May 28, 2013

June 1967: New York City

JUNE 1 - TOMPKINS SQUARE PARK

THE YOUTHQUAKE AND THE SHOOK-UP PARK (excerpts)

[The article starts with a fight between police & hippies in Tompkins Square Park on Tuesday May 30, Memorial Day.]
...In the late afternoon on Memorial Day, the Flower People were out in force, complete with kirtan and bongoes... The park foreman had had enough. It had been a peaceful, if boring, park before the hippies came... The hippies were playing musical instruments, and sitting on the grass at that, both in violation of park regulations.
[A noise complaint was made to the police.]
A couple of cops went over to the park and told the hippies to shut up and get off the grass. The kids laughed, and kept singing. The cops ordered them to leave. “They laughed at us,” patrolman John Rodd explained. “That’s when the trouble began.”
[The cops attacked & arrested a bunch of the hippies, but this backfired.]
...As city departments competed with self-absolutions and veiled accusations, the hippies emerged from the crisis as a community. They had won the park. The next day, the grassy battleground was designated a “troubador area” by Parks Commissioner August Heckscher, the gates were opened, and the “keep off the grass” signs removed. [ . . . ]
The Group Image played to a packed park Wednesday night, but there were no cops around to love. Their absence was regretted later in the evening when a group of Puerto Rican youths, upset by the hippies’ newly-won dominance of the park, rained rocks and beer cans on the musicians. The Group Image made a hasty exit. [ . . . ]
[The police captain met with the East Village Defense Committee, hearing protests against police actions.]
June began on Thursday, and the Grateful Dead were in town and, despite some rumble rumors from the Puerto Ricans, the prospects for peace looked promising. A happy, scruffy parade of 80 marched down St. Mark’s Place, complete with police escort, to present the Dead with a white carnation key to the East Village, graciously accepted by Pigpen. And the Tompkins Square bandshell rocked with San Francisco glory until a noise complaint was lodged in the late afternoon. Rather than tune down, the Dead turned off. [ . . . ]
[There was another committee meeting that night.]
Meanwhile, the Tactical Police Force was back in Tompkins Square Park.
All day there were rumors that the Puerto Ricans were uptight. The rumors were true. They knew about Memorial Day, and they had heard the “LSD music” and they thought that the hippies were taking over the park. The park was tense Thursday night as the Pageant Players performed three anti-war plays. “There was some hostile response,” Michael Brown of the Pageant Players recalled, “but there always is when we perform in the street. The last thing we tried was an improvisation about the events in the park Tuesday. At the end of it, there was a small fight in the audience.”
The Pageant Players were followed by a folk-rock group, and a group of Puerto Ricans came to the bandshell and demanded Latin music. Some words were exchanged, and a scuffle started, and the iron curtain was pulled down to close the stage. [ . . . ]
[A mob formed, attacking people & wrecking cars; police arrived & dispersed the crowd. The Puerto Rican community met & decided to have another concert Friday night, June 2.]
The park was jammed Friday night. Mongo Santamaria played, and Len Chandler sang, and China Garcia from the Real Great Society mc’d in Spanish. [ . . . ] Hippies and Puerto Ricans together grooved on the Latin music. And when the music stopped, shortly before midnight, everyone held his breath. But there was no riot. [ . . . ]
Saturday afternoon the Fugs played in the bandshell, and tourists swarmed into the park. [ . . . ] The community rallied to discourage the tourists, and Sunday the bandshell was closed. [After a stabbing, the Parks Commissioner revoked a permit for further concerts in the bandshell.] It was felt that the concerts attracted tourists, but were not representative enough to satisfy the community.

(by Don McNeill, from the Village Voice, June 8 1967)

http://news.google.com/newspapers?nid=KEtq3P1Vf8oC&dat=19670608&printsec=frontpage&hl=en (6/8/67 Village Voice - Dead mentioned on p. 21)

See also: http://lostlivedead.blogspot.com/2009/12/june-1-1967-tompkins-square-park-new.html (particularly the comments)

*

RETURN OF THE HIPPIES

Tompkins Square Park began to emerge as a sort of Mecca of psychedelia yesterday as about 3,000 assorted hippies gathered to commemorate the two-day-old Memorial Day Bash-In.
They sprawled out in every direction from a bandstand in the three-block-square park in the East Village, listening to an amplified explosion of rock 'n' roll by a San Francisco band that calls itself The Grateful Dead. They drew wide-eyed stares from oldsters sunning themselves in the park, and won support from at least one old woman who commented, "If I was young again, I'd probably be doing just the same thing."
Since nothing can be called just a crowd anymore, this gathering was called a "real-in." Its alleged purpose was to show police that the hippie element had not been intimidated by the battle Tuesday in which 42 hippies were arrested after they defied orders to leave the park. Several policemen stood at the rear of the crowd yesterday but did not interfere with the hippies' day in the sun.
The Grateful Dead, playing loud enough to raise the ungrateful dead, began playing at 2 PM and the music could be heard for blocks in every direction. The hippies began emerging from their nearby tenements and lofts and converging on the park in their usual varied get-up, including assorted combinations of long hair, beards, sandals, boots, saris, jeans and miniskirts. "We just gather here to be in the sun," said one hippie as he did his yoga exercises.
Some of the hippies were still in the park last night, but a large crowd gathered that was a mixture of non-hippie or anti-hippie, most of them youths. Several incidents were reported, and scores of police were rushed to the scene. In one incident a motoryclist was pulled from his cycle, which was then wrecked. In another, some clothes were ripped off a 29-year-old woman. Police rescued her, and she refused to press charges against anyone. Both incidents were attributed to the anti-hippie element, since the hippie code centers on peace and nonviolence. In contrast to Tuesday's battle, the cops asked the crowd to disperse last night, and then most of the policemen left without trying to break up the crowd with force.

(from Newsday, June 2 1967)

https://dl.dropboxusercontent.com/u/2983925/newsday6167.png

*

JUNE 8 - CENTRAL PARK

THE MUSIC IS HIP IN CENTRAL PARK
450 at the Band Shell Hear Electric-Guitar Combos

Hippies armed with electric guitars occupied the band shell at the Mall in Central Park yesterday and opened up their musical artillery. An audience of about 450 withstood the two-and-a-half-hour barrage.
About half the audience was composed of hippies, from 15 to 32 years old. The rest appeared to be passers-by.
Earlier this week the Parks Department barred such musical entertainment at the amphitheater in Tompkins Square Park, on the Lower East Side. But it gave permission for the use of the Central Park bandshell from 2 to 5 p.m. yesterday.
A combo called the Group Image - five electric guitars plus drums - achieved a sound at times that suggested a derailed freight train plunging over a cliff. Then a group called the Grateful Dead came on with electronically amplified variations on rock 'n' roll music.
The young people, some with bare feet and others wearing sandals or socks, did some moderately contortionate dancing at first. But then the pace quickened, and soon they were jumping around like rag dolls being jerked by wires.
"Part of our thing is to try to turn people on with our music, because if you're up tight, you can't relax," said Laird C. Grant of the Grateful Dead.
"I'm a pothead," a young man said amiably, walking by with a kitchen pot on his head.

(from the New York Times, June 9 1967)

Previously included here:
http://deadsources.blogspot.com/2012/02/june-8-1967-central-park-nyc.html

*

JUNE 12 - THE CHEETAH

SCENES (from the Village Voice 6/15/67)

The Flower People went uptown Monday night for the first of a series of “Inter-Tribal Community Benefits” at Cheetah... Many who came in suits took out their handkerchiefs and used them for headbands. Many who came in shirts took them off.
The Grateful Dead played to their people for the third free time in their ten-day tour. They have functioned not only as missionaries of the San Francisco sound but as emissaries from the Haight. “It’s happening here,” Rock Scully said. “New York is still two years behind the Haight, but two months ago it was three years behind.”
The Group Image also played and they made people dance. It is possible that the tribal-fling sound might catch on further out than the East Village because of its influence on dancing.
Years ago the twist revolutionized dancing because it was so easy to do, but during the last few Beatle years, rock music has become complex and with it discotheque dancing has become something more demanding than just moving your hips.
The kind of full throttle runaway tuning up raga blast that the Group Image plays is very formless. A newcomer trying to dance to this sound at first finds it hard to figure out what to do. After a while the sound gets to you and you discover that you can dance to it but only if you forget old cliches.
Anyone, repeat, anyone can frenzy dance to the Group Image. You can jump up and down and wave your hands in the air and hurtle in circles and fall on the floor. Anything goes.
More freaking out at the Cheetah next Monday and profits go to buy paper for the Communications Company and more bail money for the Jade Companions.

http://news.google.com/newspapers?nid=KEtq3P1Vf8oC&dat=19670615&printsec=frontpage&hl=en (6/15/67 Village Voice, see p. 19)

[Note: the show wasn't actually free. The same column also prints a letter from the San Francisco Oracle, saying they’re expecting thousands of people journeying to San Francisco, and they need to bring more than flowers and bananas: money for rent & food, sleeping bags, camping equipment, extra food, warm clothing, and ID. This issue of the Village Voice also has some fascinating articles & letters about the Tompkins Square situation, and the divisions in the community, particularly between the pacifist hippies who want to drop out & the political activists who want to reform society, and the inability of anyone to agree on what to do.]

*

From "What Goes On," Crawdaddy, Issue 10, July/Aug 1967:

There's still no real rock scene in New York, but things are happening very fast. (Rock Scully: "When I was here a month ago, New York was three years behind the Haight. Now it's two years behind.") The Grateful Dead came to town, and played so many free concerts that the SF tradition of music in the parks seems firmly established here.
The Group Image has been a particularly important influence on the scene. (The Image are an amorphous bunch who produce music, posters, confusion, and other useful items. As yet, their music is nothing very good, but their performance is very enjoyable - the audience makes as much noise as the Image, and it's all very tribal and very real.)
Monday nights at the Cheetah are now devoted to the community, following a marvelous Grateful Dead-Group Image concert there early in June. For the first time, the Cheetah had good people onstage and good people in the audience, and it made all the difference in the world.

*

From “Miles’ Trip: New York,” by Barry Miles, from the UK magazine International Times, 6/30/67 – an update on the NYC scene for English readers.

Tompkins Square Park is the focal point for hippie-power in the Lower East Side of New York. In the surrounding blocks are the Tompkins Square Bookshop, 10th Street Books, The Peace Eye Bookshop, the old E.V.O. Office, The Leather Shop, The Psychedehcatessen, Psychedelic Community Centre and many cafes, bars and boutiques all serving the hippie community. Two weeks ago the first major encounter between police and hippies occured in the park where the hippies got their heads smashed and the city apologised – Mayor Lindsey's second in command saying that the hippies should remember that the police are essentially a fascist organisation... Three police stand on each corner of the park now and more are available from an emergency van parked just off the square. The Ukranians and Puerto Ricans of the area have not made any arrangements with the hip community and the "melting pot" just doesn't melt. [. . . ]

The Mothers of Invention expect to be here [London] in late September. Their stage act in New York is, like their new album Absolutely Free, structured like an opera. Zappa stands amid dozens of people who appear in a state of total anarchy. At the raise of his arm they move from one number to another or stop or start. Groupies leap about the stage with tambourines or sweep up the mashed fruit that another Mother eats and spits out again into the audience – all a bit messy. The act requires a fairly complete knowledge of American classic pop music for a good appreciation of its musical content – they will blow people's minds here.

The Fugs are still playing in the Village – the words making up for a certain lack of music continuity. Ken Weaver's brilliant humour and Sanders' direct approach hold the audience in a way that no other group could... The pornographic interlude in the middle of the show would probably be unintelligible here but is very funny. Tuli Kupferberg visualises many of the songs in a way of his own, particularly in 'Kill For Peace'.

The Grateful Dead and the Group Image were at the Cheetah with an expensive light show. The Dead play like a more electronic version of Tomorrow, the Group Image are a mixture of the Soft Machine and A.M.M. – heavily experimental, heavily amplified. The light show is overdone and becomes tame. It seems to be preselected or programmed in some way though there seemed to be operators on the projectors.

[The rest of the article is about Tim Leary's activities.]

*

http://www.radiounnameablemovie.com/audio/
The Bob Fass radio show from 6/7/67 has an interview with several Group Image members, and Rock Scully & Danny Rifkin representing the Dead.
This isn't a normal question & answer radio show, though, mostly just stoned banter & laughter. (There's even a group humming session.)

They announce the Central Park show the next day, from 2-5 pm. The Group Image are looking forward to playing out in the park. “Free in the park, tomorrow – free freak!”
Foss asks the Group Image to describe their sound. "Come tomorrow and find out, listen to us!"
Foss: “You’re also doing something at the Cheetah for money.”
“It’s a benefit for the Lower East Side community, it’s gonna be every Monday night during the summer at the Cheetah.” They talk about ticket arrangements, how the money will be divided between the tribes, Group Image's control of the events, the situation at Cheetah, and how the light show is run.

Foss says, "The peace in Tompkins Square Park seems to have been restored by the people wearing armbands.”
“And playing in rock bands – of course the rock bands started it!”
Foss: “You think that’s true?”
“No. [But] that kind of music stirs people up - it gets people to freak.”
"You know something, it doesn't stir people up violently in sunshine, rock music and sunshine go together real well."

Introducing the Dead, Foss says to Scully, “I hear a lot of beautiful things about you, you have a lot to live up to... People have been telling me about you for well over a year, and that's a long time..."
He says, “Rock’s from San Francisco where the name ‘Grateful Dead’ makes a lot of sense.”
And he asks Rifkin, “How do you guys compare with Moby Grape?”
“Favorably!”

Scully & Rifkin complain about the scary police in San Francisco, who are out to get the hippies. (They seem to think that in NYC, police just keep the peace & stop crime...) Foss compares the San Francisco & New York Be-Ins (there had been a couple Be-Ins in Central Park), feeling that in SF the people were all watching the bands, while in NYC everyone did their own thing. Scully & Rifkin disagree, talking about the different circles of people all over Golden Gate Park, and describing the experience in glowing terms. Foss is curious about San Francisco & asks them what the "tribes" are like out there - they think it's much the same as in NYC, but it's easier for people to get together out west.

*

http://www.gdao.org/items/show/837898
Jim Fosso, a Group Image member, remembers playing with the Dead at the Tompkins Square Park show.

"The park had become a hippie hangout of sorts, with weed being smoked more or less openly until the cops staged a big raid, beat up several people and threw them in jail. This caused a huge uproar, police were shamed for their brutality, and proclaimed that they wouldn't be patrolling the park anymore.
I had co-founded a band called "Group Image" (name inspired by Marshall McCluhan's "The Medium Is The Message"). We planned to play a benefit concert, I think to help with legal expenses for the police victims, and we contacted the Dead to invite them to join in. They accepted because they were in town anyway, and visited us at the loft for a brief jam a day or two before.
They played a few of their songs for us, and then asked us to play some of ours. One of us replied, "We don't have any songs. We just play free." We were known as the loudest band in New York, having learned how to stack columns of Marshall amps together at a time when the Beatles were using little Standells. We would often set up at St Mark's Church or some other venue such as the Balloon Farm, set up a light show, and just start jamming, improvising, the word would spread, crowds showed up. We were wild, primitive, unstructured, like a tribe, and the music sprang from that roughly organized chaos.
I was a fan of Charles Lloyd, a jazz musician in the Coltrane, Albert Ayler mold (although much more whimsical in his "Free Music" style) and had translated that genre into rock in my own crude way, with a lead guitar style similar to the Byrds "Eight Miles High". I was also a hanging-out friend of Larry Coryell, one of the early jazz fusion guitarists, whose apartment was across the street from Tompkins Square. Anyway, I brought my crude oddball guitar style with those influences to the Tompkins Square concert. I think the Dead and Group Image played some songs, then jammed for about 5-6 hours. The crowd went insane, as they usually did at our shows.
Toward the end, things got increasingly crazy and scary...women being assaulted, weapons brandished by ethnic groups that were somewhat resentful of the hippie invasion of the Lower East Side, with no cops in sight. We were on our own to get out of there. We quickly tore down our gear, packed up and ran for our lives. I think I remember Weir slamming the last of their gear into the back of a Chevy panel truck."

(Judging by the newspaper reports, which describe neither long jams nor assaults at either of the Dead's park shows, he may be mixing up memories of the Group Image's May 31 Tompkins Square Park show and the Dead/Group Image June 8 Central Park show.)

See also:
http://www.youtube.com/watch?v=to0lUkvtHUY - the Group Image on TV, 1969

The Dead also played at the Cafe au Go Go from June 1-11, but I haven't seen any news reports about that.

9 comments:

  1. One thing that struck me was that in mid-1967, the Dead were considered legends before they even played in New York City. They have a parade greeting them on the street (!) - one of the cool local DJs says he's been hearing about them for a year: "I hear a lot of beautiful things about you, you have a lot to live up to" - the Village Voice calls them "missionaries of the San Francisco sound [and] emissaries from the Haight" - and Rock Scully's comment about New York being years behind the Haight gets quoted in two articles, like the word of a prophet.
    This kind of word-of-mouth couldn't have come from their first album alone!

    Miles, visiting from England, is notably less starry-eyed - he's more impressed by the Fugs & Zappa (by their "performance art" in particular) - but the Dead & Group Image just get wan comparisons to London underground bands, and he's more curious about their light show.
    Soft Machine & AMM were more on the weird avant-garde side of the musical pool, so the experimental Group Image could be aptly compared to them. (One reviewer calls their music a formless "full throttle runaway tuning up raga blast," another a "derailed freight train," & special attention is paid to the excited audience reaction.)
    Tomorrow, though, were a Beatles-esque light-psych-pop group on their 1968 album; they must have been quite different in live shows, for Miles to call the Dead "a more electronic version of Tomorrow."

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  2. From Richard Goldstein's column in the 6/22/67 Village Voice:

    SAN FRANCISCO BRAY

    It was inevitable enough to actually happen. With every slick magazine in God's domain proclaiming the rise of the San Francisco sound, it is risen. The Jefferson Airplane made the top ten nationally, and their new single "White Rabbit" is bound to soar unless somebody finds something subversive in all that harmless talk about pills and hookahs and magic mushrooms. If I had to pick a new American group with the best chance of achieving the diversity and artistic integrity of the Beatles I'd choose Marty Balin's flight crew, if they stay together long enough.
    Meanwhile, the Frisco sound has hit New York with all the hype and circumstance worthy of a renaissance. Some of it is a revival of the lost dialogue between performer and audience. As Chett Helmes [sic] told Billboard: "San Francisco groups have had little studio experience, and they're not inclined technically, but they are inclined musically."
    So the Grateful Dead open at the Cafe Au Go Go, which has become an Ellis Island for West Coast hip groups of late. The Airplane suffocated on that tiny coffin-stage; they faced that coffee-sipping, hippy-dipping audience with more of a glare than a glint in their eyes. The Dead have been eluding claustrophobia by performing in the parks and streets (thus learning too what a summer festival Fun City really is). They shared billing at Cheetah with the Group Image, which is the Lower East Side's answer to white noise - and they will return to San Francisco just in time to witness the construction of Kama Sutra Records' new $25,000 studio right inside the Avalon Ballroom. The investment will insure the preservation of spontaneous performance, and may eliminate the reason Bay Area groups sound so much less spectacular on record than they do live and lit.
    Meanwhile the list of studio approximations of the magic sound grows. Country Joe and the Fish are on Vanguard (the record hasn't arrived for review yet). And Moby Grape...[are on] Columbia Records. All this cash has gone into a massive ad campaign proclaiming what a great bunch these guys are...
    No matter. The album is nice, if you like lots of rock energy, with a touch of the Airplane and the Dead, but a hefty chunk of original work. All the instruments coalesce impressively, the vacuum cleaner sound (otherwise known in the trades as psychedelic music) is kept to a merciful minimum, and the tunes show - which is nice because they deserve the exposure. Skip Spence plays guitar with a romping, stomping grace, and if the group ever starts to smother in hype, I'd give him a more than even chance of coming out alive. [!!! - ed.] The best cut on the album is "Omaha" (credited to Spence), and the pieces that stand out in my mind as I write (too late to play the album without earphones) are "Hey Grandma," "Naked if I Want To," and a wailing "Changes."
    You can buy Moby Grape on 45 rpm since Columbia has released five singles from the album. If this doesn't convince you the group is important (and I hope it won't) you should give a listen. It's no assault, no revelation; it isn't even hip. But it's got a beat, and you can listen. And like the best San Francisco music, it sounds like fun.

    http://news.google.com/newspapers?nid=KEtq3P1Vf8oC&dat=19670622&printsec=frontpage&hl=en

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  3. A memory of the Tompkins Square Park show from Walter Karmazyn:

    "Seems like only yesterday that my friends and I went
    off to Tompkins Sq Park in the East Village to see this band from SF called
    the Grateful Dead, making their first east coast appearance, a freebie with
    a local band you may've heard of, the Fugs...
    I don't remember a damn thing they played, nor do any of my friends...

    A few things... Anybody walking through the park today may wonder *where*
    they played, as the bandshell is long gone. It was at the south end of the park
    (7th st) towards the east, nearer ave B. If you ever go there, you'll figure
    its exact location. At that point in time, smoking banana peels was the thing
    to do ;-) and you had people rolling banana peels, cigarettes and joints and
    smoking whatever out in the open, taunting the cops who wouldn't bust
    anybody because they didn't know just who was smoking what. First time I
    ever smoked a joint in the open and asked a cop looking at me if he wanted a
    toke.

    The Electric Circus was getting ready to open on St Marks Place.
    Across the street from the park on Avenue A was the Peace Eye bookstore,
    run by Ed Sanders of the Fugs. Also on the block was the offices of the
    East Village Other, the local Underground Newspaper. At the Northwest
    end of the park and a few doors up were the Psychedelicatessin (sp) and
    a few doors from that the Cave, a neat basement club.

    Weir was still a teenager.
    The New York Times did a front page story on the show and the scene the
    follwing day, and if there was a kickoff event to New York's version of
    the Summer Of Love, this was it, although none of us knew it at the time.
    The Dead by the way if I remember right, got only a brief (one sentence)
    mention.

    Throughout the summer, you could catch some dynamite music at the bandshell
    on most Fridays.
    A few days later, I paid to see my first Dead show, at the Cafe Au Go Go
    on Bleeker St, a basement club that only held a couple hundred and was
    quite cozy. The Dead played there a few other times, the last in 1969.
    You got to sit in a seat at a table and have waitresses hustle you for a
    non alcholic drink. During that first run, upstairs at the Garrick
    Theater, you could catch the Mothers of Invention and 2 blocks away at the
    Players Theater you could catch the Fugs doing their thing. If you timed
    it right, you could catch all these acts in one evening for under $15."

    http://www.oocities.org/sunsetstrip/gala/8574/6167.txt

    Some interesting details - he remembers the Fugs playing with the Dead at the 6/1/67 show. (The NY Times article he remembers must be the one above, though, of the 6/8/67 Central Park show with Group Image.)

    Garcia also later recalled it was the Fugs: "Somebody picked us up at the airport in VW buses. We hit town and there was a little parade. The hippies from the East Village came, and we took our gear to Tompkins Square Park and played with the Fugs. It was fun." (interview with Richard Gehr in Newsday, 9/9/91)

    McNally in his book doesn't mention the Fugs, but says Richie Havens opened! (p.198)

    Another Fugs detail - Barry Miles (who wrote the review of a Cheetah show above) wrote to deadlists in 1998:
    "I visited New York in July 1967 and went with Ken Weaver of the Fugs, who I was staying with, to see the Grateful Dead who were playing, if my memory is correct, at a place called The Cheetah. After the set Ken introduced me to Pigpen, who was a big friend of his and he came with us to see a Fugs show."

    There is another account of the open smoking in Tompkins Square Park that day:
    "It was at a Grateful Dead concert at the bandshell in the park in the Summer of 1967 that the first “Smoke-In” can be said to have taken place. According to the tale, Provo Dana Beal took a bunch of weed and rolled up a bunch of joints and passed them around at the concert. Some say he got the crowd going when he threw joints in the air from the stage, a tried-and-true tactic."
    http://cannabisparade.org/index/history-of-the-parade/

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  4. David Sorochty from deadlists writes:

    A UPI wire story appeared in many newspapers which said "The explosion burst on Tompkins Square Thursday afternoon when a rock 'n' roll band, "The Grateful Dead" from San Francisco, with amplifiers turned up to infinity took over the bandshell and loosed a blast that could be heard blocks away. Oldsters sunning themselves in the normally quiet park looked stunned."
    Mike Bobrik, an eyewitness, recalls they played: The Golden Road, Dancin' in the Streets, Midnight Hour, BIODTL, Schoolgirl, Cold Rain & Snow, Morning Dew, and Viola Lee Blues.

    (Note that the Village Voice article mentions the Dead's show being shut down by a noise complaint...)

    Gene Santoro wrote in the book Highway 61 Revisited that he saw the 6/1/67 show - he'd heard about them doing a free afternoon concert:
    "The park looked full. The sweet thick scene of pot wafted over, but though there were plenty of cops dealing with outraged Ukrainians from the neighborhood, we couldn't see any busts. The Diggers seemed to be keeping things together... The Dead were playing 'Dancing in the Streets,' with Pigpen the anti-hippie, a greasy, ugly, beery biker centerstage." (p.197-8)

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  5. I added an article about the Tompkins Square show, "Return of the Hippies" from Newsday 6/2/67.

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  6. A clip from the concert: http://www.itnsource.com/en/shotlist/RTV/1967/06/02/BGY506190017/

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    Replies
    1. A great find. It looks like NBC/Reuters footage to be used in a news report, with text:

      "New York hippies quietly relaxed or danced in a city park yesterday (Thursday) to a live show of "underground" music - a contrast to the disturbance on Tuesday when 38 hippies were arrested. Only one policeman was in sight yesterday and it was peaceful despite differences in musical taste between young and old, hippie and square.
      Some of the hippies, who say they are "cool," wore far-out clothes, including Hindu and African prints, bells around the neck, and American Indian headbands. But most wore what most Americans put on when they want to relax - blue jeans, Bermuda shorts, or a shift dress.
      The music - the first in a series of summer concerts - came from a New York electronic group that gained fame and fortune in California.
      Many of the non-hippie residents from around the lower east side park muttered disapproving comments about the "wild drug addicts' music" coming from the park soundshell.
      A park employee said many complaints had been received from older residents in the area about noise in the park.
      But the concert organizer told the audience at the start of the program: "This is your theater, this is your community, and this is set up to prove it."

      Delete
  7. some more footage from 06-01-67, but, no gd:

    https://www.youtube.com/watch?v=_-TUTYcCwu4 Some 3,000 "hippies" found a place for themselves in the sun of Tompkins Square Park to show police

    there is a film 'tompkins square park' from 1967 by karl cohen that was shown on 09-11-84:

    https://books.google.com/books?id=aeUCAAAAMBAJ New York Magazine - Sep 17, 1984 - Page 146 - Google Books Result: September 11, 8 p.m.: The Lower East Side on Film: "Tompkins Square Park" (1967) by Karl Cohen, with the Grateful Dead

    I-) ihor

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    Replies
    1. the soundtrack of film has 'viola lee blues' from the first album - there is no GD.

      I-)

      Delete