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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. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
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. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
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 -
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. -
Pressuring of Agnew Denied He Had "Expressed Opinion" on Conn PIRG to the TAFS Committee
Okmwrttritt iatUj damjroa Serving Storrs Since 1896 VOL. LXXI NO. 9 STORRS. CONNECTICUT Thursday, September 20, 1973 PIRG seeking alternate means for funding aid By MARK FRANKLIN The Connecticut Pulbic Interest Research Group (Conn PIRG) and the Board of Trustees have been unable to agree on a method for funding the Conn PIRG organization. Bart Russell, a member of the Conn PIRG board of directors, said his organization was trying to determine another funding method. The Board of Turstees rejected the Trustee Administration Faculty Student (TAFS) Committee proposal over the summer when they learned the TAFS proposal was unacceptable to Conn PIRG. Had the TAFS proposal been adopted, a card would have been sent to students with their fee bill. If students wished to support Conn PIRG, they could have sent the necessary two dollars with the card. Russell termed the TAFS proposal "unacceptable." The original Conn PIRG fee proposed a mandatory two dollar per semester fee which could have been Guitarist Leo Kottke tunes up his instrument during last night's free concert at Jorgensen auditorium. See story (Photo by Alan Decker). page 6. refunded at a student's request. Russell accused John J. Manning Jr., associate dean for student affairs, of influencing the TAFS proposal. Manning said Wednesday evening that he had "serious reservations" about the original Conn PIRG proposal. He said Pressuring of Agnew denied he had "expressed opinion" on Conn PIRG to the TAFS Committee. WASHINGTON (UPI) - A Warren said, "we feel it is Referring specifically to a Russell said there was spokesman for President Nixon denied inappropriate for the White House to Washington Post story Tuesday quoting "backstabbing" in the meetings which Wednesday that anyone at the White comment or accept questions - the a senior Republican as being "99'/s per drafted the TAFS proposal, ftg said House is trying to pressure Vice answers to which would pass judgment cent certain" Agnew would resign, the there were no student members of the President Spiro T. -
Mto.04.10.4.W Everet
Volume 10, Number 4, December 2004 Copyright © 2004 Society for Music Theory Walter Everett KEYWORDS: rock music, tonality, harmony, voice leading, Schenkerian analysis, modal theory, blues, popular music, Beck ABSTRACT: Despite frequently voiced assertions and their underlying presumptions, there is no single sort of tonal behavior common to all rock music, but rather a spectrum of approaches to scales, harmonic function and voice leading. This essay addresses the issue from two perspectives. The first suggests an array of six tonal systems ranging from the traditional major mode through modal (including minor-pentatonic) practices having increasing structural value, to chromatic relations with little basis in any deeper diatony. The second perspective studies the varied degrees of interaction between harmony and voice leading evidenced in samples of rock music from two historically opposed timeframes, the more homogeneous span of 1957–58 and the more radically experimental period of 1999–2000. Finally, Beck’s “Lonesome Tears” (2003) serves as a model for an analytical approach to one iconoclastic combination of voice leading and harmony. Received October 2004 [1] In its history now spanning half a century, rock music has found expression in dozens of styles and sub-styles, each characterized in part—sometimes in large part—by its own approach to a preexisting tonal system, or sometimes by its unveiling of a seemingly novel tonal system.(1) Of course there are many other musical and poetic traits of importance in marking style distinctions (including rhythm at surface, phrase, and sectional levels, tone color, performance practices such as phrasing, articulation, and dynamics, and recording techniques), but in this essay we will focus solely on matters of tonal structure, in hopes of addressing in a brief space an underlying context for the wide variety of systems that exist. -
Pirates' $10 Million Haul U
JEMPHISir A BILLBOARD SPOTLIGHT r-r^'TTR c `r SECTION COIN MACHINE MARCH 29, 1969 $1.00 PAGES TWO SECTIONS SECTION I 49 TO 54 The A/o r'3 International Music -Record Newsweekly GRT in 1 -Fold Pirates' $10 Million Haul U. S. Car Mart By BRUCE WEBER LOS ANGELES Contract With - Music sales manager of Robbins, Feist, strument representatives for publishers are losing more than Miller. counterfeit product. Breakthrough $10 million a year to illegal The forged music "The worst offenders book and books, often are or- sheet music counter- peddled by traveling gan teachers, professional feiters. salesmen mu- Gamble & Huff or sold under-the-counter at mu- sic studios and musical instru- "Sheet and book music pi- For sic stores, sell in a loose-leaf ment jobbers," said Steiger. "We Cassettes By rates have been active MIKE GROSS for 30 binder for $15-$25 for 1,000 (The Big Three) prosecute every years because copyright laws By HANK FOX are songs, most of which are case our investigators NEW YORK GRT fur- not severe incom- uncover." - enough to halt the plete. The Big The Big ther solidified its foothold in the Three, which pub- Three sells product NEW YORK-The cassette practice," said Herman Steiger, lishes about (Continued recording field by wrapping up 52 hardbound folios on page 15) system will establish a beach- a year, sells its head in a deal with independent pro- books for $1.50- the U. S. automobile $3.95 for 15 IIII I IIII I Ildl I I I IIIIII1mINIIIIIIIII market this to IIIII I I I I I I I I I I 30 I summer when ducers Gamble and Huff that complete III I11111111IIIIIIIIIIOIIIIII111 Mer- songs. -
Grateful Dead Archive Online
Ithaka S+R Case Study Grateful Dead Archive Online University of California at Santa Cruz www.gdao.org The Ithaka S+R Case Studies in Sustainability were conducted in partnership with the Association of Research Libraries and were made possible by the generous support of the Institute of Museum and Library Services. A summary report, “Searching for Sustainability: Strategies from Eight Digitized Special Collections,” is available at http://www.sr.ithaka. org/research-publications/searching-sustainability. This specific case study was researched and written by Nancy L. Maron, Program Director, Ithaka S+R. ABSTRACT Few archives come with a built-in fanbase. The Grateful Dead Archive Online (GDAO) is distinguished from many other academic special collections by the variety of media it holds, from concert tickets to audio files and art created by fans of the band, and by its potential audience, the many thousands of fans of the Grateful Dead. Support for the Archive has come from grant funding, private donors, and from this fan base, which poses one of the project’s fascinating opportunities and challenges. How can the GDAO benefit from the enormous potential audience of devoted fans, and from the material they could contribute, while still remaining true to its academic home at the University Library of the University of California at Santa Cruz? INTRODUCTION Some archives may have devoted researchers who use them, but few have true fans. The Grateful Dead Archive (GDA), housed at the University of California at Santa Cruz (UCSC), is a real exception in several ways. The focus of the archive—the live music and touring of the Grateful Dead, the jam band fronted by Jerry Garcia—is part of fairly recent cultural memory. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
The New Pornographers
The New Pornographers For what purpose the popular song? Does the popular song have a purpose? Is it just a sequence of auditory gestures, desperate acts, adrift in the bigger broader silence of an unforgiving cultural landscape? In what follows, we will assume that the purpose of the popular song is to unite warring disputants and to repair the manifold puncture wounds of life, so that life is revealed, again, as less accursed than it appears. And let’s assume that we go on listening to the popular song, which in the vast majority of its iterations is a failure, because we are chronic in our need for this rehabilitation of our puncture-wounded selves. Take any fine example, take “All You Need Is Love,” by the Beatles, or “Walk Away, Renee,” by the Left Banke, or “Tears of a Clown,” by Smokey Robinson. Try listening to these songs. Almost immediately, your suppurations begin to clot. Into this tryingly difficult history of the popular song stride The New Pornographers, into a period in which it has to be acknowledged that the medium is mostly dead, is passed, is no longer a uniting force, but, more frequently, a medium of division, one entirely controlled by the Ownership Society and made profitable according to shareholders who don’t give a fuck if your puncture wounds are healed over as long as the product ships. The New Pornographers, stunningly, do not seem to understand that the popular song is dead, is passed, and The New Pornographers, despite their complete and nearly monastic understanding of the Secret Knowledge of the popular song, will themselves into being, characterized by a uniform devotion to the great history that precedes them by only a couple of decades, and their coming into being in a somewhat unlikely place, Vancouver, not previously noted for a unvarying profusion of rock genius, is particular not only for uniformity of purpose but because they manage, in this uniformity, to bring a considerable cast of local adepts all as one into the tent.