Category Archives: Grateful Dead

The Stranger

IMG_1028 2     It was 42 years ago this fall that I asked my mom to drive me to the Oakdale Mall, in Binghamton NY, where I walked into Tower Records and bought the first rock and roll album of my life.  Knowing me as many of you do, you might be surprised to find out that that record was not a Grateful Dead album – it would be another year or so before I began to get into the Grateful Dead.  Instead, the record was Billy Joel’s ‘the Stranger.’  

     The record had been released in September, and by November of 1977 you couldn’t help but hear one of the songs from the album every single time you were in the car.  The love song Just the Way You Are was the biggest hit, rising to #3 on the billboard charts, but the album had three other songs in the top twenty five, including She’s Always a Woman and Only the Good Die Young.  Rebel that I was, that was my favorite at the time.  

     You may remember the cover of the record, a photograph of Billy Joel, dressed in a suit, reclining on a bed, and staring intently at an object that lay next to him.  Anyone remember what it was?  A mask, resting on a pillow, its vacant eyes looking up towards the singer.  The image reflected both the title of the album – the Stranger – and also the lyric of the song of the same name, found on side one – it was the second track.

     I’ve always understood the image, and the song, to be about the way we separate our public and private selves.  We all have a public persona, generally our ‘best face’ that we use when we are in front of the world.  We want not only to look our best, but to be our best – calm and organized, satisfied with life, funny and fun to be with, patient and kind, competent and wise.  But for many of us there is also a private face – in the photo on the cover of the Billy Joel record it is represented by the mask resting on the pillow.  Here is how the song lyric describes it:  we all have a face that we hide away forever, but we take them out and show ourselves when everyone is gone…

     It might seem like a strange thing to say, but I often think about that song, and that lyric, when I read this week’s Torah portion, called Vayera.  Abraham is the portion’s main character, and I’ve always been deeply puzzled by the contradictory Abrahams that the text portrays.  On the one hand there is a heroic Abraham.  This is the Abraham who argues with God about whether or not the cities of Sodom and Gomorrah should be destroyed.  You’ll remember the passage – one of the Bible’s most famous.  God tells Abraham of the plan to destroy the cities, and Abraham, in a direct dialogue, challenges God.  Is this the just thing to do? Abraham demands.  And then Abraham pushes God – what if there are fifty righteous people?  What about forty five?  Forty?  Thirty?  Working his way down to ten, Abraham demands of God, would you spare the cities to save the ten?  And somewhat astonishingly, God agrees, saying if there are ten righteous people, I will spare the cities.

     This is the Abraham we can all stand and cheer for!  This is the Abraham who is fearless in his pursuit of justice, not even afraid to challenge God, if it means that innocents will be spared.  To me this is the outer Abraham, the person Abraham wants the world to see.

     But then there is another Abraham in this morning’s portion, what I call the inner Abraham.  This is the Abraham we meet at the beginning of the binding of Isaac story.  God comes to Abraham and demands that he offer his son Isaac as a sacrifice.  And after Abraham’s eloquent argument with God about Sodom and Gomorrah – arguing so passionately for the lives of people he didn’t know – we expect him to stand up to God here also.  To say ‘God, he is my son.  I am not going to sacrifice my son.  Even to you.’

     But what does he actually say?  Not a single word.  Not one.  Instead, he quickly and efficiently follows God’s instructions, gets up early in the morning, saddles the donkey, takes the servants and Isaac, splits the wood, and sets out for the mountain, where, at least as far as we know, he intends to sacrifice his son.  Not one word.

     And I’ve always understood the dichotomy in Abraham’s responses to be indicative of his public and his private sides.  On the outside, Abraham is just, a great leader of men, brave, compassionate, wise, and strong.  On the inside he has a stranger – an Abraham you rarely see, conflicted, filled with doubts, worried about disappointing others, and unable to stand up for what he truly believes in.  

     I suspect many of us can identity with both Abrahams.  What is it we see when we look at that mask on the cover of the Billy Joel record?  What is the inner side that we rarely if ever expose to the world.  Maybe there is anger there, or fear, or doubt.  Maybe it is poor self image, or a deep sadness about something that happened to us long ago, or guilt.  Whatever it might be, we keep that part of ourselves out of the public view.  We might know it is there, but we certainly don’t want others to know about it.  So we cover it up, close it off, compartmentalize it in some way, remove it and set it aside.  

     You might guess this can be a difficult challenge for people in the clergy business.  We are public figures, and we often have public faces, personas that we show to everyone, that reflect, at least we hope, our very best selves.  And so we smile and we laugh, we are attentive in our conversations, we are witty and engaging, we are thoughtful and patient and hopefully we are also compassionate and wise.  We are like the Abraham in the Sodom and Gomorrah story.  

     But the real challenge, the real test, what will really define our lives, is this:  how are we when we get home after a long day of being our best?  Is the compassion still there?  The wit and wisdom?  The attentiveness and caring?

     Those of you who were here last week heard Rabbi Saroken tell a classic Hasidic story about Rabbi Zusya.  At the end of the story the Rabbi tells his students he now knows when he dies, he will not be asked ‘why weren’t you Moses?’  Instead, he says, I’ll be asked ‘Why were you not Rabbi Zusya.’

     I’d like to put a finer point on that story this morning.  Because my sense of it is this – when my time finally comes, and I am standing before the great Heavenly Court, I will not be asked ‘Why weren’t you Rabbi Schwartz?’  But I think I will be asked, ‘Why weren’t you Steve?’

     If you’ll permit me, I’ll wrap it up this morning going from one great lyricist to the next, from Billy Joel to another Billy – William Shakespeare.  You may remember the wonderful line from Hamlet, Act 1, scene 3, the advice Polonius gives to his son Laertes, who is about to leave for Paris:

“This above all:  to thine own self be true, 

And it must follow, as the night the day, 

thou canst not then be false to any man.”

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Eternal Songs

What follows is a text version of my Shabbat sermon from 10/12/19, a reflection about Robert Hunter, who wrote lyrics for the Grateful Dead.

     Those of you who are obituary readers may remember that just about 3 weeks ago a man named Robert Hunter died.  It is likely you had never heard his name before, but articles about his life appeared in all of the major news papers in the country, and his death was even mentioned on TV and the radio.  You probably would not have recognized the name, because Robert Hunter, as famous as he was in some circles, was an entirely behind the scenes kind of guy, and a bit of a recluse at that.  

     His fame, such as it was, came from his writing – not the kind of writing you normally expect – he didn’t write books, or articles for magazines.  Instead, Robert Hunter wrote poetry, but more than that, lyrics for songs.  And he became famous because the words that he wrote – his lyrics – were set to music and sung by people like Bob Dylan, Elvis Costello, and Bruce Hornsby.  All stars in the world of rock and roll.  But by far the most important song writing partnership for Robert Hunter was with a man named Jerry Garcia, whom I imagine you’ve heard of, particularly since I am your rabbi.  Jerry Garcia, of course, was the lead guitarist in the Grateful Dead, and Robert Hunter was the man who wrote the words to every original song Jerry Garcia ever sang.

     Hunter lived a long and eventful life.  He was 78 when he died, surrounded by his wife and his family.  He came of age in the late 50s and early 60s, and living in the San Francisco Bay area, he met the Beatniks, and when he was around twenty or so, he became friendly with Garcia.  He was largely self educated, but he loved the spoken and written word, and he fell in love with classic American folk music.  He wrote lyrics in great blasts of creative energy, some days writing two or three songs in a single sitting, words that once given to Garcia became classic songs, staples of the American musical lexicon.  In his writing he referenced psychedelic experiences, old ghost stories, English sailing songs, the blues, mythology and the Bible, and the old west as well, often painting landscapes of a dark America filled with desperate losers.  And yet for all the darkness, the possibility of redemption was always there, just on the horizon, just at the next town or train stop.  In his own words, from the song New Speedway Boogie, ‘this darkness has got to give.’

     I’ve been thinking abut Robert Hunter a lot since he died.  I’ve been listening to Grateful Dead music from the time I became bar mitzvah, and as you know if you were here last Shabbat, that is now 42 years ago, most of life.  His lyrics are always in my mind, a snippet here, a phrase there, sometimes an entire line, but always just under the surface of whatever I am doing, saying, or thinking.  He had a way – like I guess all of the great poets, the great lyricists, the great wordsmiths, of capturing a feeling that you knew from your own heart, and phrasing it in just exactly the right way.  And when Hunter’s words so seamlessly and perfectly blended into Garcia’s melodies and chord changes, and you would hear them sung in Garcia’s ragged tenor, you would simply say, that is me and that is my life.

     And here we are this morning, having read from the Torah Parshat Ha’azinu.  If you were following along in the Humash you know the portion consists of an extended poem that Moses recites in front of the people before he ascends Mt Nebo, where he will die.  Moses’ poem is often called in Hebrew שירת משה, or in English ‘the Song of Moses.’  It got that name because of a verse near the end of the portion, which describes the moment when Moses publicly said these words.  Here is that verse:  ויבא משה וידבר את כל דברי השירה הזאת באזני העם – and Moses came, and recited all the words of this – shirah – this song – in the hearing of the people.

     I’ve often wondered if Moses actually did sing the words, standing there in front of the people so long ago.  I wonder what his voice sounded like, or what melody he would have used?  The words themselves naturally create a rhythm, as all great lyrics do, the syllables of one line often matching the next. Even not knowing or understanding the Hebrew, one can hear the poetry just from those words, their sound and rhythm, and of course when chanted in the Torah, their melody.

     The Torah includes an interesting note about the end of Moses’ recitation of the song, a last comment that Moses makes to the people, in fact the very last thing he ever says to them:  “and when Moses finished reciting all these words to Israel, he said to them:  Take to heart all the words with which I have testified to you today.  Enjoin them upon your children, that they may observe faithfully all the terms of this Torah.  for it is not a trifling thing for you; כי הוא חייכם –  it is your very life…”

     Tradition teaches us that Moses said those words to the Israelites some 3,000 years ago.  And here we are today, having read them.  As we will next week, and the week after that.  Teaching them to our children and our grandchildren, living them in our lives, finding meaning in them, and a sense of hope and faith and light.  This darkness has got to give.

     Here is another Robert Hunter line, this from the elegy he wrote when Jerry Garcia died in 1995 –

“If some part of that music is heard in deepest dream,

Or on some breeze of summer a snatch of golden theme,

We’ll know you live inside us, with love that never parts;

Our good old Jack O Diamonds, become the King of Hearts”

     The great lyrics truly do live on, long after their singers are gone.  Their words can be heard in our dreams, or in the summer breeze that gently blows through the trees, or seen in the turning of the leaves in the fall, or the softly falling snow of winter.  Those words reside in our hearts and souls, informing our lives, bringing meaning to our days, easing our difficult moments, giving us comfort during dark times, helping us always to see the light in God’s world.

     One last line from Robert Hunter, this the celebratory last lyric from the classic song Ripple:  “Let there be songs to fill the air.”

     so may it always be – 

 

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Creative Process

People often ask about how sermons are constructed, wondering where I find ideas of what to talk about, why I choose certain references, what my creative process is.  Here are a few thoughts about the sermon I gave this past Shabbat, posted yesterday, that might give a bit of insight into how a sermon comes together (at least for me).  You can read the sermon text here.

First off, the hardest thing in my experience is deciding on the topic.  It seems on the surface like there are a million and one things to talk about, and I suppose there are.  But not all of them seem like they make for good sermon material, not all of them sound interesting (to me), and not all of them are appropriate for pulpit preaching.  Sometimes it feels like finding that idea is comparable to searching for the proverbial needle in the haystack.  You know it is in there somewhere, but it can be awfully hard to locate!

My ideas generally come from one of three places.  First, something from the weekly Torah portion.  It might be a verse, it might be a word, it might be something in the commentary.  But I often find my topic while flipping through the pages of the portion.  Secondly, I commonly find a sermon idea in something that happens in the course of the week.  A meeting I’ve attended, a conversation I’ve had, something I’ve seen, an interaction between two people at the bank.  So be careful, the rabbi is always watching! And the last source for me is the news.  An article I read in the paper, or something I hear on the radio.  That might not necessarily be a current event, but could be a reference to the anniversary of an important historical moment, or a strange factoid, or a story about another cultural custom.

Once I have my idea a process of free association begins to unfold.  Sometimes it is sort of organized, and I might jot a few notes down here or there, but mostly it happens in my head, and often when I am walking our dog around the neighborhood.  (interestingly I generally do that without my mobile phone)  How this works I honestly am not exactly sure.  I think it has something to do with just giving my mind the space to float a bit, to think about things not immediately connected to anything in particular.  But I suspect that sermon kernel is running in the my back of my head the entire time, like a kind of undercurrent.  And so my thoughts are constantly being pulled into the orbit of that sermon, a process that I think is more unconscious that conscious.

As best I can, I’ll try to walk you through that process in terms of this past Shabbat’s sermon.  First off, the initial idea.  I was looking through the portion, came to the end, and there in the Hebrew was the Masoretic note about the conclusion of the book of Leviticus, and how many verses are contained in the book.  I stared at that note for a moment, and I thought ‘endings!’  That might be a viable sermon topic, because after all, we seem to be interested in endings.

Then the free association process was off and running.  Game of Thrones had just ended. We were reading in synagogue the end of a book of Torah (Leviticus).  The last word of the book, when looked at with the last words of the other four books of the Torah is interesting.  That led me to thinking about famous last lines of novels, and I thought it might be fun to include a few and see if people in the congregation could identify them.  I went back to Game of Thrones and began to think of other famous endings of television shows.  The most famous of all (at least back in the day!) was the last episode of MASH, a show that was an important part of my growing up (here is a link to the last few minutes of that episode).  Many of the pieces of the puzzle were now on the table.  There were two questions – first, how should they be assembled?  And second, what is the point of all this?

Time to walk the dog!  And so, as our trusty pooch meandered through the neighborhood, the pieces of that ‘sermon puzzle’ began to take shape.  The order, what should come first, what next, what connected to what.  At the end of the half hour walk I had a pretty good idea of where I wanted to put those pieces.  Then it was a matter of doing it, worrying a bit over transitions, weaving strands.

But there was a last piece nagging at me, which was that the Torah itself is a book that doesn’t have an ending.  Deuteronomy ends and the people are still outside of the land.  How might that connect to all of the other material about endings, about wrapping things up and concluding stories?

Then it occurred to me that might be exactly the point.  The experiences of our lives, by and large, do not end in neat and tidy sentences, carefully constructed to perfectly conclude a moment.  Instead, our lives are more like the (lack of an) ending in the Torah. We are perpetually just on the cusp, just on the other side of that (Jordan) river, always looking towards that Promised Land but never quite arriving there.  We are always in a state of having one more river to cross.

Which is the name of the last track on Bob Weir’s solo album Blue Mountain, released in the fall of 2016.  I love that record.  In it Weir wrestles with his own mortality, with the passage of time, with the importance of taking that next step even in the face of daunting odds.  And that song gave me the last paragraph of my sermon text.  One more step, one more river to cross.

One last note – the title I gave the sermon when I posted it on my blog – At the End of All Things.  That line comes from Tolkien’s the Return of the King.  The hobbits Sam and Frodo lie exhausted, having finally completed their quest and destroyed the ring of power. It looks as if they are about to die, and Frodo says to Sam “I am glad you are here with me.  Here at the end of all things, Sam.”

So there you have it.  A bit of Torah.  A dash of Game of Thrones.  A nostalgic fondness for MASH.  A good dog walk on a beautiful afternoon.  Some Bob Weir for good measure. And a little Tolkien sprinkled in.  Mix it all up, type for a while, and you never know what you’ll come up with.

Sorry about the length of this post!  Anyone who read to the end, I owe you a scotch!

 

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Hevruta

Here is a text version of my sermon from 7/14/18 –

     I would like to tell you a tale this morning of two rabbinical students, who entered the rabbinical program at the Jewish Theological Seminary in the same year.  They had never met before, and came from very different backgrounds, but they quickly became friends, sharing a number of common interests, among them the Grateful Dead and good beer.  Before long they were not only friends, but also they were a hevruta, they were study partners.

     In the traditional world of Jewish text study your hevruta becomes your closest companion.  You spend an inordinate amount of time with your study partner tackling difficult texts, and the dynamic of the relationship is supposed to be one of prodding and pushing the other, of challenging the other’s interpretation of a given text, of using your partner to test ideas and to explore concepts.  To do this you must trust the other person, because you must also make yourself vulnerable.  That is to say you must at times be willing to acknowledge the limits of your own intellectual ability, you must also be willing to admit sometimes before someone else that you don’t know the answer, something that generally rabbis don’t like to admit.

     Over time, the relationship – the hevruta – either works or it doesn’t.  If it doesn’t work, it breaks apart.  But if it does work, the study partners become very close, through the shared time, the intellectual exploration, and coming to know one another in a deep way.  And so it was for me – I imagine you’ve already guessed I am one of the students in this story – and my hevruta, my rabbinical school study partner.  In fact depending on whether you ask me, Becky, or my study partner, our son Josh is named for my rabbinical school hevruta.  

     But as it has to happen in all the great tales, there was a parting of the ways.  This did not happen because we fell out of favor.  It did not happen because we grew distant from one another – in fact we are close to this very day.  It happened because at some point during our third year of rabbinical school my study partner Josh decided to make aliyah, to move to Israel and become an Israeli citizen, and Becky and I decided to return home, to the States.  Josh ultimately left rabbinical school and pursued an academic career, while I continued on the rabbinic track, and am now twenty one years into my pulpit career.

     Now that I’ve taught you the term hevruta – which means?  study partner! – I want to teach you another term – bar plugta.  Your bar plugta is the person with whom you often disagree, and it is not uncommon that your hevruta is at times your bar plugta – that your study partner is often the intellectual thorn in your argument, or in the way you understand something about the world.  And so it was with me and with Josh about Israel.  He made aliyah from a deep belief that there is only one place on the earth that a Jew can fully live as a Jew, and that there is only one place on the earth where the Jewish people can fully realize their destiny – and that place is?  the land of Israel, Eretz Yisrael.

     But I returned from Israel to the States with a deep belief that my Jewish life would be most meaningfully lived here in the Diaspora, and what is more, that a healthy and vibrant diasporic Jewish community is important for the Jewish people, and for the land of Israel itself.  And what is curious is that now 23 years after Josh decided to stay in Israel and Becky and I came back to the States, I think we are both right.  In other words, there is something to be said for Josh’s position – more and more the destiny of the Jewish people as a nation is being played out in the land of Israel, and those of us who live in the Diaspora are in many ways observers of that great saga.  Not that we don’t love Israel, not that we don’t follow events there closely, not that we don’ travel there and send our children and grandchildren there – we do all of that.  But what we do not do is live there.

     On the other hand, as the years have gone by, I have been more and more convinced of the need for a healthy Jewish community outside the land of Israel.  You may have noticed an odd narrative that appears in this morning’s double Torah portion Matot -Ma’aseh.  It is curious because for forty years now the Israelites have wandered in the wilderness with one goal in mind – which is?  To make it to the promised land.  And now here they are, just on the other edge of the Jordan River, just about to cross over into that land.  And suddenly – as if out of nowhere – the leaders of two tribes – Gad and Reuben – come forward to ask Moses a question.  “Would it be OK,” they ask Moses, “if we don’t go into the land.  Would it be OK if we just stay here, on the east side of the river, outside the land that God has promised, and make our lives?  It is a good land,” they say, “So would you mind terribly if we don’t go into the land?”  Moses at first is not pleased with the request, but in the end, after some negotiation, he permits it.   And in that moment Moses establishes what for all intents and purposes is the very first diaspora Jewish community.  

     Why did Moses agree to do that?  He had worked his entire life to get the Israelites into the land, and just when that goal was about to be realized he backed off, at least for two of the tribes.  Why?

     To answer that question I would like to point your attention to a fanciful midrashic text that imagines that before Moses died God showed him the entire future of the Jewish people.  And if we set aside reason for a moment and take that textual idea to its logical conclusion, then Moses knew what a crucial role the Diaspora would play in Jewish life and Jewish history.  

     Moses knew, for example, that for 2000 years Jews would not have a homeland, and would need to figure out how to maintain their faith and their identity when those things were not tied to a specific place.  He knew that Jews would need the intellectual give and take of the larger world around them.  He knew, for example, that what would make Maimonides great one day would not be his knowledge of Jewish texts, that what would set Maimonides apart would be his knowledge of Greek philosophy and secular sciences.  Moses knew that one day there would be an Einstein, and that what would make Einstein Einstein would be his Jewish propensity to ask questions set against a secular scientific method that came from the non-Jewish world.  He knew what Judaism would give to the world, and he also knew what Judaism would need from the world.

     Perhaps Moses also knew that Israel would need both a hevruta and a bar plugta.  A study partner to support her, to be close to her, but also to push and prod her, to sometimes challenge her, even to respectfully disagree with her.  To live a Jewish life outside of the land, and so to see things through a Jewish lens but from a totally different perspective.  He knew that at times the Diaspora community would carry the Jewish torch, while at other times it would burn most brightly and beautifully in the land of Israel itself.   That one community would strengthen and support the other, and that the ethical and moral vision of Judaism could be lived in the land, but taken to many other lands.  So may it continue to be for many generations to come.

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Augusta ’84

The Deadheads among you will recognize the reference to the show played by the Grateful Dead at the Augusta Civic Center, in (where else?) Augusta, Maine, on the 12th of October, 1984.   Commonly acknowledged as one of the best concerts played by the Dead in the 80s, its reputation was sealed when it was included in a list of the top twenty Dead shows of all time, and then included as THE 1984 show in the CD box set release 30 Trips Around the Sun.

At the time, those of us who were lucky enough to be there had a sense that something special had happened.  We may not have fully grasped the magnitude, we may not have wrapped our heads around the ultimate historical significance, we weren’t talking about top twenty all time lists, but we knew that the band had conjured up the magic that evening.  I saw the Dead seven times that fall, twice in Worcester, MA (10/8 & 10/9), twice in Augusta (10/11 & 10/12), twice in Hartford, CT (10/14 & 10/15), and the tour closer at the Carrier Dome in Syracuse New York on 10/20.

The famous Augusta show was without question the peak of the tour, and within the show itself there was a moment that captured it all, that encapsulated what made the Dead the Dead.  I’ll return to that in a moment.  But the truth is the band was playing well in general that fall.  They were having fun, throwing in some rare gems, mixing up the setlists.  New England was cozy for the Dead, the venues all within a few hours drive of each other, many of the towns small, and that particular tour just happened to coincide with peak foliage, the oaks and maples deep into their oranges, yellows, and reds.

I guess what I am trying to say is as great as Augusta was, you could kind of see it (or feel it) coming.  The vibe was good, Jerry energized and playing well, Mydland digging deep into a new found commitment to the blues and his Hammond B3, Weir as frisky as ever, and the drummers tight.  Phil, for his part, was in a good personal space, sober, in love, and feeling groovy.  The table was set.

And you could trace it in the arc of the shows.  There was the explosive Help on the Way > Slipknot > Franklin’s Tower > Jack Straw to open set two of night two in Worcester.  It is true that the Help > Slip > Franklin’s is a bit sloppy and choppy, Jerry not quite keeping pace with the complicated transitional leads, but the venerable old Worcester Centrum simply explodes when the crowd realizes that Jack Straw is being served up in the heart of a strong second set.  Night one in Augusta, by the way, is a strong show in its own right.  The first set is particularly well played, with hot versions of Shakedown, Big River, Ramble on Rose, Looks Like Rain, and Might As Well.

And post Augusta the band played a phenomenal show in Hartford.  Often lost in the shuffle of the greatness of Augusta, the 10/14 Hartford show is one for the ages, with an eleven song first set, a powerful run of China > Rider, Samson and Delilah, High Time, Estimated > Eyes, all before drums!!  And then post-drums a gorgeous China Doll, with the breakout of Lovelight, only the 5th time the band had played the song since 1972.  Whew!

But allow me to return, for a moment, to Augusta.  A fair amount has been written about the 10/12/84 show.  The energetic playing.  The wild setlist, filled with rarities and songs only performed once or twice that entire year.  The phenomenal Morning Dew, and the Good Lovin’ encore.  But there was a moment, locked forever in my memory, that captured it all, that pushed the show from great to all-time top twenty lists, and that truly   expressed the quintessence of what the Dead were after night after night, of how powerful it was when they found it, and of why we went to so many shows looking for it.

It was in the second set, post drums.  There is a long, long jam, winding and twisting and turning out of the space.  Garcia’s guitar weaves sonic theme after sonic theme, but keeps coming back to the graceful notes that lead into Playing in the Band.  The problem was, they had played Playing in the Band the night before.  What was Jerry doing?  He brought the band right up to the edge of the song, and then danced away, then back again.  The notes appeared and disappeared, circling, close, almost, and then gone again.

And here is the thing.  We were all on that ride together, Garcia’s guitar like some kind of massive magic carpet that we all were riding.  Even the band!  It was electric, how closely they were listening, how intently following Jerry, how ready to be vessels for the great muse that was about to descend.  And we were too!  Knowing, even more so feeling that a giant and beautiful and powerful wave was about to crash, and we were all ready to ride it.

Then it happened.  Jerry turned towards Weir and Lesh, peering at them over his glasses in that Jerry way.  At that very moment Mickey leaned forward over his drum kit, yelling out to Bobby, ‘Playin?!’  Weir turned to the drummers for an instant, and with the briefest nod confirmed what was about to happen.  Suddenly, with tremendous force and power, just as Bobby turned back to the mic, the entire band came together on the mystical ‘one.’  Playing in the Band – the ‘Playin’ playout’ section – just the end, the reprise – filled up the old Augusta Civic.  I believe to this day the entire concrete shell of the building momentarily lifted a few feet off of God’s good earth, with 4,000 Deadheads aboard for the ride, and the greatest band we’d ever seen on one of their greatest nights.

In one of the oddest and nearly impossible karmic Grateful Dead occurrences, somehow, someone video taped that entire night in Augusta.  Remember, this was 1984!!  Like with seemingly everything else in the universe, you can find the video on Youtube.  The quality is iffy, but there is no question that it is the show from that evening.  You can’t see the drummers on the video – it is filmed from Phil’s side of the stage, and so you see some of Phil, and Bobby, Jerry, and Brent.

But that magic moment after the space is quite clear, vivd and captured for posterity by the mysterious videographer.  You see Weir turn back towards the drum kit, confirming Mickey’s query,  ‘Playin?!’  That slight nod, which I guess means something like ‘evidently so!’  And then the explosion.  Still gives me chills.  Even 34 years later.

Let there be songs to fill the air!  And magic, too, that will last a lifetime.

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The Glasses

These are the little things that remind us that time is creeping by.  A bit like an honest look in the mirror, one of those moments when you realize you aren’t in Kansas anymore, that you actually do look your age, and that your age is somewhere in the mid-50s!  Who knew?!

And so it was that I set out, just late enough not to turn back, to officiate at a funeral.  I was most of the way down the street when I realized I had left my reading glasses at home.  I’ve been wearing reading glasses for some time now, close to a decade, but until very recently I could pretty much get by without them in a pinch, particularly if the light in the room was good and I wasn’t too tired.  If you use reading glasses yourself, you’ll know what I mean.

But just the last month or so I’ve needed them more and more.  Those little blurry things on that page are letters?  Good light still helped, but trying to read a menu in a restaurant had become impossible – it essentially looked like a series of ink schmears on yellow paper.  Nevertheless, here I was, Rabbi’s Manual in hand, eulogy printed out in 12 point font, and in 15 minutes or so I would be standing in front of a group of mourners, reading from that manual and delivering that eulogy, no reading glasses in sight.

It wasn’t perfect, but in the end it worked out OK.  The light was good, and I adjusted the lectern so it was as far away from my eyes as it could possibly be.  I had just written the eulogy, so it was fresh in my mind, and that also helped.  The truth is I barely need the Rabbi’s Manual.  I’ve read those prayers hundreds and hundreds of times, and they are imprinted in my mind.  It is pretty much like starting the tape and letting it play.  Even so, I’ve seen Bob Weir of the Grateful Dead forget the words to Me and My Uncle, a song he has sung more than a thousand times.  He now uses an iPad so the lyrics are always there, just in case.  So it is with my Rabbi’s Manual.  More of a crutch than a necessity.

And that is the funny thing about it.  As a young rabbi, I didn’t need the glasses.  Everything was crystal clear, whether near or far.  But I sure needed that Rabbi’s Manual.  The thought of conducting a service without one would have terrified me twenty years ago.  Now it is exactly the opposite.  The manual I don’t really need anymore, or at least I know I can get buy without it in a pinch.  But I sure need those reading glasses!  The more experience I have, the muddier things get.  Ah, the wisdom of aging…

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Filed under clergy, Grateful Dead, Rabbi Steven Schwartz, ritual, rock and roll, the rabbinate, Uncategorized

Teach Your Children

Penned by Graham Nash, the song first appeared on the classic CSNY album Deja Vu, released in 1970.  Arguably one of the best known and most beloved rock songs of all time, the opening lyrics are unforgettable, sung in the high, soaring harmonies that marked the group at its height:

You who are on the road
Must have a code that you can live by
And so become yourself
Because the past is just a good-bye.
Teach your children well,
Their father’s hell did slowly go by,
And feed them on your dreams
The one they picks, the one you’ll know by.
Don’t you ever ask them why, if they told you, you will cry,
So just look at them and sigh
And know they love you.*

The song came into my mind this past Sunday evening, when Becky and I had the chance to see Dark Star Orchestra at the Maine State Pier in Portland.  The band was in rare form, probably the best I’ve seen them, playing with energy and verve through a concert, as they say, ‘originally performed by the Grateful Dead’ in the spring of 1989.  It was a GA venue over looking the water, a gorgeous and sunny Maine afternoon, everything just about exactly perfect.

It just so happened that we found our spot in the sea of Deadheads a few yards in front of the soundboard.  To our right was a multi-generational Deadhead family.  The original Heads, now in their mid-60s, brought their daughters and grandchildren to the show.  The grandmother took great joy in sharing the time and the music with her grandchildren, spending a good part of the evening dancing with them, holding them, laughing and playing with them.

There is something about old Deadheads that tugs at my heartstrings.  They’ve often seen a lot, been through a lot, done a lot (maybe in some cases too much!).  Their bodies don’t quite move like they used to (whose do?!).  But there is a powerful resiliency there.  And also a love of something deep and true.  When the lights go down and the music comes up, the first notes ringing loud and clear through the blue sky of a late summer afternoon, they get to their feet and begin to move.  The heads start to nod, the hips shake, the feet shuffle, the fingers snap.  And yes, the lips smile.  They feel it in their hearts and souls, the sweet melodies that have accompanied them through so many years, so many moments of their lives.  The music brings them to their feet, rejuvenates their spirits, gives them a few precious hours to leave the world behind and to join in the great tribal celebration with family, friends, the extended Deadhead community, and yes, even with grandchildren.  Perhaps, especially with grandchildren.

The second set of the show opened with Shakedown Street, the Dead’s nod to the late 70s disco revolution, somehow turned into one of their great jamming vehicles.  “Don’t tell me this town ain’t got no heart!”  We might say the very same thing about the old Deadheads.  Teaching the next generations, they are still on the road, still driving the bus.

* Deadheads will remember that the opening pedal steel guitar licks of the tune are played by Jerry Garcia

here is a link to the Grateful Dead’s original performance of the Pittsburgh ’89 show

And below a picture of the proud grandmother and her grandchildren at the show – IMG_4940

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Filed under celebration, community, continiuty, Grateful Dead, liminal moments, music, Rabbi Steven Schwartz, Uncategorized