In the first six months of 1989, The Grateful Dead played 17
shows in California. Every time a show was announced I tried for tickets, but
never had a hope in hell. You want Neil Diamond tickets? Not a problem. But The
Dead? Forget it -the Deadheads had those gigs completely under their control.
In the late 60s and early 70s I never owned a Grateful Dead
record, but their music was everywhere I hung out. Friends’ houses, university
halls, record shops, cafes. I vividly remember a farm on the Mornington
Peninsular commandeered by Dead fans with the music blaring at extreme volume
across the paddocks. The cattle were unconcerned. The music filled the farmhouse
and kitchen as food was made for a couple of dozen visitors and was still
rolling across the night sky when we left.
I also knew people who’d actually been to three-hour and
four-hour Dead concerts in the States. One is my life partner and I’ve had to
live with that ever since.
The streaming version of Long Strange Trip runs 4 hours 40 minutes, although there is close
to 45 minutes of credits spread across the six ‘acts’. It covers Jerry Garcia’s
first musical steps in the early 60s and the entire career of the band until
Garcia’s death in 1995 at the age of 53.
Early career highlights include Garcia explaining how the
“conversational” musical style of bluegrass (instruments playing off against
each other) was the blueprint for the band’s celebrated improvisation on-stage
and not, as many have thought, jazz.
There’s footage of The Dead playing at Ken Kesey’s Acid
Tests; what remains of footage shot by a Warner Bros film crew trying to film
the band but who were sabotaged by LSD during the shoot; a very engaging, blunt
talking cockney road manager Sam Cutler - on band member Pigpen and his death
in 1972: “Alcoholics don’t like acid; they’re trying to shut down the doors of
perception, not open them”. There’s the legendary LSD-manufacturer Owsley
“Bear” Stanley and his jaw-dropping, astounding, ridiculously gigantic “Wall of
Sound” speaker stacks. And contented shots of the enormous road crews The Dead
insisted on remunerating far in excess of any other band at the time.
The Grateful Dead made it up as they went along. They were a
legendary musical commune who created an acid counter-culture community around
them. With very few exceptions, the band’s lyrics were apolitical in very
political times. Their touring parties would stretch to wives, kids and anyone
else who was fun to be around. A graphics industry grew up around them, riffing
off the skull, the lightning bolt and the lettering. Counter-cultural books
were constantly published espousing The Dead’s philosophies, influences and
blueprints for living an alternative life.
Jerry Garcia |
Allowing this bootleg industry to blossom – it had its own
section set up near the stage – proved a master-stroke. Tapes of shows
circulated, collectors proliferated, older brothers and sisters introduced
their younger siblings to The Dead with the bootlegs. For a band that couldn’t
(or wouldn’t) produce the requested string of hit singles, it just inverted the
business model. They wouldn’t survive on record sales, but from live
performances. The bootleg industry become responsible for the vastly increased attendances
through the 80s and 90s. The music
industry was impressed, The Dead claim there was nothing brilliant about this
strategy - they were just being typically permissive, letting people do
whatever they want.
Through the 1980s, as this audience grew, quasi-religious elements
developed, like the Deadhead “spinners”, Sufi-like trace dancers who literally
believed Garcia to be a prophet. Religion or not, the attraction was a concert
experience like no other.
By the late 80s, the shows moved into stadiums to
accommodate those without tickets who were partying outside the venues. But
everything grew exponentially and thousands more started turning up to the
party outside venues. Garcia’s heroin addiction got worse and most of the
insiders believed he would just play on until death.
Not being a Deadhead,
I don’t really know what’s missing. What I did notice was that no mention was
made of percussionist Mickey Hart’s dad Lenny, of whom Wikipedia says:
Lenny Hart was also
the Grateful Dead's original money manager. In
March, 1970, he disappeared along with approximately US$155,000 (US$955,900 in
2016 dollars) of the group's profits.
Hart was located by a
private detective and arrested in San Diego on July 26, 1971,while baptizing people and using the name "Rev.
Lenny B. Hart". He was convicted of criminal embezzlement and sentenced to
six months in jail.
Sounds a little like
Ronnie, father of David Cornwell (John le Carre).
The gestalt of The Dead, particularly
their social influence on the counter-culture is pretty thinly covered. The
website gratefuldeadbooks.com gives a “not comprehensive” list of 364 books
about the band or books including a chapter on the band. These include 70
histories of The Dead; 24 biographies of Garcia; 75 biographies of other band
members; 16 about other Dead personnel; 21 on graphic art originating from the
band; 16 comic books; 18 books devoted to Deadheads; 7 kids’ books; 4 Dead
recipe books and 5 on The Dead’s business and marketing.
There’s a lot of stories in those
books.
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