[T3DW]⋙ Living with the Dead: Twenty Years on the Bus With
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Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. -
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. -
Jerry Garcia from Wikipedia, the Free Encyclopedia
Jerry Garcia From Wikipedia, the free encyclopedia Background information Birth name Jerome John Garcia Born August 1, 1942, San Francisco, California, United States Died August 9, 1995 (aged 53), Forest Knolls, California, United States Genres Folk rock, bluegrass, progressive rock Occupation(s) Musician, songwriter Instruments Guitar, vocals, pedal steel guitar, banjo Years active 1960–1995 Labels Rhino, Arista, Warner Bros., Acoustic Disc, Grateful Dead Associated acts Grateful Dead, Legion of Mary, Reconstruction, Jerry Garcia Band, Old and in the Way, Jerry Garcia Acoustic Band, New Riders of the Purple Sage͵ Garcia Grisman Band Notable instruments Fender Stratocaster "Alligator" Doug Irwin-modified Alembic "Wolf" Gibson SGs Guild Starfire 1957 Gibson Les Paul Gold-top Les Paul with P-90 Doug Irwin Custom "Tiger" Doug Irwin Custom "Rosebud" Stephen Cripe Custom "Lightning Bolt," Martin D-28, Takamine acoustic-electric guitars Travis Bean TB1000S, TB500[1] Jerome John "Jerry" Garcia (August 1, 1942 – August 9, 1995) was an American musician best known for his lead guitar work, singing and songwriting with the band the Grateful Dead, which came to prominence during the counterculture era. Though he disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group. One of its founders, Garcia performed with the Grateful Dead for their entire thirty-year career (1965–1995). Garcia also founded and participated in a variety of side projects, including the Saunders-Garcia Band (with longtime friend Merl Saunders), the Jerry Garcia Band, Old and in the Way, the Garcia/Grisman acoustic duo, Legion of Mary, and the New Riders of the Purple Sage (which Garcia co-founded with John Dawson and David Nelson). -
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. -
2017 Catalog of Publications and Media
PO Box 1342, Woodstock, NY 12498 / 845-679-8111 [email protected] / www.woodstockarts.com New this season 2017 Catalog of Publications and Media Contents Page Books……….……………………………...……………….2 DVDs...………………………...…………………………..11 CDs..………………………...……………………………..19 Knowledge Cards…………………………………………20 Order Form………………………………...………………23 Books, DVDs, CDs and knowledge cards about the arts, artists and environment of Woodstock, NY This catalog includes work published by Black Dome Press, Bushwhack Books, Opus 40, WoodstockArts, the Woodstock Artists Association and Museum (WAAM) and the Woodstock Byrdcliffe Guild. It also features films by David Becker, Stephen Blauweiss and Lynn Woods, Tobe Carey of Willow Mixed Media and Cambiz Khosravi of Woodstock Heritage Productions. WoodstockArts is a publishing, production and marketing company based in Woodstock, NY. As a publisher we specialize in quality regional art and travel books. This year we were pleased to co-produce the second annual Catskill Interpretive Center Book Fair. Featured Books Available from WoodstockArts Living Large: Wilna Hervey and Nan Mason This rollicking dual biography by Joseph P. Eckhardt captures, through deft and engrossing storytelling, the adventures and enduring love af- fair of the two “Big Girls” of Woodstock, NY (also Carmel, CA and Anna Maria Island, FL). It tells the tale of Wilna Hervey as the Toonerville Trolley’s Powerful Katrinka, silent comedy film star. And it includes the artistic endeavors of Hervey and Mason, along with their many friends (Frank Capra, Edward Weston, Eugene Speicher et al.). The book took Gold in the IBPA’s 2016 Benjamin Franklin Awards (LGBT); and it won Silver (LGBT), Bronze (Biography) and was a finalist (Art) in Foreword Reviews’ 2015 INDIEFAB Book of the Year Awards. -
MUSC 424 GD Syllabus
Iconic Figures of Popular Music: The Grateful Dead Fall 2019 Course no. MUSC 424 Section no. 47225 Units: 2 Time: Mondays 10:00-11:50pm Room: KDC 241 Course instructor: Bill Biersach Instructor’s office: MUS 316 Instructor’s office hours: M 9 – 9:50 am; 2 – 3 pm Office phone: (213) 740-7416 Instructor’s email: [email protected] The Premise The Grateful Dead were not just a band, or a musical institution, but a way of life—a way of life for the band members who worked and lived closely together for decades, and also for many “Dead Heads” who have molded their musical and personal lives over the years around the activities of the band. The band is probably most noted for their live performances, of which there are volumes and volumes, with lost tapes emerging all the time. Their official discography includes 130 albums, most of them live performances or compilations, but also 17 studio albums. The primary member about which the band formed and progressed was lead guitarist Jerry Garcia. Not only was his playing exemplary, but his guitars themselves with their intricate connections and electronics are legendary in their own right; as were the band’s legendary and revolutionary concert sound systems. Definitely a band worth examining and exploring. Course Goal In the course of this semester, we will scrutinize eleven of their albums, eight studio and three live. Students will be divided into small groups who will listen to these albums, make judgments as to the strengths and weaknesses of the tracks, also relevancy, and present their findings to the class. -
The Life and Times of Augustus Owsley Stanley Iii Pdf, Epub, Ebook
BEAR : THE LIFE AND TIMES OF AUGUSTUS OWSLEY STANLEY III PDF, EPUB, EBOOK Robert Greenfield | 288 pages | 01 Dec 2016 | St Martins Press | 9781250081216 | English | New York, United States Bear : The Life and Times of Augustus Owsley Stanley III PDF Book Then somebody gave him a half a dose of pure Sandoz acid, and it was beyond anything he'd ever taken before. Published: Mar 11, There were nearly three thousand men on this huge aircraft carrier loaded with high explosives and high-octane petrol and the Japanese were dropping bombs on it and firing torpedoes at it and crew members were being burned and blown to bits. His father was a government attorney. In , Stanley rented a house in Point Richmond, California, and set up another drug laboratory. On March 13, Stanley was killed in a car accident near his home. Greenfield's anecdotal Bear feeds a Deadhead's jones--those who were there during that Summer of Love or their children and grandchildren. During the summer of , Scully had begun managing the Charlatans, a psychedelic band, who were doing an extended residency at the Red Dog Saloon in Virginia City, Nev. During the event, held in a radio station in San Francisco, the band tried to record what they had been doing live to accompany the swirling madness created by the Pranksters. In , he enrolled at the University of California, Berkeley, and found a recipe for the drug in a chemistry journal. HuffPost Personal Video Horoscopes. The chemist even used the money he generated selling LSD to help fund the early days of the Grateful Dead when they resided in Haight-Ashbury. -
Iconic Figures of Popular Music: the Grateful Dead Fall 2017
Iconic Figures of Popular Music: The Grateful Dead Fall 2017 Course no. MUSC 424 Section no. 47228 Units: 2 Time: Mondays 10:00-11:50pm Room: KDC 241 Course instructor: Bill Biersach Instructor’s office: MUS 316 Instructor’s office hours: M 9 – 9:50 am; 2 – 3 pm Office phone: (213) 740-7416 Instructor’s email: [email protected] The Premise The Grateful Dead were not just a band, or a musical institution, but a way of life—a way of life for the band members who worked and lived closely together for decades, and also for many “Dead Heads” who have molded their musical and personal lives over the years around the activities of the band. The band is probably most noted for their live performances, of which there are volumes and volumes, with lost tapes emerging all the time. Their official discography includes 130 albums, most of them live performances or compilations, but also 17 studio albums. The primary member about which the band formed and progressed was lead guitarist Jerry Garcia. Not only was his playing exemplary, but his guitars themselves with their intricate connections and electronics are legendary in their own right; as were the band’s legendary and revolutionary concert sound systems. Definitely a band worth examining and exploring. Course Goal In the course of this semester, we will scrutinize eleven of their albums, eight studio and three live. Students will be divided into small groups who will listen to these albums, make judgments as to the strengths and weaknesses of the tracks, also relevancy, and present their findings to the class. -
Berkeley Folk Music Festival Archive, 1957-1970 MS63 Boxes 1-61; Posters
Charles Deering McCormick Library of Special Collections Northwestern University Library Evanston, Illinois Berkeley Folk Music Festival Archive, 1957-1970 MS63 Boxes 1-61; posters History or Biography: Scope and Content: The Berkeley Folk Music Festival Archive consists of some 30,000 items, including photographs of over two hundred folk artists and groups, general photographs of Berkeley Folk Music Festivals from 1957-1970, tapes, press clippings, correspondence, publicity information on various performers, and posters and flyers from most of the festivals held during this period. Included as well are some photographs and posters from other area music festivals. Provenance: All materials in the Berkeley Folk Music Festival Archive were collected by Barry Olivier, a folk artist who organized and promoted the festival for fifteen years. Mr. Olivier's essay on the history of folk music at Berkeley from 1956-1970 has been added to the collection. The archive was acquired in 1974 from John Swingle of the Alta California Bookstore. Restrictions: There are no restrictions on use of the materials in the department for research; all patrons must comply with federal copyright regulations. Processor: Steve Gish organized the Berkeley Folk Music Festival Archive and prepared a finding aid in 1984; it was revised between 2008 and 2013. --Sigrid Pohl Perry 1 Charles Deering McCormick Library of Special Collections Northwestern University Library Evanston, Illinois Berkeley Folk Music Festival Archive, 1957-1970 MS63 Boxes 1-61; posters Container List Box Folder Artist or Group 1. Artists' Photo Archive 1 1 Ace of Cups 2 Allen, Clark 3 Allens, Margarith & Clark 4 Anderson, Signe 5 Andrew Sisters of Berkeley 6 Arnoldi, Paul 7 Baez, Joan (see also oversize photos) 8 Ball, Jean 9 Basho, Robbie 10 Beatles, The 11 Belafonte, Harry 12 Berry, Chuck 2 1 Berg, Pete 2 Bikel, Theodore 3 Bluestein, Gene 4 Brandwein, Ellen 5 Bronson, Bertrand H. -
Extensions of Remarks E39 EXTENSIONS of REMARKS
January 9, 2015 CONGRESSIONAL RECORD — Extensions of Remarks E39 EXTENSIONS OF REMARKS TRIBUTE IN HONOR OF THE LIFE swerving commitment to his community rooted graduate school to manage a new band full OF GERALD ‘‘JERRY’’ LEE in patriotism, decency and integrity. He was a time. ‘‘You’re crazy!’’ I said. Rock told me they trusted friend and an extraordinary partner, were amazing and definitely going places. HON. ANNA G. ESHOO and I join the many in our region in grieving ‘‘Besides,’’ he said, ‘‘they have the coolest OF CALIFORNIA his loss. name: the Grateful Dead.’’ Rock may have Mr. Speaker, I ask my colleagues to join me IN THE HOUSE OF REPRESENTATIVES been crazy but he was right. The Dead was a in honoring the extraordinary life and great ac- local Bay Area act when he started managing Friday, January 9, 2015 complishments of a proud American, Jerry them in 1965. The band became an American Ms. ESHOO. Mr. Speaker, I rise to honor Lee. We are a better community and a strong- icon in the two decades he was with them. the life of Gerald ‘‘Jerry’’ Lee, who was born er country because of him. Bob Weir of the Grateful Dead put it beau- in San Francisco on August 15, 1952, and f tifully in a message he posted upon learning died on December 24, 2014, at the age of 62 of Rock’s death, ‘‘Rock helped explain the IN HONOR OF ROCK SCULLY in his home city. Jerry, the son of Fon Yook Dead to the world.’’ Lee and Sai Soo Lee, was raised in San Fran- Rock chronicled his twenty years with the cisco and attended Washington Irving Elemen- HON. -
Transposition, Hors-Série 2 | 2020 Reflections on a Revolutionary and Music 2
Transposition Musique et Sciences Sociales Hors-série 2 | 2020 Sound, Music and Violence Reflections on a Revolutionary and Music Réflexions sur un révolutionnaire et la musique Jeremy Varon Electronic version URL: http://journals.openedition.org/transposition/4644 DOI: 10.4000/transposition.4644 ISSN: 2110-6134 Publisher CRAL - Centre de recherche sur les arts et le langage Electronic reference Jeremy Varon, « Reflections on a Revolutionary and Music », Transposition [Online], Hors-série 2 | 2020, Online since 15 March 2020, connection on 16 April 2020. URL : http://journals.openedition.org/ transposition/4644 ; DOI : https://doi.org/10.4000/transposition.4644 This text was automatically generated on 16 April 2020. La revue Transposition est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International. Reflections on a Revolutionary and Music 1 Reflections on a Revolutionary and Music Réflexions sur un révolutionnaire et la musique Jeremy Varon EDITOR'S NOTE The following is a commentary on: VELASCO-PUFLEAU Luis, “From Music to Armed Struggle, from 1968 to Action Directe: An Interview with Jean-Marc Rouillan”, Transposition, no. Hors-série 2, 2020, https://journals.openedition.org/transposition/ 3780. DOI : https://doi.org/10.4000/transposition.3780 The age of miracles. The age of sound. Well there’s a Golden Age. Comin’ round, comin’ round, comin’ round! - Phish, “Golden Age” 1 At the height of the radical Sixties, the White Panther’s John Sinclair called for the creation of a “guitar army”.1 “Rock‘n’roll”, he extolled, was “a weapon of cultural revolution” — indeed, the “model of a revolutionary future”. -
Everything I Know About Business I Learned from the Grateful Dead John Perry Barlow What a Long, Strange Trip It’S Been… —Grateful Dead, “Truckin’ ” No Shit
Begin Reading Table of Contents Newsletters Copyright Page In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at [email protected]. Thank you for your support of the author’s rights. This book is deadicated to Augustus Owsley “Bear” Stanley III. Without Bear’s efforts and involvement, it’s hard to know if there would have been a Grateful Dead or what shape the band might have taken. Owsley produced the purest, finest LSD used in the Bay Area and in the Acid Tests that ultimately became the model for a Grateful Dead concert. He was the band’s patron and supported them in the early years. And he was the soundman who helped and inspired the band to create the world’s finest sound system. He passed away in March 2011. Acknowledgments Over the years, I’ve read many books and their many “acknowledgments.” Typically I’ve glanced at the acknowledgments, but more often than not, I’ve simply skipped them, because I didn’t appreciate their importance or value. But now that I’ve written my own book, the need for an acknowledgments section is clear: this book wouldn’t be in your hands without the many contributions of the folks I’m going to acknowledge and thank here.