Highway 61 Revisited: The Tangled Roots of American Jazz, Blues, and Country Music

By Gene Santoro | Go to book overview

19
The Grateful Dead

Frenesi took her hand away from Flash's and they all
got back to business, the past, a skip tracer with an
obsessional gleam in its eye, and still a step or two
behind, appeased for only a little while. Sure, she knew
folks who had no problem with the past. A lot of it they
just didn't remember. Many told her, one way and
another, that it was enough for them to get by in real
time without diverting precious energy to what, face it,
was fifteen or twenty years dead and gone. But for
Frenesi the past was on her case forever, the zombie at
her back, the enemy no one wanted to see, a mouth
wide and dark as the grave.

—Thomas Pynchon, Vineland

Q: How do you know when Deadheads have been
staying with you?

A: They're still there.

We're American. What we do is as American as lynch
mobs. America has always been a complex place.

—Jerry Garcia

THE GRATEFUL DEAD avoided social pronouncements like bad acid, but they helped create the contemporary concept of lifestyle. Even in the 1990s, when the band's audience was mostly middle-aged, Deadheads felt they stepped out of prefab social roles and into an alternate universe of possibility.

For those off the bus, the Dead's culture was childishly dangerous. So were taking drugs and dropping out to sleep on the street and scamming money, food, and tickets to the band's infamously uneven shows, as young Deadheads did.

-193-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Highway 61 Revisited: The Tangled Roots of American Jazz, Blues, and Country Music
Table of contents

Table of contents

  • Highway 61 Revisited - The Tangled Roots of American Jazz, Blues, Rock, & Country Music iii
  • Contents v
  • Introduction 1
  • Part I: Avatars 5
  • 1: Louis Armstrong 7
  • 2: Woody Guthrie 17
  • Part II: The Postwar Jazz Era 31
  • 3: Mary Lou Williams 33
  • 4: Max Roach 37
  • 5: Sonny Rollins 49
  • 6: Chet Baker 64
  • 7: Miles Davis 68
  • 8: Herbie Hancock 80
  • Part III: Rebirth of the Blues 91
  • 9: The Gospel Highway 93
  • 10: Chess Records 99
  • 11: The Folk Revival 104
  • 12: Willie Nelson 119
  • 13: Lenny Bruce 124
  • 14: Sweet Soul Music 135
  • Part IV: In the Garage 151
  • 15: Bob Dylan 153
  • 16: Electric Blues Revival 171
  • 17: Buffalo Springfield 179
  • 18: Gram Parsons and Emmylou Harris 185
  • 19: The Grateful Dead 193
  • 20: The Band 204
  • 21: The Firesign Theatre 216
  • 22: Bruce Springsteen 223
  • 23: Tom Waits 235
  • Part V: Possible Futures 241
  • 24: Ken Burns, the Academy, and Jazz 243
  • 25: The Politics of Music Don Byron and Dave Douglas 257
  • 26: Cassandra Wilson 265
  • 27: Marty Ehrlich 278
  • 28: New Jazz Fusions 283
  • 29: Ani Difranco 297
  • Index 302
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 312

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.