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Liveness and the Grateful Dead

Liveness and the Grateful Dead ANDreW Flor Y The Grateful Dead are very much alive. often considered relics of a for - mative era in the history of rock, the Dead have always been known as a band in the flesh, a group to see in a live environment. “There’s noth- ing like a Grateful Dead concert,” goes the adage among devotees of the group who often followed the band around, sometimes seeing multiple concerts in a single season and creating a large- scale cultural following that was unlike anything that came before in rock music. The group was well aware of its own liveness. members often cited live shows as the central statements of their work, and the band played with aspects of performativity in album titles like Live/Dead and Go to Heaven, revealing ironic connections between ontologically fixed, carefully crafted rock albums and the concerts that made them famous. unlike many of the group’s counterparts that formed in the mid-1960s, the Dead’s perfor - mance practice helped to form the basis for the live rock concert as we know it, and the band’s music continues to be received in a manner that accounts for a complex and nuanced history of performance practice. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Liveness and the Grateful Dead

American Music , Volume 37 (2) – Jul 26, 2019

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

ANDreW Flor Y The Grateful Dead are very much alive. often considered relics of a for - mative era in the history of rock, the Dead have always been known as a band in the flesh, a group to see in a live environment. “There’s noth- ing like a Grateful Dead concert,” goes the adage among devotees of the group who often followed the band around, sometimes seeing multiple concerts in a single season and creating a large- scale cultural following that was unlike anything that came before in rock music. The group was well aware of its own liveness. members often cited live shows as the central statements of their work, and the band played with aspects of performativity in album titles like Live/Dead and Go to Heaven, revealing ironic connections between ontologically fixed, carefully crafted rock albums and the concerts that made them famous. unlike many of the group’s counterparts that formed in the mid-1960s, the Dead’s perfor - mance practice helped to form the basis for the live rock concert as we know it, and the band’s music continues to be received in a manner that accounts for a complex and nuanced history of performance practice.

Journal

American MusicUniversity of Illinois Press

Published: Jul 26, 2019

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