Deadhead

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For other uses, see Deadhead (disambiguation).

A deadhead school bus conversion

Deadhead or Dead Head is a name given to fans of the American rock band the
Grateful Dead.[1][2][3][4][5] In the 1970s, a number of fans began travelling to
see the band in as many shows or festival venues as they could. With large numbers
of people thus attending strings of shows, a community developed. Deadheads
developed their own idioms and slang.

Much Deadhead-related historical material received or collected by the band over

the years is housed in the Grateful Dead Archive of UC-Santa Cruz. Archive founding
curator Nicholas Meriwether, who has also written extensively about the culture and
its impact on society, predicted, "The Grateful Dead archive is going to end up
being a critical way for us to approach and understand the 1960s and the
counterculture of the era... It's also going to tell us a lot about the growth and
development of modern rock theater, and it's helping us understand fan culture."[6]

Contents
1 Overview
2 Origins
3 Impact on shows
4 "The Vibe"
5 Through the years
6 Recordings of shows
7 Archives
8 Subcultures
9 Celebrities
10 See also
11 References
12 Further reading
Overview
By the late 1970s, some Deadheads began to sell tie-dye T-shirts, veggie burritos,
or other items at Grateful Dead concerts. This allowed many Deadheads a way to
follow the band on its tours. During the early 1980s, the number of Deadheads
taping shows increased, and the band created a special section for fans who wished
to record the show. These tapes are still shared and circulated today via websites
such as the Live Music Archive and bt.etree.org. In the earlier days of the
Grateful Dead, there were questions as to whether or not it was in the best
interest of the band for fans to tape concerts. In 1982, Garcia himself was asked
what he thought about it, and he replied, "When we are done with it [the concerts],
they can have it."[7] The practice of taping has evolved with the digital age, and
the rise of the Internet has made it extremely easy to share concerts through
unofficial channels.

Origins
The term "Deadhead" first appeared in print at the suggestion of Hank Harrison,
author of The Dead Trilogy, on the sleeve of Grateful Dead (also known as Skull &
Roses), the band's second live album, released in 1971.[8] It read:

DEAD FREAKS UNITE: Who are you? Where are you? How are you?

Send us your name and address and we'll keep you informed.

Dead Heads, P.O. Box 1065, San Rafael, California 94901.

This phenomenon was first touched on in print by Village Voice music critic Robert
Christgau at a Felt Forum show in 1971, noting "how many 'regulars' seemed to be in
attendance, and how, from the way they compared notes, they'd obviously made a
determined effort to see as many shows as possible."[8]

Eileen Law, a long time friend of the band, was put in charge of the mailing list
and maintained the Dead Heads newsletter. It is estimated that by the end of 1971,
the band had received about 350 letters, but this number swelled greatly over the
next few years to as many as 40,000.[8] In total, 25 mailings/newsletters reached
Dead Heads between October 1971 and February 1980. After this time, the Grateful
Dead Almanac would succeed it, with this eventually being abandoned for Dead.net.
[8] Those who did receive the newsletter in the 1970s often found pleasant
surprises sent along. One example is from May 1974 when Heads received a sample EP
of Robert Hunter's upcoming album Tales of the Great Rum Runners as well as
selections from Jerry Garcia's second album, Compliments of Garcia, and some cuts
that were from bandmembers Keith and Donna Godchaux's eponymous solo album, Keith &
Donna, both on Round Records. This sample was titled Anton Round, which was an
alias used by Ron Rakow.[9]

Impact on shows

Fans attending a Grateful Dead concert at Red Rocks, Colorado, 1987.

The Grateful Dead's appeal to fans was supported by the way the band structured
their concerts.

From the early 1970s (Actually, from the very beginning) on, night-to-night song
selection changed over subsequent shows.
Also from the early 1970s on, it could be expected that the band would play (at
least) two sets in a show, often with an encore.
From the 1980s on, the second set usually contained a prolonged drum solo, called
"Drums", by Mickey Hart and Bill Kreutzmann (also known as the "Rhythm Devils")
followed by an extended improvisational "space" jam played by the rest of the band
(as featured on the album Infrared Roses).
The varied song selection allowed the band to create a "rotation" of songs that was
roughly repeated every 3 to 5 performances ("shows"). The rotation created two
phenomena. The first was that the desire of Deadheads to hear their favorite song
or attend a good show led many of them to begin following the band on its tour. The
second was that the large number of traveling fans empowered the band to perform
multiple shows in each venue with the assurance that the performances would be
mostly sold out, as almost all were from the mid 1980s on.[10] In this way, the
Deadheads were one of the main driving forces keeping the band going. With large
numbers of people thus attending strings of shows, a community developed out of the
familiarity. As generations turned from the Acid Tests to the 1970s (and onward),
tours became a time to revel with friends at concerts, old and new, who never knew
the psychedelic age that spawned the band they loved.[11] As with any large
community, Deadheads developed their own idioms and slang which is amply
illustrated in books about the Grateful Dead such as the Skeleton Key.

"The Vibe"
Some Deadheads use the term "X Factor" to describe the intangible element that
elevates mere performance into something higher.[12] Publicist and Jerry Garcia
biographer Blair Jackson stated that "shows were the sacrament ... rich and full of
blissful, transcendent musical moments that moved the body and enriched the
soul."[13] Phil Lesh himself comments on this phenomenon in his autobiography by
saying "The unique organicity of our music reflects the fact that each of us
consciously personalized his playing: to fit with what others were playing and to
fit with who each man was as an individual, allowing us to meld our consciousnesses
together in the unity of a group mind."[14]
Jackson takes this further, citing drummer Mickey Hart as saying "The Grateful Dead
weren't in the music business, they were in the transportation business." Jackson
relates this to the Deadhead phenomenon directly by saying "for many Deadheads, the
band was a medium that facilitated experiencing other planes of consciousness and
tapping into deep, spiritual wells that were usually the province of organized
religion ... [they] got people high whether those people were on drugs or not."
(For more on the spiritual aspect, see Spinners in the section below). It was times
like these that the band and the audience would become one; The Grateful Dead and
the Deadheads were all in the same state of mind.[15]

Rock producer Bill Graham summarized much of the band's effect when he created a
sign for the Grateful Dead when the group played the closing of the Winterland
Ballroom on December 31, 1978 that read:[16]

They're not the best at what they do,

They're the only ones that do what they do.

Cheers!

�?Bill & the Winterland Gang

The "Vibe" of the Grateful Dead is kept alive today by the many festivals that
celebrate their traditions.

Through the years

1960s � Before the term was invented, The Grateful Dead became one of the first
cult acts in music. Although not as mainstream as other psychedelic bands, they
were the leaders of the Haight-Ashbury music scene and had an intense following
that started in San Francisco and eventually spread. Fans gathered at their jam
concerts throughout the sixties.
1970s � essentially known as the "second generation of Deadheads", the new
Deadheads of this time can either be traced to "an older sibling who had turned
them on by spinning Workingman's Dead or Europe '72" or through college and
university dorm rooms.[11]
1980s � The early 1980s brought about what would later become known as "Shakedown
Street" (in reference to the Grateful Dead album of the same name). Started during
the New Year's Eve shows at the Oakland Auditorium in California from 1979 to 1982,
Deadheads began to realize they could sell their wares (anything from tie-dye T-
shirts to veggie burritos) in order to follow the band around more. Also during the
early 1980s, Deadhead tapers grew exponentially, resulting in the band designating
a taping section in October 1984.[17] With the success of their album In the Dark
(and the single "Touch of Grey"), 1988 started the "Mega-Dead" period.[18]
In the Darkers � also known as "Touchheads" (a reference of the album for the
former and the single for the latter), these fans "dissed the fragile ecosystem" of
a Grateful Dead show, in the words of Jackson. This led to "wiser" Deadheads, with
the backing of the band, to mail SOSs and hand out show flyers telling people to
"cool out."[18]
Minglewood Town Council � this group was a direct result of the Touchheads and were
a "tribal council" consisting of Deadheads and the Hog Farmers Calico and Goose.
They handed out garbage bags at shows for people to pick up trash afterwards and
tried to keep the masses mellow.[18]
1990s � The Deadheads of this time "tended to be young, white, male, and from
middle-class backgrounds � in short, they were drawn from much the same demographic
base as most rock fans." The band also tended to attract a large percentage of fans
from high-income families. The main draw for these Deadheads to travel to shows
seemed to be the sense of community and adventure. During the mid-1990s there were
a series of small "Deadhead Riots" peaking with a large scale riot at the Deer
Creek Music Center near Indianapolis in July 1995. The riot was triggered by
several gatecrashing incidents, and resulted in the fence at the venue being torn
down by rioting Deadheads and the subsequent cancellation of the next day's show.
The riot received national attention and is immortalized by Keller Williams in his
song "Gatecrashers Suck", in which he calls the rioters "cock-sucking
motherfuckers."[19]
21st century � Many Deadheads of all ages continue to follow Grateful Dead musical
incarnations such as The Donna Jean Godchaux Band, RatDog, Phil and Friends, 7
Walkers, The Rhythm Devils, The Dead, Furthur, Dark Star Orchestra and Dead &
Company.
The Spinners � also known as "The Family" or Church of Unlimited Devotion. These
people "used the band's music in worship services and were a constant presence at
shows." They were called "spinners" because of their twirling dance style. John
Perry Barlow stated at the 'So Many Roads Conference' that the Dead family hadn't
realized at the time that the Spinners were a Cult. Observers have reported seeing
them spinning only to Jerry songs and sitting down at the songs Bobby performed.
Allegations of abuse have circulated widely in Deadhead groups.[19]
Wharf Rats � Deadheads who helped each other remain drug and alcohol free while
staying in the Dead scene.[20]
Retread Heads - Enthusiastic fans who were generally too young to have seen the
Grateful Dead, but passionately follow the many current Grateful Dead cover bands
and spin off bands like Dead & Company.
Recordings of shows

Bob Weir and Mickey Hart of the Grateful Dead performing on January 20, 2009 at the
Mid-Atlantic Inaugural Ball during President Barack Obama's Inaugural
At almost every Grateful Dead show, it was common to see fans openly recording the
music for later enjoyment. This can be traced to shows in the late 1960s, with the
number of tapers increasing yearly. In 1971, Les Kippel, from Brooklyn, New York,
started the First Free Underground Grateful Dead Tape Exchange. The purpose of "The
First Free Underground Grateful Dead Tape Exchange" was to preserve the heritage of
the Grateful Dead's concert history by exchanging copies of recorded tapes made
from audience members. This started a new era in recording, collecting, and trading
Grateful Dead tapes. Often referred to as the "Original Napster"[by whom?][citation
needed], the tape exchange grew into an international movement that continues
today.

The "Tape Exchange" evolved into Dead Relix Magazine with its first fliers being
handed out at concerts in 1973, followed by it first issue in 1974. In 1974, Dead
Relix evolved into Relix Magazine and kept the Grateful Dead in the news while they
took a year off in 1975. In 1980, Toni Brown became owner and publisher of Relix
Magazine. In 2000, it was sold to Steve Bernstein. Relix Magazine is the second-
oldest continuously published rock magazine in the world, after Rolling Stone.
[citation needed] Relix is still the only publication that supports the heritage of
the Grateful Dead.

There were other Deadhead magazines that came about in the 1970s, notably, Dead in
Words and In Concert. The 1980s saw the production of Terrapin Flyer, Dupree's
Diamond News,[21] Golden Road, and Acid. Dupree's Diamond News was distributed as
an in-concert newsletter at several hundred Grateful Dead concerts, where it
averaged 10,000 copies per run. Dupree's Diamond News was also distributed on a
quarterly basis as a full-color, 72-page magazine to approximately 35,000
international subscriptions.

In 1998, Grateful Dead scholar Johnny Dwork, the founder of Terrapin Flyer and
Dupree's Diamond News, published the award-winning, three-volume The Deadhead's
Taping Compendium: A Guide to the Music of the Grateful Dead on Tape.

Fans were also known to record the many FM radio broadcast shows. Garcia looked
kindly on tapers (he himself had been on several cross-country treks to record
bluegrass music prior to the Grateful Dead), stating: "There's something to be said
for being able to record an experience you've liked, or being to obtain a recording
of it ... my responsibility to the notes is over after I've played them." In this
respect, the Dead are considered by many to be the first "taper-friendly" band.[22]

It is a matter of strict custom among Deadheads that these recordings are freely
shared and circulated, with no money ever changing hands. Some bootleg recordings
from unscrupulous bootleggers have turned up on the black market, but a general
"code of honor specifically prohibited the buying and selling of Dead tapes." These
recordings, sometimes called "liberated bootlegs", are still frowned upon by the
community and that feeling "has spread into non-Grateful Dead taping circles."[22]

Many Deadheads now freely distribute digital recordings of the band's music, and
there are several websites that provide and promote legal access of lossless music.

Archives
Much Deadhead-related historical material received or collected by the band over
the years is housed in the Grateful Dead Archive of UC-Santa Cruz. Archive curator
Nicholas Meriwether, who has also written extensively about the culture and its
impact on society, states "The Grateful Dead archive is going to end up being a
critical way for us to approach and understand the 1960s and the counterculture of
the era...It's also going to tell us a lot about the growth and development of
modern rock theater, and it's helping us understand fan culture."[6]

Subcultures
Along with the "Tapers" were many other Deadhead subcultures.

The Wharf Rats earned their name from the song, and were allowed to set up a table
at every concert to support Dead Heads who believed in enjoying the Grateful Dead
sober or needed more efforts to remain straight.

Deadheads are often involved in social and environmental activism.

Celebrities
The following celebrities have claimed to be Deadheads or have had media reported
on them saying they are Deadheads:

Trey Anastasio � saw his first Grateful Dead concert in 1980, and the band is a
significant influence on his group Phish.[23]
Will Arnett[24]
Steve Bannon[25]
John Belushi like many of the original SNL cast, Belushi went from fan to friend of
the band; The Blues Brothers even opened for the Dead and Belushi joined the group
in singing "U.S. Blues".
Tony Blair � played in "Mars Hotel"-inspired student band[26][27]
Jimmy Buffett � recorded a version of "Scarlet Begonias" on the 2004 album "License
to Chill"
Joseph Campbell � proclaimed Deadheads as "the world's newest tribe."[26][28]
Tucker Carlson[29]
Pete Carroll[30][31]
Owen Chamberlain � claimed the Rhythm Devils gave him "interesting ideas"[26]
Bill Clinton[26][32]
Andy Cohen[33]
Ann Coulter[34]
Elvis Costello a fan throughout the 70s (including seeing them on the Europe '72
tour), Elvis later interviewed Jerry Garcia for Musician magazine, in which he
effusively professed his admiration for the band. He also contributed "Ship of
Fools" to the "Deadicated" tribute album.
Walter Cronkite � Attended two Grateful Dead concerts[35] and was a personal friend
of Mickey Hart.[36]
Lila Downs � Mexican/American singer, who dropped out of university in the late
1980s and lived about two years on the road following Grateful Dead tours.[37]
Perry Farrell, Dave Navarro and other members of Jane's Addiction have spoken to
their affection for the Dead in multiple interviews around the time of the
"Deadicated" tribute album (to which they contributed a version of "Ripple" that
incorporated parts of "Bird Song" and "The Other One") Farrell has spoken of
admiring how they constructed their sets, stringing songs together.
Al Franken[38]
Whoopi Goldberg is a fan of Grateful Dead music and personal friend of Mickey Hart.
[39][40]
Mike Gordon[41]
Al Gore[24]
Tipper Gore[24]
Fred Goss � Actor, director, writer, and editor, who created the TV Show "Sons &
Daughters" in 2006. The theme song to the show is the annotated "Althea".
Jerry Greenfield[42]
Matt Groening[43]
Keith Haring[26]
Phil Jackson[26][38]
Steve Jobs[24]
Matthew Kibbe � Tea-Party Republican and President and CEO of Freedomworks[44]
Christopher Kimball � TV cook, cover band Shady Grove[45]
Stephen King[46]
Patrick Leahy[26][47]
Steve Liesman � Senior Economics Correspondent, CNBC, hosted 2015 pay-per-view of
last shows from Chicago.
Mike Lookinland � Actor who played Bobby Brady on The Brady Bunch[48]
Frank Marino � Canadian rock guitarist has in interviews talked about his interest
in classic San Francisco rock[49]
George R.R. Martin � Writer of A Song of Ice and Fire[50]
John Mayer � discovered the Grateful Dead's music by accident while listening to
Pandora Radio. Co-founded and is currently touring as Dead & Company with Bob Weir,
Mickey Hart, Bill Kreutzmann, Oteil Burbridge and Jeff Chimenti
Laraine Newman along with many others from the original SNL cast was a Dead fan,
and has spoken about attending the closing of Winterland during a YouTube
conversation with Tom Davis.
Adam Nimoy, the son of Leonard Nimoy, admits during his documentary film For the
Love of Spock that he spent the early 70s as a Deadhead.[51][52]
Carl and Larry Page[53]
Nancy Pelosi[54]
Lee Ranaldo from Sonic Youth has spoken of the Dead's influence (the Dead's
"Feedback" jams of 1968 and 1969 being obvious precursors to Sonic Youth's own
feedback forays). He appears in the documentary "The Other One" singing the band's
praises.
Harry Reid[55]
Henry Rollins and Greg Ginn of Black Flag.
In a BAM review of a Dead show in Irvine, California, on April 13, 1985, the author
wrote: "So-called adventuresome people who dig Black Flag probably wouldn't be
caught alive at a Grateful Dead show". Ginn subsequently wrote to BAM to explain
that he and other members of Black Flag had attended the concert being reviewed,
that he had attended many Dead shows and that the Grateful Dead was his favorite
band. (Source: Winter 1986 issue of the Grateful Dead fanzine The Golden Road.)
Chlo� Sevigny � actress.[56]
Adam Scott � actor and comedian[57]
Mark Talbott � former professional squash player inducted into the United States
Squash Hall of Fame in 2000.[58]
Patrick Volkerding[59] � Founder and maintainer of the Slackware Linux
distribution.
Bill Walton[26][38][60] � known as "Grateful Red", frequently included Dead
references in interviews. Walton has been a fan of the Dead since 1967, when he was
a teenager, and he subsequently attended over 800 of their concerts during their
career.[61]
William Weld � Former Governor of Massachusetts.[62][63]
See also
List of jam band music festivals
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"Sadness From the Streets to High Offices" John Markoff New York Times | appeared
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Further reading
Wikimedia Commons has media related to Deadheads.
Jurgensen, John (July 10, 2015). "'Deafheads' Marked a Milestone of Their Own at
Final Grateful Dead Shows". The Wall Street Journal. Retrieved July 10, 2015.
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