Brandy Barber

COM 290

March 31, 2003

Grateful Dead Presentation

            San Francisco in the 1960's gave birth to many names in music that are still heard today.  Emerging from the Haight-Ashbury district in San Francisco, the Grateful Dead were one of many bands at the time exploring the outer edges of human consciousness through their music.  Unlike other bands from Haight-Ashbury, however, the Grateful Dead have managed to bring together people from all walks of life and sustain a following for over thirty years.  Even today, the name "Grateful Dead" holds a certain place in the consciousness of American pop culture, not only for its music, but for its brand name as well.

             Prior to taking their name from a dictionary, the Grateful Dead were known as the Warlocks.  The original band members included Jerry Garcia (lead vocals and guitar), Phil Lesh (bass), Bob Weir (guitar), Bill Kreutzmann (drums), and Ron “Pigpen” McKernan (keyboard).  Like many other psychedelic bands that surfaced in the 1960’s, the Grateful Dead got their start in the Haight-Ashbury district of San Francisco.  In Haight-Ashbury, the Dead lived among rock legends like Janis Joplin, Big Brother and Holding Co., and Jefferson Airplane.  They got their first gigs in the bars and night clubs around San Francisco, and by the time they met up with social experimenter Ken Kesey for the infamous Acid Test shows, the Grateful Dead already had a small following from their Warlocks days. 

In these Acid Tests, the band and nearly everyone present was on LSD.  At the time (circa 1965) LSD was legal and very abundant, and for the Grateful Dead, this particular drug was their key to enlightenment.  While on acid, the band would let the music play them, rather than perform rehearsed, pre-planned sets, and their fans loved every minute.  Not long after the Acid Tests began, the Grateful Dead asked for all “Dead Freaks to Unite,” collecting names and addresses to send out newsletters to their fans.  No other band at the time had done such a thing.  However, this connection to their fans is what has made the Grateful Dead so enduring over the years.

After the Acid Test era, the Dead continued to play live and record on occasion.  A friend of the band, Owsley Stanley (a.k.a. “Bear”) supported the Dead following the Acid Tests and built the ever-present barrage of speakers known as the “Wall of Sound” that provided the backdrop on stage for many Dead concerts.  Over the years following the Acid Tests, the Grateful Dead managed to continue their drug habits and tour incessantly as well as develop their own brand of merchandise.  Several busts were made and band members changed due to deaths and disagreements.  By the time Jerry Garcia died in 1995, the Grateful Dead lineup included the originals (Bob Weir, Phil Lesh, and Bill Kreutzmann) along with some new members added along the way (Mickey Hart on drums and Vince Welnick on keyboard).

One of the most unique aspects of the Grateful Dead would be their music.  From their early days, the Dead have never been fond of recording, not to mention rehearsing or planning their sets prior to shows.  Working with a collective consciousness in place, the Dead’s concert sets were almost always played without any narration and were a product of the player’s temperaments.  Guitarist Bob Weir once stated, “Our first responsibility is to amuse ourselves.  If we can’t do that, then we can’t entertain anyone.”  It’s this sort of concept, along with the chemistry evident among the band members that has kept the Grateful Dead going for so many years.

It’s interesting to note that despite the success with their fans and merchandising endeavors, the Grateful Dead have never been commercially successful with their music in mainstream audiences.  Their only top ten hit came in 1987 with “A Touch of Grey,” and a majority of their profits have come from concert ticket sales rather than album sales.  One of the reasons for this loyalty among their fan base is probably the fact that the Dead allow their concert-goers to tape shows.  Taping allows each Dead Head to keep their own unique version of a Grateful Dead show, thus connecting them more to the band itself.  On the subject of taping, Jerry Garcia once said, “The shows are never the same, ever.  And when we’re done with it, they can have it.”

Even though the Grateful Dead’s music was never a mainstream success, they are still very much a part of the American consciousness today.  Personifying the notions of peace, love and unity, the Grateful Dead have brought together a fan base spanning various generations, ethnicities, and social classes.  The fact that they have been around for so long contributes to the wide variety of Dead Heads present at Grateful Dead shows.  Another aspect of their cultural recognition is their brand name.  Using symbols from past albums and concerts (like the “Steal Your Face” skull design and the Dancing Bears) over the years, the Grateful Dead have developed lines of clothing and merchandise with their name as an emblem from their cosmic empire.  Today, many youngsters see and know a Grateful Dead symbol without ever hearing any of their music.  Like other world-class brands, the Grateful Dead forged deep, lasting relationships with their customers and consistently met and exceeded expectations (Rush, 2002)—all without the use of brand advertising or marketing techniques.

The Grateful Dead are definitely icons of American rock music.  Producing more than twenty-five albums and touring with a pace matched only by few, the Grateful Dead never enjoyed mainstream success.  However, today their symbols are highly recognizable and their influence is heard in bands such as Phish, Widespread Panic, and even the Dave Matthews Band.  With their own unique subculture and place in history, the Grateful Dead will always be remembered for the dedication they held to their music and to their fans.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bibliography

Dougherty, S. (1995).  What a long, strange trip:  Jerry Garcia raised the Dead to joyous heights, but bad habits finally silenced the truckin’ troubadour.  People Weekly, v.44, 64-70.  Retrieved on March 20, 2003, from the Infotrak database.

 

Epstein, J.S. (1994).  Adolescents and their music.  New York:  Garland Publishing.

 

Gans, D. & Simon, P.  (1985).  Playing in the band.  New York:  St. Martin’s Press.

 

Grateful Dead Official Website:  http://www.dead.net/.

 

Rush, R.  (2002).  Brand management—Grateful Dead style.  Brandweek, v.43, 27.  Retrieved on March 20, 2003, from the Infotrak database.