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These Wharf Rats—named after a Dead song—gathered under an arc of yellow balloons during concert breaks, finding strength in numbers as they maintained sobriety “one show at a time.” wrote about deadheads, “[They] had only one thing absolutely in common: Each had experienced some inner click of affinity, some overwhelming sense of ‘here I belong,” when confronted by the Dead, its music and scene.
It was the recognition of an essentially spiritual experience that bound them together.
" class="lazy Owl owl-lazy" data-action="gallery-slide-image"The Electric Kool-Aid Acid Test The Dead gained its early audience by performing as the house band at the many LSD parties, known as "acid tests," that were organized widely in the Bay Area in the mid-1960s.
The Music Never Stopped The free-flowing approach to music that the band perfected over three decades of playing together was possible because of the extraordinary abilities of the musicians Garcia partnered with.
after attending a 1971 New York City concert that “regulars greeted other regulars, remembered from previous boogies, and compared this event with a downer in Boston or a fabulous night in Arizona.” And the band took notice.This subset grew in number, soon giving birth to a community with its own set of rules and even slang. S., where the demand to see the foursome live gave rise to stadium rock.And the Rolling Stones still have audiences under their thumb, despite their combined age of 284., author Ken Kesey commented on this phenomena: “[the Dead] weren’t just playing what was on the music sheets, they were playing what was in the air.When the Dead are at their best, the vibrations that are stirred by the audience is the music that they play.” And if you couldn’t get a ticket to the show? When the Dead were in town, parking lots outside of their concerts were transformed into small villages, with vendors selling tie-died shirts, burritos and of course, drugs.