DOCSLIB.ORG

Music 203H: the Collective Improvisational Practices of the Grateful Dead – Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music 203H: the Collective Improvisational Practices of the Grateful Dead – Syllabus Music 203H: The Collective Improvisational Practices of the Grateful Dead – Syllabus Instructor: Dr. Melvin Backstrom [email protected] Class Schedule: Monday, 4-5:30PM Music Center 130 Monday, 5:30-7PM Music Center 114 Office Hours: Monday, 2-3 or by appointment Room #126 Course Description The goal of this performance-practice seminar-ensemble is to enable its participants to learn about and apply collective improvisational practices, such as those of the Grateful Dead (as well as of its jam-band progenitors), to their own musical activities. Each week will consist of 90 minutes focused on discussing assigned listenings and readings, as well as some theoretical instruction, followed by 90 minutes playing music as an ensemble in order to apply and develop the skills and practices previously discussed. A particular area of focus will be on expanding listening skills in order to facilitate in-the-moment engagement with musical sound. Another important concern will be encouraging an ecumenical stylistic repertoire in which the widest possible array of music—from popular song forms to the furthest reaches of the experimental avant-garde—are not only available for use, but can also be brought into dialogue. Music of the Grateful Dead will provide some of the material that will be used as “jumping off” material for the ensemble’s collective improvisations, but we will explore other music in a Grateful Dead-like manner as well. Grading Participation 20% 1st Response 10% 2nd Response 10% 3rd Response 10% Presentation/Conduction 10% Final Essay 40% Given that it counts for 20% of students’ final grade, participation is obviously highly valued and is intended to stress the importance of active involvement in the discussions and performances of which this course will consist. The three responses are relatively informal writings in which students reflect on course content: discussions, readings, listenings, and playing. They can engage with all of these different aspects or focus only on one. Although not formal essays, they must still use proper academic language, style and grammar. Students will also be required to present (verbally and in writing) an improvisational scenario made to the class, made up of any combination of pre-existing or original music, which they will then lead the ensemble in performing. As a final project, they will submit a final essay that critically reflects on the results of their scenario’s performance, as well as of their engagement with the course material in order to help them work out for themselves what elements would be most productively applied to their own musical practices. Listenings Undoubtedly one of the most helpful aspects of studying the music of the Grateful Dead is the plethora of available recordings of their live concerts from the band’s entire 30-year existence. See https://archive.org/details/GratefulDead for free access to all publicly traded recordings. Note: There are three types of live recordings: soundboards, audience, and matrix. Soundboards were recorded by associates of the band and can only be streamed. Because they were recorded directly from the band’s live sound, they have a clean, though arguably less “alive,” sound. They are not available for download from the Internet Archive (IA). Audience recordings, in contrast, are much more “alive” but have a wide range of sound quality, from excellent to practically unlistenable. They are available for download from the IA. Matrix recordings are mixes of soundboards and audience recordings intended to give the best possible balance of good sound quality with a “live” sound. They are unavailable for download. 4/2 – Week 1: Introduction 4/9 – Week 2: 1) Amigo, Cristian. “Non-systematic Thoughts About Improvisation.” In The Grateful Dead in Concert: Essays on Live Improvisation, eds. Jim Tuedio and Stan Spector (Jefferson, NC: McFarland & Co, 2010), 17-24. 2) Freeman, Robert. “Other People Play the Music: Improvisation as Social Interaction.” In Deadhead Social Science: “You Ain't Gonna Learn What You Don't Want to Know,” eds. Rebecca G. Adams and Robert Sardiello (Walnut Creek, CA: AltaMira Press, 2000), 74-106. 3) Nicole Biamonte, “Triadic Modal and Pentatonic Patterns in Rock Music,” Music Theory Spectrum 32, no. 2 (2010), 95-110. Watch: 1) Sunshine Daydream (https://www.youtube.com/watch?v=URtCml8FHrU) Optional Listening: 2) 8/27/1972 is the performance recorded for Sunshine Daydream. The entire concert can be listened to here: https://archive.org/details/gd72-08- 27.sbd.braverman.16582.sbefail.shnf/gd72-08-27d2t04.shn. 4/16 – Week 3: First Response Due 1) Boone, Graeme M. “Tonal and Expressive Ambiguity in ‘Dark Star.’” In Understanding Rock: Essays in Musical Analysis, 171-210. Edited by John R. Covach and Graeme M. Boone. New York: Oxford University Press, 1997. 2) Boone, Graeme M. “Dark Star Mandala.” In The Grateful Dead in Concert: Essays in Live Improvisation, eds. James Tuedio and Stan Spector (Jefferson, NC: McFarland, 2010), 3) Richard Pettengill, “Performing Collective Improvisation: The Grateful Dead’s ‘Dark Star’,” in Taking It To The Bridge, eds. Richard Pettengill and Nicholas Cook (Ann Arbor: University of Michigan Press, 2013), 37-51. Listening: 1) Live/Dead (https://www.youtube.com/watch?v=aLdUZJydcw&t=303s) 2)“Dark Star>That’s It For the Other One>Turn On Your Lovelight>We Bid You Goodnight,” 2/13/1970 (https://archive.org/details/gd1970-02-13.sbd.miller.fix- 97613.97639.sbeok.flac16/gd70-02-13d3t01.flac) 4/23 – Week 4 1) David Malvinni, “‘Mind Left Your Body’: Thematic Signposts and Arrivals in the Grateful Dead’s Jazz-Rock Jamming,” in Grateful Dead and the Art of Rock Improvisation, chpt. 5. 2) Melvin Backstrom, “Pastoral Complexity in the Music of the Grateful Dead,” in “The Grateful Dead and Their World: Popular Music and the Avant-Garde in the San Francisco Bay Area, 1965-75,” PhD diss., McGill University, 2017. It is fairly long so if you don’t have time to read the whole thing, focus on pages 198-229 (38-69 of PDF) 3) “The Dead’s Early Thematic Jams,” Grateful Dead Guide (http://deadessays.blogspot.com/2010/01/deads-early-thematic-jams.html) Listening: 1) “Stella Blue>Truckin’>The Other One>Eyes of the World>China Doll,” Grateful Dead Live at Nassau Coliseum on 1973-03-15 (https://archive.org/details/gd1973-03- 15.136652.sbd.reelmaster.cassette.dat.sirmick.flac16/gd1973-03-15s2t08.flac). 2) “China Cat Sunflower>I Know You Rider,” “Jack Straw,” “Playing in the Band,” Grateful Dead Live at Nassau Coliseum on 1973-03-16 (https://archive.org/details/gd1973-03-16.sbd.miller.79186.sbeok.flac16/gd73-03- 16d2t02.flac) Optional: 1) “Birdsong,” “Dark Star>Truckin’>Morning Dew>Sugar Magnolia” and entire concert from 1973-03-16 2) Watch “China Cat Sunflower>I Know You Rider”: https://www.youtube.com/watch?v=IWQFZ7Lx-rg&t=1446s 3) “Eyes of the World”: https://www.youtube.com/watch?v=kX3Tdlmtbzg 4/30 – Week 5: Special Guest David Gans 1) Jason Kemp Winfree, “‘Searching for the Sound’: Grateful Dead Music and Interpretive Transformation,” in The Grateful Dead and Live Improvisation, 152-63. 2) Brent Wood, “The Eccentric Revolutions of Phil Lesh,” in The Grateful Dead in Concert, 43-57. Listening: 1) “He’s Gone>Truckin’>Jam>Dark Star>Sugar Magnolia,” 3/23/1973, (https://archive.org/details/gd73-03-24.sbd.bertha-ashley.25508.sbeok.shnf/gd73-03- 24_Bertha_d3t03.shn) 2) “Jam,” (July 27, 1973) (https://archive.org/details/gd1973-07-27.mtx.seamons.100410.sbeok.flac16/gd73-07- 27d2t03.flac) 3) Dicks Picks 12 (Shared on Google Drive: https://drive.google.com/drive/folders/1XsHQQ0en8zVqrPsjInW0UBiKTlJ5yBss?usp=s haring) 5/7 – Week 6: Second Response Due 1) Melvin J. Backstrom, “‘Spring from Night into the Sun’: Metaphors of Dark and Light in the Music of the Grateful Dead,” Grateful Dead Studies (forthcoming). 2) David Malvinni, “‘Now is the Time Past Believing,”: Concealment, Ritual, and Death in the Grateful Dead’s Approach to Improvisation,” in All Graceful Instruments: The Context of the Grateful Dead Phenomenon (Newcastle, UK : Cambridge Scholars Press, 2007), 1-18. Listening: 1) “China Cat Sunflower>I Know You Rider,” tracks 8-9, “Truckin’>The Other One>Comes A Time>Sugar Magnolia,” tracks 19-23 (mislabeled as 19-22), and “Turn On Your Lovelight>Goin’ Down the Road Feeling Bad>One More Saturday Night,” tracks 28-30 (mislabeled as 27-29), April 26, 1972 (https://archive.org/details/gd1972-04-26.sbd.backus.12884.sbeok.shnf) 2) “Help on the Way” through “Sugar Magnolia,” tracks 13-22, Grateful Dead Live at Winterland Arena on 1977-06-09 (https://archive.org/details/gd1977-06- 09.mtx.seamons.98801.sbeok.flac16/gd77-06-09d2t02.flac) 5/14 – Week 7: 1) David Malvinni, “‘Dark Star’: Theorizing Improvisation,” Grateful Dead and the Art of Rock Improvisation, chpt. 4, 99-135 2) Shaugn O’Donnell, “Space, Motion, and Other Musical Metaphors,” in Perspectives on the Grateful Dead, 127-35. 3) Erik Silverman, “ ‘Mysteries Dark and Vast’: Grateful Dead Concerts and Initiation in the Sublime,” The Grateful Dead in Concert: Essays on Live Improvisation, 214-31. Listening: 1) “Dark Star>Me & My Uncle>Dark Star>Wharf Rat>Sugar Magnolia,” April 24, 1972 (https://archive.org/details/gd72-04-24.sbd- aud.cotsman.16332.sbeok.shnf), 2) May 26, 1972 (https://archive.org/details/gd72-05- 26.sbd.hollister.12758.sbeok.shnf/gd720526-d3t06.shn), especially “Truckin’>The Other One>Morning Dew>The Other One> Sing Me Back Home.” 5/21 – Week 8: 1) Melvin J. Backstrom, “The Grateful Dead and the Blues for Allah,” in “The Grateful Dead and Their World: Popular Music and the Avant-Garde in the San Francisco Bay Area, 1965-75,” chpt. 5 (PhD diss, McGill University, 2017), 307-51.
Load more

Recommended publications
  • 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]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Free Downloadable Grateful Dead Shows Free Downloadable Grateful Dead Shows
    free downloadable grateful dead shows Free downloadable grateful dead shows. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a0aa2c3e451667 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. 14,566 Grateful Dead concert recordings made available online free. At a time when we’re forced to change the way we must indulge live music, we’re exploring the world of archival recordings with the iconic rock band Grateful Dead. The Grateful Dead, a band formed in 1965, were been able to successfully blend genres with their expansive and eclectic style. For decades the group weaved in and out of rock music with elements of folk, jazz, blues, gospel, and more which was always tied together with their own brand of psychedelia. Once labelled “the pioneering Godfathers of the jam band world”, Grateful Dead have never allowed their recorded material dictate live shows. The band would quite regularly allow the atmosphere of a crowd, venue or location dictate their rolling performances which, typically, meant that none of their concerts were the same.
    [Show full text]
  • Blues for Allah
    Blues for Allah Ahmede Hussain 1 Shormi woke up from a long nap by the sound of a cat screeching. The rain had just stopped and the curtains were tightly pulled. Bright sunlight that fell on the mirror gave her face a raffish charm. There was a small photo-frame on the bedside table. She looked much younger in black and white, helping a toddler walk. The boy was holding a toy gun and was staring at the camera with a menacing look. Both of them looked forlorn, like the ice creams they consumed years ago on a holiday-trip to Cox’s Ba- zaar – long lost and forgotten. The cat crawled in and sat at the windowpane; its shadow fell on the Persian carpet and grew bigger as it walked past the room. Shormi got up to her feet, staggered down the room to pick up the cell. She was wearing a dainty yellow sarong and a white T-shirt; and there was something about her uncertain manner, as well as her clothes, that suggested a moth. The cat was gone when she returned: it started raining again. Shormi smiled approvingly as she looked through the window – she expected it to rain. It had been raining heavily too when she and Iftekhar got married fif- teen years ago. On their way home, the windshield was so blurry that the chauffeur could hardly see anything on the street. But now it was only drizzling outside and there wasn’t any cloud in sight; it should stop soon. She turned the cell off and lay down with only COLLOQUY text theory critique 11 (2006).
    [Show full text]
  • Grateful Dead American Beauty Mp3, Flac, Wma
    Grateful Dead American Beauty mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: American Beauty Country: US Released: 1970 Style: Folk Rock MP3 version RAR size: 1874 mb FLAC version RAR size: 1608 mb WMA version RAR size: 1104 mb Rating: 4.4 Votes: 786 Other Formats: MP1 AIFF DMF MPC DXD AC3 WMA Tracklist Hide Credits Box Of Rain A1 5:16 Bass – Dave TorbertGuitar – David NelsonWritten-By – Lesh*, Hunter* Friend Of The Devil A2 3:20 Mandolin – David GrismanWritten-By – Garcia*, Dawson*, Hunter* Sugar Magnolia A3 3:15 Written-By – Weir*, Hunter* Operator A4 2:21 Written-By – McKernan* Candyman A5 6:12 Organ – Howard WalesPiano – Ned Lagin Ripple B1 4:10 Mandolin – David Grisman Brokedown Palace B2 4:18 Piano – Howard Wales B3 Till The Morning Comes 3:13 B4 Attics Of My Life 5:09 Truckin B5 5:09 Organ – Howard WalesWritten-By – Weir*, Garcia*, Lesh*, Hunter* Companies, etc. Pressed By – Capitol Records Pressing Plant, Los Angeles Credits Artwork – Kelly*, Mouse Studios Bass, Guitar, Piano, Vocals – Phil Lesh Co-producer [Audio] – Steve Barncard* Drums – Bill Kreutzmann Guitar, Guitar [Pedal Steel], Piano, Vocals – Jerry Garcia Guitar, Vocals – Bob Weir Harmonica, Vocals – Ron "Pigpen" McKernan Percussion – Mickey Hart Photography By [Back] – George Conger Producer – The Grateful Dead Songwriter – Robert Hunter Written-By – Garcia* (tracks: A5 to B4), Hunter* (tracks: A5 to B4) Notes Capitol, Los Angeles pressing denoted by "LW" in runouts. Barcode and Other Identifiers Barcode: 0 7599-27190-1 Matrix / Runout (A): WS-1-1893 LW4 2 Matrix / Runout (B): WS-2-1893 LW6 Other versions Category Artist Title (Format) Label Category Country Year Warner Bros.
    [Show full text]
  • A Long Strange Trip Through the Evolution of Fan Production, Fan
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2017 A Long Strange Trip through the Evolution of Fan Production, Fan-Branding, and Historical Representation in the Grateful Dead Online Archive Anna Richardson Eastern Illinois University This research is a product of the graduate program in Communication Studies at Eastern Illinois University. Find out more about the program. Recommended Citation Richardson, Anna, "A Long Strange Trip through the Evolution of Fan Production, Fan-Branding, and Historical Representation in the Grateful Dead Online Archive" (2017). Masters Theses. 2694. https://thekeep.eiu.edu/theses/2694 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� 8STER,."l [LLJNOIS UNIVERSITY" Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, and Distribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so.
    [Show full text]
  • This Is a Great Band, and I Had a Great Time” Bob Weir, Grateful Dead Founding Member (Guitar/Vocalist)
    “This is a great band, and I had a great time” Bob Weir, Grateful Dead founding member (guitar/vocalist) “Inspired and accomplished musical discourse at such a deep and serious level: I had no problem at all believing that this was what the Grateful Dead sounded like 40 years ago.” David Gans, Grateful Dead Hour “I've always been impressed by DSO, but the other night I thought they'd taken it to a new level. It was some of the best Grateful Dead music I've heard in the past 20 years, and that covers some ground. Somehow, Jeff Mattson manages to play Jerry's parts perfectly in the spirit, but without any sense of being imitative. And boy, does the band pick up on this energy. Big fun!” Dennis McNally, Grateful Dead publicist & biographer 1980 – 1995; Author “A Long Strange Trip: The History of the Grateful Dead” “As one who is classically trained, I actually always thought that DSO was very cool, treating Grateful Dead music as repertoire- much as I've tried to do in my various bands.” Phil Lesh, Grateful Dead founding member (bass/vocals) “Playing with Dark Star Orchestra is something that feels just exactly like it felt when I was playing with the Grateful Dead.” Donna Jean Godchaux, Grateful Dead vocalist, frequent DSO guest “There are moments where I can close my eyes and go back 30 years and have it be every bit as rewarding and satisfying. Dark Star is an amazingly legitimate representation of the Dead.” Dan Healy, Grateful Dead sound engineer 1966 -1994 “Thank you for a real good time.” Jon Fishman, Phish drummer after sitting in with DSO “The Dark Star Orchestra re-creates Grateful Dead shows with a flashback-inducing meticulousness.” The New Yorker “...recreates the Dead concert experience with uncanny verisimilitude.
    [Show full text]
  • Grateful Dead Marathon ‘Thank You’ Gift Description
    2020 GRATEFUL DEAD MARATHON ‘THANK YOU’ GIFT DESCRIPTION Once again, in the essence of Time & Space, please peruse this document highlighting the modest sampling of Cosmic Artifacts we are offering as “Thank- You Gifts” from The Undisputed Psychedelic Kings of San Francisco and Company. As several Items are in extremely limited supply, please check the main “Marathon Thank-You Gifts” Listing on KKUP’s website to verify the minimum pledge needed to secure one of these Celestial Beauties as well as their availability. As we predict again that additional Sonic Artifacts will cosmically materialize in course of this celebration, please continue to check for the next Inter-Galactic Update!!! May the Unparalleled Legendary Status of the Grateful Dead in All Their Sonic Percolations Live and Prosper Forever … Table of Contents KKUP 2018 GRATEFUL DEAD THANK YOU GIFTS All Gifts include One KKUP Grateful Dead Marathon (available in both Women's & Men's Sizes) KKUP THANK YOU GIFT WITH KKUP MINIMUM ITEM PAGE YEAR ARTIST / DESCRIPTION TOTE BAG PLEDGE GDM20001 5 1966 Grateful Dead / The Grateful Dead 50th Anniversary 2-CD Limited Deluxe Edition Yes $ 100.00 GDM20002 7 1967 Grateful Dead / Anthem Of The Sun 50th Anniversary 2-CD Limited Deluxe Edition Yes $ 100.00 GDM20003 9 1970 Grateful Dead / Road Trips Vol. 3 No. 3 -- Fillmore East 5-15-70 Limited Edition 3-CD Set $ 100.00 GDM20004 9 1970 Grateful Dead / Road Trips Vol. 3 No. 3 -- Fillmore East 5-15-70 Limited Edition 3-CD Set $ 100.00 GDM20005 9 1970 Grateful Dead / Road Trips Vol. 3 No.
    [Show full text]
  • Olssonlsson - Listeninglistening Forfor Thethe Secret.Inddsecret.Indd 1313 116/02/176/02/17 8:428:42 PMPM 14 / Popular Avant-Garde?
    1. Popular Avant-Garde: Renegotiating Tradition When studying the Grateful Dead—both the band and the wider cultural phenomenon—one should not be surprised if the image discovered is mixed or even contradictory: Was the Grateful Dead a rock band at all? If not, what was it? Jerry Garcia early on could claim that the band was not for “cranking out rock and roll” but “to get high.”1 Bob Weir stated that “we’re a jazz band. I won’t say we’re nothing but a jazz band, because our basic premise is rock ‘n’ roll. We just approach it from a jazz point of view.”2 Phil Lesh talked about the music that the band played as “electric chamber music,”3 empha- sizing that the “Grateful Dead is more than music, but it has always been fundamentally music . this ongoing experiment in collective creativity.”4 The three band members apparently agree that they did not form your aver- age rock band, but at the same time they formulate rather different visions of what the band is about. Even within the band, opinions differ on what must have been a central issue—but that issue could not be settled outside of the music, it could only be worked out, resolved in music. In that practice, positions could shift, often in just a few bars—Garcia searching for an Apollonian exactness and clarity, the definitive CD version or interpretation of a song, and Lesh pushing the music into the ecstatic unknown, promoting improvisation and madness, the Dionysian version of the Dead.
    [Show full text]
  • Grateful Dead „Sunshine Daydream“ Veneta, Oregon, 27
    im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 [email protected] Grateful Dead „Sunshine Daydream“ Veneta, Oregon, 27. August, 1972 “This is where we really get off the best” Phil Lesh, Bassist der Grateful Dead, am 27. August 1972 Hörte man sich in den zurückliegenden Jahrzehnten in der Grateful Dead-Fangemeinde nach dem bedeutendsten Konzert dieser sagenumwobenen San Francisco-Band um, so brachten es die Deadheads auf den Punkt: Die beliebtesten Shows sind die vom Fillmore East (New York City, 13. Februar 1970) und Barton Hall (Ithaca, New York, 8. Mai 1977). Als das mit Abstand bedeutsamste Konzert wurde das vom 27. August 1972 genannt, eine Benefizveranstaltung für die langjährigen spirituellen Weggefährten (Merry Pranksters) Ken und Chuck Kesey und deren Familien, die mit ihrem, alternativ geführten Familien-Molkereibetrieb im kleinen Dorf Springfield, Oregon, nahe der Kleinstadt Veneta und nicht weit vom Hippie-Paradies Eugene entfernt gelegen, in eine existenzbedrohliche Situation geraten waren. Eingegangen in die Grateful Dead-Annalen ist dieses Ereignis unter vielfältiger Bezeichnung: „Veneta, the Field Trip“, „The Springfield Cream Benefit“, „The Last Acid Test“, oder schlicht „The Field Test“. Was machte diese Veranstaltung so besonders? Um das zu verstehen, müssen wir einen kurzen Blick zurück in das Amerika der Grateful Dead 1972 tun. Als die Band im Mai nach zweimonatiger Abwesenheit von ihrer inzwischen berühmten, 22 Shows umfassenden, Europa-Tournee in die U.S.A, zurück kehrten, fanden sie ein unruhiges und unsicheres Amerika vor. Veränderungen lagen in der Luft: George Wallace (Gouverneur von Alabama) wurde am 19. Mai während einer Wahlkampfveranstaltung angeschossen. Am 17.
    [Show full text]