Grateful Dead Records: History MS.332.Ser
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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. -
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Results and Description Print Page 1 of 4 Print Results Close Screen Sale 15537 - Life on the Golden Road with the Grateful Dead: The Ram Rod Shurtliff Collection, 8 May 2007 220 San Bruno Avenue, San Francisco, California Prices are inclusive of Buyer's Premium and sales tax (VAT, TVA etc) and may be subject to change. Lot Description Hammer Price 1 A Bob Seidemann mounted-to-board photographic print of The Grateful Dead, $1,680 1971 2 Two color photographs of Jerry Garcia and Bob Weir, circa 1968 $900 3 Five black and white photographs of The Grateful Dead, circa 1969 $780 4 A massive display piece of The Grateful Dead from The Winterland Ballroom, circa $9,600 1966-1978 5 A poster of Pig Pen and Janis Joplin, 1972 $720 6 A Herb Greene signed black and white photograph of The Grateful Dead, 1965, $1,320 1988 7 A Herb Greene signed black and white photograph of Jerry Garcia, 1966, 1980s $960 8 A Herb Greene signed limited edition black and white photograph of The Grateful $2,400 Dead with Bob Dylan, 1987, 1999 9 A Herb Greene signed black and white photograph of The Grateful Dead and Bob $1,440 Dylan, 1987, 1999 10 A Herb Greene signed and numbered limited edition poster of Jerry Garcia, 1966, $900 2003 11 A group of photographs of The Grateful Dead, 1960s-1990s $480 12 A William Smythe signed color photograph of Phil Lesh, 1983 $360 13 A Bob Thomas group of original paintings created for The Grateful Dead album $87,000 jacket "Live/Dead," 1969 14 An RIAA gold record given to The Grateful Dead for "Grateful Dead" (aka "Skull $11,400 and -
Leaving Reality Behind Etoy Vs Etoys Com Other Battles to Control Cyberspace By: Adam Wishart Regula Bochsler ISBN: 0066210763 See Detail of This Book on Amazon.Com
Leaving Reality Behind etoy vs eToys com other battles to control cyberspace By: Adam Wishart Regula Bochsler ISBN: 0066210763 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 discovering a new toy "The new artist protests, he no longer paints." -Dadaist artist Tristan Tzara, Zh, 1916 On the balmy evening of June 1, 1990, fleets of expensive cars pulled up outside the Zurich Opera House. Stepping out and passing through the pillared porticoes was a Who's Who of Swiss society-the head of state, national sports icons, former ministers and army generals-all of whom had come to celebrate the sixty-fifth birthday of Werner Spross, the owner of a huge horticultural business empire. As one of Zurich's wealthiest and best-connected men, it was perhaps fitting that 650 of his "close friends" had been invited to attend the event, a lavish banquet followed by a performance of Romeo and Juliet. Defiantly greeting the guests were 200 demonstrators standing in the square in front of the opera house. Mostly young, wearing scruffy clothes and sporting punky haircuts, they whistled and booed, angry that the opera house had been sold out, allowing itself for the first time to be taken over by a rich patron. They were also chanting slogans about the inequity of Swiss society and the wealth of Spross's guests. The glittering horde did its very best to ignore the disturbance. The protest had the added significance of being held on the tenth anniversary of the first spark of the city's most explosive youth revolt of recent years, The Movement. -
To Read John Perry's Full Introduction
John Perry Barlow, former Wyoming rancher, lyricist for the Grateful Dead, cofounder and vice-chair of the Electronic Frontier Foundation Following is John Perry Barlow's most excellent overview of the experience of the Sixties in his introduction t o Birth of a Psychedelic Culture: Conversations about Leary, the Harvard Experiments, Millbrook and the Sixties by Ram Dass and Ralph Metzner, with Gary Bravo Published by Synergetic Press http://www.synergeticpress.com/shop/birth-of-a- psychedelic-culture/ eBook now available. Foreword In the Beginning … by John Perry Barlow LSD is a drug that produces fear in people who don’t take it. Timothy Leary It’s now almost half a century since that day in September 1961 when a mysterious fellow named Michael Hollingshead made an appointment to meet Professor Timothy Leary over lunch at the Harvard Faculty Club. When they met in the foyer, Hollingshead was carrying with him a quart jar of sugar paste into which he had infused a gram of Sandoz LSD. He had smeared this goo all over his own increasingly abstract conscious- ness and it still contained, by his own reckoning, 4,975 strong (200 mcg) doses of LSD. And the mouth of that jar became perhaps the most sig- nificant of the fumaroles from which the ‘60s blew forth. Everybody who continues to obsess on the hilariously terrifying cultural epoch known as the ‘60s – which is to say, most everybody from “my ge- ge-generation,” the post-War demographic bulge that achieved perma- nent adolescence during that era – has his or her own sense of when the ‘60s really began. -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
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. -
MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political, -
The Psychedelic Poster Art and Artists of the Late 1960S
Focus on Topic The Psychedelic Poster Art and Artists of the late 1960s by Ted Bahr Bahr Gallery New York, USA 46 Focus on Topic The stylistic trademarks of the 1960s To advertise these concerts, both promoters turned to Wes Wilson at Contact Printing, who had been laying psychedelic poster were obscured and disguised out the primitive handbills used to advertise the Mime lettering, vivid color, vibrant energy, flowing Troupe Benefits and the Trips Festival. Wilson took organic patterns, and a mix of cultural images LSD at the Festival and was impacted by the music, from different places and periods -- anything to the scene, and the sensuous free-love sensibilities of confuse, enchant, thrill, and entertain the viewer. the hippie ethos. His posters quickly evolved to match the flowing, tripping, improvisational nature of the The style was also tribal in the sense that if you developing psychedelic music -- or “acid rock” -- and could decipher and appreciate these posters his lettering began to protrude, extend, and squeeze then you were truly a member of the hippie into every available space, mimicking and reflecting the subculture – you were hip, man. totality of the psychedelic experience. His early style culminated in the July 1966 poster for The Association which featured stylized flame lettering as the image The psychedelic poster movement coincided with the itself, a piece that Wilson considered to be the first rise of hippie culture, the use of mind-altering drugs like truly psychedelic poster. LSD, and the explosion of rock and roll. San Francisco was the center of this universe, and while prominent psychedelic poster movements also developed in London, Detroit, Los Angeles, and Austin, Bay Area artists both initiated and dominated the genre. -
The Disappearance of Cyberspace and the Rise of Code
September 1998, Draft 3 Andrew L. Shapiro* The Disappearance of Cyberspace and the Rise of Code Imagine the emergence of a remarkable new communications technology. Using this tool, you can interact with anyone located anywhere in the world, provided they have the same minimal hardware that you have. You can stay informed, express yourself in ways never before imaginable, and get access to all the knowledge ever recorded by humankind. This technology fundamentally changes education, work, family life, entertainment, politics, and the economy. Still, it is fairly simple to use. Kids, in fact, will have an easier time than adults learning to use it. Once you get accustomed to using this technology, you'll wonder how you ever lived without it. No single person created this mode of communicating. Rather it developed spontaneously and collectively over time. And today, no single entity owns it or controls it, yet it works remarkably well. Most surprising of all, this innovation is thousands of years old. It is the alphabet. Coyness aside, it is useful to think about the alphabet as we consider the emergence of another communications technology, the Internet. In particular, this comparison will be fruitful as we consider the legal and political implications of the Internet -- or cyberspace, the "place" where online interactions are said to occur. We do not generally think of ourselves as having, or needing, a formal law of the alphabet. Similarly, I will argue here that we should think critically about what we mean when we speak of the “law of cyberspace.” To be sure, the increasing use of new technologies -- particularly a global, interactive, digital communications network such as the Internet -- can profoundly alter social relations. -
Rick Griffin's AOXOMOXOA
Classic Posters - Rick Griffin's AOXOMOXOA Classic Posters - Rick Griffin's Hunter suggested that he put a lot of the AOXOMOXOA palindromes that Griffin had been by Michael Erlewine playing with (words like 'mom,' etc.,) together to form a larger word. [email protected] Dead Heads have speculated as to the If there is one artist who put the possible meaning of the word, with psychedelic in the psychedelic era, in thoughts like the "AO" means "Alpha my opinion that artist is Rick Griffin. And and Omega," the sacred seed syllable if there is a single poster of Griffin's that "OM" is in the center, "X" is a mysterious best sums up his psychedelic statement, number to be solved for, and so on. it has to be this one, which has been Others have speculated that this is an nicknamed the "AOXOMOXOA." Aztec or Mayan word. Beyond the word Griffin's flying eyeball (BG-105) may be is the actual imagery created by Rick the most universally recognized of all Griffin. the psychedelic era posters, but the AOXOMOXOA most perfectly Griffin's incredible sun (an egg represents what that era was all about. surrounded by sperm wriggling to get in), burning in a clear blue sky, endlessly radiating light and warmth above, warming the earth below, where the most dark womb of the earth receives that light and (also endlessly) brings forth life. Here is the mystery of life and death drawn out in psychedelic imagery worthy of Carlos Castaneda and the mysterious world of Don Juan. This poster has an immediate and a lasting impact on our consciousness. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
©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.