Apropos of the Grateful Dead Scholars Caucus
Given the recent interest in the Grateful Dead (my favorite band) on display in the New Yorker article and the Grateful Dead Scholars Caucus, I thought it might be worthwhile to set down my thoughts, if only for future reference. Having never seen a Grateful Dead show myself (alas: Jerry died when I was 4), that might be an exercise in futility. It would seem that the recorded legacy of the Grateful Dead, extensive as it is, pales in comparison to “the thing itself”, real and in the flesh. My Dad saw the Dead a number of times. One of my professors at University followed them from show to show. My access to their musical adventures is removed; an academic and artistic interest at best and a neurotic obsession at worst.
More than that, I have no great love for the culture of the Dead. As I mature through university, I find my tastes wandering farther and farther away from the tie-dye wearing, shower-avoiding idealism of the Dead’s fanbase. Gorging myself on poetry of the high-serious vein and devotional art, what room could be left in me for the acid-drenched insanity of of a 68 That’s It for the Other One or the plaintive simplicity of Workingman’s Dead? Evidently, quite a lot.
That, I think, would be my first observation about the Dead’s achievement. A world unto itself, the Dead’s musical landscape evades easy categorization. Remember that professor who toured with them? Theology. My dad? Attorney. His buddy, also a deadhead, works in computer science. Sure I met a barefoot guy on the street in Atlanta once -I bummed him a cig and we got to talking about the jamband scene- who seemed to have wandered the paths of Grateful Dead pseudo-spirituality a little too far, but I’d posit that nowadays those types are the exception rather than the rule. Any way you look at it, the Dead’s appeal slices through social and vocational strati like a knife.
The reason is simple: variety. Sure, Check Berry plays Chuck Berry better than the Dead. John Coltrane’s extended improvisations put Dark Star to shame. Like Workingman’s Dead? Listen to some real Bluegrass for heaven’s sake. I could go on: ragtime idioms, country, hard rock, prog, folk ballads, reggae, psychedelia and more come to mind. But where else can you find all of most of these things all wrapped up in one three (or four… or more…) hour show? More than that, where else can you find any such diversity expressed without compromising the musical identity of the players? The Dead always sound just entirely like the Dead (except when Brent is on that damned synth…), regardless of the peculiar characteristics of the song they might be performing. And, furthermore, in their 30 year career they hardly EVER repeated a setlist tune-for-tune from one night to the next. To top it all off, Jerry, Phil, Bobby, and Billy weren’t in the business of memorizing arrangements and recreating the magic (HA!) of their studio performances. These guys manufactured their music anew -to one extent or another- nightly, though with enough consistency between performances that each year puts on display a unique “group identity”, i.e., ’70 is folksy, ’74 experimental, ’77 smooth and slick. Very few artists work with such flexibility (Young and Dylan come to mind). Almost none have a book of recordings so thick.
That means two things, mainly. First, The Dead’s fans are not like any other fans. They listen to more music from one group more closely than any other I can recall. Imagine if George Lucas had made a movie out of every Star Wars-universe novel ever written. Such a thing would consume lives, and I’m fairly sure the Grateful Dead do. I see in this a very clear expression of one significant impulse in cultural activity, one which we inherit from the Middle Ages and earlier. People like more. We want more and more culture to interpret. Marvel Comic fans, Lost fans, Wine fanatics and gearheads display the same basic phenomenon when they interpret, reinterpret, unpack, unfold, watch, read, listen, watch again, read again and listen again to the same or different content time and again. Whether the “depth” they see is purposefully built into those texts (join me in imagining wine and cars as texts) is (almost entirely) irrelevant. The “correctness” of the interpretations is (mostly) irrelevant (for now.). What matters is the fact that there’s always more cross-referencing, analysis, tasting, studying, and assessment that needs doing. These “hobbies” are often construed as meaningless time-wasters, even by their devotees, simple “leisure” activities that allow us to distract ourselves from the stress and hustle of working life. But I’d argue such hobbies, generating the discourse and invoking the close study that they do, should occupy the status of “culture” far more than most of what I saw at the Whitney Biennial last year. Eco defines the poetic effect as “the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.” That’s suspiciously close to how the Dead spoke about Dark Star. Compare a version from 68 to a version from 74 and you’ll see why.
So the difference between the Dead and many of these other hobby-culture cults is that varied interpretive actions are (purposefully) built into the structure of the Dead’s craft. They developed the “Open Work” (another Eco concept thankyouverymuch Umberto) of Rock music, opening the boundaries of their art to each other and expanding the act of musical creation to occupy the very moment of its presentation. Sure, Jazz did this first, but the Dead changed the game by dismissing the formal limitations of genre. Those limitations may have been productive by allowing jazz to develop improvised melodies over sophisticated harmonic structures, but I’d posit that as much is gained as lost, since the listener no longer need acquaint himself with the nuances of the jazz vocabulary to appreciate the “momentary” value of Dead performances. It doesn’t alienate its listener. No one could confuse the Dead for elevator music (except in the 80’s. good grief.).
Additionally, abandoning the limits of a singular vocabulary of genre opened the door to a historical growth over time no other band has ever replicated (cool off phish phans). As I said, the Dead in 1970 are NOT like the dead in 1977… and yet they are. In destroying those limits, the dead made their own personalities, which, like all personalities, changed while they stayed the same, the genre-content of their opus. Listening to the Dead’s music as it unfolds is like listening to a conversation that, convening for a few nights every week, takes three decades, held between several very interesting, very personable, and very smart people. The personalities, warts and all, of those people are on display, modified by the lens of their craft.
So if you have a deadhead friend, try to understand. Its not all nonsense; they’re studying something with far more gusto, perspective, analysis, and depth than most University students can be bothered to demonstrate. The same goes for any fanboy. This stuff is culture, whether you like it or not, and, whether you like it or not, in a couple hundred years someone might look back and try to understand it. At least they’ll have something clear to say for themselves.