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Art Nouveau Revival 1960S-1990S
Art Nouveau Revival 1960s-1990s Stanley Mouse & Alton Kelly Kathleen James | ADM-103 – The Essay | 13 January 2020 Introduction ................................................................................................................................. 1 Social Context .............................................................................................................................. 1 The Rise and Fall of Art Nouveau ............................................................................................... 2 Origins & Revival ...................................................................................................................... 2 Le style Mucha .......................................................................................................................... 2 ContemPorary Artists .................................................................................................................. 3 Kelley Mouse Studios & the Grateful dead ............................................................................. 3 Stephanie young and street art ............................................................................................... 5 Bibliography ................................................................................................................................. 7 Table of Figures ............................................................................................................................ 7 Introduction This essay investigates the relationshiP between the Art -
Grateful Dead Records: Realia
http://oac.cdlib.org/findaid/ark:/13030/c8k64ggf No online items Guide to the Grateful Dead Records: Realia Wyatt Young, Maureen Carey University of California, Santa Cruz 2012 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Note Finding aid updated in 2018, 2020, 2021 Guide to the Grateful Dead MS.332.Ser.10 1 Records: Realia Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Realia Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser.10 Physical Description: 178 Linear Feet128 boxes, 21 oversize items Date (inclusive): 1966-2012 Stored in Special Collections and Archives. Language of Material: English Access Restrictions Collection open for research. Advance notice is required for access. Use Restrictions Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. Preferred Citation Grateful Dead Records: Realia. MS 332 Ser. 10. Special Collections and Archives, University Library, University of California, Santa Cruz. Acquisition Information Gift of Grateful Dead Productions, 2008. Accurals The first accrual was received in 2008. Second accrual was received in June 2012. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California. They came to fame as part of author Ken Kesey's Acid Tests, a series of multimedia happenings centered around then-legal LSD. -
Publicsite.R?Scontinent=USA&Screen=
Results and Description Print Page 1 of 4 Print Results Close Screen Sale 15537 - Life on the Golden Road with the Grateful Dead: The Ram Rod Shurtliff Collection, 8 May 2007 220 San Bruno Avenue, San Francisco, California Prices are inclusive of Buyer's Premium and sales tax (VAT, TVA etc) and may be subject to change. Lot Description Hammer Price 1 A Bob Seidemann mounted-to-board photographic print of The Grateful Dead, $1,680 1971 2 Two color photographs of Jerry Garcia and Bob Weir, circa 1968 $900 3 Five black and white photographs of The Grateful Dead, circa 1969 $780 4 A massive display piece of The Grateful Dead from The Winterland Ballroom, circa $9,600 1966-1978 5 A poster of Pig Pen and Janis Joplin, 1972 $720 6 A Herb Greene signed black and white photograph of The Grateful Dead, 1965, $1,320 1988 7 A Herb Greene signed black and white photograph of Jerry Garcia, 1966, 1980s $960 8 A Herb Greene signed limited edition black and white photograph of The Grateful $2,400 Dead with Bob Dylan, 1987, 1999 9 A Herb Greene signed black and white photograph of The Grateful Dead and Bob $1,440 Dylan, 1987, 1999 10 A Herb Greene signed and numbered limited edition poster of Jerry Garcia, 1966, $900 2003 11 A group of photographs of The Grateful Dead, 1960s-1990s $480 12 A William Smythe signed color photograph of Phil Lesh, 1983 $360 13 A Bob Thomas group of original paintings created for The Grateful Dead album $87,000 jacket "Live/Dead," 1969 14 An RIAA gold record given to The Grateful Dead for "Grateful Dead" (aka "Skull $11,400 and -
Grateful Dead
STORIES STORIES UNTOLD—The Very Best of Stories They had a #1 hit and one of the most enduring (and controversial) hits of the ‘70s in “Brother Louie”—the groundbreaking song about an interracial love affair recently heard (in a re-recorded version) as the theme song of SELLING POINTS: Louis C.K.’s hit TV series Louie—but Stories have never had any kind of collection devoted to their work. One reason for that might be that the • Led by Ian Lloyd and Michael Brown band had two distinct eras: the first two albums with Ian Lloyd and the (Formerly of the Left Banke), Stories Left Banke’s Michael Brown as co-leaders of the band, and the third and Released Three Excellent Albums and final album with Lloyd as the sole frontman. Which we have kept in mind Scored Five Chart Hits During the ‘70s in putting together in this compilation, which features four single sides Including the #1 Hit “Brother Louie” that have never been on CD. Stories Untold starts with the “Two by • Stories Untold Is the First-Ever Compilation Two (I’m Losing You)”/”Love Songs in the Night” single taken from the of Their Work Ultra Violet’s Hot Parts soundtrack that was purportedly recorded by the Left Banke but was credited to Steve Martin, who was a founding member of that group along with Brown. We also include • Includes 19 Tracks Taken from Three the solo singles that Brown and Lloyd released on the Kama Sutra and Scotti Bros. labels, respectively. But Albums and Hit Singles Plus Solo Work by at the heart of the collection are the songs the band released as Stories and Ian Lloyd & Stories—the original Lloyd and Brown hit single versions of “Brother Louie,” “I’m Coming Home,” “Darling,” “Mammy Blue” and “If It Feels Good, Do • Features Four Single Sides Making Their It,” plus key album tracks, all remastered at Sony’s Battery Studios in New York. -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
Grateful Dead Shakedown Street Mp3, Flac, Wma
Grateful Dead Shakedown Street mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Funk / Soul Album: Shakedown Street Country: Australia Released: 1978 Style: Folk Rock, Country Rock, Funk, Disco MP3 version RAR size: 1920 mb FLAC version RAR size: 1889 mb WMA version RAR size: 1484 mb Rating: 4.1 Votes: 873 Other Formats: VQF MP3 MP2 AAC AIFF AUD MP4 Tracklist Hide Credits Good Lovin' A1 4:51 Written-By – A. Resnick*, R. Clark* France A2 4:03 Written By – Hart/Weir/HunterWritten-By – Bob Weir, Mickey Hart, Robert Hunter Shakedown Street A3 4:59 Written By – Garcia/HunterWritten-By – Jerry Garcia, Robert Hunter Serengetti A4 1:59 Written By – Hart/KreutzmannWritten-By – Bill Kreutzmann, Mickey Hart Fire On The Mountain A5 3:46 Written By – Hart/HunterWritten-By – Mickey Hart, Robert Hunter I Need A Miracle B1 3:36 Written By – Weir/BarlowWritten-By – Bob Weir, John Perry Barlow From The Heart Of Me B2 3:23 Horns – Steve SchusterWritten-By – D. Godchaux* Stagger Lee B3 3:25 Written By – Garcia/HunterWritten-By – Jerry Garcia, Robert Hunter B4 All New Minglewood Blues 4:12 If I Had The World To Give B5 4:50 Written By – Garcia/HunterWritten-By – Jerry Garcia, Robert Hunter Companies, etc. Manufactured By – EMI (Australia) Limited Credits Artwork By – Gilbert Shelton Co-producer – Dan Healy Engineer – Bob Matthews Harp – Matthew Kelly Mastered By – George Horn Percussion – Jordan Amarantha Producer – Lowell George Barcode and Other Identifiers Matrix / Runout (Runout Side A): AB.4198A Matrix / Runout (Runout Side B): AB.4198B-2 Other -
Grateful Dead Records: Artwork MS.332.Ser
http://oac.cdlib.org/findaid/ark:/13030/c8ff3qrq Online items available Grateful Dead Records: Artwork MS.332.Ser. 9 Wyatt Young, Alix Norton University of California, Santa Cruz 2018 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Grateful Dead Records: Artwork MS.332.Ser. 9 1 MS.332.Ser. 9 Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Artwork Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser. 9 Physical Description: 178 Linear Feet42 boxes, 9 map-case drawers, and 103 oversized items Date (inclusive): 1972-2012 Date (bulk): 1980-2008 Language of Material: English . https://www.gdao.org/ Access Collection is open for research. Advance notice is required to access large and framed items so that they can be retrieved from storage. Please contact Special Collections and Archives in advance to request access. Accruals The first accrual was received in 2008. A second accrual was received in June 2012. Acquisition Information Gift of Grateful Dead Productions, 2008 and 2012. Arrangement This collection is arranged in three series: Series 1: Business Art Series 2: Fan Art Series 3: Band Art Materials within each series are arranged alphabetically by last name of artist, where identified. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California. They came to fame as part of author Ken Kesey's Acid Tests, a series of multimedia happenings centered around then-legal LSD. Famed for their concerts, the band performed more than 2,300 shows over thirty years, disbanding after the death of lead guitarist Jerry Garcia in August 1995. -
The Grateful Dead and the Long 1960S – Syllabus Department of Music, University of California – Santa Cruz, Spring Quarter 2018
Music 80N: The Grateful Dead and the Long 1960s – Syllabus Department of Music, University of California – Santa Cruz, Spring Quarter 2018 Instructor: Dr. Melvin Backstrom [email protected] Teaching Assistants: Marguerite Brown [email protected] Ike Minton [email protected] Class Schedule: MWF, 12pm-1:05pm, Music 101 (Recital Hall) OFFICE HOURS & LOCATION INSTRUCTOR Room 126 Mondays 2-3pm or by appointment TEACHING ASSISTANTS TBA Course Description This music history survey course uses the seminal Bay Area rock band/improvisational ensemble the Grateful Dead as a lens to understand the music and broader history of countercultural music from the 1950s to the present. It combines an extensive engagement with the music of the Grateful Dead, as well as other related musicians, along with a wide variety of readings from non- musical history, political science, philosophy and cultural studies in order to encourage a deep reflection on what the countercultures of the 1960s meant in their heyday, and what their descendants continue to mean today in both musical and non-musical realms. It aims to be both an introduction to those interested in the Grateful Dead, though largely born after the group’s disbandment in 1995, as well as to appeal to those with a broader interest in recent cultural history. Because the University of California – Santa Cruz is the home of the Grateful Dead Archive, students are encouraged to make use of it. However, given the number of students in the course and limitations of UCSC Special Collections its use will not be required. Readings All texts will be available through UCSC’s online system. -
Introduction in Their Thirty Years Together, the Grateful Dead Forever
Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement. -
The Psychedelic Poster Art and Artists of the Late 1960S
Focus on Topic The Psychedelic Poster Art and Artists of the late 1960s by Ted Bahr Bahr Gallery New York, USA 46 Focus on Topic The stylistic trademarks of the 1960s To advertise these concerts, both promoters turned to Wes Wilson at Contact Printing, who had been laying psychedelic poster were obscured and disguised out the primitive handbills used to advertise the Mime lettering, vivid color, vibrant energy, flowing Troupe Benefits and the Trips Festival. Wilson took organic patterns, and a mix of cultural images LSD at the Festival and was impacted by the music, from different places and periods -- anything to the scene, and the sensuous free-love sensibilities of confuse, enchant, thrill, and entertain the viewer. the hippie ethos. His posters quickly evolved to match the flowing, tripping, improvisational nature of the The style was also tribal in the sense that if you developing psychedelic music -- or “acid rock” -- and could decipher and appreciate these posters his lettering began to protrude, extend, and squeeze then you were truly a member of the hippie into every available space, mimicking and reflecting the subculture – you were hip, man. totality of the psychedelic experience. His early style culminated in the July 1966 poster for The Association which featured stylized flame lettering as the image The psychedelic poster movement coincided with the itself, a piece that Wilson considered to be the first rise of hippie culture, the use of mind-altering drugs like truly psychedelic poster. LSD, and the explosion of rock and roll. San Francisco was the center of this universe, and while prominent psychedelic poster movements also developed in London, Detroit, Los Angeles, and Austin, Bay Area artists both initiated and dominated the genre. -
Dick's Picks GRATEFUL DEAD
“Dick” was Dick Latvala, the official tape archivist for the Grateful Dead until 1999, whose inspiration and encyclopedic knowledge of the band’s vaults spawned the fabled Dick's Picks Dick’s Picks series of live Dead concert recordings. Comprised of 36 volumes, Dick’s Picks follows the band on its long, strange trip through a multitude of eras, tours and venues, featuring handpicked shows that display the band at its visionary, improvisa- tional height. Now, Real Gone Music is finally bringing this unparalleled cache of Dead concert brilliance to record stores—many of these volumes have never been available at music retail, and the others have been unavailable for close to a decade! GRATEFUL DEAD: Dick’s Picks Vol. 29—5/19/77 Fox Theatre Atlanta, GA 5/21/77 Lakeland Civic Center Arena Lakeland, FL (6-CD Set) Start talking tours to any Deadhead you know and just say “Spring ‘77”—chances are a big smile will steal across his or her face. That’s because of all the road trips in the Dead’s long history, arguably the one that saw the most consistently high level of playing was the Spring ’77 tour the band undertook in support of its forthcoming Terrapin Station album. And that’s why, out of the 36 volumes in the Dick’s Picks series, only one, this one, is a 6-CD set (there isn’t even a 5-CD DEAD set)! Inside are two complete shows minus one encore (from the Florida show), plus some equally fantastic, unlisted bonus tracks from a 10/11/77 show in Norman, Oklahoma, all impeccably recorded by Betty Cantor-Jackson. -
FOR IMMEDIATE RELEASE August 27, 2018
Contact: Amy Schreiber Executive Assistant for Advancement and Administration 260. 422. 6467, ext. 334 [email protected] FOR IMMEDIATE RELEASE August 27, 2018 Solo exhibition by Chuck Sperry, legendary rock poster artist, opens September 15 Including a sister exhibition of work from the psychedelic era opening September 8 [Fort Wayne, IN] ̶ The Fort Wayne Museum of Art is pleased to announce dual exhibitions exploring the intersection of art, music, and journalism, and their influence by the psychedelic era of the 1960s. On September 8, FWMoA will open Litmus Test: Works on Paper from the Psychedelic Era, followed by the opening of All Access: Exploring Humanism in the Art of Chuck Sperry a week later on September 15. The Psychedelic Era was, among many things, a cultural frontier for colors and imagery. Music, politics, and drugs ignited an unprecedented expansion of art revolving around these elements. From Berkeley College to the Grande Ballroom in Detroit, young idealists organized and the art of the era came to fruition. This exhibition will be our bridge to that time, showcasing a psychedelic era works on paper. The poster work and ephemera of Gary Grimshaw and the photography of Leni Sinclair will showcase the art that poured from that time and place. Blotter sheets from Mark Mothersbaugh, H.R. Giger, S. Clay Wilson, Chuck Sperry, and more will represent the creative fuel for many of the artists of the time. Also featured will be the work of the poster artists of the time: Wes Wilson, Victor Moscoso, Stanley Mouse, Rick Griffin, and Alton Kelley.