Monthly Archives: June 2017

One time tour manager for the Grateful Dead (and Rolling Stones) Sam Cutler weighed in on his thoughts regarding Amir Bar-Lev's all-encompassing four-hour documentary Long Strange Trip.

Cutler, who tour managed the Dead from 1970-74,is one of the stars of the film for his no-bullshit honesty and incredible perspective about how the Dead fit into the culture back then compared to another band he famously worked with--The Rolling Stones. In a wide rangingFacebook post, Cutler gave his thoughts upon seeing the finished product and there were reviews both positive and negative.

Cutler admits he loved the film and that "I loved that so many people in the film expressed love, lived in love, loved one another and most of all, loved Jerry." He complimented Bar-Lev for his work ("Sure picked one hell of a hill to climb") while noting its an "impossible task" to capture all that the Grateful Dead were.

"I was struck by what people decided to say in the film--what they articulated as 'appropriate for posterity'," Cutler noted in one of the more critical moments. "How some of the more 'fey' representatives of the family laughed uproariously at the notion that latter-day Deadheads could be told (or asked) to behave and not come to shows if they didn't have tickets; whilst on the other hand, these same modern day 'libertarians' (so hip and so free) could happily suggest that there were too many nasty hairy Hells Angels back-stage for their taste."

He admits that the film left him "an emotional mess" as he looked back on his time with the band. "It was, at times, unbelievably painful to see the mistakes we made, the errors of judgement, the poor planning, the rampant nihilism, that led like some tragic operatic shuffle towards Jerry's demise," he wrote. Cutler also clears up some misinterpretations by others in the film, particularly a brief time where Cutler and his team decided that taping wouldn't be allowed ("That lasted for two shows at the most") and complimented the band members' contributions, calling them the "true psychedelic explorers of their time."

Where the hell to BEGIN? Well, lets begin with love. I loved the film. I loved that so many of the people in the film expressed love, LIVED in love, loved one another, and MOST OF ALL, loved Jerry. I became for a few years another person in that psychedelic army of people all over the planet who loved that gentle and so-loving man and his band. I was just so amazingly fortunate to have been his tour manager, co-manager (with Jon McIntyre and David Parker) and his agent, through my company Out of Town Tours from 1970 - 74.

Amir Bar Lev, the mountain-climbers mountain-climber, sure picked one hell of a hill to climb when he decided to make this film! Solo unaided up the face of El Capitan in Yosemite has nothing on the perils associated with trying to capture who what where how and when on the Grateful Dead. Its an impossible task on a rational level, but thankfully rationality was never a particularly necessary attribute around the band and the family - in fact, it seemed sometimes that the wackier things were, the better. It never seemed to represent too much of a problem, and (of course) people loved the madness, but only up to a point! When it got to be too much, the good ol Grateful Dead simply retreated or practiced invisibility.

Jerry might not have been the whole ship, but he sure as heck was the vessel. AND the anchor! I was struck by what people decided to say in the film - what they articulated as appropriate for posterity. How (for example) some of the more fey representatives of the family laughed uproariously at the notion that latter-day dead-heads could be told (or asked) to behave and not come to shows if they didnt have tickets; whilst on the other hand, these same modern day libertarians (so hip and so free) could happily suggest that there were too many nasty hairy Hells Angels back-stage for their taste. Jerry, bless him, kept it all in balance. For example, he point-blank refused to sign any letter to the fans when their behaviour became an issue, and he pointedly welcomed the Hells Angels to concerts as he welcomed anyone who loved the music.

The film left me an emotional mess. In the midst of it all I burst into tears and had to be comforted by my son Bodhi. It was, at times, unbelievably painful to see the mistakes we made, the errors of judgement, the poor planning, the rampant nihilism, that led like some tragic operatic shuffle towards Jerrys demise. BUT, conversely, it was thrilling to see how all of those too-human errors that we made were happily embraced by the family and the band and laughed about, and thus in some crazy unexplainable way survived. Embracing failures was surely one of the distinctive markers of the magnificence of the Grateful Dead. There was room for all.

One little thing stands out as a perfect example of the Grateful Deads approach and how posterity has somehow misinterpreted what happened. The record company hated the tapers because they believe it would damage the bands record sales. The band was in a quandary. It was decided that the taping couldnt be allowed. Myself and the crew had the unenviable task of implementing this edict. That lasted for two shows at the most, then we brought up the situation in the dressing room prior to a show. We had all taken a trip and were getting high. We explained to Jerry we aint cops, we dont wanna be cops and the policy of stopping taping was then and there abandoned as it was unanimously agreed that asking ANYONE to police the tapers was a bridge too far. That was it. No big deal. We tried it. (banning the tapers) It didnt work, so we immediately abandoned it and moved on. This was later interpreted by some Wall Street people as a supreme example of the Grateful Deads business acumen which directly led thru the distribution of the tapers recordings to the bands huge commercial success. As if we'd planned it all ! You have to laugh!

WHERE did I cry in the film? Where did I laugh? When Barbara said that Jerry told her Id just like to live on the ice-cream money. I thought THAT was so poignant that I cried like a baby. Poor Jerry, the thing that he had spent his life creating and nurturing consumed him in the end, and it seemed as if no-one could save him, though they all surely tried. The ONE thing that they COULD have done, they DIDNT DO !!!! Namely, they could have abandoned ship. Called the whole thing to a halt and simply STOPPED. Jerry could have scuba-dived for the rest of his days. BUT, no-one could bring themselves to do it, and Jerry, poor Jerry, disappeared down the dumb rabbit-hole of heroin. PigPen had died, Keith had died, Brent had gone before him - tragic and ghastly precursors of what was to come. Vince followed thereafter.

The film captured it all. It was heart-breaking, and yet in the end it was MORE than simply THAT. It was an epic trip those guys wrote on the pages of their lives, an adventure of Homeric proportion and Shakespearian intensity, that has had no equal. Phil said some beautiful soulful things, as did Micky and Billy and Bobby these guys were the true psychedelic explorers of their time and showed us how to LIVE. Phil said: the Grateful Dead was the best thing that ever happened to me and that goes for me too, and everyone else that was on the bus. As soon as Ive recovered I want to see the film again .. and again. It has so MUCH depth and is so subtle.

Amir Bar Lev is to be congratulated on a magnificent achievement. The Grateful Dead never quite managed to capture the sound of heavy air in the recording studio, but Amir got it on film. In the end, the movie rendered me speechless and just simply GRATEFUL to all the guys in the band and all the people in the family for the four years I was involved. They were the best years of my life.

Read more from the original source:

Former Grateful Dead Tour Manager Chimes in on Long Strange Trip Documentary - Relix (blog)

The Chinese government has recently banned the sale of an award-winning novel, Soft Burial, written by Fang Fang about Chinas land reform in the 1950s.

The novel tells the story of an old woman who suffered from amnesia after she witnessed her husbands entire family driven to take their own lives during the Chinese Communist Party's nationwide land reform, which aimed to eliminate the landlord class not long after the People's Republic of China was established in 1949. The buried memories haunt the woman throughout her life, and her son decides to investigate her past.

The suicides tied to the land reform are not an invention of the novel. In addition to public executions, the class struggle resulted in tens of thousands of landlords and better-off peasants killing themselves. There are no official records of exactly how many were killed during the land reform, but estimates by Chinese and US scholars have ranged between 1 and 5 million.

Soft Burial, originally published in 2016, won the 2016 Luyao Literature Award, a tribute to its historical realism. Fang Fang explained the title of the novel in her postscript:

When people die and their bodies are buried under the earth without the protection of coffins, this burial is called a soft bury; as for the living, when they seal off their past, cut off their roots, reject their memories, either consciously or subconsciously, their lives are soft buried in time. Once they are in a soft burial, their lives will be disconnected in amnesia.

Ahead of the announcement of the Luyao award on April 23 2017, a literature criticism seminar organized by the Worker, Peasant and Soldier reading group in the city of Wuhan concluded that the novel is a poisonous plant:

An attack on the land reform aimed at resurrecting the spirits of the landlord class and hence a poisonous plant against communism.

Similar gatherings that are critical of the novel have also taken place in other cities, including Zhengzhou.

Former Chinese Communist Party leaders have also published their rebukes of the novel. Former head of the Central Organization Department Zhang Quanjing wrote a political struggle-style piece denouncing it, titled Soft Burial is a reflection of ideological class struggle in the current terrain:

Fang Fangs novel ignores the essence of land reform and pours dirty water onto the campaign. This is a distortion of history, a typical expression of historical nihilism in the literature and art fields, a concrete example of the struggle between peaceful transformation and anti peaceful transformation [of the political system].

Lieutenant General of the Peoples Liberation Army Zhao Keming extended the criticism to a number of contemporary novels:

Though historical nihilism has been criticized by the party and the people, it has been spreading in different forms. In addition to the poisonous historical research, university lectures and public forums, it has been very rampant in the field of literature. Soft Burial is just the latest published novel to explicitly attempt to vindicate the landlord class and criticize the land reform. Before its publication, novels such as To Live, Life and Death Are Wearing Me Out, White Deer Plain, The Ancient Ship, etc., have not been criticized in mainstream media. The writers have not been denounced by their leaders in their work or party unit. Some of them have even reached high positions, received praise from fans and followers. Objectively, this has given birth to a trend that sees subverting history in writing is the ticket to success and a bright future.

The wave of criticism culminated in the novel's ban.

However, a digital copy was circulated online and won readers applause. Many found the novel inspiring and wrote their commentaries on social media. Quite a number complained that their comments were reported, deleted and soft buried. Below are a number of comments still circulating on the popular platform Weibo.

A reader from Chengdu said:

The story is well toldunrelated characters come together in the end. But I really don't like the ending, why not dig into the truth, why let his parents history remain buried? Such a coward and lack of filial piety. Maybe this is the writer's intention, to let the readers feel the sense of soft burial because it is a reality that we are facing in our lives.

A reader from Shandong reflected:

No incident has absolute truth. What matters is not the truth, but our attitude towards truth. Perhaps we can never evaluate the past in a fair manner, but we have to right to question it. A country should be open to confronting its history, or the historical baggage would become too heavy to bear.

And Fang Fangs novel inspired one Anhui reader to write about his family history:

My great-grandfather was a servant working for a landlord. Because he was smart and diligent, he opened his own woodwork and dyeing workshops, bought land and became rich. He was a rich peasant but not a landlord. But he was labelled as a landlord during the land reform because he was at odds with those who led the reform. When they calculated his property, they included the land owned by my great-grandmother's family. Her family was a landlord but the land was owned by her brothers and had nothing to do with him. It was an excuse for revenge. I don't know how my great-grandfather died, but my great-grandmother was starved to dead in her own bed.

The father of my great-grandfather was a literati in the late Qing Dynasty. He was a teacher his whole life and left behind loads of books. They were all burned into ashes during the land reform.

My grandfather was studying medicine and agriculture in high school in town. He was getting ready to go to Fudan University. But he was labelled as the son of landlord and had to return to the village and became a farmer. He taught briefly in the 1960s but because of that, he was persecuted during the Cultural Revolution.

My family background is that of peasants and literati. Because of the land reform, all the books were burned, land confiscated. There was no other exit for them. They had suffered for many decades and shed tears and blood and they could not even cry and tell their stories aloud!

The Chinese government has recently banned the sale of an award-winning novel, Soft Burial, written by Fang Fang about Chinas land reform in the 1950s.

The novel tells the story of an old woman who suffered from amnesia after she witnessed her husbands entire family driven to take their own lives during the Chinese Communist Party's nationwide land reform, which aimed to eliminate the landlord class not long after the People's Republic of China was established in 1949. The buried memories haunt the woman throughout her life, and her son decides to investigate her past.

The suicides tied to the land reform are not an invention of the novel. In addition to public executions, the class struggle resulted in tens of thousands of landlords and better-off peasants killing themselves. There are no official records of exactly how many were killed during the land reform, but estimates by Chinese and US scholars have ranged between 1 and 5 million.

Soft Burial, originally published in 2016, won the 2016 Luyao Literature Award, a tribute to its historical realism. Fang Fang explained the title of the novel in her postscript:

When people die and their bodies are buried under the earth without the protection of coffins, this burial is called a soft bury; as for the living, when they seal off their past, cut off their roots, reject their memories, either consciously or subconsciously, their lives are soft buried in time. Once they are in a soft burial, their lives will be disconnected in amnesia.

Ahead of the announcement of the Luyao award on April 23 2017, a literature criticism seminar organized by the Worker, Peasant and Soldier reading group in the city of Wuhan concluded that the novel is a poisonous plant:

An attack on the land reform aimed at resurrecting the spirits of the landlord class and hence a poisonous plant against communism.

Similar gatherings that are critical of the novel have also taken place in other cities, including Zhengzhou.

Former Chinese Communist Party leaders have also published their rebukes of the novel. Former head of the Central Organization Department Zhang Quanjing wrote a political struggle-style piece denouncing it, titled Soft Burial is a reflection of ideological class struggle in the current terrain:

Fang Fangs novel ignores the essence of land reform and pours dirty water onto the campaign. This is a distortion of history, a typical expression of historical nihilism in the literature and art fields, a concrete example of the struggle between peaceful transformation and anti peaceful transformation [of the political system].

Lieutenant General of the Peoples Liberation Army Zhao Keming extended the criticism to a number of contemporary novels:

Though historical nihilism has been criticized by the party and the people, it has been spreading in different forms. In addition to the poisonous historical research, university lectures and public forums, it has been very rampant in the field of literature. Soft Burial is just the latest published novel to explicitly attempt to vindicate the landlord class and criticize the land reform. Before its publication, novels such as To Live, Life and Death Are Wearing Me Out, White Deer Plain, The Ancient Ship, etc., have not been criticized in mainstream media. The writers have not been denounced by their leaders in their work or party unit. Some of them have even reached high positions, received praise from fans and followers. Objectively, this has given birth to a trend that sees subverting history in writing is the ticket to success and a bright future.

The wave of criticism culminated in the novel's ban.

However, a digital copy was circulated online and won readers applause. Many found the novel inspiring and wrote their commentaries on social media. Quite a number complained that their comments were reported, deleted and soft buried. Below are a number of comments still circulating on the popular platform Weibo.

A reader from Chengdu said:

The story is well toldunrelated characters come together in the end. But I really don't like the ending, why not dig into the truth, why let his parents history remain buried? Such a coward and lack of filial piety. Maybe this is the writer's intention, to let the readers feel the sense of soft burial because it is a reality that we are facing in our lives.

A reader from Shandong reflected:

No incident has absolute truth. What matters is not the truth, but our attitude towards truth. Perhaps we can never evaluate the past in a fair manner, but we have to right to question it. A country should be open to confronting its history, or the historical baggage would become too heavy to bear.

And Fang Fangs novel inspired one Anhui reader to write about his family history:

My great-grandfather was a servant working for a landlord. Because he was smart and diligent, he opened his own woodwork and dyeing workshops, bought land and became rich. He was a rich peasant but not a landlord. But he was labelled as a landlord during the land reform because he was at odds with those who led the reform. When they calculated his property, they included the land owned by my great-grandmother's family. Her family was a landlord but the land was owned by her brothers and had nothing to do with him. It was an excuse for revenge. I don't know how my great-grandfather died, but my great-grandmother was starved to dead in her own bed.

The father of my great-grandfather was a literati in the late Qing Dynasty. He was a teacher his whole life and left behind loads of books. They were all burned into ashes during the land reform.

My grandfather was studying medicine and agriculture in high school in town. He was getting ready to go to Fudan University. But he was labelled as the son of landlord and had to return to the village and became a farmer. He taught briefly in the 1960s but because of that, he was persecuted during the Cultural Revolution.

My family background is that of peasants and literati. Because of the land reform, all the books were burned, land confiscated. There was no other exit for them. They had suffered for many decades and shed tears and blood and they could not even cry and tell their stories aloud!

Oiwan Lam | Global Voices

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Read more:

China bans 'Soft Burial', a novel about deadly consequences of land reform - Business Standard