Of the many remarkable things about the continuing saga of the Grateful Dead, perhaps none is more striking than the fact that said saga not merely continues, but grows ever deeper, richer and more resonant in meaning and effect. Even the most optimistic observer could never have dreamed that what began in a San Francisco suburb with a seemingly random convergence of like-minded misfits, in search of fun and armed with an insatiable appetite for collective creative experimentation, would continue to capture the attention of a still-growing legion of devotees well over five decades later. But that is exactly what has happened. And even though the touring and recording entity formally known as the Grateful Dead officially disbanded in 1995, the idea of the Grateful Dead is as alive as it ever was, as expressed in the ongoing individual and collaborative endeavors of the band's surviving core members, as well as a new generation of artists who have been inspired by the Dead's example. That idea is also very much alive in the continued vitality of the worldwide community of Dead Heads, which now includes an increasing number of young fans not yet born while the original incarnation of the band was still active. There is boundless enthusiasm not just for the Dead's rich past, but for the way the music is still evolving in the present, in turn suggesting bright prospects for an exciting future.
For those wishing to immerse themselves in that rich past, there are ever more opportunities to do so, as the band's immense catalog of official releases remains available for purchase and/or streaming, SiriusXM Radio subscribers can tune in to the 24/7 channel devoted to the Dead, and many fan-made-and-traded tapes have found their way into the digital domain, instantly available with a simple click on a link. The flow of previously unissued material from the Grateful Dead Vault continues to generate a huge and positive response, with the most newsworthy such event of the past year undoubtedly being the box set "Get Shown The Light: May 1977," which included, at long last, the official release of that legendary show from 5/8/77 at Cornell University. Other noteworthy releases in 2017 included a deluxe 50th Anniversary edition of the Dead's very first studio album (the first in a series of such anniversary commemorations) and, to finish off the year in style, a multi-disc set presenting the two terrific shows the band played at Washington, DC's Robert F. Kennedy Stadium in July of 1989. And don't forget that the "Dave's Picks" series is still going strong, with some great stuff to come in 2018 (so be sure to get your subscription while the getting's good!).
Another major representation of Grateful Dead history saw the light of day in 2017 with the long-awaited release of director Amir Bar-Lev's four-hour documentary Long Strange Trip which was given a one-night-only theatrical screening in numerous cities (as well as week-long engagements in New York and Los Angeles) before becoming available for streaming via Amazon Prime Video. The film portrays the Dead's three-decade run from beginning to end, employing interviews with band members, friends, family and fans and an amazing amount of great historical footage (including some never before seen) woven into an engrossing and poignant narrative.
Needless to say, Jerry Garcia remains a huge presence in the hearts and minds of all who love and play this music, and 2017 was no exception to this – indeed, there was a special focus on Jerry, as this year was the 75th anniversary of his birth – a milestone that was celebrated in numerous ways, the most high-profile being an unforgettable birthday concert at Colorado's Red Rocks Amphitheatre, featuring a stellar cast of some of Garcia's closest musical and personal friends, as well as younger musicians who never had the opportunity to meet Jerry but were profoundly inspired and influenced by him nonetheless. Among the show's many highlights were: an acoustic set that evoked Jerry's folk and bluegrass roots with singer-guitarist Anders Osborne and Jerry Garcia Acoustic Band alumni Kenny Kosak and Sandy Rothman: A tribute to the Jerry Garcia Band with JGB veterans Melvin Seals, Gloria Jones and Jackie LeBranch, joined by Tom Hamilton, Oteil Burbridge, Duane Trucks and the great young jazz saxophonist Kamasi Washington, plus sit-ins by John Mayer and Bob Weir; The very same Mr. Weir closed the show with the Campfire Band (the excellent unit that has toured with him in support of his acclaimed 2016 album "Blue Mountain") Another notable element of the celebration was the unprecedented presence of some of Jerry's most beloved guitars ("Tiger," "Wolf," "Rosebud" and two of his Travis Bean instruments) on one stage, with several of the participating players availing themselves of the opportunity to rip it up on those iconic axes.
The "Wolf" was also at the center of another extraordinary event earlier in the year. The guitar's owner, who had bought it when first offered at auction by its builder, Doug Irwin, back in 2002, decided that the instrument could do the world more good if he auctioned it off yet again and pledged every cent of the proceeds to one of the worthiest (and sadly, timeliest) causes imaginable: the Southern Poverty Law Center, a vitally important civil rights organization focused on identifying and combating groups fomenting intolerance and racial hatred. The auction (which occurred in the midst of a stellar musical show especially curated for the occasion by Joe Russo at the Brooklyn Bowl) generated a record-shattering sale price of $1.9 million. And that wasn't all, as an anonymous donor pledged to match the winning bid, meaning that more than three million dollars went to the SPLC.
Jerry's legacy is also represented by an ongoing series of archival releases presided over by the Garcia family and highlighting his work outside the Grateful Dead. You can stay up to date on these releases and other Jerry-related activities and news at jerrygarcia.com.
Real-time human interaction has always been an essential element in the music and magic of the Grateful Dead – interaction between the players in the band, between audience members, and between band and audience. So it seems entirely appropriate that the current state of the Dead world is very much informed by such interactions, with band members immersed in a variety of collaborative ventures, with one another as well as musical partners both old and new.
Over the past couple of years, the most visible of these creative unions (and the one with the highest concentration of Grateful Dead alumni) has been Dead & Company, formed in 2015 by Bob Weir, Bill Kreutzmann and Mickey Hart, in collaboration with John Mayer, Oteil Burbridge and Jeff Chimenti. 2017 was a breakthrough year for Dead and Company, highlighted by a hugely successful summer tour that found the band filling some of the most iconic Grateful Dead venues, including Folsom Field, Shoreline Amphitheatre and the Saratoga Performing Arts Center, as well as venerable baseball shrines like Fenway Park and Wrigley Field. The music and the vibe could not have been better, and many felt this tour was the band's true coming of age. John Mayer heartily concurs. Reflecting on what had been accomplished, in a conversation not long after the final show in Chicago, John said, "So many discoveries took place on this tour. This is the tour we became a unit – a band – instead of a project… I think the ethos of this band is like, 'look at what you've done so far, compare it to your intention, and keep making changes on the fly.' If you compare Wrigley night two and compare it to Albany in 2015 (the very first Dead & Company show) nothing can prepare you for where you're gonna end up. There's no way we could have done Wrigley night two on October 29th, 2015." Mayer noted that the support and musical generosity of his bandmates, along with the warm acceptance he felt from the audience, was instrumental in helping him vanquish some of the insecurities he felt on previous tours about stepping into such an exalted role: "It's like the world is saying, 'you got the gig. Chill!'" and went on to say of that gig, "It's the most emotional, valuable thing in my life."
Mickey Hart, for one, agrees with John's upbeat assessment and optimism for the band's future. Speaking hours before that tour finale at Wrigley, he said, "It's a real organism, this band. It's turning into something really special - something that I'm really proud of. We're getting lost a lot. And in our world that's the most important thing… to lose yourself in the music." Mickey believes that "getting lost" in this fashion – and taking the audience along – serves an especially valuable purpose in the world at this moment in history: “You’re cutting a swath through this country and watching all of the faces light up," he says. "This country is not as happy as it used to be. So we have a great sense of accomplishment at the end of the night, seeing all the people just so happy and glowing, and they walk out with big giant smiles. Of course, reality comes in the day, but it tempers it, because you’ve had a life experience that night. It’s so life-giving, this music, that it has to affect you. You can’t be as unhappy the next day as you were going there. If you were at all a little down about the political morass that we’re in, this kind of lifts you. It lifts your consciousness. And that’s what music is supposed to be about at its best. It’s supposed to make you high - to think about other things, things of more priority to you personally, to the world, to your friends and family and so forth. So it’s such a positive, positive energy that it’s overwhelming. You see it in everybody, and there’s not one person that you can talk to and see that is not in an exalted state, really."
Happily, we all can access that exalted state soon again and, we hope, for years into the foreseeable future, as Dead and Co. announced a 16-date Fall tour commencing at Madison Square Garden on November 12th, to be followed by four days in February 2018 on the beach at Riviera Maya, Mexico (and aptly titled "Playing In The Sand").
Equally busy following his bliss most emphatically and successfully in 2017 was Phil Lesh. Over the past few years Phil has pulled off a feat that borders on the miraculous: making good on a desire to forsake the grind of the touring life, yet managing to remain as musically active and creatively inspired as ever, if not more so. While Phil has continued to bring his varying groups of musical friends and family to selected festivals and is still doing several residencies a year at the Capitol Theatre in Port Chester, NY, the true center of this new phase in his creative life is his dream home, Terrapin Crossroads in San Rafael, CA – an intimate club and restaurant that, as Phil proudly notes, has "become more than just a music venue and restaurant. It's somehow become a community gathering place and, on its highest level, I really think of it as a sanctuary, for everyone, not just our people… because we get everyone from the surrounding area. It's not just Dead Heads. And that's very gratifying."
Terrapin is also something of a creative laboratory, affording a relaxed environment in which Phil and other members of what as become a vital repertory company of locally based players can come together in ever-changing combinations, as well as welcoming musical dignitaries from out of town to join the fun from time to time. The venue has also fulfilled a function that was integral to Phil's original vision – to serve as a place for mentorship and encouragement of a new generation of musicians to help carry on what the Grateful Dead invented. "That was definitely the idea," he says, "and that, I'm happy to say, has been one of the big successes of the Terrapin Crossroads family." Several members of that family now comprise the core of what's come to be known as the Terrapin Family Band, which not only plays regularly at the Crossroads, but has served as the band for many of Phil's appearances away from home, which this year included such events as a 50th Anniversary revival of the groundbreaking Monterey International Pop Festival (held on the site of the 1967 original) the fifth annual Lockn' Festival in Virginia (at which Bob and Phil, who have been collaborating with increasing frequency of late, joined forces to perform the Grateful Dead's 1977 "Terrapin Station" album in its entirety, aided and abetted by singer Nicki Bluhm) and the Sound Summit concert benefitting Mount Tamalpais State Park in Marin County, CA (another Phil/Bob get-together, which also featured a guest appearance by My Morning Jacket frontman Jim James). Along with Terrapin Crossroads regulars like guitarist/singer Ross James, multi-instrumentalist Jason Crosby and percussionist/singer Alex Kofford, one of the mainstays of the Terrapin Family Band is Grahame Lesh, Phil's eldest son, who grew up in the most literal way possible in the Grateful Dead family, and has grown into a highly capable singer, guitarist and bandleader in his own right, with the TFB as well as his own group Midnight North. Not surprisingly, Phil is the very picture of a proud papa when interacting onstage with his son, and with good reason. Grahame and the rest of the Terrapin Family Band represent another reason to believe that Grateful Dead music will be in very good hands for a long time to come.
Visit www.terrapincrossroads.net for schedules of events and other info.
In Other News (And On The Near Horizon): If 2017 was any indication, there will be plenty to look forward to when the core members of the Dead and their close musical pals aren't on the road together or separately. A few examples:
Mickey Hart spent much of his time between tours working on his first new studio recording in a while, in collaboration with Michal Menert, a talented musician, producer and all-around audio wizard who also served as an unseen but crucial asset to Dead & Company, as the man who helped Mickey and Bill access a seemingly infinite range of exotic sounds – or as Mickey puts it "He's the one who feeds the Rhythm Devils all of their food. He feeds the lions.” While the album was in the final stages of completion as we were preparing this Almanac, Team Mickey didn't want to give away too much information, but suffice it to say that it will feature some longtime partners in rhythm as well as some unexpected new collaborators. The grooves should be deep and the sonics otherworldly. Prepare for liftoff! Check in with Mickey at www.mickeyhart.net.
When we asked Bill Kreutzmann if he had any new musical projects in the works, he said, with no small amount of satisfaction and pride, "Dead & Company IS my musical project." And you can't blame Bill for not seeking out other gigs, given that he spends most of his time off the road living in paradise, on the Hawaiian island of Kauai, tending to his organic garden and enjoying lots of sun and surf. He's not entirely without extracurricular creative outlets, though, as he has been engaged in his growing love for making visual art, some examples of which (described by Bill as "Moving Images… if viewed correctly") were recently selected for display in a show at a local gallery. Some of Bill's art can be viewed at www.billkreutzmann.net.
John Mayer managed to sandwich Dead & Company's summer sojourn between two separate legs of his own tour supporting his album "The Search For Everything." Not surprisingly, John has let a little GD slip in among his own original material, with teases of, or quotes from, tunes like "St. Stephen" and "China Cat Sunflower" and a few full-on covers ("Fire On The Mountain," "Friend Of The Devil"). John also found time to reunite with his old friend, comedian Dave Chappelle, making unannounced appearances at some of Chappelle's gigs and announcing a joint performance together with Dave this coming New Year's Eve in Los Angeles. To keep up with John, you can follow his always-entertaining Instagram and Twitter feeds, or visit www.johnmayer.com.
Oteil Burbridge has finished recording an album of his own, and will be going on tour to play his new material with what promises to be a splendid band filled with familiar faces, including John Kadlecik, Melvin Seals, Jay Lane and Eric Krasno. Those who were especially happy to hear Oteil get some lead vocal love on the last Dead & Company tour should be especially excited to see him fronting his own project. Visit www.oteilburbridge.com.
Jeff Chimenti signed on as musical supervisor/arranger for a new musical theater work titled "Red Roses, Green Gold," which weaves songs by Jerry Garcia and Robert Hunter into its dramatic narrative. The show premieres off-Broadway in New York this fall. Learn more at www.redrosesgreengold.com.
Bob Weir was recently accorded the honor of being designated a good will ambassador of the United Nations Development Programme. The UNDP's announcement described Bob's involvement:
In this new role, Weir will be teaming up with UNDP to raise awareness and mobilize support for the UN agency’s work to end poverty while fighting climate change.
Weir will help UNDP shine a spotlight on the important role climate action plays in achieving the Sustainable Development Goals, which were agreed upon by world leaders to protect the planet and achieve a brighter future for all. Weir will help UNDP advocate for climate initiatives and projects that promote renewable energy, preserve coastlines, combat deforestation and ensure a healthy planet for generations to come.
“I am most honored to join the United Nations Development Programme as a Goodwill Ambassador,” Weir said. “I am looking forward to working with UNDP to raise awareness of the grave issues and enormous opportunities affecting our planet and I hope to inspire others to join us. Together we can help keep our planet healthy and prosperous for future generations.”
And that, dear reader, gets us back to where we were: looking to the future – a subject that's been on Bob's mind not just in terms of matters like the fate of the planet itself, but in his thoughts about the way people might regard the Grateful Dead's legacy in generations to come. In the course of a panel discussion not long ago, Bobby spoke in terms of looking beyond the day-to-day details of being a working a musician and taking a much, much longer view:
"There are the nuts-and-bolts considerations about 'OK, How is this going to work on this next tour, or our next recording?' or whatever. And then there's the other consideration of 'what are they going to say about this in 300 years in music schools?' And it's just starting to dawn on me that if we do things right… if we get this right… that's gonna be a vital topic of conversation in 300 years."
Unless science comes up with some major life-extension breakthroughs in a hurry, we probably won't be around to eavesdrop on that conversation three centuries from now. But we're happy to do our part in carrying it on as long as we can, and hope you'll remain a part of it as well.
Listen to "Dire Wolf" from the album Workingman's Dead
Welcome to the 7th year of the Dave's Picks series, as we head into 2018 more excited than ever about where this series is, and where it's going. A heartfelt thank you to everyone who has supported the series since its inception in 2012; and to those who are new to it, we welcome you. There's plenty of room on the bus. The anticipation we feel every time we select, and later announce, each and every Pick is equal, or even greater, than this guy's excitement at seeing a train. As we head into and past our 25th release in the series, we feel a great sense of forward momentum, and we aim to keep that going in the coming years. How do we top a release like the upcoming Vol. 25, which as you've likely heard is the classic, much-requested, spectacular 11/6/77 Binghamton, NY show? With the show we're thinking about for Vol. 26, that's how! Really, we aim to equal, or top, every release by heading to great performances that you or may not have previously heard, but never in the quality Jeffrey Norman is able to produce. We've got our eyes and ears on several shows for possible upcoming Dave's Picks releases that are going to make 2018 the best year yet in the series, and that's how we honestly feel. Thanks again for subscribing. We keep doing what we do because you keep digging it. Your support and feedback is what keeps making us scream like we've just seen the train of our dreams...
Because the demand for these limited, numbered releases is so high, we've decided to bump the 2018 Dave's Picks production run to 18,000 of each of the four releases. While this means there will be more to go around, the best advice we have to give is... subscribe. When these releases go up for sale a la carte, they sell out within hours. Hours. No hyperbole here. The only way to avoid disappointment and be guaranteed all four Dave's Picks in 2018 is to subscribe.
In addition to the four CD releases in 2018, totaling 12 CDs, you’ll also get the subscription-exclusive bonus disc, which has proven to be one of the most highly sought after collectables we’ve ever released and free domestic shipping. Subscriber bonus discs will not be released outside of this offer. Early bird subscribers can nab a sub at $99.98 (regular pricing will be $115.92).
DAVE’S PICKS 2018 SUBSCRIPTION BENEFITS
• Four Limited Edition, Numbered Releases
• Highly Collectible Bonus Disc
• Free Domestic Shipping
• Delivered Throughout The Year
• Early Bird Pricing - $99.98
• A savings of over $25.00 over purchasing a la carte
Last year we launched a brand new highly-collectible 7” vinyl series and a subscription to that series, to boot. We continue in 2018 with the next batch of remastered singles on 7-inch colored vinyl featuring newly commissioned artwork, each limited to 10,000 copies and available exclusively at dead.net. Didn't subscribe last year but want to collect the whole set? Singles 1-4 are available a la carte in the Dead.net store.
The first release, arriving March 1, will be 1970's “Uncle John's Band” b/w "New Speedway Boogie.” This limited-edition reissue features newly remastered audio, transferred from the original analog master tape of the mono single mix, mastered by Grammy-winning engineer David Glasser with original artwork by Nate Duval.
Other volumes to be released in 2018 include:
“Sugar Magnolia”/“Mr. Charlie”
“Let Me Sing Your Blues Away”/“Here Comes Sunshine”
GRATEFUL DEAD 7” SINGLES SUBSCRIPTION BENEFITS
• Four Limited Edition Releases
• Free Domestic Shipping
• Delivered Throughout The Year (Shipped March 1, June 1, Sept 1, Dec 1)
• Digital delivery of each of the tracks featured on each 7”, delivered on or around release date
• Subscriber Pricing - $44.98
• A savings of approx. $15.00 over purchasing a la carte
We recently announced our Fall 2018 boxed set, the 6-CD, individually-numbered ROBERT F. KENNEDY STADIUM, WASHINGTON, D.C., JULY 12 & 13, 1989. A favorite tour of Bob Weir's, this one features two previously unreleased concerts taken from the band’s master 24-track analog recordings, which have been mixed by Jeffrey Norman at TRI Studios and mastered in HDCD by David Glasser. The collection’s colorful slip case features original artwork by Justin Helton and a perfect-bound book with in-depth liner notes written by Dean Budnick, editor-in-chief of Relix magazine. Due November 10th, the set will also be available as a digital download in Apple Lossless and FLAC 192/24.
ALMANAC exclusive: Listen to a rollicking "Touch Of Grey" from 7/12 and an uplifting "Cold Rain And Snow" from 7/13.Pre-order ROBERT F. KENNEDY STADIUM, WASHINGTON, D.C., JULY 12 & 13, 1989 here.
For many, the highlight of the year was the release of MAY 1977. In fact, the numbered, limited-edition release sold so quickly (a continuing theme here), that we decide to produce another edition featuring all of the music for everyone to enjoy.
MAY 1977: GET SHOWN THE LIGHT is a collection of what is unanimously believed to be the most sought-after previously unreleased complete shows the Grateful Dead ever played. Collected, traded, and debated for decades, "the beloved Golden Trinity" of Boston, Ithaca, and Buffalo, along with their New Haven prelude, have inspired fans to "get on the bus," converted critics, and even garnered national attention (Cornell was added to the Library of Congress’ National Recording Registry).
The Dead is in the details... how serendipitous is it that the notorious Betty Cantor-Jackson soundboard recordings were returned to the archive just in time for the 40th anniversaries of these shows? Lovingly sourced from these well-reputed recordings, we invite you to experience four utopian shows just like they happened, to "be inside the music" as engineer Betty Cantor-Jackson intended. Whether you listen to each night on its own or imbibe the whole lot at once, we suspect you'll hear why every note mattered. Much like we were, you will be hard-pressed to determine which of these fine documents - will it be the understated but nuanced New Haven, Boston's festive fantasy vibes, the monumental catharsis of Ithaca, or Buffalo’s dreamy exuberance - is truly "the best." Does it really matter? We think not.Get your copy of the MAY 1977: GET SHOWN THE LIGHT here.
The Grateful Dead played more than 2,000 concerts, but none continues to spark interest and provoke discussion quite like the band’s performance at Cornell University’s Barton Hall on May 8, 1977. It is one of the most collected, traded, and debated concerts by any band ever, has topped numerous fan polls through the years, and was a favorite of the group’s longtime archivist Dick Latvala, who stated: “Enough can’t be said about this superb show.” Even Uncle Sam got into the act in 2011 when the recording was “deemed so important to the history and culture of the United States” that a copy was added to the Library of Congress’ National Recording Registry.Order CORNELL 5/8/77 here.
Tis the season to be Grateful! Gussy up your social media for the holidays with one of our festive Grateful Dead designs. Click to download your selected art to your desktop. Upload as your profile picture or cover image.
February has become quite a favorite around here. It's when we are flooded with feel-good moments and sometimes - in the best possible way - teary-eyed ones too. Over the past few years, Dead Heads from near and far have worked tirelessly to bring the community their very best take on the Dead's rich legacy. So it should come as no surprise that we will be carrying on the tradition of the DEAD COVERS PROJECT in 2018.
Won't you please join us next year...
Sound just like Jerry? In the Phil Zone? Feel the force of the Rhythm Devils? The 2018 Dead Covers Project wants you! Let your creativity flow, visually and vocally, and your Dead cover could be featured on Dead.net during the month of February.
We'll be taking submissions as soon as January 1st. Simply upload your video to YouTube, tag it "DeadCoversProject," and we'll make it available to view on the band's official YouTube channel, www.youtube.com/gratefuldead in February.
Who needs a miracle everyday? We sure do and we bet you could use one too!
Consider this our gift to you for being so darn loyal... Each day in November we're giving away a high-quality 320Kbps MP3 download. That's 30 days of unreleased Grateful Dead tracks from the vault, selected by Dead archivist and producer David Lemieux! Intrigued? We're also going to put your knowledge to the test and give you the chance to win some sweet swag from the Dead.
Most of you know the drill by now, but for those, that don't, here's the deal:
You know your Ables from your Bakers from your C's, but can your finely tuned ears differentiate the cosmic "comeback" tour from a spacey 70's show? Each day we'll post a free download from one of the Dead's coveted shows. Will it be from that magical night at Madison Square Garden in '93 or from way back when they were just starting to warm it up at Winterland? Is that Pigpen's harmonica we hear? Brent on keys? Step right up and try your hand all November long and win prizes while you're at it.
From the Civil Rights and Counterculture movements to the Mets' dugout, Bob Marley's Jamaica, Martha's Vineyard timeless beauty, and beyond, photographer Peter Simon has witnessed countless once-in-a-lifetime moments (sounds like an oxymoron, we know) and captured some extraordinary events and human beings. But none enlivened him, on a personal and professional level, quite like being around the Grateful Dead and its entourage. Learn more about Simon's childhood roots in photography, what it was like to be a fly-on-the-wall on the May ’77 tour, and his chance to get up-close and personal with Jerry here.
Author Peter Conners got on the bus in '85 and he's been writing about the Grateful Dead, jam bands, and counterculture ever since. He tackled the challenge of chronicling Ithaca, 5/8/77 in his book Cornell '77 - The Music, The Myth, And The Magnificence of The Grateful Dead's Concert at Barton Hall. Find out more about that endeavor and a few of his other favorite shows here.
"DeadBase" author Stu Nixon found the task of chronicling every note in the Grateful Dead's musical trajectory so rewarding, he did it 19 times! Find out what the ultimate edition, "DeadBase 50," features (spoiler alert, A LOT, this one's a hefty 992 pages), and just how Nixon managed to make it to every show in '85 here.
Multi-hyphenate Dean Budnick wears many hats but none quite as well as the one he wears as Editor-In-Chief of Relix Magazine. Here, Budnick talks about his decades of work in the Jam Band scene and his efforts to gracefully portray the Grateful Dead in works of both fiction and non-fiction.
Longtime Grateful Dead fan and author of the book Marketing Lessons from the Grateful Dead: What Every Business Can Learn From The Most Iconic Band In History placed the winning bid for Jerry's Wolf guitar earlier this summer. Learn more about his decision to attend the auction which benefited The Southern Poverty Law Center, how he maintains his Dead Head status, and pick up a marketing tip or two here.
One lucky Cornell freshman and amateur photographer had the good fortune of witnessing the magic of the Grateful Dead's Barton Hall gig before, during, and after. That fellow was Larry Reichman. He gives us a first-hand account of the evening's festivities, shares his thoughts on why it really IS the "Best Dead Show," and details the kickstarter campaign for his Cornell coffee table book here.