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How Do the Grateful Dead and Deadheads 'Mean'?
Matthew Tift University of Wisconsin-Madison “How Do the Grateful Dead and Deadheads ‘Mean’?” 09 March 2001 What exactly is a work of music? Is it the sounds we hear? Is it the sounds we are intended to hear? Is a musical work something that can only be defined using metaphors? Must it be organized sound? Is it beyond definition? About the only acceptable answer to these ontological questions is that the nature of a musical work is not universally understood. Nevertheless, by phrasing questions of musical identity differently, some popular music scholars find answers that are more rewarding. Richard Middleton, a well-respected popular music scholar, points out, “popular music analysis has insisted . on the priority of meaning.”1 One method for discussing meaning is to foreground questions of process, thereby avoiding questions of product. Simon Frith, another doyen of popular music studies, writes, “too often attempts to relate musical forms to social processes ignore the ways in which music is itself a social process.”2 By concentrating on social processes, one can more easily address such issues as musical meaning and social significance. This variety of analysis is sometimes described as process philosophy.3 Christopher Small’s advocation of process philosophy is perhaps the most resonant. Small is concerned with questions that address how musical activities are interconnected. In his 1998 book, Musicking, Christopher Small challenges the dominant Western idea of music as a thing and explores the idea of music as an activity. In fact, he creates a new word specifically for 1 Middleton, Reading Pop, 104. -
November/December 2005 Issue 277 Free Now in Our 31St Year
jazz &blues report november/december 2005 issue 277 free now in our 31st year www.jazz-blues.com Sam Cooke American Music Masters Series Rock & Roll Hall of Fame & Museum 31st Annual Holiday Gift Guide November/December 2005 • Issue 277 Rock and Roll Hall of Fame and Museum’s 10th Annual American Music Masters Series “A Change Is Gonna Come: Published by Martin Wahl The Life and Music of Sam Cooke” Communications Rock and Roll Hall of Fame Inductees Aretha Franklin Editor & Founder Bill Wahl and Elvis Costello Headline Main Tribute Concert Layout & Design Bill Wahl The Rock and Roll Hall of Fame and sic for a socially conscientious cause. He recognized both the growing popularity of Operations Jim Martin Museum and Case Western Reserve University will celebrate the legacy of the early folk-rock balladeers and the Pilar Martin Sam Cooke during the Tenth Annual changing political climate in America, us- Contributors American Music Masters Series this ing his own popularity and marketing Michael Braxton, Mark Cole, November. Sam Cooke, considered by savvy to raise the conscience of his lis- Chris Hovan, Nancy Ann Lee, many to be the definitive soul singer and teners with such classics as “Chain Gang” Peanuts, Mark Smith, Duane crossover artist, a model for African- and “A Change is Gonna Come.” In point Verh and Ron Weinstock. American entrepreneurship and one of of fact, the use of “A Change is Gonna Distribution Jason Devine the first performers to use music as a Come” was granted to the Southern Chris- tian Leadership Conference for ICON Distribution tool for social change, was inducted into the Rock and Roll Hall of Fame in the fundraising by Cooke and his manager, Check out our new, updated web inaugural class of 1986. -
Jmoriginal 143.Pdf
JANUARY/FEBRUARY 1994 c 0 N T E N T s VOLUME 4 , NUMBER 4 ISSUE 22 F E A T U R E S 52 IN THE DAWG HOUSE A couple of decades after the Grateful Dead's American Beauty and the bluegrass milestone Old and in the Way, David Grisman and Jerry Garcia are teaming up again to celebrate their acoustic roots. Jeffrey Pepper Rodgers catches up with the dynamic duo in Grisman's home studio. 60 HARP OF GLORY Jody Stecher explores the legacy and genius of Bahamian guitarist Joseph Spence. Includes music and lyrics to "Won't That Be a Happy Time," plus reflections on Spence from Taj Mahal, John Renbourn, David Gris man, and Henry Kaiser. 68 DA CAPO The capo may be the most useful accessory a guitar player can buy, and a bewildering variety of brands and styles are now available. Dale Miller checks out 11 contenders to help you choose the right one. 32 74 FREESTYLE FOLK Fingerstyle master Duck Baker plays Irish airs, Appalachian ballads, barrelhouse jazz ... but it's all folk to him. Baker talks with Michael Crane about composing, arranging, and improvising, and introduces his solo "Opening the Eyes of Love." D E P A R T M E N T S A_ CONTRIBUTORS 42 SHOPTALK What's the Buzz: How to diagnose and repair fret wear ...6... LITTERS and buzz. By Harry Fleishman 46 10 MUSIC NOTATION KEY WOOD CHOPS Perpetual Motion: Exercises for developing a killer tremolo. By Muriel Anderson 12 JUMP STREET Jimmie Dale Gilmore, John McLaughlin's Notre 92 Blues biographies and Dame guitar, the Desert-IsleTop REVIEWS guitar rags on record. -
124720 Aaron Read Lowres
Dead Hart Live Beat by Amy Brown Born in the war year of 1943 in New York, Mickey bearded guitar player who had a voice that finger touched your Hart's parents were drummers. soul and kissed your neck. Jerry stepped up when R & B genius Although he didn't stay around to enjoy Mickey's birth, Pigpen McKernan forgot there were closing times and his dad was a 'rudimental' drummer, a master of establishing checked out of the band and life too early. Bob Weir was there, tempo through percussion and acting as the backbone of an too, the cute one with an edge, who alternated vocals with ensemble. Mickey was raised by his mother, who was what Jerry, and Phil Lesh and hey…they all had their following, but Mickey calls an 'intramural' player, a musician with a true love for this article at least and a sense of Rock history, it is of rhythm and its many artistic expressions. impossible to ignore the impact that Mickey Hart has had on Whether it was in his blood or an imprint of early the world of rhythm and percussion beginning with his days memory, Hart embarked on a lifetime of exploration into the with “The Dead” and continuing with the groups he has either artistry and healing powers of drumming. In 1967, with the joined or founded since Jerry Garcia's challenged heart gave Summer of Love in full blossom, Mickey fell in with a group out in 1995. of musicians from Northern California. They were a free- “ My teacher took me aside when I was in spirited and experimental group of high school and asked, “Do you want to guys who would become his lifelong play drums for the rest of your life?” companions. -
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. -
Jerry Garcia Paintings & Drawings: 1961–1995
ART EXHIBITION Jerry Garcia Paintings & Drawings: 1961–1995 June 12—September 6, 2020 This summer, the San Francisco Art Institute (SFAI) presents the first survey of legendary musician Jerry Garcia’s lifelong visual art practice. Garcia, born and raised in San Francisco and a lifelong Bay Area resident, was deeply influenced by the city's colorful and diverse cultures. When he was a teenager, Garcia studied visual art at SFAI (then called the California School of Fine Arts) with teachers including Wally Hedrick, a seminal American visual artist of the Bay Area Beat Generation. Garcia's painting and drawing practice continued throughout his life and provided a creative refuge in an extremely public and successful career. The exhibition includes more than 60 works, both figurative and abstract, including ink and charcoal drawings, watercolors, and digital paintings, along with a selection of Garcia’s sketchbooks. It is curated by Andrew McClintock from the collection of Deborah Koons Garcia, Garcia’s widow who received her MFA in film at SFAI. Jerry Garcia was a composer, songwriter, and guitarist who played with The Jerry Garcia Band, the Grateful Dead, and David Grisman. General Information San Francisco Art Institute – Fort Mason’s galleries are open to the public Wednesday - Sunday 11am - 7pm and are located on Pier 2 within Fort Mason Center for Arts & Culture, 2 Marina Blvd., San Francisco, CA. Galleries are free to the public. For more information, the public may visit sfai.edu or call (415) 749-4563. MEDIA CONTACT Nina Sazevich Public Relations 415.752.2483 [email protected] . -
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. -
From Deadend to Deadhead Marketing: Lessons Learned from an Iconic Band by Nancy Pekala
From Deadend to Deadhead Marketing: Lessons Learned from an Iconic Band by Nancy Pekala Are you in need of some inspiration to make your brand innovative and iconic? You need look no further than Jerry Garcia and his band of merry music makers. The Grateful Dead, arguably one of the most iconic bands in history, offers marketers a veritable to-do list to attract legions of fans with savvy marketing strategies. To find out how to transition from deadend to deadhead marketing, Marketing Thought Leaders spoke with Brian Halligan, CEO of HubSpot, a marketing software company, and co-author of "Marketing Lessons from the Grateful Dead" in this exclusive interview. A deadhead himself, having attended nearly 100 Grateful Dead concerts, he shares his insights about ways marketers can mimic the band and become innovative and iconic in their own industries. (For the complete interview, download the podcast.) Marketing Thought Leaders : The title of your book references the Grateful Dead as “the most iconic band in history”. Certainly what earns them that title, in part, is the iconic way they engaged and grew their loyal fan base, known as Deadheads. Given today’s focus on engaging customers via social media, how can brands and companies be iconic in this way? Brian Halligan : The Grateful Dead were very, very smart about how they built a community around their site pre-Facebook, pre-Twitter, pre-LinkedIn. They did a couple of things just spot on right. First, they had a unique product. It’s a very obvious concept but so many companies have me-too products that sound like everybody else. -
The Quill Student Publications
Roger Williams University DOCS@RWU The Quill Student Publications 11-20-1975 The Quill -- November 20, 1975 Roger Williams University Follow this and additional works at: http://docs.rwu.edu/the_quill Part of the Education Commons Recommended Citation Roger Williams University, "The Quill -- November 20, 1975" (1975). The Quill. Paper 101. http://docs.rwu.edu/the_quill/101 This News Article is brought to you for free and open access by the Student Publications at DOCS@RWU. It has been accepted for inclusion in The Quill by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. THE NIKE SITE: THE DEBATE INTENSIFIES Roger Williams College and session; Bristol High was de Lege." such potential for development town, sensing defeat, has asked the Town of Bristol have ap signed to accommodate 1,000 RWC's needs are related to of the college." for a special meeting with the plied to the Government Ser students there are now 1,4 77 expansion; laboratories, dorms, Realizing that their first pro GSA 's representative in Boston vices Agency for use of the enrolled. ln addition, some of and astronomy observatory, posal would probably be to defend their claim. As we go Nike site adjacent to the col the children in grades 1-5 at physical education facilities denied, the town of Bristol to press, the outcome is uncer lege, presently government sur tend the multi-unit school, a (just maybe a gym?), etc. When issued a new proposal to share tain. plus land. The conflict is humorous euphemism for the asked if the college would con the land with the school and Clearly, Bristol is not a rich further heightened by HEW's Kaiser Aluminum Factory, tinue its fight for the land if the Newport County Chapter town and cannot afford to recommendation that RWC which is evicting the children the town takes the matter to for Retarded Citizens, a late build the classrooms they need. -
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. -
991.Com Sleevenotes : a Blog About Collecting Rare Vinyl 7", 12" & LP
991.com Sleevenotes : A Blog about Collecting Rare Vinyl 7", 12" & LP... http://991.typepad.com/991sleevenotes/2009/04/wednesdays-forthcoming... 991.com Sleevenotes : A Blog about Collecting Rare Vinyl 7", 12" & LP Records, CDs, Memorabilia & Music home archives 991.com latest arrivals sell to us Wednesday, April 15, 2009 Wednesday's Forthcoming Releases At 991.com Shenker Barden http://991.com/Buy/ProductInformation.aspx?StockNumber=467371 * Scorpions and UFO giant Michael Schenker teams up with the legendary Gary Barden * The follow-up from his hugely successful album "In the Midst of Beauty" released last year * The first album from the Michael Schenker-Gary Barden Acoustic Project * Long-term collaborator, Gary Barden's vocals give the cleverly arranged songs just the touch of soul they need for full impact * With Michael Vetter, Schenker has an experienced producer, a second guitarist and a background vocalist on board, who delivers an outstanding performance * Kai Luennemann on percussion completes the team * An eclectic blend of songs and instruments: * The flamenco guitar with castanets in Dance Lady Gipsy conjures up a hot-blooded gipsy dancing * The fiddle and flutes in Fight For Freedom transport you to beautiful Ireland * The strings form just the right counterpart to Michael's guitar in the wonderful ballad All Of My Life * The mouth organ in Can't Live On Love Alone gives it a hint of the blues The Yardbirds http://991.com/Buy/ProductInformation.aspx?StockNumber=467379 When British groups were being introduced to the world back in the Sixties, their albums were often presented in different formats from the original UK release.