... This chapter situates the humanitarian emergency as a genre of live media event that brings together two optics of immediacy: the humanitarian emergency and the televisual discourse of catastrophe. It traces the merger of these optics in the transformation of “liveness,” arguing...

... Despite the musical and lyrical eclecticism, innovative formal designs, and unconventional recording and production techniques of the Grateful Dead’s earliest studio albums, many fans and critics were skeptical that the Dead were capable of capturing the energy of their live concerts on record...

... In addition to the Grateful Dead’s commercially released live albums, by the early 1970s, fans also had access to a rapidly growing body of unofficial live concert recordings that were being produced and traded within a growing community of tapers and tape traders. Appearing alongside other...

... In celebration of the band’s fifteenth anniversary, the Grateful Dead performed a run of concerts at the Warfield Theatre in San Francisco and Radio City Music Hall in New York City in 1980. Whereas the distinctive sound of liveness heard on the band’s earliest commercial live releases owed much...

... As the Grateful Dead began to produce and market their archival recordings in the early 1990s, distinctive “languages of liveness” were used to advertise and aestheticize the band’s earliest vault recordings. Produced by Dan Healy, the releases that appeared on the From the Vault series were...

... 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...

...Lives ...

...Lives ...

...Lives and Deaths ...