Whether or not you know what it was called [the Light Bus], or why [named for the Baltimore band “Light”], or who painted it [Dr. Robert R. Hieronimus] or who actually owned the famous 1963 VW Bus [Bob Grimm], you have undoubtedly seen it. It would be almost impossible to avoid, for as much as the music and history of that legendary festival of hippie yore and lore, this iconic photo of the vehicle and its Baltimore passengers [Ricky Peters and Trudy (Cooper) Morgal] on the roof, has evolved as the media’s go-to symbol of Woodstock. Don’t believe it?
The 40th anniversary of Woodstock is on this summer’s calendar, and here’s how Yahoo!News presents its announcement of the Rock & Roll Hall of Fame’s commemorative exhibit. Need more evidence?
The Light Bus has reached the kind of status where a detailed replica can now be purchased directly from the artist’s website. (I just hope Mr. Grimm is getting a royalty on each one sold … it was *his* bus after all.)
If you still need convincing, check out the cover of this interesting new anniversary book on Woodstock. Along with generic images of the ticket and the crowd you’ll see the “BIG 3” of Woodstock iconography: Janis Joplin, Jimi Hendrix, and the Light Bus.
This book is unique by virtue of its claim as the story of people who were actually there. Following are excerpts from the contributions of Bob Grimm to this eye-witness account, and the story of the Light Bus’ journey to Woodstock:
“Light” was my Baltimore rock group in the 60’s. We were the proverbial big fish in a not-so-little pond; stars on the smallest of scales! In those days we had a full time house gig at the “Mardi Gras” on Harford Road and became well known for our original music and long, self indulgent jams. We were pleased to take off for a week in August to attend the Woodstock Rock Festival.
Our painted VW bus was a truly inspired work of mystical and esoteric symbols, and we believed it probably had an esteemed destiny in the company of our generation’s musical heroes. The artist, Bob Hieronimus, had planned to be at Woodstock but was ultimately commanded by a busy schedule not to attend.
It was the day before the first performances and we discovered that we might not be able to get in! Approaching the access road, a policeman said, “You can’t drive in, you’ll have to walk!” Thinking quickly I said, “We’re taking this bus to the art exhibit.” He paused momentarily and said, “OK, go ahead.”
And the rest, boys and girls, is history.
Thanks to Sam Towers for the post topic, and to Bob Grimm for this photo and his personal account.
Tags: Grimm, Hieronimus, icons, Woodstock
B'Jam 
December 4, 2010 at 9:58 am |
It was great to hear from you Eve. The Koffee Beans had a special relationship with the Schroeder family. We worked for them almost exclusively for over 5 years. We played for your uncle Emory a few times at the Escapade, but mainly divided our time between Judges and the Mardi Gras. At Judges we worked for your Uncle Ed, whom everone called Judge. He treated us great. Each year he would take the whole band along with wives, girlfriends, and parents to Pimlico Race Track. He paid for everyone’s admission, and also bought lunch for the entire group. He would then have a race run called the Koffee Bean Race, and he would take us down to the Winner’s Circle to present a trophy to the winning jockey.
When we went to the Mardi Gras, we worked for your Father Lee Schroeder. I also remember your Mother Sylvia. We had a great relationship with them, and worked at the Mardi Gras for about two and a half years. Aside from dealing with the bands, they had to keep in line a cast of characters that worked as doormen, barmaids, and waitresses.
The Schroeder brothers knew how to run a nite club. They always had two bands for the crowd to enjoy. We learned a lot about the business from them. When they found a group that they liked, they would stick with them for years. They paid us well enough that we could afford to play full time, and they gave us long term work so that we could develop into true professionals. I believe we were the only band in Baltimore that actually got a paid vacation. They not only gave us a week off with full pay, they had to go out and also pay another band to take our place for the week. Whenever I tell that story to another musician they are incredulous that any nite club owner would treat their musicians that good.
The Koffee Beans are now all in their early 60’s and doing fine. Sadly, a few years ago we lost our drummer Warren Raymond to cancer at age 58. The rest of the group still stays in touch, and we occasionally get together for a dinner somewhere. We all have great memories of those times, and we remember the Schroeder family fondly.
July 6, 2009 at 8:08 am |
I enjoyed the Light bus article very much. I remember Bob and his bus from playing at Judges. I was the bass player in The Koffee Beans, and we played opposite The Taste, who later changed their name to Light. Judges was a unique venue. It was decorated as a circus room, complete with clown heads, animal posters, a trapeze, a sliding board coming down from the elevated dance floor, and last , but not least, an upside down, revolving Christmas tree suspended over the stage, which was left up year round. Mainly though, it was the music that brought in the crowds. The lines were around the block. Light would later move to The Mardi Gras, and we also played opposite them at that venue. I remember that we each had our own stage. Over the years, the Koffee Beans at times seemed joined at the hip with the members of Light. Aside from Judges, and the Mardi Gras, I can remember sharing the stage with them at The Eastwind, Kales, and the Rhapsody. They had different lineups at times, but I can remember Ricky Peters, Trudey Morgal, Bob Grimm, Jeff Lutzi, Walt Bailey, Sam Towers, and Carl Brooks as main contributors. Whatever the name or the lineup, they always had a powerful group, and it was a challenge to play opposite them every night. After I stopped playing full time, I worked at Bill’s Music House for 30 plus years, and still do. One of the best things about that job, is getting to see and talk to the guys who stop in, and talk about the old days and the music scene the way it once was in Baltimore.