“Having been born into a world of rather curious values, values apparently unrelated to the direct experience of human truths, the Bozos and Bolos hypnocratically pursue a direction of self-determination in as many ways as interestingly possible, believing that this course will best aid a continuation of integrity and meaning in their music and other life spaces. This has meant that their business activity seeks to be in control of as many areas as become possible, employing their own people to do the work that would otherwise be farmed out to straight business. Thus there is the possibility that the message in the music can be reflected in the manner and purpose of conducting the business necessary to get the music heard.”

-St. Dilbert, Bombast

Page 100 GDFA Alembic
Phil Lesh Page 100 GDFA- two pieces put together

A great shot of Rex Jackson. The first time I met him, he gave me his business card. It said, “If you’re looking for Sympathy you will find it in the dictionary after Shit and Suicide” How intriguing!!! He was taken from us far too soon in a car accident, September 6, 1976. The Rex Foundation is named in his honor. -Jerilyn

The copy on the page describes how the band reached out to its fans in unique and special ways. This remix of the Family Album continues in that tradition – we are reaching out to you via digital media and we hope you will respond by getting in touch with us by leaving a comment and sharing the experience with your Friends. -Jerilyn

Phil Lesh Page 100 GDFA- two pieces put together

Sparky and his daughter, Melissa in her younger years. Since both her parents worked for the band (Sparky with the crew and her Mom Basia in the office) when she grew up, she entered the family business too, working at the ticket office.

Year Equipment Weight Transport

1965 800 lbs Bill’s station wagon

1967 1,300 lbs Barney’s van

1968 6,000 lbs Metro van

1970 10,000 lbs 18 ft truck

1973 30,000 lbs 40 ft semi

Dead Heads Newsletter-1973

Phil Lesh Page 100 GDFA- two pieces put together

We’re growing! – some 30 people now on the payroll. We’re affiliated with Alembic in San Francisco on design, research and development of equipment and recording. Our rehearsal hall in San Rafael is the center of acoustic inquiry and equipment maintenance/development. Our office here manages, controls finance, accounting, insurance and the like, and Ice Nine Publishing Company (copyrights, licenses, songbooks) and Dead Heads. Out of Town booking agency and Fly By Night travel agency, two outgrowths of our scene, are in the building. By the nature of the beast, the energies of over a hundred directly enter our endeavor. Urobouros turns his circles. St. Dilbert is a bombast. Let’s surface the moon with an electrostatic spherical tidal spatial counter-entropic sound system. Energy spoken here.

On earth, our overhead expense is $100,000 a month. In 1972 we grossed $1,424,543. Seventy percent of this income came from gigs, and 30% from record royalties. Gigs offer the only means to earn more money when it is needed to maintain our operation in all its particulars. We cannot sell more records at will, but we can go on the road, within the limits of energy: so that we must play larger halls, with more equipment, and a bigger organiztion, requiring more gigs.

St. Dilbert calls this fellow ‘Urobouros’, and he’s a good trip, but he has a mind of his own…We like a variety of concert situations. Ambiance comes in different sizes. We like a small hall, and so do you, and An outdoor gig in the sun, and a large hall when it can be made to sound good (few halls over 6,000 capacity aren’t sports arenas with novel acoustic and environmental puzzles).

Urobouros is hungry. How do we control him? We’ve planned for a year to form our own record manufacturing and distributing company so as to be more on top of the marketing process, package and promote our product in an honest and human manner, and possibly stand aside from the retail list-price inflation spiral while retaining more of the net dollar, (keep a tight ship). If the records cover a larger share of the overhead, then the concert situation becomes more flexible. This is the working future-possible, in the direction we see to go, now. We want this freedom to achieve gig variety, to experiment. We are musicians. What else might we do? Your mail is an energy input, 400 letters a week that we tack on bulletin boards and read aloud and pass back and forth. This flow enters the common pool of plans and theories, ideas and speculations and fantasies and hopes and fears and future and galaxies and stuff. To hear from you furthers.

Dead Heads Newsletter-1973

Photo Credits: Rex – Mark Raizene, Sparky – Basia Raizene