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March 11, 2010 March 11, 2010 March 5, 2010 March 2010 CYAN MAGENTA AMARELO PRETO TAB CADERNO B 16 Jornal do Brasil B16 |JB CADERNO B|Domingo, 7 de março de 2010 [email protected] Fotos de divulgação Exposição em Nova York leva ao público, pela primeira vez, o acervo dos 30 anos de carreira da banda e mostra a organização por trás da rebeldia Franz Valla DE NOVA YORK, ESPECIAL PARA O JORNAL DO BRASIL Jerry Garcia conseguiu em vida fazer o que as novas gerações de músicos apenas sonham: manter uma banda de rock por 30 anos, mesmo sem ter acesso ou exposição na mídia ou em- placar sucessos nas listas de mais tocadas nas rádios, e, ainda assim, ainda conseguir arrastar multi- dões para seus shows . O Grateful Dead se tornou um ícone jus- tamente por se manter à margem da indústria fonográfica e sua ex- periência agora é objeto de es- tudo acadêmico. Desde a última sexta-feira, está em cartaz no New York Historical Society uma exposição com itens raros da banda. A mostra The Grateful Dead: now playing at the New York MEMÓRIA – O Grateful Dead, com Garcia (sentado ao centro), em 1966. Abaixo, a caixa de uma fita magnética gravada em um show de 1970 Historical Society, que vai até 4 de julho, exibe peças da imensa co- leção doada por membros da ROCK banda à University of California, Santa Cruz (UCSC) em 2008. – O material doado é tão ex- tenso que dava para encher um O baú do estádio – comenta Christine Bunting, curadora da UCSC res- ponsável pelos arquivos. – Ainda vai demorar uns dois anos para. O que está exposto aqui é apenas a ponta do iceberg. Mais de 150 shows em NY A universidade pretende es- Grateful Dead tudar a evolução da sem nenhum prejuízo para a banda e criar uma mos- venda de dos discos – destaca tra permanente em seu William. – Isto oferece uma pista campus após conseguir importante aos artistas que te- atrair investimentos pa- mem perder dinheiro por conta ra isso. A ideia da ex- dos downloads não pagos de suas posição é oferecer ao musicas pela internet. O Grateful publico uma oportuni- Dead ensina que o importante é dade de acompanhar os fazer shows e que a venda de meandros administra- discos só serve mesmo para di- tivos de um conjunto vulgar seus trabalhos. que desafiou por déca- Autor de alguns pôsters de das as regras estabeleci- apresentações da banda, o ar- das pela indústria para tista grafico Dennis Larkins levar seu trabalho aos também estava presente na fãs, ao mesmo tempo abertura da exposição. em que lança propostas – Trabalhar com eles era como a um mercado que procura so- critos por Jerry Garcia. servir a uma multinacional sem luções para a queda na venda de O acervo demonstra que a necessariamente trabalhar em álbuns. Por enquanto, outras longevidade da banda é explicada uma. Apesar de haver quase 100 mostras itinerantes como essa se- pelo elevado grau de organização pessoas na organização de cada rão realizadas. A escolha de Nova em administrar seus negócios e show, não havia hierarquias. To- York para receber pela primeira que sua criatividade não estava dos da banda tinham a mesma vez os itens da coleção não foi ao limitada somente à musica. A autoridade, e isso se refletia nos acaso. Grateful Dead Productions co- shows. Nenhum era igual ao ou- – Nova York era a cidade pre- mandava nove subsidiárias para tro. Eles não ensaiavam e can- ferida da banda – comenta Wil- controlar todos os aspectos lo- tavam o que queriam. liam Kelly, presidente do cento de gísticos de seus shows, desde via- Outro fato que fica evidente graduação da faculdade de Nova gens, venda de entradas, trans- na mostra do New York His- York. – Eles tocaram aqui umas porte de instrumentos até o alu- torical Society é que, apesar de sua 150 vezes, incluindo um show guel de espaços para se apresentar. boa estrutura, o Grateful Dead histórico no Madison Square A banda nunca dependeu de gra- não resistiu à morte de Jerry Gar- Garden, nos anos 80. Nada mais vadoras para nada: produziam e cia, em 1995, um ano após a ban- natural do que abrir seus arquivos lançavam seus próprios discos, fa- da entrar para o Rock and Roll pela primeira vez na cidade. turavam alto com a venda de ca- Hall of Fame. Apesar de ser um O material dos arquivos inclui misetas durante seus shows e até líder relutante, o carismático vo- de tudo: cartas dos fãs, fitas cassete estimulavam seus fãs a gravarem calista era o elemento que man- com suas gravações originais, suas apresentações para dividir tinha o grupo unido. pôsters dos shows, crachás de com quem não conseguiu com- – Este é outro detalhe inte- acesso aos bastidores, listas de prar o ingresso. ressante que pretendemos estudar convidados, anotações escritas a – Eles estavam muito à frente a fundo – observa a curadora Ch- mão pelos integrantes da banda, de sua época. Ao mesmo tempo ristine. – Isso demonstra que, no contratos, fotos inéditas, recibos, em que mantinham controle de fundo, a alegria do Grateful Dead roupas, tíquetes originais, instru- sua produção, também libera- era ele. Não há estrutura que re- mentos musicais e ate bilhetes es- vam a distribuição de sua música, EM NOVA YORK – Fillmore East, onde o grupo tocou em janeiro de 1970 sista à perda de um líder. Louise Mirrer: Be Grateful History Is Not Dead http://www.huffingtonpost.com/louise-mirrer/be-grateful-history-is-no_b... March 11, 2010 Louise Mirrer This is the print preview: Back to normal view » New-York Historical Society president Posted: March 5, 2010 04:53 PM The Grateful Dead began their long, strange trip in San Francisco, but the road has now taken them to an unexpected new East Coast destination: the New-York Historical Society, which just opened its new exhibition The Grateful Dead: Now Playing at the New-York Historical Society. On view are programs, posters, newsletters, tickets, backstage passes, stage props, photographs, contracts, correspondence and more, covering three decades of the band's activity. It's the first exhibition ever presented of materials from the recently established Grateful Dead Archive at the University of California, Santa Cruz, and people are crowding in. But some of them are asking, why here? Why is the Historical Society, New York's oldest museum, the right place for this show? The best answer is that The Grateful Dead: Now Playing At the New-York Historical Society is a genuine contribution to the understanding of American history. It uses the rare and fascinating materials from the Archive to explore not just the life but the times of the Grateful Dead, giving a vivid picture of the band's tremendous, lasting influence on how popular music is performed, recorded, heard, marketed and shared, while also reflecting on the tremendous changes in American society, culture and politics that shaped and influenced the band. Underscoring the import of the exhibition is the fact that for several weeks, it will be on view virtually side-by-side with another first-ever exhibition from the New-York Historical Society, Lincoln and New York. What's interesting is that many visitors, particularly schoolchildren, will not feel any disconnect between the two experiences. For them, the Dead's 1960s are as much a part of a vague, undifferentiated past as are Lincoln's 1860s--the hippie finery of the psychedelic era having just about the same status for them ("old") as Lincoln's top hat. But consider what the exhibitions can tell us when they're seen together. They reveal unexpected links and contrasts between the social upheavals of the two decades: the virulently racist Draft Riots of the 1860s, for example, versus the strongly anti-racist draft resistance of the 1960s, or the self-proclaimed sobriety and moralism of Lincoln's New York supporters (organized, tellingly enough, in something called the Sanitary Commission) versus the rather less buttoned-up attitudes of the supporters of the Grateful Dead. Most of all, the two exhibitions remind us of how "freedom," that 1 of 2 3/11/2010 3:41 PM Louise Mirrer: Be Grateful History Is Not Dead http://www.huffingtonpost.com/louise-mirrer/be-grateful-history-is-no_b... fundamental but eternally contested American idea, was at the center of the debate in both eras. And then, of course, there's the opportunity to see how popular culture and its artifacts can illuminate a moment in history, just as much as do "high" art and precious manuscripts. So no matter which dimension of the subject matter people explore in the exhibition--the influence on the Dead of virtually every strand of American musical tradition, the relationship of the band and its music to the turmoil and excitement of the 1960s, the new business model pioneered by the Dead in taking control of the production and distribution of their music, and especially the development of a sense of community among the band and its multitudes of fans--there will be the possibility of discovering something in the past that's vital, significant and still relevant today. That's why the Grateful Dead are Now Playing At the New-York Historical Society: because all of us, whether or not we're Deadheads, have good reason today to be grateful that history is not dead. Books & More From Louise Mirrer Follow Louise Mirrer on Twitter: www.twitter.com/nyhistory 2 of 2 3/11/2010 3:41 PM The Grateful Dead Headlines At City History Museum - NY1.com http://www.ny1.com/9-staten-island-news-content/ny1_living/114664/the..
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