DOCSLIB.ORG

©1997 San Francisco Examiner SHE NEVER GOT OFF the BUS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
©1997 San Francisco Examiner SHE NEVER GOT OFF the BUS ©1997 San Francisco Examiner SHE NEVER GOT OFF THE BUS The hard life and high times of Carolyn Garcia Cynthia Robins EXAMINER STAFF WRITER PLEASANT HILL, Oregon - "Come on and see The Bus," ordered Mountain Girl over her shoulder as she rushed hell-for-leather down the back steps of Ken Kesey's red barn home. With steely determination, she continued her way across a wide expanse of unmown grass with Kesey's black spaniel Happy yapping at her heels. A buxom, big-boned woman wearing green velvet pull-on pants, a shapeless black wool sweater and a voluminously floppy, long black coat, Mountain Girl is a force of nature - difficult to ignore when she's under sail. The Bus had been abandoned in a muddy, mossy swale behind the Kesey compound for three years. Thirty years ago, in the dawning of psychedelia, Kesey and the Merry Pranksters, that tatterdemalion pre-hippie/post-Beat caravansary of performers, musicians, poets, magicians, gypsies, tramps and fools crammed into their gaily-painted 1939 International-Harvester, and drove their way into the American consciousness on the rollicking prose of Tom Wolfe's The Electric Kool-Aid Acid Test. And now, The Bus was retired. Left to moulder in the weeds. And Mountain Girl wasn't sure how she felt about it. Happy the dog, her head splotched with a huge drop of blue paint, flushed a covey of peacocks which rose above the trees and the parked bus, scattering rainbow feathers and squawking bloody murder. The wind blew the cottony clouds around in a brisk Oregon morning and Mountain Girl, oh-so-daintily for her bulk, padded across a slippery board laid to traverse a narrow creek. And there it was. The Bus, with "Furthur" written like a title across the top. The hood was open. The engine had been cannibalized for parts for Furthur II, the "new bus" that Kesey was taking on what fellow Prankster Kenneth Babbs was calling the Grand Furthur Tour to the Rock and Roll Museum in Cleveland, Ohio. The riotous paint job was murky and peeling, as if the bus had leprosy. Mountain Girl walked around it, peering in the windows. She tried to get in the door but a tree had grown up and blocked her passage. She uttered a huge sigh. "I always get emotional about the old bus. It was such a special thing," she says. "I felt bad when it was taken down into the woods and abandoned. It hadn't been running for a very long time. There were daisies growing up through the floor boards. Ken (Kesey) could have made yard art out of it. Instead, he decided to hide it. It's sad to see it crumble away. It's a piece of my childhood. We had so much fun on that bus. Getting on it was a liberating feeling." "The bus is the real talisman," said Kesey a few weeks later. "It's the thing that runs through all of this history. It's not a thing anybody owns or controls. No matter how peeved you get with people, the bus always makes your heart jump. Everybody was attached to it." The first time Mountain Girl climbed onto the mythic bus, she was 18. Today, Carolyn Adams Walker Garcia is 51 years old. Her legend leaps off the pages of books, in the annals of the Grateful Dead in her role as Jerry Garcia's consort and then wife for nearly 30 years and in the transcripts of a high profile trial last winter which pitted her against Garcia's widow, Deborah Koons Garcia, in a Marin County courtroom. But who is this woman who attracted Ken Kesey and Jerry Garcia, two of the most powerful influences on the popular culture in the past three decades? "She's a person possessed of spirit and weight, will and energy," says Jon McIntire, the Dead's manager from 1968 to 1990. "She had the ability to meld her energy with the energy of others to do more than what one person could do by themselves. ... She had intelligence, joie de vivre and a directness that is really remarkable. And her beauty. She was amazingly beautiful." "She is an authentic personality," says Dennis McNally, former public relations manager for the Grateful Dead and now publicist for Grateful Dead Productions. "She is the real deal." Even as a teenager dedicated to "experimentation," as Carolyn now puts it, she was a fairly daunting personality. "I suppose I would have been pretty good pickings for a cult," she laughs. "I was definitely a seeker ... I would question every single thing. That was sort of my style, to ask the really tough questions right away." Even back in those pre-women's liberation days, Carolyn Adams was an in-your-face challenge for any male. "She's imposing all right," says David Gans, the proto-Deadhead historian who hosts "Dead to the World" on KPFA-FM radio. "You have to be a pretty big person to hold your own with Kesey and Garcia and their milieu. Those two are the biggest people in every way - big souls, big hearts, big egos, big personalities. They were monumental. It takes a monumental person to be with them." Today, vestiges of the slender, heart-stoppingly beautiful girl-woman who caught Kesey's eye in 1964 remain - the fierce intelligence, the take-control bossy stick, the intellectual acuity, the ability to cut through a morass of pretense to the heart of the matter, the boisterousness, the guilelessness, the curiosity, the laughter. It is to Pleasant Hill that Carolyn Garcia retreated many years ago, during her nearly three decade liaison and marriage to Jerry Garcia - the totemic Captain Trips, guitar-genius/linchpin of the Grateful Dead - when the druggy Deadhead scene got too weird and dangerous. She opted out of the Grateful Dead scene for the sake of her three little girls, Sunshine Kesey, her daughter with Ken Kesey, and Annabelle and Theresa Garcia, her children with Jerry Garcia. And it is in Pleasant Hill, in the bucolic greenness of the Willamette Valley, that she now lives on 16 acres with her new love, Bill Burwell, 49, a huge, shambling, robust ex-logger with a split between his teeth, ruddy cheeks and a long, salt-and-pepper gray pony tail. Their agrarian entourage includes a quartet of donkeys, a dozen sheep, two dogs (Chiquita, an ancient, deaf Border Collie mix and Penny, an apricot standard poodle) and two cats. She has a garden, a greenhouse with a new outdoor shower, a painting/writing studio guest house, a hot tub, an aging BMW convertible and a split-log conservatory Burwell built where she grows redwood trees. For an arduous month in December 1996 and part of January 1997, Carolyn Garcia was living on the Bolinas Lagoon at Stinson Beach with her old friend Caroline "Goldie" Rush and commuting to the Marin County Court House in San Rafael. She was the plaintiff in a court case seeking the balance of the $5 million settlement arrived at in a contract that she and Garcia had drafted as their divorce agreement in 1993. But Jerry had up and died. He left a third of his estate to his wife of three months, Deborah Koons Garcia, but had a herd of creditors in his wake (including Mountain Girl) and the value of his estate in dispute. Before Garcia died of a heart attack in a dry-out facility in Forest Knolls on Aug. 9, 1995, he'd already paid Mountain Girl their agreed-upon $20,883 per month for a period of 18 months. After his death, Koons Garcia stopped the checks. Mountain Girl sued to get the money owned her. The court case turned into a high-profile free-for-all, with Koons Garcia's side claiming that Jerry had stopped loving Carolyn years before, that their marriage on New Year's Eve, 1981, was a sham and had been for tax purposes only and that in circumventing the legal system, their agreement was basically not worth the paper it was written on. "Yes," admits Carolyn Garcia. "We were trying to do an end run on the legal system and get the ball around to the other side of the court without having to engage a whole lot of people in the process. It was something we did amongst ourselves. It was the honorable thing to do and it should be honored. Which is why I went and took it to court. Because Jerry and I honorably tried to do a deal that covered everything, that made me happy." Garcia knew that as Jerry's wife and mother of two of his children, she was entitled to half of his estate under California law. Both felt the $5 million figure was fair, she said. In exchange for the cash, she gave up claim to the fruits of his talent, his real estate holdings and any future earnings. "I knew he could pay it and that he would get total control of his own business and that I wouldn't ever have to know anything about anything. One thing that he did not want was any disclosure. He did not want to share that information or even have to dig into all that information." The trial was "an unexpected development," she says, as she sits in her rural kitchen. "We thought we had everything settled and that I was going to go up to Oregon and raise dahlias ... have some goldfish or something that would keep me happy.
Load more

Recommended publications
  • Suddenly That Summer
    July 2012 Suddenly That Summer By Sheila Weller It was billed as “the Summer of Love,” a blast of glamour, ecstasy, and Utopianism that drew some 75,000 young people to the San Francisco streets in 1967. Who were the true movers behind the Haight-Ashbury happening that turned America on to a whole new age? Photograph by Jim Marshall/Digital colorization by Lorna Clark/Permission of Jim Marshall L.L.C. FREE FOR ALL The Charlatans perform in Golden Gate Park. In a 25-square-block area of San Francisco, in the summer of 1967, an ecstatic, Dionysian mini-world sprang up like a mushroom, dividing American culture into a Before and After unparalleled since World War II. If you were between 15 and 30 that year, it was almost impossible to resist the lure of that transcendent, peer-driven season of glamour, ecstasy, and Utopianism. It was billed as the Summer of Love, and its creators did not employ a single publicist or craft a media plan. Yet the phenomenon washed over America like a tidal wave, erasing the last dregs of the martini-sipping Mad Men era and ushering in a series of liberations and awakenings that irreversibly changed our way of life. The Summer of Love also thrust a new kind of music—acid rock—across the airwaves, nearly put barbers out of business, traded clothes for costumes, turned psychedelic drugs into sacred door keys, and revived the outdoor gatherings of the Messianic Age, making everyone an acolyte and a priest. It turned sex with strangers into a mode of generosity, made “uptight” an epithet on a par with “racist,” refashioned the notion of earnest Peace Corps idealism into a bacchanalian rhapsody, and set that favorite American adjective, “free,” on a fresh altar.
    [Show full text]
  • This Is a Great Band, and I Had a Great Time” Bob Weir, Grateful Dead Founding Member (Guitar/Vocalist)
    “This is a great band, and I had a great time” Bob Weir, Grateful Dead founding member (guitar/vocalist) “Inspired and accomplished musical discourse at such a deep and serious level: I had no problem at all believing that this was what the Grateful Dead sounded like 40 years ago.” David Gans, Grateful Dead Hour “I've always been impressed by DSO, but the other night I thought they'd taken it to a new level. It was some of the best Grateful Dead music I've heard in the past 20 years, and that covers some ground. Somehow, Jeff Mattson manages to play Jerry's parts perfectly in the spirit, but without any sense of being imitative. And boy, does the band pick up on this energy. Big fun!” Dennis McNally, Grateful Dead publicist & biographer 1980 – 1995; Author “A Long Strange Trip: The History of the Grateful Dead” “As one who is classically trained, I actually always thought that DSO was very cool, treating Grateful Dead music as repertoire- much as I've tried to do in my various bands.” Phil Lesh, Grateful Dead founding member (bass/vocals) “Playing with Dark Star Orchestra is something that feels just exactly like it felt when I was playing with the Grateful Dead.” Donna Jean Godchaux, Grateful Dead vocalist, frequent DSO guest “There are moments where I can close my eyes and go back 30 years and have it be every bit as rewarding and satisfying. Dark Star is an amazingly legitimate representation of the Dead.” Dan Healy, Grateful Dead sound engineer 1966 -1994 “Thank you for a real good time.” Jon Fishman, Phish drummer after sitting in with DSO “The Dark Star Orchestra re-creates Grateful Dead shows with a flashback-inducing meticulousness.” The New Yorker “...recreates the Dead concert experience with uncanny verisimilitude.
    [Show full text]
  • 2010 Annual Report
    Furthering a Tradition of Grassroots Giving 2010 Annual Report Arts For Humanity! and Michael Franti, recipients of the 2010 Jerry Garcia and Ralph J. Gleason Awards (see page 2) Supporting Grassroots Non-Profits was a year of continuing challenges for As you read through this Report you will see examples 2010 the country, as the sluggish economic of the positive spirit and energy that surrounded the recovery and divisive political environment impacted Rex Foundation throughout the year. August brought available funds for charitable giving, generated ongoing a major burst of this energy, unquestionably to remem- cuts to business and government agency budgets, and ber the contributions of Jerry Garcia. The San Francisco cast a cloud of discouragement and cynicism. In July Giants made its August 9th game a night of tribute to 2010, just a year ago, we were working on the newsletter him, and designated Rex as the recipient of charitable Perspectives on Generosity of Spirit as part of our tribute SURFHHGV:HSXWWRJHWKHURXUÀUVWEHQHÀWFRPSLODWLRQ to Jerry Garcia’s vision and leadership in matters of of music called Jerry Jams for Rex thanks to the generosity creativity and acts of generosity, so as to highlight the of musicians who wanted to support Rex as part of their core values surrounding the Grateful Dead concert com- tribute to Jerry. And, we began planning the December munity that gave rise to the Rex Foundation. WKPXVLFDOEHQHÀWDW7KH)LOOPRUHFDOOHGThe Wheel – A Musical Celebration of Jerry Garcia that brought together I believe it is this very Spirit – a level of generosity that musicians who had played major roles in Jerry Garcia’s H[WHQGVEH\RQGDVSHFLÀFDFWRUPRQHWDU\FRQWULEXWLRQ musical career since 1962.
    [Show full text]
  • 2005 Annual Report – Expanding Connections in Our Twenty-fi Rst Year, Rex Strengthened Its Presence and Organizations in Those Communities
    Furthering a Tradition of Grassroots Giving 2005 Annual Report – Expanding Connections In our twenty-fi rst year, Rex strengthened its presence and organizations in those communities. In partnership with The giving capacity through continued outreach to an increas- Libra Foundation, Rex identifi ed and lent support to California ingly broad base of supporters and collaborators. Musicians organizations promoting environmental justice, conservation and fans came together for a benefi t concert at Berkeley’s and preservation, and sustainable agriculture. Word spread Greek Theater for “Comes a Time,” a celebration of the across the internet about the Rex Community Caravan, creative and humanitarian legacy of Jerry Garcia and and new riders joined our philanthropic journey. This report the Grateful Dead. Black Tie-Dye Balls in New York and describes the 2005 Rex Awards and Grants, events and Washington, DC, initiated new relationships with grassroots fundraising activities, and collaborations. Mercy Corps Mercy Corps Mercy / / / Photo: Henry McInnis / Sunday Mail Photo: Cassandra Nelson Cassandra Photo: Nelson Cassandra Photo: West Sudan, Darfur Refugee Camps RALPH J. GLEASON AWARD BILL GRAHAM AWARD JERRY GARCIA AWARD In memory of music journalist Ralph J. Gleason, a In memory of pioneering producer and founding Rex In memory of Grateful Dead guitarist and founding Rex major fi gure in the advancement of music in America in board member Bill Graham, himself a refugee, this award board member Jerry Garcia, this award is designed to the 1960s, whose openness to new music and ideas tran- is for those working to assist children who are victims honor and support individuals and groups that work scended differences between generations and styles.
    [Show full text]
  • 2003 Black Rock Gazette – Sunday
    SUNDAY, AUGUST 31, 2003 THE EXODUS EDITION #52 VOL. XII POPULATION 30,381 Burner Killed The Man’s Home Is His Temple In Art Car By How Weird from near-whiteout conditions at the base with What would you expect the construction a thick coat of playa dust in his moustache and supervisor of the Man to be doing five days hair. After putting some volunteers to work, Accident before the Burn? Building a carport, of course. we talked in the Temple’s underbelly near the By Suzanne mysterious locked red door which contains When I caught up with Spiral, he was kneel- A 21-year-old woman died in an art car either Larry’s secret stash or the laser, depend- ing toward the Man on top of his camp car- ing on who’s talking. accident early Saturday morning, Pershing port. “Yeah, we came up and built him the County Sheriff Ron Skinner said. week of July 4th, so after we put him up last Andy, who co-managed construction of the Katharine Lampman, who was part of the weekend, we were pretty much done.” His lighthouse last year, has a core crew of15 plus camp operating the art car, was getting off the crew is one part of the well-oiled machine that 10 to 15 volunteers. “It was hard figuring out vehicle towing the flatbed trailer when she readies the Man for the Burn. the manpower needed for the pedestal this year. Our initial estimate, of twice last year’s, tripped, fell and was run over by the trailer, Spiral first helped build the Man in1996, Skinner said.
    [Show full text]
  • Rex Newsletter 2
    Perspectives on Community Engagement NEWSLETTER # 2 AUGUST 2003 Introduction Rex initiated a newsletter series last year to gain perspec- ciple that effective action is a function of community. In tives and directions for its core mission. The first, Per- this newsletter, we explore what it means to engage so- spectives on Environmental Activism, addressed a clear and cial issues through community. central concern. We hope to return to this theme in a fu- ture newsletter through the lens of indigenous peoples As is our custom, we invited a Rex board member, and their cultural survival. Carolyn Garcia, and a member of our own wider com- munity, Peter Coyote, to contribute their thoughts. These Many of our mission areas are naturally interconnected, alumni of the 1960’s draw some lessons from those times such as support for social services, education, and the useful in today’s world. We are fortunate to have their arts. Common to them, and to the specific programs Rex wisdom and confirmed experience as markers on the road has funded over the last 20 years, is the organizing prin- forward. Photo: Gene Anthony Grateful Dead play free in Golden Gate Park, Love Pageant Rally, 1966 Radical Optimism OST widely known in recent years for his work own lives, the core motivation of most community ac- as a film actor, Peter Coyote has a rich history tion. Accordingly we changed the title of this newsletter M in community action dating from the 1960’s. from Community Activism to Community Engagement and So he immediately focused our attention with his feel the better for it.
    [Show full text]
  • Grateful Dead Records: History MS.332.Ser
    http://oac.cdlib.org/findaid/ark:/13030/c8vm49n7 Online items available Grateful Dead Records: History MS.332.Ser. 1 Special Collections and Archives Processing Unit University of California, Santa Cruz 2011 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Grateful Dead Records: History MS.332.Ser. 1 1 MS.332.Ser. 1 Language of Material: English https://www.gdao.org/ Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: History creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser. 1 Physical Description: 60 Linear Feet37 boxes Date (inclusive): 1950-2010 Abstract: This series contains a limited amount of historical and biographical material about the band and individual band members, as well as awards given to the band. Stored in Special Collections and Archives. Access Collection is open for research. Publication Rights 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. For more information on copyright or to order a reproduction, please visit guides.library.ucsc.edu/speccoll/reproduction-publication. Preferred Citation Grateful Dead Records: History. MS 332 Ser. 1. Special Collections and Archives, University Library, University of California, Santa Cruz. Acquisition Information Gift of Grateful Dead Productions, April 2008. A second accrual was received in June 2012.
    [Show full text]
  • Perspectives on Positive Culture
    Perspectives on Positive Culture NEWSLETTER #3 OCTOBER 2004 Introduction In a year darkened by the negative dynamics of our po- The support of such cultures has also been a guiding prin- larized culture and politics, Rex searched for a positive ciple of the Rex Foundation’s 20 years of grant giving. So theme for the Newsletter. While attending the Oregon this year, anniversary years for both Rex and the Fair, we Country Fair’s 35th Anniversary, the editors kept hear- interviewed their former directors, Danny Rifkin and Rob- ing that it was the quintessential gathering of the coun- ert DeSpain. It is interesting to note that the stories they terculture. This stimulated us to think that it would be tell are modalities of the chords that were struck in our more engaging to articulate what the Fair “is” rather than last newsletter, on Community Engagement: radical opti- that to which it might be “counter.” Thus emerged our mism and intentional community. We hope that other mo- theme, positive culture, for it is the essential attribute of dalities of positive culture will continue to evolve in the Fair, plain as day for all to see. Rex’s wider philanthropic community. The Oregon Country Fair he late Bill Wooten, a founder of the Oregon Coun- Trail. And we had our resident cultural icon and folk hero, Ken try Fair, reflected on its roots some years ago, and Kesey, who drew many, many more. Many of these political Ton the occasion of the Fair’s 35th anniversary his and cultural refugees converged in Eugene, and found their thoughts were reprinted in The Peach Pit, the 2004 Oregon way to the Odyssey Coffee House, owned by my wife Cynthia Country Fair guide: The decade of the 60’s was a time of great and me.
    [Show full text]
  • 2006 Annual Report
    Furthering a Tradition of Grassroots Giving 2006 Annual Report In 2006, the Rex Foundation continued to build communi- Working with the International Convention on Human ty connections and strengthen its network, and engaged Rights and Bay Area youth arts programs, Rex com- in new collaborations. Notably, summer festivals around misioned a dramatization about human rights aimed at the country supported Rex with funding and an active incorporation in school curriculums. This report highlights presence. Bands enthusiastically particpated in benefits. the many meaningful connections and worthwhile results. RalpH J. GLEASon AWarD JErrY Garcia AWarD Bill GraHam AWarD In memory of music journalist Ralph J. Gleason, a In memory of Grateful Dead guitarist and founding Rex In memory of pioneering producer and founding Rex major figure in the advancement of music in America in board member Jerry Garcia, this award is designed to board member Bill Graham, himself a refugee, this award the 1960s, whose openness to new music and ideas tran- honor and support individuals and groups that work is for those working to assist children who are victims scended differences between generations and styles. to encourage creativity in young people. of political oppression and human rights violations. NOTC marching band in old New Orleans Teachers & students at Las Posadas Holiday Event IP founders Peter Neufeld and Barry Scheck New Old Time Chautauqua Los Cenzontles Mexican Innocence Project The New Old Time Chautauqua Art Center The mission of the Innocence Project seeks to build community through The mission of the center is to pro- is to provide post-conviction legal laughter, entertainment and educa- mote and provide a quality education assistance to people in prison whose tion.
    [Show full text]
  • New Hippies.P65
    Hippies From A to Z Their Sex, Drugs, Music and Impact on Society from the Sixties to the Present. by Skip Stone A to Z Page 1 Hippies From A to Z Their Sex, Drugs, Music and Impact on Society from the Sixties to the Present. Copyright 1999, 2008 by Skip Stone All rights reserved, including the right to reproduce this book, or portions thereof, in any form. Published by Hip, Inc. PO Box 2993, Silver City, New Mexico 88062 To order this book online, view our catalogue or purchase an electronic version visit our website at: http://hippy.com Written by Skip Stone Editing, Page Layout and Book Design by Martin Trip ISBN Number: First Edition: November 1999 Digital Edition: January 2008 Digital Edition created by Chris Thompson Page 2 Hippies Table of Contents Deadication ..................................................................... 5 Preface ............................................................................. 7 Forward ........................................................................... 9 Introduction................................................................... 11 Part I The Way of the Hippy ..................................................13 Sex, Love & Hippies ...................................................... ? Hippies and Drugs .......................................................... ? Hippy Fashions & Lifestyles ......................................... ? Hippy Activism ................................................................ ? The Astrology of the Hippy Movement..........................
    [Show full text]
  • Las Vegas and the Cinema of American Excess
    Las Vegas and the Cinema of American Excess Mike King “our energy would simply prevail” In the 1998 film Fear and Loathing in Las Vegas – directed by Terry Gilliam – the city itself barely appears, present instead mostly as a concept. The film is an adaptation of the book by Hunter S. Thompson, known for his unique brand of left- wing investigative writing which he called “Gonzo” journalism. The story typically mixed his real-life trip to Las Vegas, in the aftermath of his investigation into the shooting of Mexican-American television journalist Rubén Salazar, with fictional elements. Gilliam’s adaptation stars Johnny Depp as Thompson’s alter ego Raoul Duke, alternately consuming endless quantities of mind-altering substances and writing feverishly on his beat-up old typewriter. Las Vegas does appear of course, now and again, as Duke and his companion Gonzo drive through the main drag, or arrive at various hotels waiting to be trashed in their drug-hazed binges. But as a concept it is the target of Thompson’s “fear and loathing” – it represents what he hates most in American society, the free enterprise system, which he saw as the “single greatest evil in the history of human savagery.” In dramatic terms however we encounter fear and loathing mostly as a result of Duke’s drug trips, visualised by Gilliam in quasi-Python style. In my book The American Cinema of Excess I introduced the film merely as an exercise in nihilism, and an illustration of Allan Bloom’s dictum that American nihilism is a “mood, a mood of moodiness, a vague disquiet.
    [Show full text]
  • Grateful Dead Records: Business Records MS.332.Ser
    http://oac.cdlib.org/findaid/ark:/13030/c8gf0rxj Online items available Grateful Dead Records: Business Records MS.332.Ser. 2 Alix Norton, Nicholas G. Meriwether, Maureen Carey, Mathew Simpson, Debra Roussopoulos, Gabriel Mindel, Alessia Cecchet, Wyatt Young University of California, Santa Cruz 2011, 2018 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Grateful Dead Records: Business MS.332.Ser. 2 1 Records MS.332.Ser. 2 Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Business Records Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser. 2 Physical Description: 131 Linear Feet169 boxes, 1 map-case folder, 9 oversized items in rolling cart Date (inclusive): 1966-2009 Date (bulk): 1970-1995 Language of Material: English . https://www.gdao.org/ Access Collection is open for research. Acquisition Information Gifts of Grateful Dead Productions; April 2008, 2012 Arrangement This collection is arranged in eleven series: Series 1: General Series 2: Production and Promotion Series 3: Financial and Accounting Series 4: Ice Nine Publishing Series 5: Correspondence Series 6: Deadheads Series 7: Legal Series 8: Office Series 9: Terrapin Station Series 10: Dick's Picks Series 11: Hotline Materials within each series are arranged chronologically by date created, unless otherwise specified. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California who 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.
    [Show full text]