It was a dark and stormy night at what some heads called Jerry weather.

It's just pouring rain the whole time.

Now, I had seats inside the pavilion, but the stairways t- inside the pavilion were just waterfalls.

There was just a tremendous amount of water.

And again, they're just playing this high octane music all while it seemed like the whole world was melting, you know? [laughs] It was just, like, water everywhere, you know? High water rising, you know, that type of thing.

Dave Leopold.

While we had been to a lot of shows, the sheds were just, like...

They all had their local character.

Even so, it must have been a little tough to miss the action.

I spent some time out in the hallways dancing.

They s- put speakers out in the hallways.

I, I didn't necessarily need to see them.

I loved the lights and all the things that they did, and I oftentimes would be like one section back on Jerry or Phil's side, right off the floor.

That was sort of my perfect place.

But sometimes you're farther away, and as long as you can hear the music, that to me was the most important part.

Hunter dropped the song from his own sets before the Dead did.

[instrumental music] In a broader sense, much of the next story falls under the heading of Deadhead problems, and it's a pretty good depiction of tour life in 1985, with the looming possibility that things might suddenly get very, very real.

And we're about 10 miles into Kentucky, and we see some hotel, but it's like, "This isn't for us." And w- at an intersection, we made a completely legal U-turn, and as we made the U-turn, we saw a cop.

He was literally behind a billboard, [laughs] okay? It was so stereotypical.

And someone said in the car, "Oh, lucky that was a, a legal U-turn." And as soon as he said that, the lights go on in this police car, and he pulls us over.

[siren blaring] Now, my friend Barry was driving.

Now, with a Driveway, there's only allowed to be one driver, and that was his brother Lewis, and Lewis was, like, 21, 22, but Barry was 18.

So when the cop comes over to ask for his license, Barry gives him a license that says he's Lewis, because when Lewis's driver's license renewal came up, he was out of the country, so Barry took it, and he went down to the DMV and got his picture on Lewis's license.

[instrumental music]

Please welcome back John's brother, David Leopold, a talented artist and now creative director for the Al Hirschfeld Foundation.

When I first saw it, I was disappointed.

You know, this was Reagan's America, and I'm like, "Fucking Minuteman? What the fuck?" And I'll never forget, I was looking at it and I was sort of grumbling and, uh, our friend Sundance, he's like...

And I, and I said something to him and he's like, "Hey, man, these are our symbols, too, and we don't have to give them up because someone else is co-opting them.

They're ours.

We're as American as anybody else." And that was a real eye-opener.

That was like, yeah, well, I'm not giving this up.

John.