tag:blogger.com,1999:blog-5308724699217010852024-03-12T21:31:00.970-07:00Dead CentralA Blog for the UC Santa Cruz Grateful Dead Archive.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.comBlogger128125tag:blogger.com,1999:blog-530872469921701085.post-18755725311705918612012-06-30T11:27:00.000-07:002012-06-30T11:45:06.469-07:00Grateful Dead Archive Celebrates Grand Opening June 29 With Moonalice<br />
The Grateful Dead Archive celebrated its grand opening, June 29, 2012, with
a concert by famed Bay Area band <a href="http://www.moonalice.com/tour/2012-06-29/grand-opening-dead-central-and-grateful-dead-archive-uc-santa-cruz">Moonalice
</a>on the lawn of UC Santa Cruz’s McHenry Library. The Library is home to the
Archive, the Brittingham Family Foundation Dead Central, our dedicated exhibit
space, and now, the <a href="http://www.gdao.org/">Grateful Dead ArchiveOnline,
or GDAO</a>, our website that enables patrons from around the world to
participate in building the Archive and access digital images of thousands of
the Archive’s treasures.<br />
<br />
Visitors to the Library can now see our inaugural exhibition, “A Box of Rain:
Archiving the Grateful Dead Phenomenon,” curated by Archivist Nicholas
Meriwether, featuring a wide array of remarkable art, artifacts, and
memorabilia that the band and more than 100 donors have contributed, and
researchers will also be able to access processed materials from the Archive in
the Library’s Special Collections Reading Room.<br />
<br />
“It’s been a labor of love,” Meriwether commented recently, “and that
labor will continue for many years as we process more of the Archive and secure
additional materials, but we are excited to celebrate the milestone of the
opening of the Archive and our website, GDAO, for researchers and the public.”<br />
<br />
Congratulations to Robin Chandler, Kevin Clarke, Sue Perry, Bryn Kanar,
Christine Bunting, Maureen Carey, and their teams, who worked with Meriwether
to process the physical and digital materials comprising the Archive and the
website, and to the many donors who pitched in to support the Archive and help
it fulfill its mission to create a first-rate scholarly repository that will
allow researchers to study this remarkable phenomenon. <br />
<br />
<b style="mso-bidi-font-weight: normal;">More On GDAO</b><br />
<br />
Since the announcement of the gift in April 2008, UC Santa Cruz has been
working diligently to curate the band’s incredible trove of materials.
Processing continues as we drill deeper into the band’s gift and secure
additional materials from donors. A related component of this effort is the
creation of an online archive that showcases thousands of images, artifacts and
materials drawn from the Archive. This innovative website also allows users to
upload their own content and comment on Archive materials in a ground-breaking,
socially-constructed website devoted to the Grateful Dead phenomenon.<br />
<br />
The items presented online in GDAO represent the individual and collective
creativity of the band, artists, photographers and fans. UCSC has worked hard
to identify and contact rights holders to let them know about our online
project, which is designed to support scholarship; we have had great success in
locating dozens of artists, photographers, creators and rights holders who have
granted us a license to display their works in GDAO. The license we use does
not limit the creators or rights holders in any way: it only gives us
non-exclusive permission to display scans on the site, which is a strictly
not-for-profit, educational, scholarly effort. When we know who holds the
rights to an image, and they have given us permission, we have incorporated
that information in the metadata accompanying each work displayed. The
Copyright Information and/or Copyright Statements displayed represents our best
efforts to locate and secure that permission.<br />
<br />
In some cases it has been impossible to identify and make contact with
rights holders. For some materials, we are displaying the works on GDAO to
enlist the aid of the community to help us identify and find rights holders we
were unable to contact. If you have additional—or conflicting—information about
an item you see in GDAO, and/or information about the copyright holder, please
contact us at <a href="mailto:grateful@ucsc.edu" target="_blank">grateful@ucsc.edu</a>
and let us know. With your help, we can create a superb destination for fans,
researchers, and scholars interested in understanding the mysteries and wonder
of the Grateful Dead phenomenon. The long strange trip continues—thanks to you
all.<br />
<br />
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<br /></div>Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-27979483596825410772012-06-10T16:00:00.000-07:002012-06-11T13:35:12.964-07:00Archive Receives Grateful Dead Hour Collection<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Deadheads know multitalented <a href="http://cloudsurfing.gdhour.com/">David Gans</a> as an author, radio host, journalist, and musician, all roles he has played for
Dead scholars and fans for decades. He has also been a tireless supporter of
the Archive, contributing his time and expertise as well as a fascinating collection
of materials documenting the writing of his <i style="mso-bidi-font-style: normal;">Playing
in the Band: An Oral and Visual Portrait of the Grateful Dead</i> (St. Martins,
1996).</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">His latest gift is a set of hundreds of tapes and
CDs of his long-running syndicated radio show, <a href="http://www.gdhour.com/"><i style="mso-bidi-font-style: normal;">The Grateful Dead Hour</i></a>, which add a rich
vein of music and commentary to the Archive’s already extensive musical holdings.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Gans’s knowledge of the Dead is nonpareil, and
listeners to the <i style="mso-bidi-font-style: normal;">Grateful Dead Hour</i>
not only hear first-rate gems from the band’s thirty years of performances, but
also interviews, commentary, and recent performances by the surviving band
members, all of whom continue to make great music—and headlines—today. Gans’s
long experience with the band—he first saw them in the early 1970s—along with
his years of interviewing and reading make him one of the foremost authorities
on the band’s music and history.</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">That erudition shines in every <i style="mso-bidi-font-style: normal;">Grateful Dead Hour</i> as well as in his more freewheeling <a href="http://www.talesfromthegoldenroad.com/"><i style="mso-bidi-font-style: normal;">Tales From the Golden Road</i></a>, cohosted
with Gary Lambert and heard weekly on Sirius XM. Gans salts his broadcasts with
insights into the band’s development and achievement that make each broadcast a
trove of useful information for scholars. The Archive thanks him for his
generosity and support.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-hd5IknHoV-Y/T9UmV9Lo-0I/AAAAAAAAAEg/IxFzhODuX8o/s1600/first-rehearsals-cd-cover1-300x262.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-hd5IknHoV-Y/T9UmV9Lo-0I/AAAAAAAAAEg/IxFzhODuX8o/s1600/first-rehearsals-cd-cover1-300x262.gif" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">As I was writing this, Gans’s latest musical
project, <span id="goog_259474302"></span><a href="http://www.s3b.us/">The Sycamore Slough String Band</a></span><a href="http://www.blogger.com/"><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><span id="goog_259474303"></span>, has been playing in the background. A superb collection of mostly Dead
covers (listen especially to their superb reimagining of “New Speedway Boogie”),
the band’s <i style="mso-bidi-font-style: normal;">First Rehearsals</i> CD
showcases the magic that can happen when fine musicians well-versed in the Dead’s
unique approach to small group improvisation get together to play their
favorite tunes from the Grateful Dead songbook. The band’s bluegrass/newgrass arrangements
tease out new layers of meaning to chestnuts long familiar to Deadheads, making
this one of the most exciting revisits of Dead music in many years.
Recommended.</span></div>Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com1tag:blogger.com,1999:blog-530872469921701085.post-61475568075730283392012-05-29T19:47:00.000-07:002012-05-29T19:47:02.339-07:00Archive Receives Latvala Letter<!--[if gte mso 9]><xml>
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<tr><td class="tr-caption" style="text-align: center;">Dick Latvala, 1993. <!--[if gte mso 9]><xml>
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<![endif]--><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">© Susana Millman</span> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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After the band’s first gift of materials, the first major
collection to be donated to the Archive came from several friends of <a href="http://www.dicklatvala.com/">Dick Latvala</a>, who presented his collection of more than 500 reels, many in
elaborately decorated boxes, along with several linear feet of his papers. Much
of that material documents his work to determine which shows were fan
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What Latvala did not document, however, were the hundreds of
letters, most hand written, he penned to fans who emailed or corresponded to tell him
what shows they thought should be released. One letter, recently donated by Archive
supporter Steve Armato, demonstrates that effort, a thoughtful note letting
Armato know that Latvala shared his high opinion of the show in question, <a href="http://archive.org/details/gd1974-05-21.sbd.kaplan.1347.shnf">May 21, 1974</a>—one known for its legendary, longest-ever version of “Playing in the
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Latvala cautions Armato that the process of getting the band to approve
a release “really isn’t as simple as one might assume at first glance,” which
those familiar with the decision-making process at Grateful Dead Productions at
the time would second. But his enthusiastic affirmation of Armato’s
opinion—“that incredibly long ‘Playing in the Band’ is one of my favorites,
also”—is a sentiment that Deadheads familiar with the show share. <i style="mso-bidi-font-style: normal;">Dupree’s Diamond News</i> publisher John
Dwork calls it “a wild ride through a dark and stormy sea of swirling musical
chaos” that is “stunning in its dark power” in his review of the show in the second volume of <a href="http://www.amazon.com/The-Deadheads-Taping-Compendium-VOLUME/dp/0805061401"><i>The Deadhead's Taping Compendium</i></a>.</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-GeGhjrZFxV8/T8WESd1enHI/AAAAAAAAAEU/8LJ_Pd7WT1A/s1600/ArmatoLatvalaLetter.tif" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-GeGhjrZFxV8/T8WESd1enHI/AAAAAAAAAEU/8LJ_Pd7WT1A/s320/ArmatoLatvalaLetter.tif" width="206" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Latvala's Letter to Armato, Jan. 9, 1994</td></tr>
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Armato recalls with pleasure getting Dick’s hand-written
reply in 1994 and he saved it until the Archive was underway. Having donated a wonderful
pair of posters and visited the Archive last November, he thought of the
letter and asked whether the Archive might be interested. Any correspondence
from Dick is potentially interesting to us, and this note is useful on several
levels, not only for its insights into Latvala’s work but also his connections
with the broader Deadhead scene. Our thanks to Steve for thinking of the
Archive and for making this piece of history available to scholars and researchers.</div>Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-30252397939024672942012-05-20T18:58:00.000-07:002012-05-20T18:58:59.776-07:00Recent Gifts include a Robert Hunter Broadside<!--[if gte mso 9]><xml>
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<a href="http://1.bp.blogspot.com/-KMcL-4fYyB8/T7mg1ksGtqI/AAAAAAAAAEA/q-_1ipXKhhE/s1600/JerilynBSP.tif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-KMcL-4fYyB8/T7mg1ksGtqI/AAAAAAAAAEA/q-_1ipXKhhE/s200/JerilynBSP.tif" width="146" /></a></div>
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The Archive is delighted to announce the donation of two
artifacts from well-known Grateful Dead author and band family member Jerilyn
Brandelius: a wonderful broadside reproducing Robert Hunter’s lyrics to “Touch
of Grey” and a pristine copy of the backstage pass to a 1980 show, shown at left. Both gifts fill
in gaps in our collections. </div>
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Deadheads know Jerilyn from her book, <a href="http://www.amazon.com/Grateful-Family-Album-Jerilyn-Brandelius/dp/0446391670">Grateful Dead FamilyAlbum</a> (Warner Books), which not only presents the history of the band but also the
band members, from childhood through their time in the Haight and after. Far
more than just photographs, the book captured scholars’ attention for its
inclusion of remarkable and evocative ephemera <span style="mso-spacerun: yes;"> </span>like a Beat-influenced poem by Ron “Pigpen”
McKernan and a watercolor of fellow Haight-Ashbury band Quicksilver Messenger
Service on stage.</div>
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The broadside commemorates a reading by band lyricist Robert
Hunter at Berkeley’s <a href="http://www.blackoakbooks.com/">Black Oak Books</a>. </div>
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Created by the Okeanos Press, it is a superb example of handpress
printing immortalizing the band’s Top 10 hit, “Touch of Grey.” As an artifact,
it represents the confluence of the Dead’s art with their Beat antecedents,
which Black Oak and the Okeanos Press both honor.</div>
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The backstage pass is also important. Although the Archive
has hundreds of backstage passes, that section of the Archive is far from complete,
and we rely on the generosity of donors like Jerilyn to help us build a
complete set.</div>
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Jerilyn’s donation is a gracious nod from the band family to
the Archive, and we are most grateful to her for her thoughtfulness and
generosity.</div>Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-58249823178547268652012-05-13T17:24:00.001-07:002012-05-13T17:24:42.476-07:00"We Are Everywhere"<!--[if gte mso 9]><xml>
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One timeless Deadhead saying is, “we are everywhere,” a
phrase that not only makes the un-secret society universal, but also describes
the tantalizing and elusive ways that the Grateful Dead phenomenon has been
diffused into the larger culture. </div>
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One striking recent example of this graced
the cover of a recent flower catalog. Horticulturally-inclined fans were
surprised and delighted when the cover of one of their spring garden catalogs
bore the banner headline, “2012 AARS Winner ‘Sunshine Daydream’.” Inside the
<a href="http://www.jacksonandperkins.com/">Jackson and Perkins</a> catalog, there is no mention of Robert Hunter’s authorship of the phrase; the
somewhat breathless prose only describes the rose, noting that this “stunning
grandiflora is the first rose to win AARS honors from the House of Meilland in
France.” (The online catalog description is <a href="http://www.jacksonandperkins.com/rosa-sunshine-daydream-ppaf/p/28554/">here</a>.) </div>
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Roses have always been central to the Dead’s iconography, beginning
with Alton Kelley and Stanley Mouse’s seminal image for the band’s appearance at
the Avalon Ballroom in 1966, which adapted an illustration by Edward J.
Sullivan for <i style="mso-bidi-font-style: normal;">The Rubaiyyat of Omar
Khayyam</i>: a skeleton surrounded by roses. </div>
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The pinnacle of that association
was Mouse and Kelley’s timeless classic <i style="mso-bidi-font-style: normal;">Blue
Rose</i>, their airbrush masterpiece for the band’s 1978 New Year’s show that
also celebrated the closing of beloved San Francisco landmark Winterland
Auditorium. That image depicted a holy grail for rose breeders, a blue rose;
now the horticultural world has returned the favor, acknowledging the band with
this tribute to Hunter’s lyrics for “Sugar Magnolia.”</div>Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-83122478281558501302012-05-06T19:33:00.001-07:002012-05-06T19:33:25.746-07:00Two Deadhead Poetry Books Donated to Archive<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-O-ExExThEvU/T6czF7Qu54I/AAAAAAAAAD0/mdNsRVG4WFY/s1600/CoopermanBookCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-O-ExExThEvU/T6czF7Qu54I/AAAAAAAAAD0/mdNsRVG4WFY/s200/CoopermanBookCover.jpg" width="120" /></a></div>
The Archive is delighted to announce the recent gift of two books of poetry by <a href="http://marionreview.com/bob_cooperman/cooperman_max_info/index.html">Robert Cooperman</a>, an award-winning poet and author of sixteen books whose many accolades include the Colorado Book Award for Poetry. Recently he was named as a finalist for the Foreword Magazine Book of the Year.<br />
<br />
These two books, <i>Not Too Old to Rock and Roll</i> (Snark 2003) and <i>A Tale of the Grateful Dead</i> (Main Street Rag 2004), are of interest to Dead scholars and fans for their powerful, thoughtful and deeply evocative verse treatments of themes dear to Deadheads.
Cooperman is known to Dead scholars for his appearances at the annual <a href="http://www.swtxpca.org/">Southwest/Texas American and Popular Culture Association conferences</a>, where he read his Dead-related work, and one of his poems, “Halloween Costume Party,” was published in <i>Dead Letters: Essays on the Grateful Dead Phenomenon</i>, Vol. 1 (2001).<br />
<br />
These two books capture Cooperman’s range nicely, from the more formal, studied exposition of the interlinked poems comprising <i>A Tale of the Grateful Dead</i> to the delightful, and occasionally haunting, poems that trace some of the broad arcs of Deadhead experience in <i>Not Too Old to Rock and Roll</i>.<br />
<br />
Deadhead literary scholars and the Archive owe Cooperman thanks for his generous gift—and Deadheads everywhere owe him thanks for his poetic tribute to the Grateful Dead.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com2tag:blogger.com,1999:blog-530872469921701085.post-7337199259804666422011-10-11T15:11:00.000-07:002011-10-11T15:23:25.901-07:00Archive Benefit Coming Up!The Archive is pleased to announce a special one-night only benefit and preview of the Grateful Dead Archive, from 7 to 10 pm on November 5, at Dead Central, the exhibit room for the Archive in UC Santa Cruz's beautiful new McHenry Library.<br /><br />Guests will enjoy great food and wine, live music, and a tantalizing preview of the Archive's treasures, focused around the poster art of the Grateful Dead.<br /><br />Famed poster artist Stanley Mouse is our guest of honor, and we are honored to have been able to commission him to fully realize his delightful sketch "Writing Music," now created as a beautiful painting commemorating this exhibit. Guests will receive a signed, numbered copy of the poster of that painting, along with a delightful 225-page keepsake book that will help you remember the exhibit.<br /><br />Tickets are on sale <a href="http://events.ucsc.edu/attics">here </a>(or paste this URL in your browser and follow the steps: http://events.ucsc.edu/attics).<br /><br />We hope to see you there!Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-50890645376249305332011-06-14T10:16:00.000-07:002011-06-14T10:28:41.713-07:00A Most Unusual ArchivistUsually this blog focuses on recent donations to the Archive, but the reprint of David Lemieux’s superb interview from <span style="font-style:italic;"><a href="http://www.glidemagazine.com/articles/57204/david-lemieux-the-key-to-the-deads-vaults.html">Glide </span>magazine</a> (May 20) at <a href="http://www.dead.net/features/news/glide-magazine-david-lemieux-key-deads-vault">Dead.net</a> warrants mention here for several reasons. As anyone who reads David’s <a href="http://www.dead.net/features/tapers-section">column </a>or listens to his radio show knows, he is one of the most thoughtful, intelligent, and erudite of Deadheads—both a fan and a sharp-eyed (or eared) critic, and someone who leavens his enthusiasm and critical acumen with a healthy scholarly—and emotional—perspective.<br /><br />That perspective, and the hard work that informs it, is one of the many fascinating facets of this interview. Every Deadhead who has marveled at the quality and caliber of a recent <span style="font-style:italic;">Road Trips</span> or Vault recording will be interested to read what goes into each release. <br /><br />And for professors or graduate students in archival studies interested in understanding how that profession’s training can inform other work, it is hard to imagine a more extraordinary job description for someone with an MLIS (David’s degree focused on film archiving, which was his first position with Grateful Dead Productions). Thanks to David for sharing his thoughts and describing his work.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-12615047204078301212011-04-27T11:27:00.000-07:002011-04-27T11:43:50.794-07:00Grateful Dead Archive Receives Vital Dick Latvala Materials<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-y9XJD2c4btI/Tbhieg736WI/AAAAAAAAADY/bfIoY3cfw6M/s1600/LatvalaTapeBox.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 190px; height: 200px;" src="http://4.bp.blogspot.com/-y9XJD2c4btI/Tbhieg736WI/AAAAAAAAADY/bfIoY3cfw6M/s200/LatvalaTapeBox.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5600334413011872098" /></a><br /><br />The Grateful Dead Archive is honored to announce the final accrual for the Dick Latvala Collection, a vital affiliated collection in the larger Grateful Dead Archive. Personally delivered to UC Santa Cruz’s McHenry Library by Latvala’s son Rich, this generous gift completes the Latvala Collection with a number of important recordings, many in Dick’s inimitably hand-decorated boxes, along with a cache of files. <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-CoE6m0WZyn0/TbhjkYissdI/AAAAAAAAADo/gSynx3GQ5xc/s1600/LatvalaEnvelope.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 146px;" src="http://4.bp.blogspot.com/-CoE6m0WZyn0/TbhjkYissdI/AAAAAAAAADo/gSynx3GQ5xc/s200/LatvalaEnvelope.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5600335613349638610" /></a><br /><br />Scholars and fans will be pleased to note that Deadheads often illustrated their letters to Dick, just as they did their missives to the band. While the Archive generally does not accept gifts of equipment, there was no question about the significance of the Technics reel-to-reel recorder that accompanied the bequest: This is the machine that Dick used to create his incomparable collection of reels, now housed with the Grateful Dead Archive. In keeping with Dick’s commitment to sonic perfection, it was maintained scrupulously, and arrived in pristine condition, like it had just rolled off the assembly line—except for the gold-toned Steal-Your-Face sticker, prominently mounted on the front.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-0G2uyawaGSQ/TbhiRfX7VyI/AAAAAAAAADQ/IJpSD-ZfKPg/s1600/LatvalaReelDeck.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 188px;" src="http://3.bp.blogspot.com/-0G2uyawaGSQ/TbhiRfX7VyI/AAAAAAAAADQ/IJpSD-ZfKPg/s200/LatvalaReelDeck.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5600334189254367010" /></a><br /><br />Best known as the namesake of the famed recording series <span style="font-style:italic;">Dick’s Picks</span>, Latvala (1943-1999) became an avowed fan in 1966, first seeing the Dead perform at the fabled Trips Festival held in San Francisco’s Longshoreman’s Hall that January. A longtime taper who attended more than 300 shows, he went to work for the band later and eventually was named the first Vault Archivist, a role that finally allowed him to midwife the series of live recordings bearing his name and much beloved by Deadheads to this day. <br /><br />His centrality to the scene and the contribution he made the Grateful Dead phenomenon were as outsized as his ebullient personality, and his unwavering drive to care for the band’s recorded legacy made him one of the two dedicatees of Dennis McNally’s authorized band history, <span style="font-style:italic;">A Long Strange Trip</span>, along with Jerry Garcia. As McNally said in an interview, “there’s God and His chief disciple … the dual dedication is very heartfelt. Garcia gave me my chance … And Dick was his great follower.” The Archive is most grateful to Rich and his mother Carol for this gift.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com3tag:blogger.com,1999:blog-530872469921701085.post-62291657670181444602011-02-28T11:34:00.000-08:002011-02-28T12:11:58.558-08:00Native Funk and Flash<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-kSgmhUYbeJI/TWv5bLwrDsI/AAAAAAAAADA/6PAsmHMyij0/s1600/Native%2BFunk%2Band%2BFlash.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 170px;" src="http://1.bp.blogspot.com/-kSgmhUYbeJI/TWv5bLwrDsI/AAAAAAAAADA/6PAsmHMyij0/s200/Native%2BFunk%2Band%2BFlash.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5578826808837213890" /></a><br />Alexandra Jacopetti. <span style="font-style:italic;">Native Funk & Flash: An Emerging Folk Art</span>. With photographs by Jerry Wainwright. [San Francisco:] Scrimshaw Press, 1974. Softbound, 23 x 26 cm., 111 pp. <span style="font-style:italic;">Gift of Josh Alpert</span>.<br /><br /><br />This delightful book was recently donated to the Grateful Dead Archive by a colleague who spotted it in a local used book store. It is a remarkable book, documenting a rich vein of the Haight-Ashbury counterculture that birthed the Grateful Dead and that they in turn did so much to nurture, shape, and carry on after the neighborhood’s demise. Its well-illustrated pages document textile art in the Haight-Ashbuy and throughout the broader hippie world in Northern California, focusing on embroidery, quilting, and clothing. Jacopetti’s story is an important entry in the literature on the Haight and its diaspora: married to well-known Haight habitué Roland, later Ben, Jacopetti, she documents an important feature and legacy of the Haight, clothing art.<br /><br />Though not a memoir, Jacopetti recounts some of her own experience in the Haight, mentioning the Trips Festival, watching Bill Graham “get the Fillmore together” (7), and spending time at famed hippie commune Morningstar Ranch. And most of the artists and works featured in the book have Haight-Ashbury connections, some notably so, such as <a href="http://en.wikipedia.org/wiki/Alton_Kelley">Alton Kelley</a>, Patti Towle, <a href="http://en.wikipedia.org/wiki/Stoneground">Lynne Hughes</a>, <a href="http://en.wikipedia.org/wiki/Tom_Donahue">Tom Donahue</a>, Mari Tepper, and <a href="http://www.historicfilms.com/news_articles/BenVanMeter.html">Ben Van Meter</a>. <br /><br />But the book does not celebrate the Haight’s elite: in classic hippie fashion, it celebrates the democratic urge toward decorative dress, documenting the art of transforming mass-produced clothing like blue jeans through embroidery, beadwork, and patchwork, making them personal and expressive; and carrying that instinct through waves of learning, practice, and study, culminating in exquisite mastery. That is one of one of the most difficult aspects of the Haight-Ashbury milieu to convey, and this book captures and expresses that attitude, philosophy, and continuum, directly and indirectly, often within a single paragraph:<br /><br /><blockquote>There aren’t any patterns in this book because the patterns are all within, languishing and longing, like dreams, for expression. Don’t be daunted by lack of skill or technique; there are scores of books and several friends who can teach you French knots or chain stitch and, God knows, we’ve lost a lot of other skills since Grandma’s day. Many of the pieces here are amateurish by her standards, but do heed the message from within, and try to break through the channel of these visual images. (12)</blockquote><br />The author’s selection of images is equally measured, with some pieces startling in their sophistication and achievement, others whimsical, a few crudely delightful. <br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-eNaMmApF_PA/TWv8Ujb86tI/AAAAAAAAADI/89eVhKY2vzM/s1600/Native%2BFunk%2BTree%2BPatch.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 150px; height: 200px;" src="http://4.bp.blogspot.com/-eNaMmApF_PA/TWv8Ujb86tI/AAAAAAAAADI/89eVhKY2vzM/s200/Native%2BFunk%2BTree%2BPatch.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5578829993468553938" /></a><br />Jacopetti’s text is as important as the pictures. Her description of her participation in the Haight’s craft movement reveals a thoughtful, educated reflection on the ideals, philosophy, and worldview that defined so many of the themes of the 1960s. And she describes her own development as an embroidery artist, demonstrating her sophistication in weaving, textiles, and fabric, an illustration of another often-overlooked aspect of the Haight, which was an old-fashioned drive for excellence. She discusses textile art and fabric construction precisely, but they never undercut the broader hippie ethos; when she explains denim’s construction, it is to provide a way of understanding its qualities as cloth lend itself to embroidery, moving easily from the technical details of her craft to its hippie embodiment: <br /><br /><blockquote>The white weft threads were just showing through the faded surface warps—that nice denim depth of blue-on-white is achieved in just that way. Embroidering a fantasy flower on Roland’s elbow was discovering a new dimension in an old favorite. Denim holds a needle without fraying and pulling. (7)</blockquote><br />Jacopetti has enough of the prankster to leaven the seriousness with humor, and even those asides can be significant. Next to a full page photograph of a beautifully embroidered swath of denim featuring a man, flying in a plume of smoke rising from a joint in an ashtray, she writes:<br /><br /><blockquote>All those people who took acid in the sixties are ten years older now. I remember wondering what would happen when we got older and began to form our own culture, infiltrating the old one by ingenious drug-crazed peace-and-love tactics. (21)</blockquote><br />But fundamentally, what Jacopetti’s book reminds readers is the degree to which the Haight-Ashbury’s mosaic of beliefs and expressions did combine to form a worldview that has much to commend it, and whose achievement can be measured in so many of its arts, not only the music and poster art but also the singular, the perishable, the folk. <br /><br />Cultural historians will find a wealth of useful detail in the book. She is quick to acknowledge the influence of the hippie trail, noting that hippies would buy clothes and crafts abroad for resale; shots of hippie street vendors note that “Some stuff has been brought back from travels across the borders and the seas, but much of it is home-grown” (91). But the importance of those travels and experiences she makes plain at the outset of the book, writing:<br /><br /><blockquote>Many of us have hungered for a cultural identity strong enough to produce our own versions of the native costumes of Afghanistan or Guatemala, for a community life rich enough for us to need our own totems comparable to African or Native American masks and ritual objects. (5)</blockquote><br />That quintessentially American contradiction, that emblematic expression of the Haight’s democratic, yet elite, worldview, is what confounds so many critics; it is the core of the challenge underlying so much of the difficulty of assessing the Haight and the lingering image it etched on the retina of American history and culture. <br /><br />Historians have bemoaned the difficulties of studying the counterculture, in part for the lack of good archives and scholarly library collections. Books like <span style="font-style:italic;">Native Funk and Flash</span> are a reminder that these resources do exist; and more importantly, that a topic like the counterculture requires historians to adapt their skills to assay a brief, small press publication with the same kind of open-minded acuity that Robert Darnton called for in his landmark cultural history, <a href="http://www.amazon.com/Great-Cat-Massacre-Episodes-Cultural/dp/0465012744/ref=sr_1_1?s=books&ie=UTF8&qid=1298923238&sr=1-1">The Great Cat Massacre</a>, where he famously remarked, “We constantly need to be shaken out of a false sense of familiarity with the past, to be administered doses of culture shock. There is no better way, I believe, than to wander through archives” (4). Scholars of the 1960s, the counterculture, and the Dead need to expand their notion of archives to include the ephemeral, the uncollected, the obscure, just as the hippies of the Haight celebrated their own exploration of those forgotten cultural byways.<br /><br />This may seem like a lot to hang on a slender, pretty book. But how we treat such texts is a fundamental expression of the work of a scholar or archivist. Where critics only saw dilettantism or even a kill-your-parents nihilism in the Haight’s appreciation for lost or hidden wisdom, there is at heart a powerful intellectual core to that stance. One of the defining aspects of the Haight was the belief that everyone could contribute something artistic, something individual, to the stew; as Mickey Hart remembers:<br /><br /><blockquote>What I remember best about the Haight was the incredible feeling of creativity. Everybody was an artist, whether they had a craft that our culture would recognize as 'art' or not. Everybody was high with the spirit of adventurous exploration; everybody was busy becoming new. (<a href="http://www.amazon.com/Drumming-Edge-Magic-Journey-Percussion/dp/1888358181">Drumming at the Edge of Magic</a>, 133)</blockquote><br />While the bands and the poster artists are the most obvious artistic legacies of the Haight, what participants also remember is the dazzling array of arts and crafts that defined that foggy little neighborhood adjoining Golden Gate Park and energized its participants into making community. Jacopetti’s book is one of the rare documents of that broader ethos, and the Archive is most grateful to our colleague and friend, Librarian Josh Alper, for making this gift.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com3tag:blogger.com,1999:blog-530872469921701085.post-56455441040544845842010-11-18T11:57:00.000-08:002010-11-18T12:47:31.817-08:00Grateful Dead Archive Receives Dead-Related Sixties Novel Typescript<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_IyXXlx-TOTE/TOWOYZ-7gHI/AAAAAAAAACw/b66X-d2rjl8/s1600/TrentTScover.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 178px; height: 200px;" src="http://4.bp.blogspot.com/_IyXXlx-TOTE/TOWOYZ-7gHI/AAAAAAAAACw/b66X-d2rjl8/s200/TrentTScover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5540991466492100722" /></a><br />(A note to readers: this blog posting repeats the first couple of paragraphs from our web page, but has a more extended discussion below. Thanks for reading!)<br /><br />The Dead Archive receives donations every week, of every imaginable type: rare handbills and posters documenting the nooks and crannies of the Grateful Dead’s history, evocative and thoughtful letters detailing the Deadhead experience, as well as art, T-shirts, interviews, and more. From an archival perspective, the sheer dazzling variety and richness of these gifts is both a confirmation and a celebration of the mission of the Archive to document the Grateful Dead experience, and the community it still defines to this day.<br /><br />The Archive’s commitment to curating these often unusual artifacts complements a broader, more conventional archival mandate: to collect and document the wider cultural arcs that infused and were in turn influenced by the Dead. That means ensuring that traditional archival voices and materials have a place as well, such as rare books and even author’s manuscripts. <br /><br />One recent gift is Santa Cruz area novelist Trent Eglin’s “The Incredible Dog Act,” a 313-page typescript of an unpublished novel set in the tumult of the sixties in Southern California and the Bay Area. Although not focused on the Dead, they play a supporting role throughout, from dances at the Fillmore to lyric quotes that demonstrate the author’s deep understanding of the band, their oeuvre, and most importantly, the depth and complexity of their interconnections with the counterculture and the 1960s. Even the famed Skull and Roses poster serves as a critical background motif for one memorable scene.<br /><br />Eglin’s dialogue is crisp and realistic, and his characters feel authentic, but what most impresses is the way he weaves the intellectual and political currents of the times into a tapestry that lets him play with a broad palette, illuminating themes from Heidegger and Nietzsche with lyric quotes from the Dead and the Airplane. Nor is this forced: Eglin handles his material gracefully, treating the erudition animating his characters with seriousness as well as playfulness, never veering into heavy-handedness, the achilles’ heel of stories with this much at stake. The seriousness is never far from the surface, however. When one character remonstrates with another, it begins lightly but dives deeply, quickly:<br /><br /><blockquote>“You know,” she said, “when you middleclass white guys get all radicalized, it’s hard to tell which way you’re going to break … you’re just as likely to get hung up on astrology or Zen as you are to take up revolutionary politics … Aside from Marx, most western philosophy is just a weird attempt to convince you white folks that reality’s all in your heads. So when you guys ‘see the light’”—she traced the quotation marks in the air—“too many of you just radicalize the shit in your heads. You just rearrange your mental furniture and let Meher Baba or Gurdjieff move in, and nothing out there really changes.”</blockquote><br />That theme is one of several that plays out through the novel, and Dead scholars will be quick to pick up on how many of these prefigure and parallel issues in Dead studies as well:<br /><br /><blockquote>“When you so-called radical white cats want to test how it feels to have a problematic body, a body that makes you essentially visible for the first time, you let your hair grow and get your ears pierced. You go around in Indian drag, all tie-dye and beads. But the difference is that when the shit does hit the fan, you can still duck in for a quick crew cut and go work for Dow.”</blockquote><br />For Dead scholars, Eglin’s novel represents a fascinating example of how the Dead can successfully infuse a story whose focus lies elsewhere; they are a part of the world that Eglin evokes, and his skill in interweaving elements of their art with so many other touchstones—his soundtrack to the sixties includes 87 songs, by both major names and minor, but all evoking the spirit of the times—is an important reminder that the Dead were only one of many voices that defined that era. Eglin’s deft handling of those broader interconnections neatly sidesteps the difficulties that other writers have encountered when addressing the Dead in a fictional context: too often, the phenomenon overwhelms the plot or characters, a complaint critics have often made of other novels that attempt to capture the Sixties in fiction. And while a shelf of novels attest to the appeal of the challenge, no critical consensus has identified the short list of successful titles.<br /><br />Famed mythographer Joseph Campbell famously remarked that the Grateful Dead were the antidote to the atom bomb. One of Eglin’s memorable asides offers a tantalizing recasting of that notion:<br /><br /><blockquote>“Once science had decided—-ages ago-—that the atom was the basic building block of the universe, it was just a matter of time before the professors provided the generals with the first atomic bomb. Presumably, had science back then sided with Thales instead of Democritus and concluded that the world wasn’t atoms but water, it would have been prudent to build an ark instead of a bomb-shelter.”</blockquote><br />Perhaps the Dead phenomenon was that ark, preserving the ideals and issues of the sixties for succeeding generations to discover and experience and finally debate. Gifts of materials like Eglin’s fine typescript to the Archive allow it to serve as a way of grounding those debates, anchoring them in reality; for what is an archive if not an ark, preserving the means of perpetuating and understanding a precious, politicized, and still misunderstood past.<br /><br />Postscript: we understand that Eglin is preparing his typescript for publication and we wish him the best of luck.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-54706145322415266672010-11-01T14:08:00.000-07:002010-11-01T15:21:20.171-07:00The First Tennessee Jed?Thanks to supporters James R. Skolnik and George Michalski, this rare postcard featuring 1940s radio star Johnny Thomas has been donated to the Grateful Dead Archive.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_IyXXlx-TOTE/TM8uHF_mczI/AAAAAAAAACg/uT_kfJ8zHMI/s1600/TennesseeJedPicDonation.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 128px; height: 200px;" src="http://4.bp.blogspot.com/_IyXXlx-TOTE/TM8uHF_mczI/AAAAAAAAACg/uT_kfJ8zHMI/s200/TennesseeJedPicDonation.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5534693166464529202" /></a><br /><br />It advertises the character "Tennessee Jed Sloan," a fictional cowboy gunslinger who traveled the West with his trusted horse Smoky and his squirrel gun, fighting bad guys and outwitting their schemes. A popular serial, the show was sponsored by the Tip-Top Bread Company, and ran from 1945 through 1947. Fifteen programs are available today from <a href="http://www.otrcat.com/tennessee-jed-p-1912.html">The Old-Time Radio Catalog</a>, and David Goldin has done a fine job cataloging the shows and their content <a href="http://www.radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Tennessee+Jed">here</a>.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_IyXXlx-TOTE/TM8uS-6T3vI/AAAAAAAAACo/OlvefdfUElI/s1600/tennjedradioshow.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 112px;" src="http://4.bp.blogspot.com/_IyXXlx-TOTE/TM8uS-6T3vI/AAAAAAAAACo/OlvefdfUElI/s200/tennjedradioshow.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5534693370721722098" /></a><br /><br />If Hunter was specifically drawing on this show as an antecedent for his song, it would be difficult to pin down exactly how: Hunter’s protagonist is much more of a sad-sack than Thomas’s (and later Don MacLaughlin’s) depiction of an eagle-eye marksman whose exploits over the show’s two years ended up with him as a White House special agent. (Indeed, one wonders whether this show served as a precedent for the 1960s television hit, <a href="http://en.wikipedia.org/wiki/The_Wild_Wild_West">The Wild West West</a>.) David Dodd first pointed out the existence of this show in his <a href="http://artsites.ucsc.edu/GDead/agdl/tjed.html">Annotated Grateful Dead Lyrics</a> site, but did not suggest that it served as an actual antecedent or inspiration for Hunter.<br /><br />Nor is that likely, given the difference in Hunter’s protagonist and the radio show hero. The lack of a direct influence does not make it irrelevant, however: indeed, for Dead scholars, this item illustrates how rich Hunter’s allusions are, documenting in particular how his reservoir of Western Americana runs both wide and deep, drawing from popular culture as well as literature and history.<br /><br />The Archive is grateful to James Skolnik for helping to facilitate this donation, and to noted San Francisco musician and collector George Michalski for his generosity and sharp eyes in acquiring and donating this wonderful artifact.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-68441127839207306762010-10-28T09:03:00.000-07:002010-10-28T10:04:30.531-07:00Evolving Musical Traditions: Jesse McReynolds and the Grateful Dead<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_IyXXlx-TOTE/TMmm9T_27fI/AAAAAAAAAB4/fR6R2DAGlik/s1600/Jesse+200+dpi.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 167px; height: 200px;" src="http://3.bp.blogspot.com/_IyXXlx-TOTE/TMmm9T_27fI/AAAAAAAAAB4/fR6R2DAGlik/s200/Jesse+200+dpi.jpg" alt="" id="BLOGGER_PHOTO_ID_5533137189471710706" border="0" /></a><br />In 1964, a young Jerry Garcia and his friend and later musical collaborator <a href="http://www.well.com/user/smarcus/sr/Sandy.html">Sandy Rothman</a> embarked on an extended road trip East, traveling to see their bluegrass heroes in the South, North, and Midwest. Scholars and fans tend to focus on their meeting with <a href="http://en.wikipedia.org/wiki/Bill_Monroe">Bill Monroe</a>, immortalized in a homemade recording that Jerry made of one of Monroe’s sets at <a href="http://en.wikipedia.org/wiki/Beanblossom,_Indiana">Bean Blossom</a>, but just as important to the young musicians was seeing brothers Jim and Jesse McReynolds, the already famed bluegrass duo from <a href="http://en.wikipedia.org/wiki/Dothan,_Alabama">Dothan, Alabama</a>.<br /><br />Garcia’s path would stray far from the roots music he heard on that trip, but his heart remained close to that wellspring for the rest of his life, returning to it periodically to refresh and renew his eclectic muse. Some of the wonderful results of those periodic renewals can be heard in releases documenting his work with <a href="http://www.acousticdisc.com/acd_html/acd19.html">Old & In the Way</a> in the 1970s, the <a href="http://www.dead.net/features/release-info/something-old-something-new-jerry-garcia-acoustic-band">Jerry Garcia Acoustic Band</a> in the 1980s, and his later work with <a href="http://www.dawgnet.com/">David Grisman</a> (whom he also met on that 1964 trip) in the 1990s.<br /><br />By then, of course, Garcia’s own contributions to music had been recognized, critically and collegially, and after his death, efforts like <span style="font-style: italic;">Pickin’ on the Grateful Dead</span> made clear the ease with which his compositions could be reinterpreted from a bluegrass perspective. Now, 46 years after he met Garcia, Jesse McReynolds makes the definitive case for that with his new release, <a href="http://www.woodstockrecords.com/jesse_CD.shtml">Songs of the Grateful Dead: A Tribute to Jerry Garcia and Robert Hunter</a> (<a href="http://www.woodstockrecords.com/">Woodstock Records</a>). It represents a remarkable achievement artistically, and for Dead scholars, it also demonstrates the degree to which the Dead’s artistic achievement is thoroughly and inextricably interwoven with the broader currents of American music.<br /><br /><a href="http://1.bp.blogspot.com/_IyXXlx-TOTE/TMmrAZFA70I/AAAAAAAAACI/0ZtwhQ-qnq8/s1600/McReynolds_Front.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 200px;" src="http://1.bp.blogspot.com/_IyXXlx-TOTE/TMmrAZFA70I/AAAAAAAAACI/0ZtwhQ-qnq8/s200/McReynolds_Front.jpg" alt="" id="BLOGGER_PHOTO_ID_5533141640421633858" border="0" /></a><br />“Jesse absorbed the gestures of Grateful Dead music, then crafted his interpretations,” Sandy Rothman explained. Each of the thirteen songs has its own flavor, its own feel; McReynolds let the songs breathe and find their own resonances with a first-rate band of players also steeped in the Dead’s ethos. Sharp-eared fans will be able to discern contributions from Sandy Rothman, who played with Garcia in the 1960s and again in the Jerry Garcia Acoustic Band with Stu Allen, another featured player, and David Nelson, longtime Garcia collaborator and founder of <a href="http://thenewriders.com/">the New Riders of the Purple Sage</a> as well as his own <a href="http://www.nelsonband.com/">band</a>.<br /><br />But this is not an exercise in nostalgia. McReynolds didn’t take the easy way out, limiting his choices to obvious candidates like “Friend of the Devil” and other mainstays of the Dead’s acoustic catalog. To be sure, the disc features haunting versions of “Ripple” and “Stella Blue” and “Deep Elem Blues,” but tracks like “Alabama Getaway” and “Standing on the Moon” will surprise and delight jaded fans: McReynolds and his colleagues find hidden treasures in all of the songs they assay, and the results remain in memory long after the CD finishes.<br /><br />The final touch is a new song, “Day by Day,” composed by McReynolds to words by Robert Hunter, who enthusiastically champions McReynolds’ effort: “Jesse’s singing voice is like a long-lost brother voice between Jerry Garcia and David Nelson,” Hunter observed, and open-eared listeners will agree. (Those who keep up with Hunter's online <a href="http://www.hunterarchive.com/files/newjournal/56journal_2006.html#anchor8279">journal </a>remember when he commented that he was writing lots of new lyrics but wouldn't say who they were for.) For fans, “Day by Day” means the CD is much more than a tribute; it is a statement that the Dead’s corpus is now a living part of the American musical heritage, growing with each interpretation and musician who delves into it.<br /><br />For Deadheads accustomed to feeling that their musical tastes are decidedly less than mainstream, it is especially gratifying to have a musician of McReynolds’ stature make such a heartfelt statement of appreciation. McReynolds celebrated his sixty-third year in the music business in July of this year, looking back on a career that includes 45 years in the Grand Ol’ Opry, dozens of awards and Grammys, and “membership in any Hall of Fame that means anything to this music,” as Dennis McNally put it recently.<br /><br />Perhaps the only sadness is the absence of Garcia’s voice and playing. As Hunter commented, “What a trio you’d all have made! The singing is steady and strong. Jerry would approve, I’m certain.” So do we.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com4tag:blogger.com,1999:blog-530872469921701085.post-17675206113815137142010-08-20T10:16:00.000-07:002010-08-20T10:25:47.983-07:00The Eyes Have It: Harold Bell Wright’s novel The Eyes of the WorldLiterary Deadheads may recall that David Dodd first wrote about Harold Bell Wright’s 1914 novel <span style="font-style:italic;">The Eyes of the World</span> on his web site, <a href="http://artsites.ucsc.edu/GDead/agdl/#songs">The Annotated Grateful Dead Lyrics</a>, which preceded his fine <a href="http://www.amazon.com/Complete-Annotated-Grateful-Dead-Lyrics/dp/074327749X/ref=sr_1_1?ie=UTF8&s=books&qid=1282324665&sr=8-1">book </a>of the same topic (see p. 203 of that book for a print reference to Wright’s book and its offshoots). One interesting recent find in the Grateful Dead Archive is a splendid copy of that tome, inscribed to the band’s founding archivist Eileen Law by Deadheads Kim and Bob Hilton of Bar Harbor, Maine. (It is available now as a <a href="http://books.google.com/books?id=KAEhAAAAMAAJ&printsec=frontcover&dq=%22the+eyes+of+the+world%22&source=bl&ots=iqG7cw5CYp&sig=Q85CofY4JCNg3rxg7Wp2aMxpD_M&hl=en&ei=6K9uTJGlLYq8sQPcmej8Cg&sa=X&oi=book_result&ct=result&resnum=6&ved=0CC0Q6AEwBQ#v=onepage&q&f=false">Google book</a> and in a modern <a href="http://www.amazon.com/Eyes-World-Novel-Classic-Reprint/dp/1451000073/ref=sr_1_2?s=books&ie=UTF8&qid=1282322546&sr=1-2">reprint edition</a>.)<br /><br />Bell’s book is interesting to Dead scholars for indirect, even oblique, reasons—but those reasons lead to themes that are in fact central to the scholarly study of the band as a cultural, historical, artistic phenomenon.<br /><br />The novel takes place largely in Southern California, focusing on an unlikely friendship between an older novelist and a young painter. The novelist is enormously successful but considers his work corrupt, debased because of its appeal to popular, prurient tastes; he cuts a Faustian figure in the book, constantly goading and chiding his young apprentice but leavening his mordancy with occasional flashes of calm meditation on the meaning of art and the role of the artist in society. It is a frank statement about the Romantic ideal of the purity of art, and the dangers of being seduced by mammon.<br /><br />That frankness is what jars most—Bell’s six previous novels had been savaged by the critics (nor has his reputation improved with time), and <span style="font-style:italic;">The Eyes of the World</span> reads like one long, tendentious response to those critics. (See the <a href="http://en.wikipedia.org/wiki/Harold_Bell_Wright">entry </a>on Wright in Wikipedia for some of those critical dismissals, including particularly pointed—and mordantly funny—attacks singling out this book as his worst.) But the philosophy put forth in the book—of not pandering to popular, vulgar tastes, of honoring the muse as the only way to earn immortality—is at heart a classic expression of the Romantic, bohemian ideal that later defined the hippie milieu which birthed the Dead, and certainly describes their own attitude to their music. (Bell even opens the book with an epigram from Wordsworth.)<br /><br />The title of the book is a phrase that the older novelist uses when admonishing the young painter: “the eyes of the world” here means the shallow, superficial, easily misled impressions of the public, not the deep, universal awareness that Hunter’s use of the phrase describes in his lyric. Still, the myriad interconnections between the book and the song make comparing them a revealing exercise. Students interested in how the Dead’s art fits into broader arcs in American cultural history will find Bell’s novel an intriguing, if didactic, expression of the debate over high and low culture at the turn of the century. And for those interested in exploring Hunter’s extraordinary mindscape, the way these themes find expression and perdure in a phrase whose literary function changed so dramatically over time is especially fascinating.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-25298372205235470382010-08-17T16:05:00.000-07:002010-08-17T16:36:04.184-07:00Altamont Revisited: Two Recent ViewsBoth the Grateful Dead and the Rolling Stones were tarred by their association with Altamont, the notorious free concert held December 6, 1969, at the Altamont Speedway east of the San Francisco Bay. The accusations and counter-charges have swirled since that night, when a perfect storm of bad planning and other factors produced a concert that was a nightmare for many—and perhaps most—attendees. <br /><br />Captured by the Maysles Brothers for their documentary <span style="font-style:italic;"><a href="http://www.amazon.com/Rolling-Stones-Shelter-Criterion-Collection/dp/B00004YZFR/ref=sr_1_1?ie=UTF8&s=dvd&qid=1282086606&sr=8-1">Gimme Shelter</a></span>, the Stones concert was marred by repeated brawls and clashes between the Hell’s Angels and audience members and even Marty Balin of the Jefferson Airplane, who played before the Stones. The violence culminated in the murder of Meredith Hunter, who allegedly flashed a gun and was quickly surrounded by Angels, beaten, and finally stabbed to death by Alan Pasarro, a member (or prospective member) of the Angels’ Oakland chapter. A trial ended in an acquittal.<br /><br />The Dead did not play, but were blamed by many for suggesting the Angels serve as security and for encouraging the idea of a free concert generally. In the aftermath, the Dead picked up the Stones’ tour manager, Sam Cutler, and Robert Hunter wrote a brilliant lyric reflecting on the meaning of the event, “New Speedway Boogie,” which Garcia put to music and the band recorded for <span style="font-style:italic;"><a href="http://store.dead.net/studio-albums/workingmans-dead-expanded">Workingman’s Dead</a></span>.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_IyXXlx-TOTE/TGsaoD31_qI/AAAAAAAAABg/l2MBT6hIwlQ/s1600/CutlerCover.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 200px;" src="http://3.bp.blogspot.com/_IyXXlx-TOTE/TGsaoD31_qI/AAAAAAAAABg/l2MBT6hIwlQ/s200/CutlerCover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5506524244927184546" /></a><br />Cutler’s recent biography, <span style="font-style:italic;"><a href="http://www.amazon.com/You-Cant-Always-What-Want/dp/155022932X/ref=sr_1_1?s=books&ie=UTF8&qid=1282087175&sr=1-1">You Can’t Always Get What You Want</a></span>, was just donated to the Dead Archive as part of Dennis McNally’s magnificent research archive and library; the warm inscription from Cutler (and McNally’s thoughtful marginalia) make this a prized book in the collection. <br /><br />Rock fans and Dead scholars will find much of the book fascinating reading, and Cutler’s prose—and perspective—is thoughtful, and thought-provoking; it is a fine rock memoir, even if his own account of Altamont is not apt to change many minds. His view is vital, however, and he adds several twists on the story, including allegations of mob involvement that echo later developments in parts of the recording industry. <br /><br />And in a genre in which ghost writers and vapidity are the norm, Cutler’s prose—which is his own—stands head and shoulders above most. He is a survivor, and his epigram—a poem he wrote in 1974—is a powerful statement about many of the themes he weaves together in his meditation on a career largely defined by his work first for the Stones, and then for the Dead:<br /><br /> <span style="font-style:italic;"> Every day<br /> We murder our dreams;<br /> Then pick them up,<br /> Dust them down,<br /> Adjust their silly hats upon their heads,<br /> Kiss them on the cheeks,<br /> And tell them how glad we are<br /> That they’re still alive.</span><br /><br />Less useful, though prettier, is <span style="font-style:italic;">Let It Bleed: The Rolling Stones, Altamont, and the End of the Sixties</span>, a glossy coffeetable book that documents Altamont and the tour that preceded it. Cowritten by a photographer on the tour, Ethan A. Russell, it credits eleven members of the tour with providing interviews, suggests that several had never spoken of the events until this book, and positions itself as the untold, and possibly final, word on the Altamont disaster.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_IyXXlx-TOTE/TGsbATiwuwI/AAAAAAAAABo/4Z76S6VS7QU/s1600/LetItBleedCover.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 200px;" src="http://3.bp.blogspot.com/_IyXXlx-TOTE/TGsbATiwuwI/AAAAAAAAABo/4Z76S6VS7QU/s200/LetItBleedCover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5506524661450586882" /></a><br />The pictures make for a remarkable story, certainly, but the amount of text generated then and since on the concert, and the records of a full murder trial for Pasarro, mean that a thorough history of the event remains to be told. <br /><br />Still, fans who have wondered about the events leading up to Altamont, and the nature of the rock touring industry on the cusp of radical change, will find much to engage them here.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com1tag:blogger.com,1999:blog-530872469921701085.post-46599768882979321522010-07-30T10:00:00.000-07:002010-07-30T12:58:31.456-07:00Marketing and the Business of the DeadFor a band whose Haight-Ashbury origins celebrated an aversion to capitalism, the Grateful Dead have emerged as a powerful example to a variety of business theorists, scholars, and academics. <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_IyXXlx-TOTE/TFMG17JFUiI/AAAAAAAAABA/7BWMLlVSbBY/s1600/ScottandHarrigan.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 114px;" src="http://2.bp.blogspot.com/_IyXXlx-TOTE/TFMG17JFUiI/AAAAAAAAABA/7BWMLlVSbBY/s200/ScottandHarrigan.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5499747093428130338" /></a> David Meerman Scott and Brian Halligan are the latest to delve into the band’s remarkable commercial success, condensing the thirty-year history of the Grateful Dead into a series of pithy lessons to guide managers through the rapidly shifting terrain of marketing today. Their book, <span style="font-style:italic;">Marketing Lessons from the Grateful Dead</span>, provided them with a unique opportunity to truly combine their passions: as marketing professionals, business writers—and Deadheads.<a href="http://www.amazon.com/Marketing-Lessons-Grateful-Dead-Business/dp/0470900520"></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_IyXXlx-TOTE/TFMH7SxTDfI/AAAAAAAAABI/Hu1Q5gEcnaY/s1600/MarketingCover.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 136px; height: 200px;" src="http://2.bp.blogspot.com/_IyXXlx-TOTE/TFMH7SxTDfI/AAAAAAAAABI/Hu1Q5gEcnaY/s200/MarketingCover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5499748285181791730" /></a><br />Published by <a href="http://www.wiley.com/WileyCDA/PressRelease/pressReleaseId-78139.html">Wiley </a>and just released, the book is getting <a href=" http://www.boston.com/business/technology/innoeco/2010/07/new_book_casts_the_grateful_de.html">good </a><a href="http://www.boston.com/business/articles/2010/07/29/grateful_deads_marketing_strategy_becomes_model_for_internet_age/?page=full">press</a>, helped by the authors’ promotional tour—one that also allows them to catch a few summer shows by <a href="http://www.furthur.net/">Furthur </a>and the <a href="http://www.rhythmdevils.net/">Rhythm Devils</a>.<br /><br />Scott and Halligan join a distinguished roster of scholars who have studied the band’s business model. <a href="http://www.huizenga.nova.edu/faculty.cfm/barry">Dr. Barry Barnes</a>, a professor at <a href="http://www.huizenga.nova.edu/">Nova Southeastern University</a>, is the most prolific and well known academic business scholar who has focused on the band, but a number of business scholars and analysts have long recognized the significance of how the band’s freewheeling marketing acumen and fanatically loyal customer base helped make the Dead one of the most unlikely economic powerhouses in an industry known for its fickle nature.<br /> <br />The lessons of that approach have not been lost on other Dead scholars, most of whom have had to address the stigma of the band’s countercultural origins and trappings. Unique among the welter of scholarly approaches to the Dead phenomenon, business theorists tend to ignore that stigma—the band’s success, and their maverick approach to courting that success, are sufficient to warrant the attention. To historians, that approach is refreshing because it foregrounds the band’s commercial success, making the point that the Dead’s artistic and commercial success are inextricably entwined; a professional band is, after all, an enterprise that is predicated—and depends—on both.<br /><br />Their success also allowed the Dead to be generous, and their altruism was another lesson Scott and Halligan took to heart, donating a portion of their advance and earnings to support the Grateful Dead Archive at UC Santa Cruz. It is a wonderful acknowledgment of the old-fashioned ideals that informed the Dead phenomenon, and that now have taken root in its study. Scholars from a wide variety of disciplines will find <span style="font-style:italic;">Marketing Lessons from the Grateful Dead</span> a thought-provoking and informative read.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-72396633379779905132010-07-16T11:36:00.000-07:002010-07-16T11:47:28.353-07:00Musicological Musings on the Grateful Dead: A New BlogGrateful Dead scholars know David Malvinni for his thoughtful, erudite analyses of “the Eleven,” “Terrapin Station,” and other songs; those who attended the landmark conference <span style="font-style:italic;"><a href="http://www.umassconnections.com/unbrokenchain/index.html">Unbroken Chain: The Grateful Dead in American Music, Culture and Memory</a></span> heard him deliver one of his best analyses of a number of the broader themes that make Grateful Dead music so powerful, dense, alluring, and compelling.<br /><br />Now Dr. Malvinni has launched a blog, “<a href="http://gratefuldeadworld.blogspot.com/">The Grateful Dead World</a>,” that provides him with a forum for pursuing some of his ideas and sharing them with his colleagues. As he notes there, “The purpose of <span style="font-style:italic;">The Grateful Dead World</span> is to help me get my thoughts out for a book I’m writing called <span style="font-style:italic;">A Touch of the Blues: A Musicological guide to the Grateful Dead</span>.” <br /><br />The idea for the blog emerged as he was preparing his paper for <span style="font-style:italic;">Unbroken Chain</span>. Called “The Psychedelic Appropriation of the Blues,” his paper was well received and sparked a number of spirited discussions. Dead scholars will be delighted that Malvinni is sharing his work: as he explains, “My idea is that Deadheads, musicologists and anyone interested in the topic can interact with the material before publication.” Thanks to David for this contribution to the literature.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-72964592884145696812010-07-06T17:31:00.001-07:002010-07-06T18:05:20.441-07:00Voices of the Dead: Kearny Street Books’ The Storyteller Speaks Reviewed<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_IyXXlx-TOTE/TDPOoJVnoUI/AAAAAAAAAA4/dZKsTKGKV-g/s1600/storytellerlarge.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 311px;" src="http://1.bp.blogspot.com/_IyXXlx-TOTE/TDPOoJVnoUI/AAAAAAAAAA4/dZKsTKGKV-g/s320/storytellerlarge.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5490959559791452482" /></a><br />David Carter just published a fine review of a new Dead-related book, Rob Weiner and Gary McKinney’s edited anthology <span style="font-style:italic;"><a href="http://www.kearneystreetbooks.com/pages/store.html">The Storyteller Speaks: Rare & Different Fictions of the Grateful Dead</a></span> (Kearney Street Press, 2010), on the FilmFanaddict webzine (click <a href="http://www.shockingimages.com/modules/smartsection/item.php?itemid=1325">here</a>). <br /><br />Carter praises the volume for its range and inclusiveness, grounding his assessment in his own appreciation for the band and scene (he caught a couple of shows in April of their last year.) <br /><br />He joins a number of critics in praising the volume (for a sample, click <a href="http://www.kearneystreetbooks.com/pages/summary/storytellersummary.html">here</a>). Co-editor Weiner’s long-time interest in the ways that the scene and phenomenon can be depicted in fiction is amply reflected here, and the two editors have assembled a thought-provoking range of efforts. <br /><br />Especially notable contributions from band lyricist Robert Hunter and Philip Baruth, author of <span style="font-style:italic;"><a href="http://www.albion.com/millennium/">The Millennium Shows</a></span> (Albion, 1994), make the volume mandatory reading for Dead fans, and Dead scholars will be interested to see how many of their colleagues have been drawn to write fictional treatments of the phenomenon they study. <br /><br />McKinney, author of the well-received mystery (featuring a Deadhead sheriff) <span style="font-style:italic;"><a href="http://www.kearneystreetbooks.com/pages/summary/slipknotsummary.html">Slipknot </a></span>(Kearney Street Books, 2007), and Weiner, editor of <span style="font-style:italic;"><a href="http://www.greenwood.com/catalog/GM0569.aspx">Perspectives on the Grateful Dead</a></span> (Greenwood, 1999), have achieved a commendable first with this volume—and made a fine contribution to the ever-burgeoning literature on the Dead phenomenon in the process.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com1tag:blogger.com,1999:blog-530872469921701085.post-78540205678335360092010-06-25T15:57:00.000-07:002010-06-25T16:04:15.024-07:00Startling the Dead: The Art of Dennis LarkinsA recent arrival at the Grateful Dead Archive is <span style="font-style: italic;">Startling Art: Revealing the Art of Dennis Larkins</span> (La Luz de Jesus Press/Last Gasp, 2010). The gift of a supporter who is a fan of Larkins, the book documents the remarkable career of the artist whom Deadheads know as the man responsible for the famous posters of the Dead’s legendary runs at the Warfield and Radio City Music Hall in October 1980. Though not a Deadhead tome by any means, <span style="font-style: italic;">Startling Art</span> does have some important Dead content, reproducing the Radio City Music Hall poster, the Downs at Santa Fe show (17 Oct. 1982), and the gatefold from <span style="font-style: italic;">Dead Set</span>. What may most interest Dead fans and scholars, aside the from the fine overview of Larkins’ unique style and sensibility, are the book’s insights into Larkins’ oversized set pieces for the Dead’s stages, as well as for several other bands, most notably the Rolling Stones. Overall, the book demonstrates that Larkins’ work for the Dead is a vital part of his career and oeuvre that informs his broader vision and contribution as an artist.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com1tag:blogger.com,1999:blog-530872469921701085.post-58754649321434522682010-06-15T16:11:00.000-07:002010-06-15T16:13:32.612-07:00Decanting the Dead: A Winemaker ReflectsIn the most recent issue of the wine industry magazine <span style="font-style:italic;">Color and Aroma</span>, (www.colorandaroma.com) winemaker and vineyard manager Wes Hagen reveals how his experience as a Deadhead influences his work as a vintner. His feature article, “How Jerry Garcia (and the Dead) Influenced My Winemaking,” is a thoughtful and intriguing meditation on the role of art, improvisation, and music in his own craft, lessons he learned from seeing 52 shows himself. As he put it, “as I began to make an outline for this article, I was actually surprised how easily I could make connections between Jerry and my own ideas of wine, music, craft and doing something that makes people high and happy.” Thanks to David Gans for pointing this out to us.<br /><br />http://www.colorandaroma.com/2010/05/20/how-jerry-garcia-and-the-dead-influenced-my-winemaking/Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-28404931561448586762010-06-10T11:26:00.000-07:002010-06-10T12:25:04.452-07:00Making Music, Making Sausage: Recent Band Member InterviewsMembers of the Grateful Dead were always good with media, and a recent book, <span style="font-style:italic;">Sausage Factory: The College Crier's Infamous Interviews of the Freaks and the Famous</span> (Inkwater, 2009), gathers interviews with Phil, Bobby, Mickey, and a number of others whose paths crossed the Dead's, from fellow travelers like Hunter S. Thompson to later collaborators like Joan Osborne, Warren Haynes, and Jimmy Herring. Editors T. Virgil Parker, Jessica Hopsicker, and Carri Anne Yager elicit often surprisingly candid and thoughtful responses from even these interview-jaded media veterans. Worthwhile reading for fans interested in how these musicians have continued to grow and evolve in a Jerry-less world.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-85476956174654687072010-04-14T11:17:00.000-07:002010-04-14T11:20:21.305-07:00Psychedelic CultureThe new book <span style="font-style:italic;">Birth of a Psychedelic Culture: Conversations about Leary, the Harvard Experiments, Millbrook and the Sixties </span>(Synergetic Press, 2010) has been reviewed as "an enchanted treasure chest, overflowing with insightful new dialogues, fascinating anecdotes, valuable historical accounts and other never-before-published material about the origins of modern psychedelic culture, by the people who helped to create it." The book is based on a series of conversations between Ralph Metzner and Richard Alpert. Among the many personal commentators is Dr. Michael Kahn, Emeritus Professor of Psychology from UCSC.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-7304175994873605792010-04-14T11:15:00.000-07:002010-04-14T11:22:19.820-07:00Secret longingsAnd while we all here at the Grateful Dead Archive really want to be rock stars, it turns out they want to be just like us. Who knew? Keith Richards in his soon-to-be released autobiography talks about his childhood reading habits, his drive to collect and share good books, and he confesses his hidden desire to be a librarian. Catch it all in the Times' preview of Richard's <span style="font-style:italic;">Life</span> coming out from Little Brown in the fall and written in collaboration with James Fox. <br /><a href="http://www.timesonline.co.uk/tol/arts_and_entertainment/music/article7086815.ece">http://www.timesonline.co.uk/tol/arts_and_entertainment/music/article7086815.ece</a>Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-65226390060637202402010-04-14T11:12:00.000-07:002010-04-14T11:15:23.028-07:00On the scholarly front the phenomenon continues<span style="font-style:italic;">The Grateful Dead in Concert: Essays on Live Improvisation</span> is now out from McFarland. Edited by Jim Tuedio, Professor of Philosophy at California State University, Stanislaus and Stan Spector, Philosophy Professor at Modesto Junior College, it includes twenty essays from major Dead scholars analyzing the "unique improvisational character of Grateful Dead music and its impact on appreciative fans." Writings by David Gans, Alan Trist, and our own soon-to-be Grateful Dead Archivist Nicholas Meriwether are included.Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0tag:blogger.com,1999:blog-530872469921701085.post-49949819690127959262010-03-31T23:23:00.000-07:002010-03-31T23:35:45.816-07:00Marketing rockstarsHubSpot CEO Brian Halligan and author David Meerman Scott are Deadheads and they're offering a live Webinar "Inbound Marketing Lessons from the Grateful Dead" on Thursday April 1, 2010 at 1:00 pm ET. Halligan and Scott believe that the Grateful Dead are the original inbound marketing rockstars who pioneered social media and marketing concepts that businesses in all industries use today on the web. Join them for discussion; to learn more go to: <a href="http://blog.hubspot.com/blog/tabid/6307/bid/5797/The-Original-Inbound-Marketing-Rockstars-The-Grateful-Dead.aspx">http://blog.hubspot.com/blog/tabid/6307/bid/5797/The-Original-Inbound-Marketing-Rockstars-The-Grateful-Dead.aspx</a>Grateful Dead Archivehttp://www.blogger.com/profile/13082317813651142875noreply@blogger.com0