The La Honda Voice May 2012

Total Page:16

File Type:pdf, Size:1020Kb

The La Honda Voice May 2012 The La Honda Voice May 2012 The Face of Local Music - transportation), we now have bus service Paula Dennis available to La Honda residents -- for the first by craig eddy time ever! To get the ball rolling, we have two It's that time excursions planned for the month of May. On again when we Saturday, May 12th, the SamCoast bus will leave start thinking from the La Honda Post Office parking lot at about outdoor 10AM for a shopping trip to Sequoia Station in fun stuff to do. Redwood City or Trader Joe's in Menlo Park and Of course the will return back by 2PM. Then, on Saturday, number one May 19th, bring family along as we ride up to thing to do this Golden Gate Park and the Academy of Sciences time of year in (you can buy a ticket for the Academy of La Honda is go Sciences on line at www.calacademy.org). to the La Honda (continued on page 2) Country Fair and Music Festival. As this is apparently the 20th year of Paula Dennis’ reign, The 2012 Magic Love Bus Journey it's time to give credit to those who have made (excerpts from http://www.magiclovebus.org) our local festival such a great event. Paula came to La Honda in 1980 and had no choice about embracing the local music as husband Reid was playing with The Rhythm Method. Paula wanted to help promote the local businesses, artists and musicians, so working with Nancy Hewitt and Pam McReynolds they put together the first La Honda Country Fair. (continued on page 3) The Magic Love Bus looks like a re-incarnation La Honda Bus Service is Up and of Ken Kesey’s Furthur. This bus, with a new set Running!! By Lynnette Vega of Pranksters, started in San Francisco and made its first stop to meet Terry and Eva at Kesey’s previous abode in La Honda before continuing on a journey across the Country. Here are some excerpts from the magiclovebus.org blog: “On Saturday, April 14th, the Magic Love Bus will cast off from Ocean Beach in San Francisco on an inspiring three month coast-to coast journey - celebrating heart conscious evolution at No parking hassles, wear and tear on your car, every turn. Our crew of LovEvolutionaries is and a fun way to get together with neighbors. dedicated to sharing love, food, drumming, Through SamCoast, the coastside bus funded by campfires, movies, discussions, dancing, music, SamTrans (San Mateo County's public yoga and love parades.” (continued on page 2) 1 The 2012 Magic Love Bus Journey La Honda Bus Service is Up and Running!! (continued from page 1) “We will literally be a (continued from page 1) We'll leave La Honda vehicle for LovEvolutionary transformation and Post Office at 10AM and return around 5PM. a platform for free speech. Come join us and be Weather permitting, you can picnic in the park or the magic!...Almost fifty years ago Ken Kesey go to one of the two dining options at the and his crew of “Merry Pranksters” cast off in Academy, i.e. the Academy Café or the Moss their day glow painted school bus named Room, are brought to you by renowned chef-in- “Further” from their home base in La Honda, just residence, Charles Phan (Slanted Door). Cost south of San Francisco, on a cross country for the bus trips is $3.50 each way and you have journey to visit New York and also Professor to make a reservation no later than the Tuesday Timothy Leary. Their journey ultimately before (by May 8th for the May 12th trip and by changed the consciousness of America and the May 15th for the Golden Gate trip on the 19th). world in ways they could not have anticipated. For either of these bus trips, email So how fitting that on the first full day of our [email protected] or call (650) 747- 2012 Magic Love Bus Journey, we had the honor 0605 and leave name, phone, the number of of camping out in the very driveway in La Honda people who will be going and the trips you'd like that the Merry Pranksters launched from in 1964. to sign onto. One very important thing to keep Almost fifty years later we share their same in mind is that the more people who take intention of turning people on and changing advantage of this service (especially these consciousness. But our intention in 2012 is to preliminary trips), the more likely the possibility encourage people to turn on to themselves by that we'll be able to continue this program into tuning into their own hearts, without the the future. assistance of LSD… ***A note about the buses. There are three SamCoast buses available and each bus carries 18 people. There is plenty of room for shopping bags or small carts. If people have special needs such as a wheelchair lift, please let us know when you call to reserve your spot. Reader’s Theater Takes on: "Lost in Yonkers" * Acting without Memorization You don't have to have One of the new pranksters with John Cassady, professional acting son of Neal Cassady experience to take part …We’d like to thank Terry Adams and his in a "Reader's Theater" - lovely wife Eva for opening their cottage, the - and, unlike former home of Ken Kesey and the Merry professionally Pranksters, to us on the first day of the trip. The performed plays, you magic and poetry of the day was palpable and don't need to memorize will forever be a special part of our 2012 Magic anything!! Our next Love Bus Journey. Special thanks as well to meeting of the Reader's Michael DiMartino for helping to arrange for this Theater will be next special meeting in La Honda...As magical Sunday, May 6th at 7PM at the Puente Office in serendipity would have it, John Cassady, the son downtown La Honda and we'll begin our of the famous Neal Cassady (Dean Moriarity in reading of "Lost in Yonkers" by Neil Simon. the book "On the Road") and the driver of the The story takes place in the summer of 1942 Prankster's bus "Further", happened by the when two young boys are sent to stay with their Magic Love Bus while we were in La Honda. He stern grandmother, Kurnitz, and their childlike hung out with us on the Bus and entertained and aunt, Bella, in Yonkers, New York. It is a very educated our crew with his inside family stories human comedy with a little bit of everything. of his famous father and his friends like Jack For more information, contact Lynnette Vega Kerouac, Allen Ginsberg and other beats (650) 747-0605 or email hippersters…” [email protected]. 2 The Face of Local Music - Paula Dennis Stream Monitoring in La Honda (continued from page 1) by Neil Panton There had been other similar events that focused mostly on music. If you were there for the first Do you like Country Fair, you might remember the parade playing in the that went from the Catholic Church, across the creek? Enjoy highway, up into Cuesta, back down and across spending time in the highway, and ending up in the Gardens. This beautiful places? was not done again because the hassle and Do you like expense of getting permits and hiring Highway science and Patrol officers made it so nobody wanted to try it making a again the next year. The Fair over the years has difference in the raised and donated thousands of dollars to the art community? and music programs at La Honda School. The You might want first festival was a one day event and the to join our decision was made to make it a two day event stream monitoring team! since all the hard work setting everything up was SGERC’s volunteers spend a few hours each already done the first day. I asked Paula what it month performing simple water quality tests in is she likes best about the fair. She replied that La Honda, Alpine and San Gregorio creeks. she likes the excellent local music of many They record the results and make observations different styles, wonderful local art and crafts, that create a record of stream conditions at and best of all she loves it because it's free! various locations in the San Gregorio watershed. Funds are raised with the raffle, merchandise You could be monitoring the beautiful Heritage sales, booth fees and personal donations. Paula Grove site on Alpine Creek, or El Corte de wants to be sure the people that help make it Madera Creek feeding into San Gregorio Creek. work are recognized. The Bands all donate their You might prefer to join a team at a site nearest time without pay so this year we will make an to you. effort to collect tips for each band so we can say This is a great activity for all, young and old, for thanks to them, some of whom have been parents wishing to involve their family in playing the fair just about every year. The environmental awareness and community venders donate craft items for the raffle. People service. Most of us love the excuse to get into like Nancy Hewitt, Nigel Webb, Brook Tankle, the creek once in a while and enjoy the solitude Jeff Ring, Pam McReynolds, myself, Reid and beauty of this area. Why not do something to Dennis, and Bo and his sound crew have been benefit the environment and the community at helping Paula for years now.
Recommended publications
  • The Electric Kool-Aid Acid Test Free
    FREE THE ELECTRIC KOOL-AID ACID TEST PDF Tom Wolfe | 416 pages | 10 Aug 2009 | St Martin's Press | 9780312427597 | English | New York, United States Merry Pranksters - Wikipedia In the summer and fall ofAmerica became aware of a growing movement of young people, based mainly out of California, called the "psychedelic movement. Kesey is a young, talented novelist who has just seen his first book, One Flew Over the Cuckoo's Nestpublished, and who is consequently on the receiving end of a great deal of fame and fortune. While living in Palo Alto and attending Stanford's creative writing program, Kesey signs up to participate in a drug study sponsored by the CIA. The drug they give him is a new experimental drug called LSD. Under the influence of LSD, Kesey begins to attract a band of followers. They are drawn to the transcendent states they can achieve while on the drug, but they are also drawn to Kesey, who is a charismatic leader. They call themselves the "Merry Pranksters" and begin to participate in wild experiments at Kesey's house in the woods of La Honda, California. These experiments, with lights and noise, are all engineered to create a wild psychedelic experience while on LSD. They paint everything in neon Day-Glo colors, and though the residents and authorities of La Honda are worried, there is little they can do, since LSD is not an illegal substance. The Pranksters first venture into the wider world by taking a trip east, to New York, for the publication of Kesey's newest novel.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [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]
  • Barefoot Into Cyberspace Adventures in Search of Techno-Utopia
    Barefoot into Cyberspace Adventures in search of techno-Utopia By Becky Hogge July 2011 http://www,barefootintocyberspace.com Barefoot into Cyberspace Becky Hogge Read This First This text is distributed by Barefoot Publishing Limited under a Creative Commons Attribution-ShareAlike 2.0 UK: England & Wales Licence. That means: You are free to copy, distribute, display, and perform the work to make derivative works to make commercial use of the work Under the following conditions Attribution. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Share Alike. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar licence to this one. For any reuse or distribution, you must make clear to others the licence terms of this work. The best way to do this is with a link to http://barefootintocyberspace.com/book/hypertext Any of these conditions may be waived by seeking permission from Barefoot Publishing Limited. To contact Barefoot Publishing Limited, email barefootpublishing [AT] gmail [DOT] com. More information available at http://creativecommons.org/licenses/by- sa/2.0/uk/. See the end of this file for complete legalese 2 Barefoot into Cyberspace Becky Hogge Contents Prologue: Fierce Dancing ...................................................................................................................................... 5 Chapter 1: Digging the command line ............................................................................................................
    [Show full text]
  • The Electric Kool-Aid Acid Test and the Limits of Language Original
    The Electric Kool-Aid Acid Test and the Limits of Language Original submission October 2014; revised manuscript resubmitted January 2016 Eva Kowalska, University of Johannesburg, 2015 [email protected]; 076 349 6775 Postnet Suite no. 35 Private Bag X9 Melville 2109 The Electric Kool-Aid Acid Test and the Limits of Language drug literature, psychedelics, New Journalism,Tom Wolfe, American literature The Electric Kool-Aid Acid Test (1968) by Tom Wolfe is an important account of the Counter-culture, and a seminal work of the New Journalism. Its central concerns are the use of psychedelic drugs within a specific social and sub-cultural setting; and the formal strategies for representing the often ineffable experience of psychedelic drugs in literary non-fiction. In this article I discuss Wolfe’s use of a number of techniques and approaches to the breach between experience and representation, as well as his treatment of the limitations of langauge to encompass the psychedelic. 1 The Electric Kool-Aid Acid Test and the Limits of Language Tom Wolfe’s The Electric Kool-Aid Acid Test (1968) is a non-fiction novel concerned with an experimental community called the Merry Pranksters which formed around the writer Ken Kesey. More broadly the text is about the Counter-culture and its use of psychedelic drugs. The focus of this discussion is the relationship between the experience of psychedelics in a group setting, and its representation through literary language. While the distance between experience and representation endemic to psychedelics, and the author’s attempts at bridging it might be seen as a fault, I argue that the lag between the two is essentially the subject of the text, and as such is accurately represented.
    [Show full text]
  • The Automobile and Communication in Twentieth-Century American Literature and Film
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository MOTORCARS AND MAGIC HIGHWAYS: THE AUTOMOBILE AND COMMUNICATION IN TWENTIETH-CENTURY AMERICAN LITERATURE AND FILM BY JASON VREDENBURG DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee Professor Gordon Hutner, Chair Professor Dale Bauer Professor John Timberman Newcomb Associate Professor José B. Capino ii ABSTRACT Motorcars and Magic Highways examines the nexus between transportation and communication in the development of the automobile across the twentieth century. While early responses to the automobile emphasized its democratizing and liberating potential, the gradual integration of the automobile with communications technologies and networks over the twentieth century helped to organize and regulate automobile use in ways that would advance state and corporate interests. Where the telegraph had separated transportation and communication in the nineteenth century, the automobile’s development reintegrates these functions through developments like the two-way radio, car phones, and community wireless networks. As I demonstrate through a cultural study of literature and film, these new communications technologies contributed to the standardization and regulation of American auto-mobility. Throughout this process, however, authors and filmmakers continued to turn to the automobile as a vehicle of social critique and resistance. Chapter one, “Off the Rails: Potentials of Automobility in Edith Wharton, Theodore Dreiser, and Sinclair Lewis,” establishes the transformative potential that early users saw in the automobile.
    [Show full text]
  • Attacking Rural Poverty
    HOW NONFORMALEDUCATION CAN HELP PHILIP H. COOMBS WITH MANZOOR AHMED Public Disclosure Authorized ~~~~1 0091 Public Disclosure Authorized ua6-~Re ort Nc 95w4.09,r,_§ w ~~~IL bCOPY Public Disclosure Authorized Public Disclosure Authorized f qTLA ATTACKINGRURAL POVERTY How Nonformal EducationCan Help The InternationalCouncil for EducationalDevelopment (ICED)is a nonprofit researchorganization concerned with improvingthe contribution of education to social and economic developmentthroughout the world. ICED'sstaff, con- sultants,and governing board are multinational. The presentstudy was largelyfinanced by the World Bank,with supplemen- tary funds from the Ford Foundation. ICED NonformalEducation Projects Staff Philip H. Coombs .............. Director *Sven Grabe .............. Deputy Director of the World Bank Study *Roy C. Prosser .............. Deputy Director of the UNICEFStudy Manzoor Ahmed .... .......... Assistantto the Director *RoshanR. Billimoria .............. ResearchAssistant *StephenF. Brumberg .............. ResearchAssociate EllenG. Helfer .............. Documentalist Debra S. Hyde .............. Secretary BarbaraBaird Israel .............. Senior Editor FrancesO'Dell .............. Office Manager *FranciscoX. Swett .............. ResearchAssistant *Cynthia Wharton .............. ResearchAssistant Staffmembers who contributed to theWorld Bank Study for a portionof the periodrequired for the study'scompletion. ResearchInterns (Summer1971) RameshGaonkar Haile Menkerios Clifford Gilpin ThomasK. Morgan J. PaulMartin RichardF. Tompkins
    [Show full text]
  • Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world.
    [Show full text]
  • Department of English and American Studies Psychedelic
    Masaryk University Faculty of Arts Department of English and American Studies North-American Culture Studies Bc. Timur Kagirov Psychedelic Rock (Lyrics) and American Culture of the Sixties: The Doors and Jefferson Airplane Master’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Ph.D 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………… Bc. Timur Kagirov I would like to thank my supervisor doc. PhDr. Tomáš Pospíšil, Ph.D. for his kind help and guidance during the writing process of this thesis. I would also like to thank my dear parents for their lifelong love and faith in me, without them my journey to the Czech Republic would not be possible. Table of Contents Introduction ....................................................................................................................... 5 1. Rock Music in America of the Sixties. The Core of the Genre ................................ 8 1.1. Prerequisites and Formation ............................................................................. 8 1.1.1. Rock ’n’ Roll ................................................................................................ 8 1.1.2. Albion’s Musical Formation ....................................................................... 14 1.2. American Comeback ....................................................................................... 18 1.2.1. Folk Rock ...................................................................................................
    [Show full text]
  • 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.
    [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]