"Relix: the Book " Recounts 30 Years of the Grateful Dead and Jam Band History

Total Page：16

File Type：pdf, Size：1020Kb

"Relix: The Book " recounts 30 years of the Grateful Dead and jam band history RSS | Go mobile | Favorite Examiners | Meet the Examiners Weather for Tampa Bay | 17° Search articles from thousands of Examiners Select your city Tampa Bay Home Entertainment Business Family & Home Life News & Politics Sports & Recreation Photos Tampa Bay Arts and Entertainment Music Examiner "Relix: The Book " recounts 30 years of the Grateful Dead and jam band history October 13, 9:31 PM Music Examiner Paul Gargano Comment Print Email RSS Subscribe Previous Next 100% Free Yearbook Find Friends from School Find Class Pictures, Year Keep Old Friendships Alive Books & School Buddies, 100% Online. Register Free at www.HighSchoolClassYearbook www.classmates.com Chitika | Premium Sponsored Results www.Webfetti.com Ads by Google There may not be a single music magazine that has impacted its genre more than Relix has impacted jam bands. Relix: The Book recounts how and why, Year in Review encapsulating the magazine's first 30 years and What will you remember from 2009? See bringing full-circle the world it helped to create. the Arts & Entertainment Year in Review. Relix started in 1974 as a way to connect Grateful Holiday Guide Dead fans, becoming a unique music and culture Examiners spread the seasonal cheer with magazine. Today, it remains the only publication of its the Examiner.com Holiday Guide. kind. As The Book unfolds, so does the story of one the most colorful bands and subsequent cultures in Popular Articles music history - the Grateful Dead and the Deadheads. Miley Cyrus reportedly wants Taylor Swift to get matching tattoo The current jam band evolution was born in the pages of Relix. As Phish, Blues Traveler, Gov’t Mule, Ivana Trump removed from Delta Airlines Widespread Panic, Dave Matthews Band. String flight in Florida: Police escort called to Cheese Incident, .moe and many others took their airplane places alongside veteran artists like the Grateful 'The Top Ten Most Mocked Celebrities of (BackBeat Books/Hal Leonard Publishing) Dead, Allman Brothers and Hot Tuna, the music 2009': who made the list this year? scene grew to encompass not only the classic rock- era baby boomers, but also their children and grandchildren. Tyra Banks' talk show ending, Bankable Studios movie company beginning In Relix: The Book - The Grateful Dead Experience, the genre's long strange trip is told through Avatar box office gross show how much editorials, interviews, articles, art, comics and photos, with long-time Relix owner and publisher Toni money Avatar has made Brown weaving the story together with her narrative and recollections. For more information, or to order Relix: The Book, click here. Recent Articles CHRISTMAS PLAYLIST - From Brooke White to Rob Halford, music to help http://www.examiner.com/x-25804-Music-Examiner~y2009m10d13-Relix-The-Book--recounts-30-years-of-the-Grateful-Dead-and-jam-band-history[12/28/2009 3:39:13 PM].

Copy Link

Recommended publications

Relix Magazine
RELIX MAGAZINE Relix Magazine is devoted to the best in live music. Originally launched in 1974 to connect the Grateful Dead community, Relix now features a wide spectrum of artists including: Phish, My Morning Jacket, Beck, Jack White, Leon Bridges, Ryan Adams, Tedeschi Trucks Band, Chris Stapleton, Tame Impala, Widespread Panic, Fleet Foxes, Joe Russo’s Almost Dead, Umphrey’s McGee and plenty more. Relix also offers a unique angle on the action with sections such as: Tour Diary, Behind The Scene, Global Beat, Track By Track, On The Verge and My Page as well as extensive reviews of live shows and recorded music. Each of our 8 annual issues covers new and established artists and comes with a free CD and digital downloads. TOTAL READERSHIP: 360,000+ MONTHLY PAGEVIEWS: 1.6 Million+ MONTHLY UNIQUE USERS: 280,000+ EMAIL SUBSCRIBERS: 225,000+ SOCIAL MEDIA FOLLOWERS: 410,000+ RELIX MEDIA GROUP Relix Media Group is a multifaceted, innovative, open-minded and creative resource for the live music scene. We are a passionate mix of writers, photographers, videographers, event coordinators, musicians and industry professionals. Above all, we are music lovers. Our mission is to seek out exciting, innovative performers and foster the live music community by connecting with the people who matter most: the fans. Since our earliest inception, we have opened doors for the sonically curious and sought to represent the voice of the concert community. Relix Media Group Info • relix.com • jambands.com • 3,700,000 total impressions • 375,000 total unique visitors
[Show full text]
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.
[Show full text]
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.
[Show full text]
Toni Brown, Former Owner/Publisher of Relix Magazine Releases New Book: Kindweb News Articles
Toni Brown, Former Owner/Publisher of Relix Magazine Releases New Book: KindWeb News Articles Home News Reviews Directory eCards My KindWeb Forum KindBands Shopping Contests Polls Welcome to KindWeb! NNewsews Search Register for a Profile • Login News Categories: Music • Environmental • Political • Odd • Other • View All News Current Poll Toni Brown, Former Owner/Publisher of Relix Magazine Plans for NYE? Releases New Book Going out, seeing live music DeadheadEd 9/25/2009 | Comment on this Article | EMail This Article Going out, low key Staying home Toni Brown, former owner/publisher of Relix Magazine for more than 20 years, Not sure Relix: The Book has just released her new book, , published by BackBeat Books, Vote Now | View Results a division of Hal Leonard Books. Suggest a Poll - View Past Polls Relix: The Book covers the "greatest hits" of the first twenty seven years of the magazine (1974-2001), and chronicles the evolution of the Deadhead/Taper Featured Sponsor community from its first days as a relative "street rag". The book has 256 pages of color, and includes interviews with major personalities including Jerry Garcia, Bob Weir, Jorma Kaukonen, and Robert Hunter. Relix: The Book includes all the cover art of the magazine during this period, photos, art, and articles as diverse as concert taping to Deadheads in jail. Toni Brown is currently on national tour to sign her new book, and to support her new CD, State of Mind. State of Mind is Toni's fourth musical project and was produced at Paul Harlyn Studios in Celebration, Florida. Toni is performing with guitarist/songwriter Ed Munson, and will include special musical friends along the way on her tour.
[Show full text]
Firstgratefuldeadshow
Great AlbumGRATEFUL DEAD s Includes: TERRAPIN STATION/ PASSENGER/SAMSON & DELILAH il Dead Terrapin Station is Giateiui Fameii iur hi^'.vurk as a Jerry Garcia's bano features While rock fads have'come and gone Keyboardist Keith Godchaux and vo• Dead music at its very best. guitarist, singer and Keith and Donna Godchaux, throughout the past decade, the Grate• calist Donna Godchaux joined before composer with the Grateful It's the Dead as you've never Ron Tutt, John Kahn, and ful Dead have remained a constant in Pigpen's untimely death. The Dead were Dead, Bob Weir has recorded heard them before. Merle Saunders and a great contemporary music. Their longevity is spawned from San Francisco's thriving a great album that showcases style all their own. not indicative of stagnation at all; rather psychedelic culture of the late sixties. the entire scope of his legions of Deadheads have been at• From the Dead's earliest days they remarkable talents. tracted by the new ideas and sounds earned a reputation as a superb live that the Dead never stop creating. band. Their spacey, highly improvisa- WATCH FOR THEIR NEW ALBUM The Grateful Dead have always been tional music is dependent on their synonymous with the glorious, youthful individual musical talents. They are COMING SOON days of the Surreal Sixties. That mys• tremendous musicians, and bring a terious band from the West Coast uniqueness to every song in their vast emerged with many different styles and repertoire. moods. Even without the big AM hit, The Dead come to Giants Stadium the Dead have created a huge following as legends in their own time.
[Show full text]
Stigma and the Inappropriately Stereotyped: the Deadhead Professional By
Stigma and the Inappropriately Stereotyped: The Deadhead Professional By: Rebecca G. Adams Adams, R. G. 2003. Stigma and the Inappropriately Stereotyped: The Deadhead Professional. Sociation Today. v.1, no.1. Made available courtesy of NC Sociological Association: http://www.ncsociology.org/sociationtoday/deadhead.htm ***Note: Figures may be missing from this format of the document The Grateful Dead, a North American rock band that stopped performing in 1995 after thirty years together, was as well known for its fans as it was for its music. Deadheads, as these fans are called, traveled from venue to venue to hear the band play, sometimes staying "on tour" with them for extended periods of time. Although there is still a large concentration of Deadheads in the San Francisco Bay area where the band originally performed, there are now Deadheads everywhere in the United States and in many foreign countries as well. The community claims at least a half million members (Adams & Rosen-Grandon, 2002). It is not only remarkable among music communities because of the length of time it has survived, how geographically dispersed it is, and how large it is, it is also noteworthy because of the length and intensity of involvement of individual fans. When the band stopped playing together as the Grateful Dead, the average Deadhead had been attending their concerts for 10 or 11 years, and more than half of them had traveled at least 800 miles to attend a show (Adams, 1998b). In 2003, almost eight years after the death of Jerry Garcia, the band's lead guitarist, Deadheads remain loyal to the community and continue to attend concerts given by surviving members.
[Show full text]
A Long Strange Trip Through the Evolution of Fan Production, Fan
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2017 A Long Strange Trip through the Evolution of Fan Production, Fan-Branding, and Historical Representation in the Grateful Dead Online Archive Anna Richardson Eastern Illinois University This research is a product of the graduate program in Communication Studies at Eastern Illinois University. Find out more about the program. Recommended Citation Richardson, Anna, "A Long Strange Trip through the Evolution of Fan Production, Fan-Branding, and Historical Representation in the Grateful Dead Online Archive" (2017). Masters Theses. 2694. https://thekeep.eiu.edu/theses/2694 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� 8STER,."l [LLJNOIS UNIVERSITY" Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, and Distribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so.
[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]
Billboard Magazine
The AMY NOBODY KNEW A new documentary reveals fresh details on the shocking, heartbreaking life, death and enduring legacy of Winehouse. Says Sam Smith: “She’s the reason why I sing” July 4, 2015 | billboard.com DOUBLE ISSUE Display until July 17, 2015 KABOOM! AFTERMATH OF APPLE AND TAYLOR SWIFT UK £5.50 WorldMags.net WorldMags.net WorldMags.net pmoqiin Is Kelsea Ballerini The Next Carrie LAURA FARR/ADMEDIA Underwood? IRL POWER REIGNS SUPREME — AT LAST — ON country radio. Kelsea Ballerini is the first woman to send a debut single to No. 1 on Billboard’s Country G Airplay chart (see page 65) in more than nine years as “Love Me Like You Mean It” (from her debut album The First Time, released in May on indie label Black River) rises 2-1. On the Billboard Hot 100, the track bullets at No. 46. It’s the first career- opening single by a solo female to crown Country Airplay since Carrie Underwood’s “Jesus, Take the Wheel” in 2006, released to country radio after she won American Idol in 2005. LC and Nielsen Music, Inc.LC All rights reserved. “I’ve been writing songs since I was 12, and so many times I’ve wondered if I was good at it,” Ballerini, 21, tells Billboard. “To see it work is so reassuring that this is what I’m supposed to be doing.” Black River also celebrates its first Country Airplay No. 1. “It’s a huge day for us as an independent record label,” says CEO Gordon Kerr. “So many people have embraced us.
[Show full text]
The Long Strange Trip Continues: Aging Deadheads
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro The Long Strange Trip Continues: Aging Deadheads By: Rebecca G. Adams and Justin T. Harmon Adams, R. G., and Harmon, J. 2014. “The Long Strange Trip Continues: Aging Deadheads,” In C. Lee Harrington, Denise D. Bielby, and Anthony R. Bardo (Eds), Aging, Media, and Culture, Lexington. pp. 83-95, Aging, Media, and Culture edited by C. Lee Harrington, Denise D. Bielby, and Anthony R. Bardo, 2014, reproduced by permission of Rowman & Littlefield https://rowman.com/ ***© 2014 Lexington Books. All rights reserved. Please contact the publisher for permission to copy, distribute or reprint. Abstract: The community surrounding the Grateful Dead, a San Francisco-based psychedelic rock band that had played together for thirty years when its lead guitarist Jerry Garcia died in 1995, still persists. For many Deadheads, as these fans are called, membership in this community has been a major component of their identity and following the band from place to place had provided structure and meaning to their everyday lives. Many older Deadheads continue to participate not only via online, recorded, and print media but also by attending performances of bands including surviving members of the Grateful Dead, cover bands, and other jam bands. This chapter examines the challenges to identity maintenance and community participation faced by Deadheads as they age, the ways in which the community has addressed the aging of its population, and how fans have adapted the ways in which they participate in the community to allow continuity in their identity as Deadheads.
[Show full text]
On the Removal of Download Access to Grateful Dead Soundboards from the Live Music Archive Jeremy Berg Illinois State University, [email protected]
Illinois State University ISU ReD: Research and eData Faculty and Staff ubP lications – Milner Library Milner Library 8-2012 On The Removal of Download Access to Grateful Dead Soundboards From the Live Music Archive Jeremy Berg Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/fpml Part of the Library and Information Science Commons, and the Music Commons Recommended Citation Berg, Jeremy, "On The Removal of Download Access to Grateful Dead Soundboards From the Live Music Archive" (2012). Faculty and Staff Publications – Milner Library. 35. https://ir.library.illinoisstate.edu/fpml/35 This Article is brought to you for free and open access by the Milner Library at ISU ReD: Research and eData. It has been accepted for inclusion in Faculty and Staff ubP lications – Milner Library by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. 1 On The Removal of Download Access to Grateful Dead Soundboards From the Live Music Archive Abstract In November 2005, access to all recordings of Grateful Dead shows on the Internet Live Music Archive was abruptly discontinued. Over the next nine days, the band, their fans, and the Archive argued the matter on a nationwide stage, before a compromise on access was reached. The controversy touched on issues of copyright, ownership, and the effects of the internet on making fan projects more widespread and organized than ever before. This case study traces the history of the controversy and its implications through primary and secondary sources and an original interview.
[Show full text]
Understanding ‗It': Affective Authenticity, Space, and the Phish
Understanding ‗It‘: Affective Authenticity, Space, and the Phish Scene By C2010 Elizabeth Anne Yeager Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Sherrie J. Tucker ________________________________ Ben Chappell ________________________________ Henry Bial ________________________________ Eric Weisbard ________________________________ Nicole Hodges Persley Date Defended: December 14, 2010 ii The Dissertation Committee for Elizabeth Anne Yeager certifies that this is the approved version of the following dissertation: Understanding ‗It‘: Affective Authenticity, Space, and the Phish Scene ________________________________ Chairperson, Sherrie J. Tucker Date approved: April 18, 2011 iii Abstract ―Understanding It: Affective Authenticity, Space, and the Phish Scene‖ is an ethnographic study of ―scene identity‖ around the contemporary rock band Phish. Utilizing data generated from six years of ethnographic fieldwork, including over one hundred and fifty interviews with Phish scene participants, this project explores how the production of space at Phish shows works to form a Phish scene identity. I contend that the identity of the Phish scene, what the band members and fans refer to as ―it‖ and I call a spatial articulation of affective authenticity, is produced and formed by scene members themselves, drawing from the interrelations between the production of space (practices that create a specific environment) at shows and a white, middle and upper-middle class cultural memory of the Grateful Dead scene. I situate this process amidst a cultural backdrop of 1980s and 1990s identity politics and in particular, multiculturalism and suggest that Phish scene identity be analyzed as a middle class performance of resistance that achieves community and meaning without resisting class privilege.
[Show full text]