... Gilberto Rosas draws on the experiences of those who lack the privilege of citizenship in this anti-immigrant age, as they make themselves dead in order to live and rely on experts in asylum and related immigration proceedings to cast their homelands as hopeless, full of despair, and dominated...

... This chapter provides an overview of the band and its recordings and personnel up until 1974, and introduces the main themes of the book: the Grateful Dead’s improvisational practice, its relationship to the wider rock context, its relationship to their spiritual experiences. music...

... This chapter analyzes the Grateful Dead’s development of an authentically rock approach to improvisation. Through analysis of a number of recordings from their early years, it establishes a Framework or paradigm that helped structure their jamming. improvisation rock music jamming ...

..., as potentially a means of inducing transcendent experience. It further argues that this motivation behind the band’s music can be understood as religious—not merely “spiritual”—in nature. religious experience Grateful Dead music transcendence spirituality ...

... Having established the Grateful Dead’s practice and the spiritual or religious motivations for this practice, this chapter discusses their understanding of the meaning of their work, drawing on testimonies from drummer Mickey Hart, guitarist Jerry Garcia, and (in particular) bassist Phil Lesh...

... Throughout the 1980s, members of the Dead continued to explore the various practical, logistical, and financial aspects of producing live concert recordings. Following the release of “Touch of Grey” in 1987, the Grateful Dead were introduced to a new generation of fans, many of whom were just...

... Within the community and the culture of the Grateful Dead, live recordings have been valued not just for the sounds and stories they transmit but also for their materiality. Live recordings became the primary method by which the Grateful Dead would continue to promote the band’s legacy...