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Journal articles on the topic 'Grateful Dead'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Hausmann, John. "Grateful Dead, Sunshine Daydream. Grateful Dead/WEA B00E34A9FU, 2013./Grateful Dead, May 1977. Rhino B00DE22Y0U, 2013." Journal of the Society for American Music 8, no. 4 (2014): 602–5. http://dx.doi.org/10.1017/s1752196314000479.

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2

Goldberg, Christine, and Gordon Hall Gerould. "The Grateful Dead." Western Folklore 59, no. 3/4 (2000): 337. http://dx.doi.org/10.2307/1500242.

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3

Russell, Maureen. "The Grateful Dead Archive." Music Reference Services Quarterly 18, no. 3-4 (2015): 164–74. http://dx.doi.org/10.1080/10588167.2015.1093673.

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4

PEARSON, ANTHONY. "The Grateful Dead Phenomenon." Youth & Society 18, no. 4 (1987): 418–32. http://dx.doi.org/10.1177/0044118x87018004007.

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5

Flory. "Liveness and the Grateful Dead." American Music 37, no. 2 (2019): 123. http://dx.doi.org/10.5406/americanmusic.37.2.0123.

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6

Goldfisch, Nataly Z. "Pedagogy of the Dead: K-12 Teaching & Learning Inspired by the Grateful Dead." Education and Society 42, no. 2 (2024): 5–17. https://doi.org/10.7459/es/420202.

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The Grateful Dead showed us the world crumbling around us and gave us lessons on how we may one day rebuild it. The Grateful Dead were much more than a rock and roll band, a fact hard to relate to those unfamiliar with their work and the large subculture created by it. Indeed, their continuing legacy has inspired scholars across disciplines. This paper explores what Grateful Dead scholarship can offer to K-12 education and offers a conceptual pedagogical framework that K-12 teachers can utilize to envision an innovative educational model for the future of K-12 education.

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7

HARRISON, JEFFREY. "ELIZABETH BISHOP AND THE GRATEFUL DEAD." Yale Review 102, no. 1 (2014): 81–82. http://dx.doi.org/10.1353/tyr.2014.0019.

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8

HARRISON, JEFFREY. "ELIZABETH BISHOP AND THE GRATEFUL DEAD." Yale Review 102, no. 1 (2013): 81–82. http://dx.doi.org/10.1111/yrev.12113.

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9

Ramshaw, Gregory. "Long Strange Trips: Tourism, Events, and the Grateful Dead." Event Management 23, no. 6 (2019): 945–52. http://dx.doi.org/10.3727/152599519x15506259855850.

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The Grateful Dead are one of the most studied musical groups of the 20th century. Though the band as an entity ceased to exist in 1995, various spin-off groups from surviving members continue to tour and play the band's music. Furthermore, numerous other events continue to use the Grateful Dead name and legacy to gain attention and attract visitors. Despite the fact the band and its fans—the Deadheads—have been explored by researchers in a variety of academic fields and disciplines, there are relatively few studies that directly investigate the tourism and events aspects of group, particularly

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10

Russell, Maureen. "The Grateful Dead Audiovisual Archive (the Vault)." Music Reference Services Quarterly 19, no. 2 (2016): 136–55. http://dx.doi.org/10.1080/10588167.2016.1160310.

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11

Roth, LuAnne, Henry Kaiser, and David Gans. "The Music Never Stopped: Roots of the Grateful Dead." Journal of American Folklore 111, no. 439 (1998): 63. http://dx.doi.org/10.2307/541324.

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12

Felton, D., and Gordon Hall Gerould. "The Grateful Dead: The History of a Folk Story." Journal of American Folklore 114, no. 454 (2001): 505. http://dx.doi.org/10.2307/542065.

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13

Goryaeva, Baira B. "Мотив помощника в калмыцких сказках на сюжетный тип AT 508 «Благодарный мертвец»". Oriental Studies 16, № 3 (2023): 660–72. http://dx.doi.org/10.22162/2619-0990-2023-67-3-660-672.

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Introduction. In the Kalmyk folktale tradition, AT type 508 (The Grateful Dead) develops through the motif of miraculous helper. The analysis shows that the main character pays some debt of the deceased one — to acquire an assistant. Goals. The study examines the motif of assistant in Kalmyk folktales clustering with AT type 508 (The Grateful Dead). Materials. The paper analyzes folktale texts published in Clear Script (Kalm. todo bičiq), Roman characters, and modern Kalmyk Cyrillic. Results. Before a long journey, the hero offers his servant to partake of some food which is a test for the lat

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14

Dodd, David, John W. Scott, Mike Dolgushkin, Stu Nixon, Robert Hunter, and Jerilyn Lee Brandelius. "DeadBase IV: The Complete Guide to Grateful Dead Song Lists." Notes 47, no. 4 (1991): 1166. http://dx.doi.org/10.2307/941655.

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15

Booth, Philip. "Searching for the Sound: My Life with the Grateful Dead." Journal of Popular Culture 39, no. 1 (2006): 159–60. http://dx.doi.org/10.1111/j.1540-5931.2006.00212_2.x.

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16

MacFarlane, Scott. "All Graceful Instruments: The Contexts of the Grateful Dead Phenomenon." Journal of Popular Culture 41, no. 2 (2008): 352–53. http://dx.doi.org/10.1111/j.1540-5931.2008.00515.x.

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17

Felton, D. "The Grateful Dead: The History of a Folk Story (review)." Journal of American Folklore 114, no. 454 (2001): 505–6. http://dx.doi.org/10.1353/jaf.2001.0033.

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18

Bonjack, Stephanie. "Studying the Dead: The Grateful Dead Scholars Caucus, an Informal Historyedited by Nicholas G. Meriwether." Music Reference Services Quarterly 17, no. 3 (2014): 197–98. http://dx.doi.org/10.1080/10588167.2014.933393.

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19

Wardlow, Holly. "“I am a dead woman”." Focaal 2021, no. 90 (2021): 11–21. http://dx.doi.org/10.3167/fcl.2021.900102.

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HIV/AIDS can be understood as “an epidemic of signification” (Treichler 1987) not only about dangerous sexuality but also about dangerous relations of dependence. I begin by examining newspaper articles and nongovernmental organization reports to show how they pose alarmist questions about AIDS-related dependency, such as who will care for “AIDS orphans” and how will labor deficits be managed. I then turn to the Papua New Guinea context and focus on the experiences of women living with HIV who oft en narrate themselves as embodying state dependencies on foreign aid for their antiretroviral med

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20

Carrasco, Octavio. "Restive spirits seeking release: the Implicit Religion of the Grateful Dead." Journal of Beliefs & Values 43, no. 1 (2021): 29–39. http://dx.doi.org/10.1080/13617672.2022.2005711.

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21

Sperling, Randa L. ""What a Long, Strange Trip it's Been"???Jerry Garcia, Grateful Dead." Home Healthcare Nurse 18, no. 1 (2000): 72. http://dx.doi.org/10.1097/00004045-200001000-00024.

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22

Cohen, Jacob A. "Grateful Dead and the Art of Rock Improvisation by David Malvinni." Notes 71, no. 3 (2015): 486–89. http://dx.doi.org/10.1353/not.2015.0031.

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23

Ma, Wei, and Gerald A. Berkowitz. "The grateful dead: calcium and cell death in plant innate immunity." Cellular Microbiology 9, no. 11 (2007): 2571–85. http://dx.doi.org/10.1111/j.1462-5822.2007.01031.x.

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24

Cooley, Francis Rexford. "A Long Strange Trip: The Inside History of the Grateful Dead." Journal of American Culture 27, no. 3 (2004): 333–34. http://dx.doi.org/10.1111/j.1537-4726.2004.141_1.x.

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25

Varon, Jeremy. "Sitting on top of the world: The Grateful Dead say goodbye." Sixties 8, no. 2 (2015): 195–99. http://dx.doi.org/10.1080/17541328.2015.1115284.

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26

Millman, Robert B., and Ann Bordwine Beeder. "The New Psychedelic Culture: LSD, Ecstasy, "Rave" Parties and The Grateful Dead." Psychiatric Annals 24, no. 3 (1994): 148–50. http://dx.doi.org/10.3928/0048-5713-19940301-12.

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27

Kaler, Michael. "Searching for the (Sacred) Sound: Phil Lesh, the Grateful Dead, and Religion." Journal of Religion and Popular Culture 23, no. 2 (2011): 139–54. http://dx.doi.org/10.3138/jrpc.23.2.139.

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28

Cameron, Samuel. "David Meerman Scott and Brian Halligan: Marketing lessons from the Grateful Dead." Journal of Cultural Economics 39, no. 3 (2014): 305–8. http://dx.doi.org/10.1007/s10824-014-9228-z.

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29

Michael Steele, Sean. "Listening for the Secret: The Grateful Dead and the Politics of Improvisation." Rock Music Studies 6, no. 1 (2019): 74–75. http://dx.doi.org/10.1080/19401159.2019.1559425.

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30

Kuznetsova, Vera S. "Motif of the Grateful Dead in the Legends of Folk Hagiography about St. Nicholas the Miracle-worker: Folklore and Handwritten Booklore." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 67 (2023): 164–73. http://dx.doi.org/10.37816/2073-9567-2023-67-164-173.

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Relatedness of Old Russian “Tale of a merchant who bought a dead body and became tsar” as of end of the 17 c. with a folklore tradition — a story about a grateful dead man — has long and rightly been noted by all its researchers. However, the presence in the text of the Tale of details about the monastery of St. Nicholas the Miracle-Worker, in which the burial of the dead body of a Christian bought by the hero was made and which is not mentioned anywhere else, remained unclear. The paper presents the results of a comparison of the book-handwritten version of the plot with the folklore stories

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31

Rothermel, Dennis. "JERRY GARCIA'S TRIBUTE TO PAUL KLEE'S TWITTERING MACHINE." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien, ISSN 2297-6809 13 (April 6, 2023): 6–26. https://doi.org/10.5281/zenodo.7805976.

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Jerry Garcia (1942–1995) was an American musician who was the leader and co-founder of the Grateful Dead, a rock ‘n’ roll band that flourished with improvisational concert performances for thirty years until Garcia’s death. Like Paul Klee, Garcia was enthusiastic about both music and art in his youth, having chosen to pursue music, with art as his personal side interest – the opposite of Klee’s choice. Garcia revived that interest in art during the last ten years of his life, during which he created hundreds of works of art, including a small drawing inspire

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32

Lotze, Michael T., Herbert J. Zeh, Anna Rubartelli, et al. "The grateful dead: damage-associated molecular pattern molecules and reduction/oxidation regulate immunity." Immunological Reviews 220, no. 1 (2007): 60–81. http://dx.doi.org/10.1111/j.1600-065x.2007.00579.x.

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33

Gunderman, Hannah C., and John Patrick Harty. "“The music never stopped”: naming businesses as a method for remembering the Grateful Dead." Journal of Cultural Geography 34, no. 3 (2017): 373–95. http://dx.doi.org/10.1080/08873631.2016.1264073.

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34

Reist, Nancy. "Counting Stars by Candlelight: An Analysis of the Mythic Appeal of the Grateful Dead." Journal of Popular Culture 30, no. 4 (1997): 183–209. http://dx.doi.org/10.1111/j.0022-3840.1997.3004_183.x.

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35

Spector, Stanley J. "Les Grateful Dead et Friedrich Nietzsche : transformation de la musique, transformation de la conscience." Volume !, no. 9 : 2 (December 15, 2012): 91–105. http://dx.doi.org/10.4000/volume.3284.

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36

Richardson, Peter. "Please don’t dominate the rap: the Grateful Dead and the Columbia University student strike." Sixties 9, no. 2 (2016): 295–97. http://dx.doi.org/10.1080/17541328.2016.1246835.

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37

Johnston, Michael. "Knights and Merchants Unite: Sir Amadace, the Grateful Dead, and the Moral Exemplum Tradition." Neophilologus 92, no. 4 (2008): 735–44. http://dx.doi.org/10.1007/s11061-008-9107-y.

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38

Meriwether, Nicholas G. "“More than just ashes when your dreams come true”: Libraries, archives, and the Grateful Dead." College & Research Libraries News 73, no. 8 (2012): 460–64. http://dx.doi.org/10.5860/crln.73.8.8810.

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39

Epstein, Jonathon S., and Robert Sardiello. "The wharf rats: A preliminary examination of alcoholics anonymous and the grateful dead head phenomena∗." Deviant Behavior 11, no. 3 (1990): 245–57. http://dx.doi.org/10.1080/01639625.1990.9967847.

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40

Berg, Jeremy. "On the Removal of Download Access to Grateful Dead Soundboards from the Live Music Archive." Popular Music and Society 36, no. 2 (2013): 175–93. http://dx.doi.org/10.1080/03007766.2012.684998.

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41

Weir, Rob. "Tie-Dye and Flannel Shirts: The Grateful Dead and the Battle over the Long Sixties." Journal of Popular Music Studies 26, no. 1 (2014): 137–61. http://dx.doi.org/10.1111/jpms.12064.

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42

Blackwell, J. Mark. "A Tale of Two Cities: San Francisco and "Gomorrah" in Biblical Allusion and Unestimated Prophecy." Biblical Interpretation 19, no. 2 (2011): 129–50. http://dx.doi.org/10.1163/156851511x557334.

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AbstractThis article examines the song "Gomorrah" and its central motif of "don't look back" as reflective of the culture and era in which it was first written and later recorded. Through an analysis of its literary structure, the song reveals an enduring message not commonly associated with Lot in the Bible. Rather, "Gomorrah" speaks of San Francisco in the 1970s and the struggles of two of its prominent institutions: the Grateful Dead and the LGBT movement.

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43

Weiner, Robert G. "The Grateful Dead in Concert: Essays on Live Improvisation by Eds. Jim Tuedio and Stan Spector." Journal of Popular Culture 43, no. 5 (2010): 1145–46. http://dx.doi.org/10.1111/j.1540-5931.2010.00790_10.x.

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44

Norton, Alix, Kristina Golubiewski-Davis, Ann Hubble, and Reed Scriven. "Bridging the Digital and Physical: Increasing Engagement with the Grateful Dead Archive at UC Santa Cruz." Journal of Archival Organization 16, no. 1 (2019): 19–44. http://dx.doi.org/10.1080/15332748.2019.1642703.

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45

Goryaeva, Baira B. "Motif of the Way in Kalmyk Fairy Tales of the Plot Type AT 508 “Grateful Dead”." New Philological Bulletin, no. 3 (2022): 394–406. http://dx.doi.org/10.54770/20729316-2022-3-394.

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46

Kaler, Michael. "The Rebirth of Improvisation as a Site for Religious Studies Research." Studies in Religion/Sciences Religieuses 49, no. 3 (2020): 449–62. http://dx.doi.org/10.1177/0008429819891965.

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In this article, I propose that studies of music’s links to religion go beyond reductionistic links between religious traditions and music forms (e.g., “Music and/in Islam”), and look instead at ways in which music responds to or expresses concerns or aspirations that are linked to religion or spirituality. The article further proposes that, should this approach be adopted, the explosion of radical improvised music-making in the 1960s (associated with such artists as the Grateful Dead, John Coltrane, La Monte Young, Terry Riley, Albert Ayler, etc.) is a very promising site for investigation.

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47

Lorentzen, Lois Ann. "Golden State of Grace?" Boom 5, no. 4 (2015): 20–33. http://dx.doi.org/10.1525/boom.2015.5.4.20.

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Non-Californians rarely refer to the Golden State as a sacred place or religious landscape. Yet, California fascinates, in part, due to its religious extravagance–think Jim Jones, Heavens Gate, the Crystal Cathedral, Harold Camping’s predicted end of the world, the Grateful Dead. Everything is here, and then some. This essay looks at California as an epicenter of religious expression and a global microcosm for hybrid religions, new religions, and experimental religious practices. The essay analyzes migration, the California/Mexico border, genders/sexualities, race/ethnicity, commercialization,

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48

Wistisen, Lydia, Magnus Ullén, Thomas Hvid Kromann, and Sara Kärrholm. "Recensioner." Tidskrift för litteraturvetenskap 48, no. 1-2 (2018): 106–17. http://dx.doi.org/10.54797/tfl.v48i1-2.7588.

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Sara Kärrholm om Karl Berglund, MORDENS MARKNAD. LITTERATURSOCIOLOGISKA STUDIER I DET TIDIGA 2000-TALETS SVENSKA KRIMINALLITTERATUR Uppsala: Avdelningen för litteratursociologi, 2017, 756 s. (diss. Uppsala) Thomas Hvid Kromann om Johan Gardfors, ÅKE HODELL. ART AND WRITING IN THE NEO-AVANT-GARDE University of Gothenburg, 2017, 326 s. (diss. Göteborg) Magnus Ullén om Ulf Olsson, LISTENING FOR THE SECRET. THE GRATEFUL DEAD AND THE POLITICS OF IMPROVISATION Oakland: University of California Press, 2017, 184 s. Lydia Wistisen om Birgitta Theander, TILL ARBETET! YRKESDRÖMMAR OCH A

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49

Попович Николич, Даниела. "Serbian Oral Tales of the AaTh 505-508 Type." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2021): 86–93. http://dx.doi.org/10.26158/tk.2021.22.3.007.

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Рассказ о благодарном мертвеце (AaTh 505-508) широко распространен в прозаическом фольклорном фонде многих народов мира. В его основе находится повествование о человеке, хоронящем мертвеца, который потом становится помощником и спутником, помогающим герою рассказа в женитьбе и приобретении богатства. В многочисленных исследованиях выделяются, среди прочего, разные варианты этого рассказа, определяются типы, модификации типов и их сложные взаимосвязи, регистрируются мотивы и сюжеты в письменных текстах, анализируются их сходства и отличия в рамках поэтических систем, к которым они относятся. В

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50

Kaler, Michael. "Music and the Divine." Studies in Religion/Sciences Religieuses 44, no. 1 (2014): 3–15. http://dx.doi.org/10.1177/0008429814548175.

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In this article I discuss the way in which the Acid Tests, multimedia parties organized by author Ken Kesey in 1965 and 1966, were interpreted by the Grateful Dead, who played at the Acid Tests and were one of the most successful of the bands to emerge from the 1960s psychedelic scene in rock. In examining the construction of the meaning and significance of the Tests that band members created, we see a group that in many ways resembles a new religious movement struggling to create, make sense of, and free itself from its foundation story—a struggle repeated by many groups before and since.

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