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“One of the best books on the Grateful Dead” (Rolling Stone). Just what was it about the Grateful Dead that inspired such devotion? In Deadheads, those who were there, and are still listening to the music, explain it all. Grateful Dead lyricist John Perry Barlow talks about his lifelong friendship with guitarist Bob Weir. Cajun chef Rick Begneaud shares his memories of feeding the Dead. John Popper of Blues Traveler recalls playing with the Dead at Bill Graham’s memorial tribute, while publicist Dennis McNally shares some wild adventures of working with the band for more than thirty years. Author Linda Kelly recalls being dragged to her very first Grateful Dead show, hanging with Jerry in New York City, and more. First-show revelations, backstage adventures, parking lot hoopla, how-to-live-life philosophies, strange tangential experiences stemming from being in that certain place at that certain time—these intriguing anecdotes evoke wonderful images, lots of smiles, and a close look into a fascinating phenomenon in the history of music. This updated edition includes not only the best stories from the original edition but two new chapters—as well as new interviews with various friends, artists, and followers of the Grateful Dead.
Since the 1960s, the Grateful Dead have welcomed and participated in academic work on the band, encouraging scrutiny from a wide variety of disciplinary and theoretical perspectives, from anthropology to sociology. Interest in Dead studies is growing across the country and around the world, and UC–Santa Cruz’s Grateful Dead Archive continues to attract a high level of attention. In Reading the Grateful Dead: A Critical Survey, Nicholas G. Meriwether has assembled essays that examine the development of Grateful Dead studies. This volume features work from three generations of scholars, including a wide variety of perspectives on the band and its cultural significance. From insiders like lyricist John Perry Barlow and longtime band publicist and historian Dennis McNally to well-known Deadhead scholars such as Barry Barnes and Rebecca Adams, the contributors to this volume offer valuable insights into the Grateful Dead phenomenon. No other Dead book focuses on the growth and development of the discourse, contains such a range of critical approaches, nor features work by luminaries Stan Krippner and Barnes, among others. The four sections of the book describe aspects and approaches to Dead studies, along with overviews of how the discipline evolved and what it comprises today. This collection will appeal to scholars, students, and teachers interested in Dead studies and fans of the band.
San Francisco and the Long 60s tells the fascinating story of the legacy of popular music in San Francisco between the years 1965-69. It is also a chronicle of the impact this brief cultural flowering has continued to have in the city – and more widely in American culture – right up to the present day. The aim of San Francisco and the Long 60s is to question the standard historical narrative of the time, situating the local popular music of the 1960s in the city's contemporary artistic and literary cultures: at once visionary and hallucinatory, experimental and traditional, singular and universal. These qualities defined the aesthetic experience of the local culture in the 1960s, and continue to inform the cultural and social life of the Bay Area even fifty years later. The brief period 1965-69 marks the emergence of the psychedelic counterculture in the Haight-Ashbury neighbourhood, the development of a local musical 'sound' into a mainstream international 'style', the mythologizing of the Haight-Ashbury as the destination for 'seekers' in the Summer of Love, and the ultimate dispersal of the original hippie community to outlying counties in the greater Bay Area and beyond. San Francisco and the Long 60s charts this period with the references to received historical accounts of the time, the musical, visual and literary communications from the counterculture, and retrospective glances from members of the 1960s Haight community via extensive first-hand interviews. For more information, read Sarah Hill's blog posts here: http://blogs.cardiff.ac.uk/musicresearch/2014/05/15/san-francisco-and-the-long-60s http://blogs.cardiff.ac.uk/musicresearch/2014/08/22/city-scale/ http://blogs.cardiff.ac.uk/musicresearch/2015/07/21/fare-thee-well/
Rock Brands: Selling Sound in a Media Saturated Culture, edited by Elizabeth Barfoot Christian, explores how different genres of popular music are branded and marketed today. The authors provide research explaining how established mainstream artists and bands, from Christian heavy metal bands to Kanye West to Marilyn Manson, are continuing to market themselves in an ever-changing technological world, and how such bands can use integrated marketing communication to effectively 'brand' themselves to prevent technology and delivery changes from stifling their success. Rock Brands further addresses the use of religious and political words and images to gain an audience, as well as the latest technological influences of gaming, reality television, and social networking websites.
This guide to the biographical literature available on popular 20th-century singers covers nearly 1000 artists. Much of the literature cited is also cross-referenced to major biographical dictionaries, encyclopedias, and relevant periodicals. Entries not only list known publications associated with popular singers but also incorporate elements of analytical and descriptive bibliography. The artists included in this volume increasingly cross musical boundaries. The popular singer category, therefore, encompasses Broadway, Hollywood, cabaret, and operetta performers as well as recording artists. Scholars of popular music and popular music enthusiasts will appreciate the extensive research this work embodies. Divided among three sections, citations are arranged alphabetically and include information about literature published through 1997. An appendix of additional artists and an index complete the volume.

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