bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Ferris David 
Published: November 2023

Abstract
As the title of this book suggests, it is concerned both with the genre of the Romantic cycle in general and with Robert Schumann’s Eichendorff Liederkreid, opus 39, in particular. Scholarly studies that are focused on musical works, or on works of art in any field, almost always provoke the same vexing question: Is the objective to discover what it is that is engaging and unique about the single work and that sets it apart from every other artistic creation? Or is the work at hand an example, the study of which will, we hope, lead to the formulation of general principles that can apply to all of the works in a given genre, or by a given artist, or from a given time and place? Gerard Genette comments on this conundrum in the preface to his book Narrative Didcourde: An Edday in Method, a study of both narrative method and Proust s A la recherche da tempd perdu, and confesses his reluctance, or perhaps his inability, to choose either of these “apparently incompatible” explanations of his approach. He cannot imagine treating “the specificity of Proustian narrative” as an example of anything other than itself. However, although his study is an analysis of this specific narrative, each of the individual elements that his analysis uncovers “lends itself to some connection, comparison, or putting into perspective.” Genette fatalistically concludes: “I must therefore recognize that by seeking the specific I find the universal, and that by wishing to put theory at the service of criticism I putcriticism, against my will, at the service of theory.”
Excerpt from Morgan’s Acid Test
Authors: Craddock William J 
Published: November 2023

Abstract
stayed home alone for two days and practiced doing nothing. slowing down at last to only a couple of notches past normal. at which time I slept. On the morning of the third day I woke up to a holy quiet that brought tomind visions of postcard Christmases and gently falling snow. I savored the peaceful hum of silence and almost convince myself that during the night the end had come and now. outside. The world was reverent and at peace and saved. I heard a diesel on the high way. but it sounded a long way off-droning along slow-an honest. satisfy ing rumble in the distance like I used to hear them late at night when I was a littler kid. lying awake warm and secure. wondering where they were going. dreaming myself inside the cab driving all night till sunrise on the road in some rough. He-man place like Montana. where I would get out of my truck (named Road Eater-a name I’d heard from a friend whose father was a trucker) at a truck-stop and greet all the men inside. who knew me by my rep utation as a hard-drivin-man. and smile my craggy smile at the beautiful Span ish waitress (who also knew me well) and drink my coffee and smoke a slow cigarette while trading stories of Deadmans curve and burned-out brakes with the other harddrivin truckers before climbing back into my dusty rig to drive a hundred miles an hour all the way to probably Texas or Wyoming.The
Dead Like Live Thunder
Authors: J,Gleasod Ralph 
Published: November 2023

Abstract
Ralph J. Gleason wrote for the Jan Francisco Chronicle from the late1940s through the1960s, producing a column about jazz and popular music that ran several times a week. He is generally recognized to be the first critic to give serious anention to popular music. He was a very vocal supporter of the early psychedelic rock scene in San Francisco, and his enthusiasm helped foster the success of a number of bands. especially the Dead and Jefferson Airplane. The Dead appreciated Gleason’s early support and eventually created in his name an annual award sponsored by their charitable arm, The Rex Foundation. The following two excerpts, especially the lengthy interview with Garcia. which appeared in Gleason’s book The Jefferson Airplane and the Jan Francisco Sound, published by Ballantine in 1969, reveal how close Gleason was to the band. Gleason’s questions lead Garcia adroitly into a fascinating discussion of the band’s origins and influences and of the conscious evolution of Garcia’s guitar style. The first piece appeared in the Jan Francisco Chronicle on March 19,
1967. Gleason was also the author of Celebrating the Duke, and Louis, Bessie, Billie, Bird,Carmen, Miles, Dizzy. and Other Heroes, published by linle, Brown in 1975. and Great Music Festivals, published by Hansen in1971, and was the editor of Jam Session: An Anthology of Jazz. published by Putnam in1958. He co-founded Rolling Stone magazine with Jann Wenner in1967 and wrote for it and for numerous other periodicals until his death in1975.
Jerry Garcia. the Guru
Authors: Gleason Ralph J 
Published: November 2023

Abstract
Jerry Garcia, the lead guitarist and central figure of The Grateful Dead. has been a musical guru to an entire generation of San Francisco musicians. Just as The Dead’s first album was about to be released. this interview was done with him. It is. In several ways. indicative of the roots. the aspirations and influ-“: ences of San Francisco music. The Dead. like the Airplane. are still intact. the originals and still champions of what we have to come to know as the adult rock sound. i,,JERRY: Being in a recording situation is really a lot different than playing. A recording situation brings out a special. sort of like another side of creativity. It’s something like painting or drawing or anything that you do over a long period of time for a finished product. And so when you get a recording studio you begin to have a different feeling about what you’re doing. And that’s something we’re just starting to get into too. So the first album was essentially a live album. They were going to put that really ostentatious oriental quotation.
Grateful Dead I Have Known
Authors: McC!anahan Ed 
Published: November 2023

Abstract
Ed McClanahan came out of the same creative writing program. the Wallace Stegner Fellows at Stanford, which produced Ken Kesey, Robert Stone. Larry McMurtry. and many others. The main body of the following piece appeared originally. in slightly different form. in Playboymagazine in March 1972 and won an award from the magazine for outstanding nonfiction. It was subsequently reprinted in Playboy’s Music Scene. Interwoven into the original Playboy article. McClanahan’s ‘l Brief Exegesis of Certain Sociophilosophical Themes” in Robert Hunter”s Lyrics to ‘New Speedway Boogie”‘ appeared originally in a joint publication of The Realist and The Last Supplement to the Whole Earth [acalogin 1971. though he originally conceived of the piece as a part of what became the article for Playboy. Here the two pieces are presented as a unified whole, reworked by McClanahan for his MyVica, If You Will: The l!ncol/ecced Ed Mc[/anahan, published by Counterpoint in 1998. In the course of the article. McClanahan refers extensively to the live Dead album and also focuses on much of Workingman s Dead. But the highlights of the article are the extensive interview segments with Gar bright Sunday afternoon in August 1971, just one week after Bill Graham closed the doors of the Fillmore West forever. and I’m sitting in the living room of Jerry Garcia’s new the headlands above a coastal village an hour north of San (a very nice house. by the way. not luxurious or anything.
Liner Notes to Europe ?
Authors: Legate Willy 
Published: November 2023

Abstract
And the dead were judged by what was written in the books. by what they had done (Revelation 20.12) or example. consider the rise of hypnocracy during April ‘‘i’ and May of 1972. The 43 persons constituting the Grateful Dead’s (latest) European tour apportioned themselves for the most part between two buses which came to be known as the Bolo . bus and the Bozo bus. The Bolo bus had a john in it and its seats faced forward. The Bozo bus had a refrigerator and some of its seats were installed facing back. to accommodate four tables. And to look back. The subtle difference in character and import and atmosphere between the two omnibuses was so profoundly hidden and enigmatic that you could never possibly understand it. The Bozos wore masks. and the Bolos showed their faces. At one time the Bozos staged a raid on the Bolo provisions:at one time the Bolos staged a raid on the Bozo provisions.
Some Pretty Basic Tense of Hypnocracy
Authors: Hunted Robert 
Published: November 2023

Abstract
We’re growing!-some 30 people now on payroll. We’re affiliated with Alembic in San Francisco on design. research and development of equipment and recording. Our rehearsal hall in San Rafael is the center of acoustic enquiry and equipment maintenance/development. Our office here manages. controls finance. accounting. insurance and the like. and Ice Nine Publishing Company (copyrights. licenses. songbooks) and Dead Heads. Out of Town booking agency and Fly By Night travel agency. two outgrowths of our scene. are in the building.
Ded Heads Pay Their Dues
Authors: Christgad Robert 
Published: November 2023

Abstract
Grateful Dead concert at the Felt Forum is postflower .,.America reveling in its contradictions. but Dominique was reminded of the Soviet Union. where the queue has not withered away. and elbowing ahead of your comrades is a national pastime. As we pushed on in toward our complimentary third-row seats. the crowd got heavier. and so did the contradictions. The cross section of Dead heads-heavy music proles and suburban folkies and old rock and rollers-is a confusing combination of our fabled new community and the nightmare mob of Ortega y Gasset. Half the audience avoids the crush. but the remainder presses forward. packing the aisles and the front rows, and everyone is up and boogieing. To boogie. you just stand and move to the music. relating to your brothers and sisters no matter how stoned you are because your brothers and sisters are sweating and boogieing on all sides. It isn”t a dance, and not just because there isn’t room at a concert-even in seat less halls the floor is always tight up front. Folks do dance with each other in back. but for most the exhilaration of the boogie increases exponentially with the proximity of the musicians. and if Jerry beams his cosmic grin down at someone. he/she will not shriek like a twelve-year-old chickie at the TAMI Show but just boogie harder. The dismay of the mass-culture theorists and their politely raised off.
He Was Friend
Authors: Petersed Robert 
Published: November 2023

Abstract
My eyes tequila-tortured 4 days mourning This lener from Robert Hunter appeared in Crawdaddy magazine in January 1975. in response to a request for an interview by Crawdaddywriter Patrick Snyder-Scumpy. Hunter uses the format as a convenient way to give considered responses to the typical interviewer questions about lifestyle and the artistic process. while Hunter maintains his generally reclusive stance in terms of his own personality. The time Hunter spent in London was particularly fruitful. resulting in many of the songs on American Beauty. Wake of the Hood. and From che Mars Hotel.
Robert Hunted Dark Star
Authors: Hunted Robert 
Published: November 2023

Abstract
London September 23.1974 DearScump. It occurs to me that I’ve been doing indepth interviews for many years now. saying more or less exactly what I wish to say. deciding the topics and spaces I want to explore and telling more about myself than I realize until years later. Why anyone would want to know any more about me than I lay out in my songs is a puzzle to me. No. that sounds a little naive. As soon as I state something in an interview. the opposite occurs to have just as much merit. Trying to know myself aloud in someone elses terms is a particular form I’ve shied away from and hence have little skill at it. I hit upon the idea of a written interview because I don’t exactly like the idea of turning requests for them down and theres no real point to making enemies in the trade. Also. I don’t dig being dissected in pub lie. although that is a due which most artists must pay to achieve recognition. I give the best of me in my work and the rest is just my life and there is little point to having your roots above ground. I have several lives. in fact. Half the time I live in London and half in the Bay Area. I go back and forth a bout every 2-3 months. I don’t know many people in London and have about zero social life here. It is a place to work. practice. relax and think. To retreat and recoup. I live on the surface of an ice Mobius strip upon which I skate. sometimes on the inner. sometimes on the outer surface. The inner surface I can tell about.
Still Grateful After All These Years: In Which the Grateful Dead. Pinup Uglies of the Haight-Ash bury. Become the House Band of the Age of Certain Doom 120
Authors: Baa Charlie 
Published: November 2023

Abstract
Buys in the traditional clown makeup and cardboard stars-and-stripes top hats: a circle of five grinning people , gobbling sections of an orange fortified with vitamin LSD: skulls. skeletons and red roses on patches sewn to the breasts of denim , jackets and the butts of denim pants: a girl in a garland of red roses like the one worn by the skeleton on the second live album and another girl in a baldy clown mask like the one worn by Garcia in the Europe “12 photographs: and raiments silk-screened. heat-transferred and appliqued with every known piece of Dead artwork. from the sperm-shooting skull onAoxomoxoa to the fiddling fright-wigged skeleton on Blues for Allah to the skull and-lightning-bolt on Steal Your Face: all of them wafting across the UCLA campus to Pauley Pavilion and most of fearoremagazine was a short-lived successor to the early rock magazine Crawdaddy. Abbott’s piece from the March 1979 issue is similar, in some ways, to Mcanahan’sepic article for Playboy, containing, as it does, interview material with Garcia and descriptions of the band in concert and of the audience. But the interview with Garcia includes accounts of two watershed experiences in his life that are revelations. The concert described is from December 17, 1978, at the Fox Theatre in Atlanta, Georgia. part of a rare Southern tour.
Robert Hunter: Songs of Innocence. Songs of Experience
Authors: Eisenhard Mary 
Published: November 2023

Abstract
If you were there, you probably haven’t forgotten. But get a good audience tape of New Year’s ‘81.-82 and listen to “Ter rapin.” Picture. if you will. 8.000 people. many still soaking wet (it rained a lot that day. and took a long time to get in). jammed into the ‘Oakland Auditorium. Listen to the band blazing. Garcia belting out the , lyrics with exceptional fervo and the rumble. By the time he gets to ‘the “Counting stars by candlelight” line. 8000 people are roaring along. matching him syllable for syllable through the crickets and cicadas. The .end and the beginning. the train putting its brakes on and the whistle screaming TERRAPIN! Not one of us has ever laid eyes on Terrapin Station. and we’d be hard pressed to define exactly what it was. but for that moment there was not the slightest doubt that if we listened hard enough. sang loud enough. and just hung in there. we could collectively lift that decrepit hall off its foundations and get there. Chances are. if youre reading this magazine. Robert Hunter’s lyrics have had a profound effect on your life. Whether you’re the scholarly type who pores over words and songlists with cabalistic intensity. or a more carefree soul who (as Hunter himself notes with a certain chagrin) hears “We can share Alice Kahn contributed distinctive humorous essays for years to the East Bay Express and.subsequently. The Jan Francisco Chronicle. where her column was nationally syndicated through 1994. The following piece on Garcia published in the San Jose Mercury sWest Magazine on December 30.1984. is unusual for its focus on his fonnative years in the Bay Area. Kahn has published three collections of her work, Multiple Sarcasm.published by the Ten Speed Press in1985: Mylife Asa Gal, published by Delacorte in 1987: which includes the excerpt below: and luncheon at the Cafe Ridiculous, published by Poseidon in1990. In1998, she published (with John Dobby Boe) Your Joke Isin the E-Mail: Cyber/affs fromMousepotatoes,published by theTen Speed Press. She is now back to her previous career, working as a nurse practitioner in the Kaiser Pennanente Chemical Dependency Recovery Program and at the Kaiser Division of Research.
The Swirl According to Carp: A Meditation on the Grateful Dead
Authors: Brittod Jack 
Published: November 2023

Abstract
It was vintage Carp all the way. Rich Carpenter danced around my living room doing his best Mick Jaggereven down to the long scarf. which he periodically flung across his left shoulder as “Sweet Black Angel” blasted out of the hi-fi. He had the Bpouting lips. the affected arrogance. and he slurred the words juuuu rust right. I’ve listened to the Stones Exile on Main Street a thousand tt’ times since it came out in 72. and I’m no closer to being able to deci ‘J, pher the words to sweet Black Angel” than I was when I bought the;’? record. And Carp’s delivery wasn’t helping things. But I wasn’t about to stop him. because when Carp gets going you just want to sit back and watch. Carp not on psychedelics is a trip in itself. but Carp on two hits of Bloom County blotter acid-with Mr. P. Opus staring out at you from each little square-is really something. Especially if the Dead show he’d dropped for was a good one. And the one that evening at the Greek Theater in Berkeley was a hot one indeed. Sometimes. when the concert is only so-so. you get the introspective Carp at the end of the evening-not bad if you’re in the mood to watch a guy sit in a chair for three or four hours saying almost nothing.
Reporting Live from Deadland
Authors: Gans David 
Published: November 2023

Abstract
If anyone had told me three years ago that I was about to turn on to the Grateful Dead. I’d have told him he was nuts. Me a “Deadhead”? Grooving to warmed-over acid rock with a bunch of scruffy. unreconstructed hippies? Flailing about in tie-dyes. bare feet. and nose rings? Get real. Well. it happened. In February 1986. after sharing office space for two years with a friendly Deadhead and listening to her rhapsodiz_e ‘i about life among the Dead. I got curious. My initiation was the bands annual Chinese New Year’s concerts at Oakland’s Henry J. Kaiser Convention. an occasion I approached with bemused if not jaundiced detachment-like a weekend ethnographer probing uncharted land. Well. I got zapped. The music. the lights. and the midshow procession with gongs. cymbals. polychromatic dancers. and a human-powered dragon with steaming nostrils were wonderful. But what really startled me was how nice everybody was-there was none of the snarling and pushing you get in most large-scale rock concert-and how avidly involved they were in the music. At the highest moments. the crowd’s intensity was reflected in the playing: performers and audience seemed to coalesce. to spark each other and erupt. creating the kind of spontaneous magic that vinyl never delivers.
Good Use
Authors: Alvarei Al 
Published: November 2023

Abstract
We also heard from a man who lives in London:’A friend from Las Vegas called up last week asking if I would like to meet the Grateful Dead. who were in town at the end of a European tour that had taken them to Sweden. Germany. and France. I am not much interested in pop or rock and roll. but the Grateful Dead are special. As Keats might have said. the very name is like a bell to toll me back to my youth and that wild vanished time. I found it hard to imag inc those mellow. spaced-out San Franciscans in gloomy London. but the opportunity was not one to pass up.
You Don’t Seem to Hear Me When I Call
Authors: Ladd Paddy 
Published: November 2023

Abstract
Among the qualities which mark Spiral Light out from the other Dead magazines. apart from a certain mordant British - humour and a similarly British reluctance to let go and simply enjoy (which results in a sometime cynical edge to our writing). is che desire to look at the current overall health of the Dead beast itself. that cranky old dragon that flaps around bumping into trees and occasionally letting rip with some serious fire. In fact this might even be the magazine’s raison d’etre. linked as it is with tour reviews and setlists. because the rest could be written when the band were no more. Why does this seem to be our obsession? Perhaps because we don’t have the shows to go to. and a network of Heads around us in our daily life to mull The two following pieces by Blair Jackson work well as an examination of Phil Lash’s place in the band. The first piece is Jackson’s introduction to a Lash interview that appeared in the Summer 1990 Golden Road. The second is an interview from Spring 1994, published in Dupree sDiamond
American Beauty: The Grateful Dead’s Burly, Beatific Alchemist
Authors: Jacksod Blair 
Published: November 2023

Abstract
Listen to the crystalline notes as they ascend in a bright spiral. then blast into deep space. scattering like cosmic debris. Listen to the melancholy cry of six strings singing about life and death, love and loss. memory and regret. Listen to the joyous dance of life in a thousand buoyant strums and bright melodic filigrees. Ten years. 20 years. 50 years from now. it’s going to be jerry Garcia’s music-and not the day-glo Deadhead sideshow-that most people will remember. The cliches come so easily: counter-culture guru.” “rock legend.” “Pied Piper of the Haight.” “tragic outlaw figure: etc. There is truth in all of these. But when the day is done. Jerry Garcia was really just a working guy who loved to play music. Celebrity and deification were unfortunate byproducts and distractions for this gentle. self-effacing man whose strongest addiction.
Obituary: Jerry Garcia. 1942-1995
Authors: Espeo Hal 
Published: November 2023

Abstract
He phone rang a little after dawn this morning. Fred, an English Deadhead I hadn’t seen in eight years. was calling to convey the Brits’ condolences to the Yanks. I told him the memorial in Golden Gate Park had been beautiful. but that once Bob Weir started weeping in mid-eulogy. the truth was inescapable.
The Only Song of God
Authors: Silberman Steve 
Published: November 2023

Abstract
This morning. I walked past the Henry J. Kaiser Auditorium in Oakland for the first time since Jerry Garcia’s death. From 1979 to 1989. the Grateful Dead held forth there 56 times. and I probably saw 40 of those shows. I had never seen the grass in front of the arena deserted before. with no Deadheads kibitzing on blankets or waiting in line at booths. no wet dogs in bandannas snapping Frisbees out of the air and gal , loping down to lap from the muddy creek.
King Oliver, Jelly Roll Morton, and Sidney Bechet: Menage a Trois, New Orleans Style
Authors: Raeburn Bruce Boyd 
Published: November 2023

Abstract
Jelly Roll Morton once remarked that New Orleans musicians “had our own way of doing.” Like many Crescent City jazz musicians, Morton preferred to work with “homeboys” whenever possible. In the early years when jazz was achieving initial idiomatic coherence, New Orleans players held a virtual monopoly on the syntax of collective improvisation, a musical give-and-take which resembled a street-corner conversation with everyone trying to get a word in edgewise. As talent began to transcend the strictures of format, however, elaboration of the idiom was refined into several discrete but not necessarily exclusive approaches-leadership of the ensemble, solo improvisation, and compositioneach with its respective patron saint: Joe Oliver, Sidney Bechet, and Morton. Louis Armstrong’s meteoric rise to stardom notwithstanding, the contributions of Oliver, Bechet, and Morton remain fundamental to an understanding of the rise and fall and resurrection of New Orleans jazz between the world wars, a process which brought the music to the forefront of American cultural achievement.