.dead.net and record yours today.

[Jesse Jarno]

Speaking of MSG, boy, is there a cool new Grateful Dead box set heading.

[Rich Mahan]

Our way in and out of the garden?

[Jesse Jarno]

Madison Square Garden 81, 8283 it boasts.

[Rich Mahan]

17 CDs from six previously unreleased concerts.

[Jesse Jarno]

Recorded live in New York City at the famous Madison Square Garden between 81 and 83. Also available is Madison Square Garden New.

[Rich Mahan]

York, NY 3981 a 3 CD set.

[Jesse Jarno]

Featuring one full show from the box. Both titles are available September 23rd and are available for pre order now at dead.net also new to explore is the Grateful Dead server on Discord. Download the Discord app on your mobile device or computer and then search for the public Grateful Dead server and click the Join button. Find the Dead cast channel and chat with fellow heads about the latest episode you just listened to. Jesse and I will pop on from time to time, so we'll see you there. It's summertime in August 1972. The monumentally successful Europe 72 tour is in the history books. The band is playing better than ever and gearing up for another tour in the U.S. but there are some friends in need of assistance up in Oregon. Get ready for a trip like no.

[Rich Mahan]

Other to the Pacific Northwest.

[Jesse Jarno]

It's time to hand it off to Jesse Jarno.

[Rich Mahan]

On August 27, 1972, two months and one day after the conclusion of the Grateful Dead's Europe 72 tour, the band performed what some Dead freaks consider the most wonderful Dead show of all time. Billed as a potluck picnic to benefit the Springfield Creamery, the Dead performed three scorching sets at the Old Renaissance Fairgrounds in Veneta, Oregon, on what is sometimes reported as the hottest day in state history. Rhino released the show as Sunshine Daydream in 2013, along with a proper version of the not quite lost but never officially released documentary of the same name. Here at the Deadcast, we're not generally in the business of unilaterally declaring anything to be the greatest Grateful Dead show of all time, let alone believing that such a thing even exists. But that's actually an irrelevant conversation for another day. E2772 is in a category of its own, and the music on tape is only part of the story.

[Jesse Jarno]

Roses come riding up on a quasar.

[Rich Mahan]

Grateful Dead archivist and legacy manager David Lemieux.

[Jesse Jarno]

If I could go back in time to any moment in Grateful Dead history and see one Grateful Dead show, you got Cornell, you've got the Fillmore west run, the live dad run in 69. But the one show? Without a doubt. As much as I would like to see a small theater show, maybe at the Lyceum on 5, 2672, it would be Veneta. Oh, we'd sure like to thank the Springfield Creamery for making it possible for us to play out here in front of all you folks here and God and everybody. This is really where we get off the best.

[Rich Mahan]

And please welcome to the Grateful Dead cast a founding editor of both Dupree's Diamond News and the Deadheads taping compendium Johnny Dwork, while Cornell 77 or the Late show from the Filmorist at 21370 might garner more votes as the people's favorite shows. Having listened to pretty much every Grateful Dead tape in circulation, I've long held that the Aug. 27 field trip is.

[Jesse Jarno]

The most historically important, most culturally essential.

[Rich Mahan]

And most experientially powerful Grateful Dead show in the band's long and deep, deservedly legendary history. Personally, I also feel it's their finest.

[Jesse Jarno]

Performance, but of course that's admittedly a subjective opinion. I don't know. This may be the first time I've ever been to Oregon. It didn't rain and now it's too damn hot. And that's partly because of the setting of it as well. The music first and foremost, but the setting? Unbelievable. So that, to me is the quintessential Grateful Dead experience. The Field Trip, which was really the.

[Rich Mahan]

Last Acid Test collaboration with the Murray Pranksters, happened at a time in which, unlike the original Acid Tests, the band had matured, they were well practiced, and they were performing at their technical and creative peak, very different than when they first started doing collaborations with the Pranksters. They had just a few months earlier come off their incredible tour of Europe, 72, which had them polishing to a gleaming shine many of the most beautiful.

[Jesse Jarno]

Powerful and widely acclaimed songs.

[Rich Mahan]

The Grateful Dead and the Alembic Sound Crew returned from Europe in late May 1972 with multi track recordings of their tour, a topic we delved into just a tiny bit last season. They spent June listening to the tapes and spent July starting to construct the overdubs for the November release of what would become a triple lp. The band played a half dozen out of town shows, but by the end of the month were back in the Bay Area working on the live album. And that's where they were on July 31, working on vocal overdubs for Truckin and Cumberland Blues. When emissaries from the distant Prankster territory of Eugene arrived, their friends needed help.

[Jesse Jarno]

I gotta get down I gotta get down I gotta get down to Hoo too.

[Rich Mahan]

We're gonna take a few detours before we get to the August 1972 show in Venita to really explore why a field in rural Oregon is sometimes more than a field in rural Oregon. It's a cliche to say that the Grateful Dead were somehow more than a rock band, but this show is material proof The Grateful Dead had musical peers in the rock scene, but they consciously and actively existed on a far broader continuum than just rock bands. To understand the importance of the music made at the Springfield Creamery benefit, It's necessary to understand not only the history of the Springfield Creamery, but but how it both grew from and became a transformative institution in the Pacific Northwest that would have an impact on mainstream American culture. And to talk about that, we need to talk about Ken Kesey. You may know Ken Kesey from such powerful novels as One Flew over the Cuckoo's Nest and sometimes a Great Notion. Or such psychedelic harasses as the Merry Pranksters, who hosted the acid tests in 1965 and 1966, where the dead served as house band.

[Jesse Jarno]

You only come through this movie once, and if you don't get something rewarding out of every minute you're sitting there, then you're blowing your ticket.

[Rich Mahan]

Ken's brother Chuck was a prankster too. And we are thrilled beyond delight to welcome to the good old Grateful Dead cast from the Springfield Creamery, Chuck and Sue Kesey.

[Jesse Jarno]

I was a bad prankster because I had a full time job that was pressing me every day. So my ability to get away from my job is really rare.

[Rich Mahan]

Though the Kesey family name is often associated with Kool Aid, the more appropriate beverage might actually be milk.

[Jesse Jarno]

Well, the creamery happened kind of just organically, Even though we didn't know that word. In 1960, Chuck's father had been involved in the creamery business all the time, forever. And Chuck grew up in a creamery. And that's where we met, was at Oregon State University. And we had an opportunity when we graduated. Chuck's father's creamery was looking for someone to package milk in glass gallon jugs, which was kind of a throwback to the early 50s at that point, because all the creameries that were in business in the late 50s, early 60s had kind of moved on to the modern things of paper cartons and so forth. And glass was not there. So we had. There was this former creamery building in Springfield that was not occupied. And Chuck and his dad worked out a thing where we could set up a little processing plant. We would just package milk and gallon jugs and sell it to other creameries who wanted this product to distribute.

[Rich Mahan]

In 1961, just after Ken Kesey sold the manuscript for One Flew over the Cuckoo's Nest, but before its publication, he returned to Springfield, Oregon, the town of his youth, and took a summer job at the Springfield Creamery.

[Jesse Jarno]

Ken did work for us while he was Writing Great Notion and or Cuckoo's Nest. They were so close together, I can't remember. But it was when they were living in Oregon for a bit, and it was in the early 60s. 61, 63. And he was a great plant man. He was raised in a creamery too, you know, so it worked well.

[Rich Mahan]

According to Rick Dodgson's splendid biography, It's All a Kind of Magic, the young Ken Kesey, the author, also came with a supply of psychedelics liberated from the closet at the veterans hospital where he'd worked nights and written Cuckoo's Nest. The job didn't last long, and brother Ken was soon working on Sometimes a Great Notion inspired by his time back in the Northwest. In the summer of 1964, Ken Kesey and the Merry Pranksters purchased the Harvester bus they named Further and drove to New York for the publication party of Sometimes a Great Notion, not to mention the World's Fair. Brother Chuck turns up in Tom Wolfe's Electric Kool Aid Acid Test. Did he take the summer off to join the Pranksters?

[Jesse Jarno]

Never. Never. He was gone two weeks, I think. Maybe one of the longest vacations I've ever had. True. This is the truth. Yeah, the creamery is very pressing. Two weeks getting there. But they flew back. I flew out and met them. And I was pregnant with Kit, with our son, so I didn't attempt the bus trip in the acid test. I went to most of them. I missed one. I went to the first one and took Cheryl, my daughter, who is five at the time, and she and I went. She got into it early. And all in all, she and I were the only ones that had not taken acid. And our job during the concert was to go around and give people ice cubes. So we passed ice cubes out to the hard dancing hippies.

[Rich Mahan]

The 60s unfolded and a funny thing happened. Yogurt.

[Jesse Jarno]

Yogurt.

[Rich Mahan]

You've heard of it? I was recently doing some other dead related research and came across an otherwise unrelated article that referred to the ethos of the 60s as peace, love and yogurt. 50 years later, it's maybe a little easy to forget why yogurt might be thought of as part of the psychedelic revolution. But the connection was due in no small part to the Kesey family.

[Jesse Jarno]

Initially we only packaged gallons, and then we eventually started doing some home delivery on our own. And we also did milk for the Springfield school district and little half pint containers that went to the schools every morning. And we ran that all through the 60s, all the way up until for almost 10 years. But Chuck really wanted to do cultured products. He wanted to do yogurt. This is what they had drilled into him at Oregon State. This was. This was the best of the best to do cultured products.

[Rich Mahan]

So it was in the late 1960s that the Springfield Creamery got countercultural early.

[Jesse Jarno]

In probiotics, before the word had been invented. And we put in Acidopoulos and her inspectors told us that we couldn't put it in there. And yogurt, they said, this is illegal. And I realized they didn't know how to test. And I knew the right thing. I knew that I was supposed to put it in there. So we were pretty close to being the first people they do that. I'd been taught well at Oregon State in bacteriology, and I knew it was the right answer. Chuck's a great future looker and this is what people wanted. They wanted real food that was really good for you.

[Rich Mahan]

Please welcome to the Deadcast Joshua Clark Davis, author of the exceptional scholarly book published by Columbia University Press. From Head Shops to Whole Foods, the Rise and Fall of Activist Entrepreneurs. We've posted a [e-mail] deadcast.

[Jesse Jarno]

It's yogurt, it's tofu, it's organic produce. If you go back to the 60s, I mean, if you think about the counterculture, in a way it's a rebellion against a dominant commercial culture. I think organic food and vegetarianism all the way back in the 60s was itself a subculture that was rebelling against the larger commercial culture around food, around supermarkets, around the ANPs and the SAF and so on. And it really began to blossom in places like New York, on the east coast, on the West Coast, Bay Area, especially the macrobiotic movement that was getting really big in the mid-60s, right before the counterculture was taking off. I hate to use this term, synergy, but it's like the. The things that were happening between music, drugs, food, counterculture, it's all kind of clicking in right at that moment. And I think there's an argument that maybe like 1972 in some ways is kind of like maybe the biggest kind of last year for the counterculture. Obviously, the counterculture goes on for decades, but as long as the war in Vietnam's still going and Nixon hasn't been reelected yet, there's some urgency there.

[Rich Mahan]

What was then known as the health food business existed as one of the most successful outgrowths of the counterculture. But those associations came with a price. In From Head Shops to Whole Foods, Josh gets deep into the story of Erawan market. One of their earliest managers, Paul Hawken, went from the civil rights movement to San Francisco's Calliope light show to the health foods business Erewhon.

[Jesse Jarno]

At their first store In Boston in 1966, they got raided by the FDA for, in the FDA's eyes, selling unlicensed health advice or kind of things that was bordering on unlicensed medical advice. So these businesses, it seems so unthreatening today. Things like yogurt, tofu, organic produce. But they did threaten people in certain ways because that countercultural connotation was so strong. Right. This is what freaks ate. This is what heads ate. This was not necessarily safe because you didn't know what those folks were also putting in their bodies. Right. There was something else going on there that I think some people were very suspicious of.

[Rich Mahan]

This is all part of the background to the event that would result in the grateful dead coming to play in Veneta. What is known in creamery lore as the apple wine incident, when some employees wound up with a batch of apples and decided to try their hand at winemaking.

[Jesse Jarno]

I picked the yogurt at that time, at about 2 in the morning. That's when the yogurt was ready. And that was my job. And I'd go to the creamery at 2 in the morning and walk through it. And usually I would find footprints of somebody that was in front of me. And this was normal. And this time it went to the apple wine and pulled the plug and spilled 200 gallons of apple mash. Mash in the warehouse. Yeah, what a nightmare. Who would do that? But I could track them, and I knew who. I could tell by their footprint that they were wearing good shoes. So I shoveled it back in the vat because it couldn't drain. There was just on the floor, and I shoveled it back in the vat. And so they had ruined it. And I thought, well, I can distill it. And I stretched a piece of plastic over the top of the van and put a little coil on it and put a steam in it and went home. And at 8 in the morning, I came back and it was full of cops, like 25 cops in the Eugene register Guard, Our local newspaper, had already gathered, waiting for me to come. And they loved the story. It was so dynamic. And in the long run, I got fined $75 for doing it. But it knocked us out of our normal business cycle. Our reputation went down the drain with the apples.

[Rich Mahan]

The man was ready to go after the yogurt heads.

[Jesse Jarno]

It was no accident they Lied about what we were doing and how much we were doing.

[Rich Mahan]

They subsequently lost their contract with the local schools. In 1970, the Springfield Creamery put their faith fully in yogurt.

[Jesse Jarno]

Yogurt.

[Rich Mahan]

In 1970, the Creamery launched perhaps its most famous product, Nancy's Honey Yogurt, named after Nancy Van Bresh Hamren.

[Jesse Jarno]

Nancy came to work for us in 1969. She had moved up to Oregon with her boyfriend, who was Mountain Girl's brother, to stay at the farm while Ken and Fay and the kids had gone to England to hang out with the Beatles for a while.

[Rich Mahan]

As one does, we are just honored to welcome Nancy Hamron. Unlike Wavy Gravy, the nationally distributed food product named for her is actually good for you.

[Jesse Jarno]

I had been raised in the Bay Area, and then in the middle of my senior year in high school, we moved to Pasadena. So I lasted about a year and a half in Southern California. It was so different, you know, from the Bay Area, where there was jazz and beatniks and philosophical things going on, you know, that were of interest. So I moved back in 66, January 66. Lived right over the top of the guys who were practicing that would become the Jefferson Airplane. Our apartment was right over there, so that was fun. And I was just a hippie in the Haight Ashbury for two years.

[Rich Mahan]

Nancy was quite literally a member of the Grateful Dead family.

[Jesse Jarno]

So when, when I lived with Gordon, we were in Marin county and pretty close to where Mountain Girl and Jerry lived. So we'd go over and visit them in Larkspur and see sunshine, this beautiful little curly blonde haired girl.

[Rich Mahan]

But the invitation came from the Keezis to hold down the farm.

[Jesse Jarno]

Gordon and I went, yeah, it's time to get out of California. So we moved to Ken's farm and stayed there for six months. Learned how to feed animals and feed lots of people on brown rice and greens and grow an organic garden, all that, you know. It was a great summer. And then Woodstock happened. And so they hired the Kesey Farmsters to load up some school buses and go back and help manage the backstage at Woodstock. I had been in San Francisco. We went endlessly to the dances, you know, Janis Joplin, Jimi Hendrix, everybody. It was such a great music scene. Grateful Dead, of course. And I just didn't want to ride on a school bus for 3,000 miles with a bunch of people I didn't really would. Not normally like as friends, shall I say? Some people, some of that. So it turned out that that was a really good decision. So the, the farm Emptied. And Ken came back from England and said, okay, the farm's closed now. It used to be, you know, it was a place where people could crash and there were parties and it was quite the fun farm event. I was 22. I needed to find a direction in life. Nancy was there and she. Well, she needed actually to make some money. And we needed a bookkeeper because our bookkeeper had just was wanting to move on. And so we hired her. She came to the office. She didn't leave for 45 years. Absolutely the best hire, one of the best hires we ever made. And so she was. This is when we were in this transition period of saying, well, what are we going to do? We're going to. Let's make yogurt. And Chuck wanted to make yogurt. They wanted to pivot to a new direction and find something that was unique and would benefit people. Honestly, we were looking to make everybody's gut better than it was. So I had been making yogurt at home. Nancy said, gosh, I can't find any good yogurt up here in Oregon at all. And this is what my grandma used to make. And she and Chuck worked together. They were great. And Chuck knew what he wanted. And Nancy had a great palate as well. That's what became Nancy's honey yogurt. Chuck had sent away for some acidophilus and some yogurt cultures for me and started just perfecting it at home in glass gallon jars on the back of a stove, in a water bath, or half gallons, I guess, in a water bath, and came up with a really good yogurt. And they said, well, let's try selling your yogurt here. Somebody will buy it. Right then a student co op opened up, Willamette People's co Op. So I would, I would do the books, you know, the, the payroll and the office managing and the. All that. And then I would put on boots and a white coat and go out and make yogurt in a little 30 gallon VAT. And the co op bought our yogurt. It didn't have a name. It was just yogurt from Springfield Creamery. One day they called up to order some more, and she's manager, Marlena from New York, she called up and said, give me some of that Nancy's yogurt. It just got named for us. You know, somebody bestowed that name and. And the thing was, Chuck and Sue loved it and they named it that.

[Rich Mahan]

In some ways, the yogurt was just the hottest new technology to come down the Hippie pipeline. Richard Sutton would go on to work for the Creamery.

[Jesse Jarno]

The yogurt was really special. There was nothing being marketed anywhere in the country like it as far as the living cultures and everything. I could hear the reaction from people that I knew on the streets in Eugene and the area around there, and from people that I knew from various other commune farms. It was almost spoken of in reverent tones, as though you were talking about something that was in the whole Earth catalog. If you go back far enough, it carried a lot of cred. It really did.

[Rich Mahan]

Lawrence Roberts is the author of The Incisive Book May 1971 A White House at War, A Revolt in the Streets, and the Untold Story of America's Biggest Mass Arrest. We've posted a [e-mail] deadcast. He was spending the summer of 1972 in Eugene.

[Jesse Jarno]

I shared the feeling of a lot of folks who were coming out of college or in college at the time. So I was involved as a protester in the Vietnam anti war movement starting in 1969, went to various protests. I was arrested as part of the biggest mass arrest in US history in Washington in May of 1971 in a big attempt by anti war groups to do a traffic blockade of the city to protest Richard Nixon and the war. So this was a year later. I think by then the particular kind of actions of going into the streets and protesting, carrying signs and picketing had pretty much faded away. People had felt it was not effective or they had just sort of moved on and turned more inward. And this idea that the cultural part of things was where they should put their energies. The Oregon area reflected that. I mean, I think there were some people who were involved in politics, directly in politics, but most of the idea was, let's just create something different. Let's create an alternative. Everything was about alternative, alternative schools, alternative food, alternative music.

[Rich Mahan]

The Springfield Creamery had figured out the alternative food, and now it was time to spread it to the world. It's one thing to operate a local creamery. It's another to manufacture a new product. There was no distribution chain to just get their yogurt into supermarkets. But there was an emerging network of natural food stores connected into the heady hippie underground. Nancy's Honey Yogurt found its first Bay Area representative via a distributor of rock magazines and underground comics.

[Jesse Jarno]

There was a great guy named Gilbert Rothburn who was taking comic books from. I'm not quite sure whether they were published in Eugene. And he hauled them down to the Bay Area and distributed or if he did the other way, if he brought books from the barrier up to here, I think it must have been that way because then he was empty, going back. It was a backhaul. And he said, well, I'm going to all those stores and all the natural food stores, and they're really longing for good products. Why don't I take the yogurt down? And that became the original connection into the Bay Area with our yogurt going there. And eventually Gilbert quit doing comic books pretty much, and created a business called Natural Foods Express and did distribution of dairy products and other things and to the. Into Marin county, down to Santa Cruz. All during the 70s, there were a lot of businesses like us who were creating new foods. And all these natural food stores that were popping up everywhere needed things to put on their shelves and in their refrigerated cases. You know, we were taking it to local natural food stores in Eugene, and gosh, we were making sometimes 200 gallons a day. In my book, from Head Shops to Whole Foods, part of the whole idea of the title is that there was kind of this universe of activist businesses, countercultural businesses that emerged in the late 60s, and there was overlap in different ways. Kind of this constellation of head shops, the comic bookstores, the natural food stores. Maybe they didn't always sell each other's products, but there was a good chance they were often in the same neighborhoods or there was actual kind of cross pollination, like you said. And that doesn't surprise me, especially not on the west coast and especially not in college towns. Right. So Springfield Creamery is basically right next to Eugene, right next to University of Oregon, and that's a big part of the story as well.

[Rich Mahan]

But wait, there's more. Huey Lewis.

[Jesse Jarno]

Yes, that's the other part of the story. His partner in Natural Foods Express was Huey Lewis. And Huey was a, you know, the struggling singer and who sang at night and drove yogurt in the daytime. Huey always said that he wrote Working for a Living while he was driving their truck down to Santa Cruz to make deliveries. It was the windshield wiper.

[Rich Mahan]

Please welcome Huey Lewis.

[Jesse Jarno]

We started a little Whole Foods distribution company based on Nancy's Yogurt. Our business was called Natural Foods Express. We started with Nancy's Yogurt, but we had all kinds of other natural foods as well.

[Rich Mahan]

Huey often made the trip from the Bay Area to Springfield.

[Jesse Jarno]

Yogurt needs to be refrigerated, but it's quite stable, actually. So in the beginning, truth be told, we would drive the truck up to Eugene. It was Nine hours to get up there. And we'd get up there about. About nine or ten at night and then load the truck and take a nap at Rosanna's house and then get in the truck and drive to the Bay Area and then go to our various and distribute it as well. Same day before we had the walk in, then we got the walk in, then we could put it in the walk in. And then we got to ship it down after a while so we didn't have to drive up. Clover was going during this period as well. I was doing this in the daytime and then gigs at night and burning the candle at both ends, no question about it.

[Rich Mahan]

Huey Lewis was and is a true member of the Creamery family, though didn't make it to the 72 benefit.

[Jesse Jarno]

I wasn't there, but we did a show for the Creamery. And I can't remember when that was. They partnered up with a promoter and we did a show and benefited them a little bit. And that was a really fun gig. Ken was on the farm and Chuck had the Creamery, Chuck and Sue. And they're just the greatest people in the world. They're rock solid Oregon people. And Nancy, you know, worked there forever and they named the yogurt after her. And Rosanna, I think Rosanna had the fruit. I think Rosanna's idea was the fruit. And Rosanna now lives down, married a friend of mine, Wally Lourdeau, and lives in Marin County. I still see them and I coach their kid. So it's all pretty much family, you know, for me. But they're just great people.

[Rich Mahan]

He's not kidding. In 1993, Huey was participating in Twister, one of brother Ken's stage productions. And the entire Gaggle went to see the Dead at Austin Stadium in Eugene, closing the circle with Huey's old yogurt root.

[Jesse Jarno]

They had a big gig in Eugene, and I was there as part of Casey's crazy entourage. And they. And they asked me to sit in. And I remember it was the first time I'd ever had in ear monitors. The Dead were, I think, the first people to do that. I guess I had a harmonica with me. So what do you got? We'll do something in any. Whatever. And so I said, great. They gave me a microphone that was connected to an amplifier somewhere in the back line. And of this enormous stage, I didn't know where the amplifier. They just kind of handed me the microphone and stuck these two things in my ears. And by the way, they had the system where they had in ear monitors. But they also had a little button that you could push which would defeat the in ear monitors. So they could talk to each other and say to the monitor guy, hey, I need a little more drums or I need a little more this, whatever. And then let their foot un. Press the button and then it would go out through the microphone. So I'm hearing them talk at the same time I'm hearing music and I don't know where the music's from. It was the strangest notion ever. And I'm trying to play my harmonica and I can't tell if I can hear it or not. I hear this terrible sound and I realize, oh, it's my harmonica's feeding back, right? And now I look into the back of the stage and Jerry, who figured this out way before I did, is already back there with his back turned to the crowd in the very back of the back line, working with my, my amp, trying to get me nice tone. And he. And he did that for the whole song. I thought it was so sweet, man.

[Rich Mahan]

Sorry we had the time sheath set for the wrong decade. Let me just shake it. But the creamery wasn't just yogurt. Some communities anchor themselves around music scenes or bookstores or bars. Springfield, Oregon got a health food store.

[Jesse Jarno]

Springfield didn't have a natural food store. When they were all in Eugene. We thought, well, we could do that. We had a lot of people coming into the office and wanting to buy yogurt and so forth. And we really weren't set up to sell yogurt from the front office because it was about as big as a closet. So we just started putting together a natural food store where we had bulk food and binge just like the natural food stores looked. And it was called the health food and pool store. And the reason it was named that was because we had a wonderful pool table in that room, which was the break room for our employees. Nobody wanted to give up the pool table. We ended up building a big log platform because the room was really high ceiling. And put the pool table up overhead on a platform. People could come up and play pool if they wanted. That's how my son and daughter became pool sharks at a very young age. And so anyway, the pool table was there for a long time. The store was delightful. The store was a wonderful gathering place for folks. We loved it. It was open until 1987 or so, when actually the whole creamery moved over to our current location in Eugene. You could come in the store. The grains and all were stored in 10 gallon milk cans. And you could play pool for free. We had a big fisher stove so people would stand around and talk politics. It was a hub of interest and community. It was a small community. You know, most people were pretty, let's see, we used to call them square, straight, whatever the word is these days.

[Rich Mahan]

Joshua Clark Davis Why not have the.

[Jesse Jarno]

Yogurt, the organic food and the antique billiard table all in the same place? I mean, we just watched licorice pizza. And this is kind of, you know, really appealed to me because it had some of this type of stuff. It's like the waterbed store. And just then the guy goes on to do the pinball shop. And it's. People were kind of mixing and matching these small business ideas in this period. Not afraid to try new things. And very much shaped by the counterculture. Even folks who weren't like totally embedded in it, they were kind of breathing that air. It was in the atmosphere.

[Rich Mahan]

Opened in 1970, the health food and pool store quickly became a local hangout. David KARANDA it just became a kind.

[Jesse Jarno]

Of natural gathering space. And that the yogurt was awesome and the people were awesome and it wasn't very big. So you got to know people who went in there and they got to know each other and you saw the same people, etc. So it was just very laid back. And unlike any other store I think that you would naturally go into. And certainly different than a place where you would go buy groceries or yogurt or something like that.

[Rich Mahan]

Please welcome to the Deadcast Ace Dead Freak Strider Brown.

[Jesse Jarno]

I have to say that Eugene in 71 and 72 was, you know, the closest I will have ever gotten to, let's say, the original Haight Ashbury. And there were still, at least for myself, a certain feeling of innocence.

[Rich Mahan]

Richard Sutton scored a job as manager at the health food and pool store.

[Jesse Jarno]

Before I went to the creamery was working at the Kiva bookstore in Eugene, which was on the can on the road to the campus and learning all kinds of weird stuff, including how to throw tarot cards. So it's all kind of a blend. It all came together.

[Rich Mahan]

The store launched far more than Nancy's yogurt.

[Jesse Jarno]

The health food and pool store was a place for people to bring their small kitchen made products that were approved by the Department of agriculture. Of course you have to be certified, but it was a place for people to sell their stuff. The Kettle Chips guy was one of our first distributors who took Nancy's yogurt up to Portland and down to Ashland. Well, first he started out There weren't very good roasting nuts. So he came up with the idea that he would supply the roasted nuts to the stores and provide them with a peanut butter machine. And they. People could make that. Just like grinding your own coffee, you can make your own peanut butter. So Kettle Chips started out that way. And then he realized that there was only like Laura Scudder potato chips. So he could maybe. He started making these trial batches, small batches of Kettle Chips, and it grew from there. And he was a dear, dear friend. Poolside Bakery was Esther and a fellow who made granola in the. We had some government ovens, some pizza ovens that we had bought on government surplus. So they started making granola in the back of the pool store and selling it in the store. And that turned it. So then Golden Temple took over that and created their own line of. I think it's called sweet home granola now. You see it in the grocery stores in those milk carton shapes. Started the creamery in the back of the creamery. Serratus Soy Foods, of course, is a local soy tofu company that made their first batch at the creamery. There's just lots of connections, natural food connections that the creamery has helped.

[Rich Mahan]

There was more than yogurt at stake. It was an attempt to radically redefine the food market in the United States. But in launching a new yogurt, a new store, and helping to support a network of comrade food makers, the debts were beginning to pile up.

[Jesse Jarno]

It was a struggle. Nowadays, if you were a startup with a really good idea, you would seek out some investment money, you know, to help you get up and running. And that wasn't really available back then. That wasn't a thing people did. And so you just kind of pull yourself up by your bootstraps, really. So we were making this great yogurt, probably one of the best probiotic yogurts in America, if not the best. And we just needed to get. You have to buy containers and honey and milk and labor, you know, that you have to try to make it work within that cycle of sales and purchasing. So we were having trouble with going to be unable to pay our federal taxes, probably it was probably payroll taxes. And we needed some kind of good idea to pull us out of this dilemma. We didn't have any money. All we had was determination. We weren't going to quit. So we asked the Grateful Dead. I think maybe Jim Benny thought up the idea, what if the Dead did a benefit for us? It's kind of okay, let's try. They have a connection to Ken and we can at least get an interview with them. So Chuck and Bud and Black Maria. So Chuck Keezy, Ken's brother, Bud Haxby, Faye's brother, and Black Maria, one of the Pranksters drove down. And the Dead were rather democratic, but even the roadies had a seat on the at the table where decisions were made. So they went down and proposed it. And their head roadie was a guy named Ramrod, and he was from Pendleton, Oregon.

[Rich Mahan]

Ramrod had joined the Merry Pranksters during Ken Kesey's escape to Mexico in early 1966, before arriving at the Dead's house in the Haight later that year with the message Keezy sent me. I hear you need a good man.

[Jesse Jarno]

And he spoke up for us and he said, these are good people. They need to be saved. This is worth doing. And they agreed.

[Rich Mahan]

In early September, they'd be setting off for a cross country tour. But they did have a free weekend at the end of August. The band's August newsletter had tentatively announced a show at the Santa Barbara County bowl on August 27, but that evaporated, as gigs sometimes do, and the Dead committed to help the Creamery. While it wasn't unusual for the Dead to play a benefit, it was slightly more so to play for an out of town organization.

[Jesse Jarno]

We had 28 days from the yes to the date they picked the date they picked, which is a pretty phenomenal statement. And at that point I had never been to an outdoor concert. Eugene, I think, had never had an outdoor concert. And so there was no concept of it, and so there was no prototype. There was nothing to copy. This is total invention on how to do this.

[Rich Mahan]

They had a venue in mind too, about 15 miles west of Eugene in the town of Veneta. And like the Springfield Creamery, the old Renaissance Fairgrounds were already home to an important local landmark and countercultural institution. What was then called the Oregon Renaissance Fair was founded nearby in 1969 and moved to its permanent home on the Long Tom river the following year.

[Jesse Jarno]

Larry Roberts One aspect of the counterculture was this movement called the Free School movement, which was a way, and the counterculture believed, you know, to set up a system of schools for their kids that weren't part of the system. And so these independent schools were popping up all over. My project was to sort of see, study these schools. And the one I ended up going to visit at was a place called the Children's Community School, which at that time was located on a farm not far outside of Eugene. One of the things that the people before me did to raise money for this free school for the children's Community School was to set up this annual event called the Renaissance Fair. We knew that property, that the fair had been there for a couple of years on that property, but it was rented. The fair leased the land for the fair. And so we went to the landlord and said, well, can we lease this field, this part of the field here for this concert for a couple weeks? So we get it for this month actually. And he said, sure. He was really nice guy.

[Rich Mahan]

Like the health food movement, the Renaissance Faire as an institution has what might seem like surprising connections to the counterculture and to the Dead's world specifically. Owsley Stanley and his crew of LSD makers were regulars at the Northern California fairs. One of those associates and close friends, Bob Thomas, would do the final illustration for the Dead skull and lightning bolt logo to bear specs. Of course. He also played bagpipes in the Golden Toad, known to some as the Grateful Dead of the Ren Faire circuit. With no official releases, recordings are extremely rare and have only surfaced in the past few years. We've posted a [e-mail] deadcast but while the Renaissance Fair evolved, the Oregon iteration became very much its own. And when changed their name to the Oregon country Fair in 1976 after the California Ren Fair's threatened lawsuit, because essentially the Oregon Fair wasn't ren enough in Veneta. It wasn't so much about dressing in period garbage and speaking in dialect as it was about extremely heady craftwork, family friendly circus flair and getting deeply lost in the woods or elsewhere. If you're interested in the history of Renaissance Fairs, I recommend Rachel Lee Rubin's book, well, Renaissance Fairs and the American Counterculture. We've posted a [e-mail] deadcast Naturally, and by naturally I mean organically.

[Jesse Jarno]

Shortly after I got there In June of 72, this was like a second or third Renaissance Fair, which I attended. And it was an amazing, you know, event. And this was the same grounds, of course, where the Springfield Creamery fundraiser was held, you know, about six weeks later. It was this winding trail through the woods, beautiful woods of Oregon, with all these booths set up by people who were selling crafts and doing music or weren't into blacksmith or showing you how to grow organic vegetables. And we had a booth for this free school I'm talking about that we manned. Lots of civilians came during the day. At night there was just campfires, like I said. Everybody had guitars and mandolins and fiddles. And so it Was like an all night kind of counterculture camp with clouds of marijuana smoke and everything else.

[Rich Mahan]

The 1972 iteration of the Oregon Fair took place from June 30 through July 2 during an early summer heat wave. One history of the fair recalls the institution in 1972 of what became known as the purple sock rule for men. Let's just call that foreshadowing. The Oregon Renaissance fair was a lot of cool things, but it definitely didn't resemble a rock festival or even a.

[Jesse Jarno]

Folk festival at that time. You couldn't rent a stage, and in 28 days you could not rent a stage and get it there. We had to build a perimeter fence and then build a stage. So there were all these volunteer hippie carpenters and young people who were out there just making it happen. The creamery is good at engineering because it's a complicated machine, that creamery is. And we built a City in 28 days and had a concert with a lot of help. With a lot of help. It was mostly volunteers. Almost everything was volunteers. The stage was built with volunteers. And in 28 days, you couldn't get a ticket printed either. So we had to make our own ticket. We used our yogurt cup labels as the tickets and we just printed over them. The creamery stand up just cranked out a ticket. Click, click, click, click, click, click. They just knocked out a ticket. I think it was $3 or $3.50 at the gate. And the tickets were printed on Nancy's yogurt labels. We, of course, didn't have enough money to even silk screen our containers. They were pick and stick labels. And I think maybe the kiva sold tickets. Sundance, the student union, and we had posters around town. So people came from all over. They heard about this concert from Seattle to California, you know, just came from all over to be there. And I think we sold about 13,000 tickets.

[Rich Mahan]

There were, of course, posters. One of them featured intricate lettering, A clear glass milk bottle with a haloed head of a cow and the word renaissance misspelled. The art was by the hog farmer, merry prankster and visual artist Paul Foster, then living in Springfield and doing occasional work as fall posters. Some nice wordplay on his name. The other poster was hand lettered with a rapidograph by a creamery employee named Richard Sutton.

[Jesse Jarno]

I was doing the graphics here and there, and they asked me to. I guess they asked me to do the poster and I said sure. I did a couple of signs up on campus for restaurants. I did some small band, local concert things and graphics that they used on drum heads and stuff. I had my trusty Rapidograph and my India ink bottle. A lot of the illustration I did at the time, point by point by point by point on a big pad of vellum paper, which is like kind of like tissue, only really heavy, so that you could do a lot of ink work on it. And then it was easy to put it over something else if you needed to, to back it up. I hadn't really learned much about the graphic arts business, but I knew I liked to do illustrations. So you do what you do. I think I took the skeleton. I borrowed that. I traced it, probably off an older Dead album at the natural food stores, I think, is where the posters all went up, all up and down the coast. There was one guy decided that it was his job to hit every bar in Oregon and walk into the bar with a poster and say, there's a Grateful Dead concert coming, and here it is. And off he goes.

[Rich Mahan]

Johnny Dwork. This show was literally played off the grid on sacred land that had been inhabited by Native Americans for thousands of years. On a brilliant summer day, away from the psychically constricting forces of the default society paradigm that we all know the Grateful Dead were trying to move away from, that the whole culture of the time was trying to move away from. There were no cops, no confining walls, no industry promoters. This confluence of expansive forces was both, I think, profoundly empowering and also really.

[Jesse Jarno]

Well timed for the arc of their career.

[Rich Mahan]

The show existed almost entirely inside the emerging alternative society of which the Dead were of a part. That same summer, they were beginning to explore the idea of starting their very own record company and distribution system. It was do it Yourself at virtually every level. But looked at another way, it's like a wholesome musical to save the family Derry. The kids are going to get together and put on a show. Enter the film crew. The film now known as Sunshine Daydream, was directed by John Norris and produced by Sam Fields. Sadly, neither are with us anymore. But I did Interview Sam in 2013 when writing my book, A Biography of Psychedelic America.

[Jesse Jarno]

John Morris was the instigator of the whole idea to film a concert. And he had been a film guy in New York, did some stuff with wnet and kind of was my childhood friend outside New York and lured me to California. Originally took me to my first lathered up Grateful Dead show and got me on the bus.

[Rich Mahan]

After trying to contact the Dead's management in February 1972, collaborator Phil DeGuerre went to go see Jerry Garcia play with Merle Saunders and told him they wanted to make a movie. Daguere recalled to Blair Jackson in 1986. He seemed sort of bemused by the idea that anyone would want to make a movie about a bunch of musicians who stand on stage and stare at their guitar strings. Sunshine Daydream's filmmakers have passed on, but Adrian Aran both helped them restore and release the project and also directed his own wonderful mini documentary, Grateful Days. We've posted a [e-mail] deadcast more than anybody else, Adrian is the keeper of the Sunshine daydream flame. Europe 72 tour comes about. Sam Cutler calls them up and says.

[Jesse Jarno]

Hey guys, I think this is your chance.

[Rich Mahan]

You know, this might be the one.

[Jesse Jarno]

To come and check it out on. And they're like, well, you know, we'd.

[Rich Mahan]

Like to come and sort of travel.

[Jesse Jarno]

With you guys, but we really, we really need to, you know, do some more homework, we feel.

[Rich Mahan]

In the spring, John and Sam headed to Europe and followed the Dead on pretty much the entirety of the Europe 72 tour. Not quite riding with the band, but intersecting frequently. We included some of Sam talking about it in our Denmark episode last season, though it's one of the many topics I wish I could ask him about more. And so it was while on that.

[Jesse Jarno]

Tour, I think that like an uncle.

[Rich Mahan]

Or something of Sam's died, left him.

[Jesse Jarno]

Just a little chunk of loot.

[Rich Mahan]

Every day. Things were looking more plausible. Sometime after they got back, it seems that documentarians Albert and David Maisels, famous for Gimme Shelter, had contacted the Dead about making a documentary. Initially, they were told to talk to Norris, de Guerre and Field, who the band seemed to consider the band's film team. The Maisels fell out of the picture, and soon Sunshine Daydream was born.

[Jesse Jarno]

Earlier in July of that summer, the band did a Portland and Seattle Paramount Theater brief tour. And that was the first time I'd ever been to Oregon going to those shows. Like I say, John and I spent our youth in the New York area and then came to California in late 60s and found plenty to do around here without really going very far.

[Rich Mahan]

I got another call from Cutler saying, hey, this is really maybe the one, guys.

[Jesse Jarno]

I think you got to get up there. This is promising to be a pretty.

[Rich Mahan]

Loose affair and it's going to happen really quick.

[Jesse Jarno]

And we didn't know where or when the opportunity to film a concert would show up. Could have just as easily, as easily been in the Bay Area or in any other state. So it just sort of happened that the opportunity was there. So all of a sudden we became familiar and then we stayed and lived there for a year doing editing and a lot of the post production.

[Rich Mahan]

The filmmakers connected with a group known as Far West Action Picture Services with the excellent acronym of fwaps, which I assume to be a Don Martin style onomatopoeia for the sound of when a film reel runs out. FWAP FWAP fwap.co Founded by Mary prankster Mike Hagen, FWAPS was a heady hippie style film and television company doing local television and film work. With a team of John Norris, Phil Daguerre and Sam Field, they caught underground America circa 1972 at perhaps its deepest. Cameras started rolling as the old fashioned stage racing began.

[Jesse Jarno]

The other thing showing our novice concert promotion side was that when we built the stage, we didn't really take into consideration the direction we were facing the stage. So actually the stage faced west and consequently the band had the sun in their face on a day that was over 100 degrees for at least the last half of the day, maybe all day, you know, certainly in the. As the sun got to that level in the sky, it was where they were having trouble keeping their guitars in tune and didn't think their music sounded very good. And all of that, a lot came from that position of the stage.

[Rich Mahan]

The volunteers, the creamery rounded up for their stage raising. And indeed much of the audience for the show came from the communes and alternative living situations in the area around Eugene. David Karanda There were a number of.

[Jesse Jarno]

Different communes at that time, all around Eugene. And all of them had different things. One of them was related to food, one of them I remember, was related to Christianity, et cetera. Camille Cole There were a lot of communes in the area. There was the Mud Farm, the Goat Farm, the Church of the Creative. Just all the hillsides around that area were dotted with various types of communes and people. We would go and visit each other and it was definitely a family. And not long after that I took up with a, I guess you'd call it a gypsy caravan. And we were the bus Farm. You know, you can picture a fleet of Victorian houses meandering down the highway, house trucks, Victorian houses on the back of flatbed trucks. We raised the roof on our school bus and extended the back end so people would pull over and wave. And we took a cross country trip and we were on TV in Nashville. They took us up to Graceland in Memphis. We were on display at the New York State Fair. So there's a lot of adventures in there.

[Rich Mahan]

Camille has a memoir coming out.

[Jesse Jarno]

The Midnight Show Bohemians, Byways and Bonfires.

[Rich Mahan]

We've posted a [e-mail] Deadcast founded the year before, the Hodads Reforestation Cooperative was a worker owned collective that very intentionally made literal roots in the area.

[Jesse Jarno]

Strider The Hodads were absolutely their own. Certainly they were like a cooperative that was based, of course, on tree planting and other work in the woods. During one of the early country fairs, they were having some problems with the Hell's Angels, who wanted to take over the childcare area and park their bikes there. So they asked the Hodads if they would do security. Plus there were a lot of traffic jams up on the road, so the Hodads took over security. So in those days, the Hodads were served as the savior.

[Rich Mahan]

Working with foreman Paige Browning of the Merry Pranksters, the Hodads also helped build the stage loosely.

[Jesse Jarno]

The Grateful Dead and the people who were part of the Grateful Dead family were part of that group as well. Even though the Dead didn't specifically live in this area, there were people connected to them who did. And so the band were sort of peripherally part of our community.

[Rich Mahan]

One of those was the Church of the Creative. Richard Sutton of the Springfield Creamery lived there.

[Jesse Jarno]

I moved out to a commune in Creswell. And actually before that, around the college, I got to know a guy named Gordon Adams and his sister is mountain girl Carolyn. It was a place called the Church of the Creative down in Creswell. It was basically a mountain valley that had been purchased and had an old farmhouse on it. But really the idea was to go into the hills and build your own shelters and raise goats, which I found out I really like goats. And we got along really well. We all took turns helping each other build the construction work that we did. I remember meeting a guy who was putting up a really big house that had at least three stories down the hill from the little cabin that I had. He was up there on the roof. Well, at the time it was just rafters balancing himself and making really, really intricate joint cuts with a chainsaw that he held in his hand. And the thing that got me about this is that I noticed his other hand didn't work. He was just balancing with his legs and cutting joints with a chainsaw. He turned out to be quite an interesting guy, actually. He was well known at the University of Orego, was one of the people that did a lot of theatrical work there. He was a great actor. Later he and David lynch met and the one Armed man in Twin Peaks is that guy. His name is Al Strobel and he was just a good buddy and taught me all kinds of stuff.

[Rich Mahan]

The magician longs to see one chance.

[Jesse Jarno]

Out between two worlds. Fire walk with me.

[Rich Mahan]

Nancy remembers Al Strobel too.

[Jesse Jarno]

His house. He built this really quirky house, an absolute hobbit house on that property down there. And it's still there.

[Rich Mahan]

Weirdos and David lynch, fans of All Stripes. This is crazy. But please welcome to the dead cast from Twin Peaks, Philip Gerard, AKA Mike, the actor Al Strobel.

[Jesse Jarno]

I had a terrible car accident when I was 17 and had the nerves from my left arm pulled out of the spinal column. And so I been in excruciating pain all my life and I had a near death experience during that. And I fought like hell to come back here to live out this life. But I was only 17 and I figured there must be more, and there sure as hell has been.

[Rich Mahan]

Which is one of the ways that Al ended up co founding the Church of the Creative. With Mountain Girl's brother, Gordon Adams. Al became a resourceful and creative architect.

[Jesse Jarno]

It was a very interesting adventure. I got to build a thousand square foot cabin there that was remarkable. I think the whole south side, two stories with window. You had a beautiful view of the opposing little mountain across the valley. And then you went upstairs and there were the bedrooms up there. About a half a story high and a little bit higher was the kitchen, which was a 12 foot diameter circle topped by a geodesic dome with glass panels. The hummingbirds just loved it. They thought it was a gigantic flower and they kept getting trapped.

[Rich Mahan]

Did Al see the Dead and play a community role when they came through Veneta?

[Jesse Jarno]

Oh yeah, you bet.

[Rich Mahan]

We'll have more with Al Strobel next time. Though the commune scene might seem like it was on the far out opposite end of the countercultural spectrum from the radical political left, there was at least some surprising crossover.

[Jesse Jarno]

Larry Roberts One of the things that was kind of interesting in terms of the interplay between the political and the counterculture was that even though I didn't know them at the time, some of the people who were underground from Weather Underground and Black Panthers and stuff were hiding out under assumed identities in these communes. And one commune that I visited, some friend said, you've got to come meet the people at this place. It's very cool. Which it was. But to get to it, you sort of wander down this path and then there was like a small river or a big creek. And the only way to get Access to the commune was to take a little zip line across the river. And I remember asking, what's the point of that? Says, well, if the cops come or the FBI comes, and we'll have a little warning before they actually get to us. So I assume that they had reason to not want the police to show up. There was Quinn and Crow. There was a Rainbow Family that was in Cottage Grove further south. Around that same time, we had a gathering in the Three Sisters Wilderness. That was a lot of people that had that formed the Rainbow Family. The Pranksters had their own, let's say call it camp. And the Rainbow Family at the Rainbow Farm had their camp. But that when it came time to build the stage that the Rainbow Farmers and the Pranksters collaborated in these episodes.

[Rich Mahan]

Strider is going to be our avatar for the Veneta benefit for the Springfield Creamery. He took a long route to get there, but a fascinating one that encapsulates the summer of 72 pretty well. Strider was a pretty serious east coast dead freak.

[Jesse Jarno]

I'd been seeing the dead already for a couple of years and had gone to three of the Academy of Music shows. And so I was still at home, but getting ready to drive out west with three friends. I had been out there visiting my sister in Sausalito the summer before and up to Oregon to visit my brother the August before.

[Rich Mahan]

Turns out Strider's the guy yelling for White Rabbit on the berkeley Community Theater. 71 tape added himself to a tradition we discussed at length. Last season.

[Jesse Jarno]

I made up my mind that as soon as I got out of high school In June of 72, I was moving out west to Oregon. I moved out of home right after high school graduation in June of 72. We headed out that first day from Connecticut and we were somewhere on the Pennsylvania Turnpike and we stopped at a rest area and there was a like an old bread truck that on the side was painted Rainbow Family of Living Light. And we were given the old Rainbow Oracle. That was definitely a sign. We had planned on going to that first Rainbow gathering when we had set out.

[Rich Mahan]

Anyway, at a few points during the Venita show, you can hear references to the Rainbow Farm.

[Jesse Jarno]

There is a poor man from the Rainbow Farm making his way out here today by panhandling a little money and got busted for it. Now, the Rainbow Farm boys, they poor folks and they need money. So if any of you like to contribute for his $27 bail, come to the side of the stage where the Rainbow Farmers are. They'll accept it.

[Rich Mahan]

Same rainbows The Rainbow Gathering of the tribes, organized in part by the Rainbows of Eugene, was scheduled to take place soon.

[Jesse Jarno]

Barry Adams, AKA Plunker, had been going around and saying, we will meet at noon on 4th of July, 1972 at the top of Table Mountain in Colorado. That was his mantra.

[Rich Mahan]

He'd been a character at the Oregon Renaissance Fair where Richard Sutton of the Creamery met him.

[Jesse Jarno]

I first met him somewhere, I think probably at the. One of the Renaissance Fairs up at Veneta. And he was just sitting there. He had a thing that he was playing. It was a giant coconut shell with a hole in it, a bridge, a stick for a neck and two or three strings. And he was just blink, bonk, boink, boink, boink, boink, boink. And people were gathered around and somebody would bring a drum. The next thing you'd know, something else was going on. And I never even knew his last name was Adams. I only just knew him as Barry Plunker, the guy who gave us the copy of the Rainbow Oracle there at that rest stop in Pennsylvania our first day west. He was an older guy who had a long, flowing beard and can't remember the exact clothing that he had, but he definitely had the look and vibe of somebody out of maybe the Old Testament or somewhere, somehow.

[Rich Mahan]

We've posted a link to the original Rainbow [e-mail] Deadcast heads were to gather high on the mountain and om together until the magic happened and they summoned New Jerusalem and other heaviness. Strider and his friends had a long adventure and encountered many dead freaks en route. At the Rainbow Gathering and elsewhere, we're only going to hear the most abbreviated version. After all, we've got a Dead show to catch. One of Strider's travelmates was Dan o'. Hykinen. This part of their experience at the Rainbow Gathering is an instructive counterpoint to how the Springfield Creamery event wouldn't unfold.

[Jesse Jarno]

As soon as Woodstock happened. From that summer onward, the status quo establishment, the powers that be, the man, the pigs, however you want to put it, had decided that they were going to clamp down on this situation and smother it. And not only were hippies being beaten up everywhere, that hippie events were being quashed everywhere.

[Rich Mahan]

A few summers earlier, he'd witnessed it firsthand at the Powder Ridge Rock Festival in Connecticut, which was to have included Sly and the Family Stone, Janis Joplin, the Allman Brothers, Joe Cocker, Van Morrison, Fleetwood Mac and more.

[Jesse Jarno]

You know, Powder Ridge, when it was first planned, was going to be Another Woodstock and it was quashed, but I was there.

[Rich Mahan]

That wasn't going to be happening at the first Rainbow Gathering.

[Jesse Jarno]

I've been navigating with a USGS topographical map since I was a 14 year old boy Scout and I knew how to do orienteering and all that stuff. Orienting with a map and compass, you know, using a silver compass, you know, the whole nine yards. So I looked at my friends and I said not to worry, I can get us into the site.

[Rich Mahan]

It was an adventure unto itself.

[Jesse Jarno]

So the four of us started towards the gathering and there was a. A mountain that we had to go over.

[Rich Mahan]

Yeah, that'll happen. It's an adventure we can't totally get into today, except to point it out as one of the types of worlds heads were creating that summer. Like the Dead themselves, the Rainbow Gathering would be a thread of energy continued Forward from the 60s. The Rainbow Gathering exposed Strider to new ideas and of course, good old Grateful Dead freaks.

[Jesse Jarno]

I grew up as a Catholic and stopped going to church when I was 14 or something like that. You know, my parents were open minded enough to realize that, you know, they couldn't force that on me and. But certainly the insights that I was getting from Grateful Dead concerts, other concerts, the two times I saw the Jefferson Airplane in 1970, other bands, that was certainly the key towards newer realities. And then when I got to the first Rainbow Gathering, I went from being, let's say, raised a Catholic to being somewhat agnostic, I don't think perhaps atheist, but I had a profound sense of a form of spirituality and it took off from there.

[Rich Mahan]

You could say Strider and his friends made it to the Bay Area.

[Jesse Jarno]

We wanted to approach San Francisco by way of Marin County. So we went across North Bay, Black Point, North Bay. And we wanted to go to the old believe it was Billy Kreutzman's wife Susila had the store called Kumquat May, or I suppose a play on the words of Kumwat May. A couple of us bought those old, you know, smiling Jack or steely, Steely face shirts that on the sides had marijuana plants.

[Rich Mahan]

And then eventually to the Eugene area where Strider met up with his brother and friends at a non commune known as Adytum. David Karanda had actually scored it via the Oregon Renaissance Fair.

[Jesse Jarno]

Strider's brother and I put up a tepee and we bought a couple of tepees in Sacramento when we were leaving San Francisco. And we put up a teepee and put up a sign that's like, do you Have a place for us to put this. And that's how we met people who gave us. We had 640 acres, no running water, no electricity, et cetera, on a Lookout Point reservoir. And so we spent a summer out there doing that.

[Rich Mahan]

Michelle Lefkowith was an Adytum resident too.

[Jesse Jarno]

We lived in shack. We lived totally off the grid. No electricity, no running water. I think, if I recall, I think it was between him and I and a. A couple other dudes. We dug an outhouse and we used to cook on wood stove and wash or take a bath in a galvanized tub by the wood stove. Really off the grid hippie. Sometimes in the summer out there at Addytum there'd be, you know, 15 people, maybe even more than that, running around nude. We'd live in teepees in the summer and we went to the sweat lodge. My living arrangement was very unique. There was a path that went out of the old logging road up to this one tiny clearing. And there was a double trunk vine maple tree that I had created a rope ladder going up between the two trunks. And then 50ft up in that tree I had created what we used to call in Connecticut a Sheffield net. And I took two poles and then I wove with nylon rope, basically a framed hammock. And the reason I KNEW it was 50ft up in the tree is that I had a 50 foot rope that I dangled down and it just barely touched the ground and it had a fantastic view.

[Rich Mahan]

It was a good summer to be a Dead freak in the Pacific Northwest. In late July, the band played two shows in Portland and two in Seattle. Strider and the Gang went to both nights in Portland. Of course.

[Jesse Jarno]

It was an awful place to go to a Dead concert though. I just remember, at least personally, like you had to sit in these fucking chairs.

[Rich Mahan]

It just didn't make sense to me.

[Jesse Jarno]

But nevertheless, it was a really good show.

[Rich Mahan]

She wouldn't have that problem next time. A few days later, back in San Francisco, the Dead agreed to play for the Creamery. Pretty soon the big news found its way to the heads.

[Jesse Jarno]

Sometime in early August. Michelle Harvey, because she knew that I was a serious Deadhead Dead freak. And she said, hey, Grateful dad are going to be playing at the out at the old Renaissance Fairgrounds towards the end of the month. And I was like, oh, whoa, really? Usually once a week or so we go into the Springfield Creamery and they had a pool table upstairs. So we would shoot pool, buy yogurt, hang out. Whoever knew who would come in There and then word started to spread one day which led to this concert. I may have bought my ticket at the Springfield Creamery and Pool Store, which was an amazing institution in its own right.

[Rich Mahan]

Poster artist and health food store manager Richard Sutton and his co worker had an exhausting day leading up to the show.

[Jesse Jarno]

Just before the concert, we spent an entire day running around in his station wagon gathering up all the stuff that the Dead wanted in their backstage table spread and everything. So we were running, running the errands and we. We ran all over the town and got it all done and came back and were so exhausted that neither of us could. Could stand to even sit and listen to music. So that's why we missed it.

[Rich Mahan]

Well, maybe next time.

[Jesse Jarno]

We had a caravan, basically, that we drove out there on the morning of the concert. Early morning of Bonita on August 27, 1972. Michelle had this beautiful old Believe GMC panel truck that was painted orange. A bunch of us, I think my brother, his wife, Michelle, David, myself may have been a couple other people we rode over in that. And then right behind us was Glenn and Odie. And we called them Wham O. Glenn and Whammo Odie because we were doing. Playing Frisbee a lot. And we had this thing in Connecticut before where somebody like a Wham. Oh. And then like throw you the Frisbee. There were two parts. One was, yeah, we'll do whatever we can to support the Creamery because of what it's become for, in a sense, for the community. And then we gotta go see the Dead. And so it just felt so impromptu. It was like if there wasn't much notice, there wasn't much planning for it. It was just like, yeah, let's go. Next thing you know, the road's packed and we're hanging off the back of trucks and sitting in the back of pickup trucks and just lined up. So we drive over in the panel truck and then we start getting into the traffic coming out of Eugene. And it was. We crawled along, you know, at a snail pace. And then we finally made it to the Renaissance Fairground area and parked and nobody was even taking tickets. I think most people that came probably had a ticket, but they certainly didn't have to turn them in or prove it that there was nobody there. But that was it all, you know, that's the way it came out.

[Rich Mahan]

A few days later, the Oregon Daily Emerald estimated the crowd at around 25,000. Sam Field.

[Jesse Jarno]

There is a site with open fields which was great for parking. And then there is a whole network of trails that are in and amongst trees with occasional widening out. And so there was a place for shade. Larry Roberts I don't even really remember the traffic jam. A couple of my friends from back east had had shown up luckily a few weeks before. So I brought them along and my new girlfriend. And we knew it would be a popular thing, of course, so we got there early. We staked out some shade, which was a little hard to come by under some trees to the think you're facing the stage. It was on the left. Yeah, I had no idea what I was supposed to be doing, except I was theoretically supposed to be collecting the money from ticket sales and so forth and actually being sure my kids and everybody else's kids were kind of collected, or at least we knew where they were. When you put on a concert, you don't have a chance to enjoy it. You're putting out fires and running around and worrying about everything and checking on people.

[Rich Mahan]

Merry prankster Ken Babs was handling MC duties.

[Jesse Jarno]

All right, all right, all right. For all you people with kids, don't forget the kids tent down there. Mercy and Morgan, two little girls are there now, lost, looking for their mommies and daddies at the kids tent down there. The red striped awning.

[Rich Mahan]

First up, starting in the early part of the day with the New riders of the Purple Sage.

[Jesse Jarno]

This song asks the musical question, what the fuck's going on here? What you gonna do on the planet today?

[Rich Mahan]

The New Rider set was released in 2004 by by Omnivore Recordings titled Field Trip Vanita. 8 hours and 72. Buddy Cage had replaced Jerry Garcia on pedal steel in late 1971. The band released Power Glide in March 1972 and had been touring heartily ever since. They crossed paths with the Dead in Europe, then on their way home, headlined Two Nights at Carnegie hall, the small Room and a ton since, including shows with the Dead at the Hollywood bowl and the Berkeley Community Theatre just a few days earlier.

[Jesse Jarno]

Don Whitten I actually listened probably more to new writers at that time. I remember listening to them on my eight track cassette on the way up in my little orange Volkswagen Beetle.

[Rich Mahan]

But then, surprise, there they were.

[Jesse Jarno]

I don't think they are listed on the poster.

[Rich Mahan]

Sometime during Rainbow, a parachutist landed near the stable.

[Jesse Jarno]

Far out. It's the first time I said drop in and see me any old time and somebody's done it here. I don't know. Well, I didn't have anything against the Dead. I liked their music, but I wouldn't consider myself a Deadhead. At that point. But yeah, I got on the bus that day. Dan o' Heikinen during the new writers show. That was, you know, before things had gotten really, really hot. That was when I was down in front of and I looked up back behind the stage while the new writers were playing and who did I see but Jack Cassidy hanging out with Phil Lesh, cracking a bottle of Heineken's and smiling. And you know, if anybody's ever seen Jack smile, Jack's smile just lights up the whole world when he smiles out. Jack Cassidy, with the help of new.

[Rich Mahan]

Riders leader Marmaduke Ken Babs offered a public service announcement.

[Jesse Jarno]

Okay, ladies and gentlemen, it's time I return to your local stations for an.

[Rich Mahan]

Announcement from our sponsor.

[Jesse Jarno]

Thank you, ladies and gentlemen. Today's program has been brought to you by ST standing for salt tablet. Now it's been recommended by our sponsor that everybody take one or two and he's going to give away three. Dehydrated by Gadfree. Give him a salt tablet, someone, please. Salt. The water is all drained from my body. I'm replacing it as fast as I can. Just doesn't do any good. Alrighty already. So the salt tablets over there at the Whitebird tent is where they're at.

[Rich Mahan]

Oh, righty O. The white bird tent run by the Whitebird clinic. One of the dead's few previous out of town benefits had been for the White bird clinic in early 19.

[Jesse Jarno]

Okay, so in the meantime, when he's changing the tube and the amplifier, you gotta watch out for the blue acid with the white stars on it that's shaped like a little pyramid of zyconomies over there in Egypt with a white eye in the middle. It kills ya.

[Rich Mahan]

In Vinita, Whitebird acted as the freakout tent. But they've continued to provide righteous health services to the people of Lane County.

[Jesse Jarno]

The new writers are taking a slight break and boy, all of a sudden a train. There's a train track right next to the Veneta fairgrounds. And all of a sudden the train starts going by and the crowd goes wild. The crowd is jumping up and down and hooting and hollering and waving their hands in the air and they're. And they're doing that pulling the motion which you do to get the guy to pull on his horn. And of course the guy pulled on his horn and we could all see him. I mean there he was. It was like Casey Jones was right there in the flesh and he was looking down on us all from this little. With a great big smile on his.

[Rich Mahan]

Face, give or take the intensifying heat and the blue acid. The vibes were pretty solid. Everybody find a cool spot and get hydrated. We'll be back in 15 minutes. And by 15 minutes, I mean next week.

[Jesse Jarno]

Week.

[Rich Mahan]

See you then.

[Jesse Jarno]

Thanks very much for tuning in and huge thanks to our guests in this episode, including David Lemieux, Johnny Dwark, Chuck Kesey, Sue Kesey, Joshua Clark Davis, Nancy.

[Rich Mahan]

Hamron, Richard Sutton, Larry Roberts, Huey Lewis, David Karanda, Strider Brown, Sam Field, Adrian.

[Jesse Jarno]

Marin, Camille Cole, Al Strobel, Dan o'.

[Rich Mahan]

Heikinen, Michelle Lefowitz and Don Witten. We have a bunch of great episodes.

[Jesse Jarno]

Planned for season six, so make sure to subscribe wherever you like to listen to your podcasts.

[Rich Mahan]

Keep in touch with us by signing.

[Jesse Jarno]

Up for the official Grateful Dead email [e-mail] and please keep those stories coming, especially any about Madison Square Garden in.

[Rich Mahan]

81, 82 or 83 by recording yours.

[Jesse Jarno]

At stories.dead.net See you next episode. Executive producers for the good old Grateful Dead cast Mark Pincus and Dorin Tyson, produced for Rhino Entertainment by Rich Mahan.

[Rich Mahan]

Productions and Jesse Jarno.

[Jesse Jarno]

Special thanks to David Lemieux. All rights reserved.