won't let you be"). Stanley was confined to federal prison from 1970 to 1972, after a federal judge intervened and revoked his release from the 1967 case. Stanley took advantage of the opportunity there to learn the trade of metalwork and jewelry-making. Immediately following his release, Stanley resumed working for the Grateful Dead as a roadie and sound engineer in the summer of 1972. As much of his portfolio had been delegated to as many as four sound engineers during his prison sentence, he struggled to regain his past influence among the band and support staff. In a later interview with Dennis McNally, he opined that he received "just a taste" of his previous position; according to Stanley, "I found on my release from jail that the crew, most of whom had been hired in my absence, did not want anything changed. No improvements for the sound, no new gear, nothing different on stage. They wanted to maintain the same old same old which under their limited abilities, they had memorized to the point where they could sleepwalk through shows. Bob Matthews, who had been mixing since my departure, did not want to completely relinquish the mixing desk, which was a total pain in the ass for me, since he was basically a studio engineer and no match for my live mixing ability." The situation was exacerbated by his disdain for the coarse language and deleterious drugs (most notably alcohol and cocaine) favored by the band's physically imposing roadies, many of whom perceived themselves as "macho cowboys" in contrast to Stanley's diminutive stature and erudite mien. The tensions culminated in a logistical mishap at an October 1972 concert at Vanderbilt University when students recruited by Stanley to deputize for an absentee Matthews absconded with half of the band's PA system, resulting in a fellow employee throwing Stanley into a water cooler. The altercation led Stanley to request the formal codification of his perceived managerial power over the equipment staff, including unprecedented hire/fire privileges. Although Stanley stopped touring with the band following their refusal of his demands, he continued to be employed by the Grateful Dead. In 1973, he served as lead designer of the band's Wall of Sound, collaborating with Dan Healy and Mark Raizene, as well as Rick Turner and John Curl of Alembic to design the groundbreaking sound reinforcement system. During this period, he also assisted Phil Lesh