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Shrine Auditorium packed to overflow � oozing, man, oozing acid, mescaline � potsmoke rolling like the fucking place smoulders beneath a stack of burning rubber. Martha and I stumble across undulating oceans of stoned bods: up on the mezzanine. We need a sense of the band through a haze and from a distance. Had we been straight when we arrived we could easily contact a buzz just from lingering in this huge whale�s belly of glazed hippies here to worship the Iron Butterfly � to trance out on their lofty long-drawn-out mega-hit �In A Gadda Da Vidda.�

But we are here on assignment: Shooting album photos, not tripping.

On stage, my job is to facilitate Martha with whichever piece of camera equipment she needs. At the snap of a finger. Uhhh�hell, I hardly know where I am: suddenly feel I�m floating � smack in the middle of wild-ass music men, sound level one trillion, engulfed by the glare of bright lights, more like I�m not here at all, yet wandering around like my bod just landed on unknown space � NO gravity. Just a fucking spaceman and these guys�I can touch them, I am touching them: smelling body heat; they have not a clue I exist. And I�m beginning to wonder. But I�ve got a job to do�

So Martha shoots, shoots, shoots, shoves expended rolls into my bag; I'm doing my best to hang onto my head � then WHAM! Her tired old 35mm Nikon shutter hangs up. I�m pissed she chose this stupid fucking dinosaur.

She yanks my arm: We split through the back stage door.

I�ve left the top down on the Porsche: too gung-ho and high to believe anyone in this hippie congregation might abuse it.

Each of us plays cowboy as we leap the doors.

Still pounding from the boom of level-trillion speakers, wind fights my eardrums, stings my face, blasts through my unruly beard as we burn out and speed away, Martha�s long hair and mine, like seaweed battered in a bumptious wave, down the freeway to the all night pro camera shop in Hollywood to rent replacement equipment.

We squeal and scream like our hearts are on fire: Recklessly head back into the frenzied madness�drown ourselves.

Onstage.

In A Gadda Da Vidda.

I am the drum.


� The Poet Spiel
Reproduced with permission



The poet Spiel was born out west to decent white farmers the same year the U.S. entered WWII. From day one, he claims, he was a maverick, a creative force, gay and genetically predisposed to mental illness. As a child, he earned extra money painting pictures. Then, as he matured, his art evolved through his many intellectual and professional lifestyle changes, eventually leading him to a position of considerable national exposure. But in 1996, a traumatic life/death illness brought his career to an abrupt halt. Following that confrontation, Spiel became reticent: recognizing that he was not going to die; and for the first time in his life, uncreative � until the spring of 1999 � when he found an urge to write a long-forgotten childhood story. Once his fingers hit the keyboard, his pathway opened to becoming the devoted artist we now know for his often iconoclastic poems, his curiously human short stories, and his random bits of visual art, published in scores of independent press journals (on and offline) such as: Abbey, Barbaric Yawp, Bathtub Gin, Chiron Review, Free Verse, Parting Gifts, Presa, Skidrow Penthouse, Slipstream, Unlikely Stories & Zygote in My Coffee. Among Spiel�s chapbooks are: �Insufferable Zipper,� published by FourSep Publications; �church floor,� by Chiron Review Press; �it breathes on its own,� and �come here cowboy: poems of war,� by Pudding House Publications.




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© 2006 Laura Hird All rights reserved.




IN A GADDA DA VIDDA
Iron Butterfly

(Iron Butterfly 1968)

Considered by The Poet Spiel
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