New Wave is a subgenre of rock music that emerged in the mid to late 1970s alongside punk rock. The term at first generally was synonymous with punk rock before being considered a genre in its own right that incorporated aspects of electronic and experimental music, mod subculture, disco and 1960s pop music. New Wave, as a term, has been used to describe all post-punk rock music, yet, it distances itself from other post-punk movements as it displays characteristics common to pop music, rather than the more "arty" post-punk.^[14]

As a genre, it incorporates much of the original punk rock sound and ethos, such as an emphasis on short and punchy songs,^[7][15] yet it is characterized by greater complexity in both music and lyrics. Common characteristics of New Wave music, aside from its punk influences, include the use of synthesizers and electronic productions, the importance of styling and the arts, as well as a great amount of diversity.^[14] As a term, New Wave is often used to describe music which was quirky and eccentric, yet also catchy and pop at heart, incorporating clear melodious hooks. In such a way, its style varies greatly, ranging from 1950s and 60s rock revivalism, ska and reggae-styled music, to synthpop-oriented dance.^[16]

New Wave is seen as one of the definitive genres of the 1980s;^[17] at the time, it enjoyed commercial success as several of the major artists and groups of the time were labelled New Wave. The genre became a fixture on MTV,^[14][16] and the popularity of several New Wave artists has been partially attributed to the exposure that was given to them by the channel.^[16] Despite commercial success in the 1980s, it was criticised by some at the time for its particular style and music.^[16] The genre started to fade out by c. 1984; nevertheless, it never truly died, and it enjoyed resurgences since the 1990s, after a "nostalgia" for New Wave swept across the music scene, influencing several artists.^[16] The revivals in the 1990s and early 2000s were small, but became popular by 2004; subsequently, the genre has influenced a variety of music genres.^{[10][11][18][19][20][21][22]}

Overview[link]

The term "New Wave" itself has been a source of much confusion and controversy. It first circulated as a rock music genre in the early 1970s, used by critics like Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls.^[9] It gained a much wider currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue, and also in newsstand music weeklies such as Melody Maker and New Musical Express.^[23] In a November 1976 article in Melody Maker, Caroline Coon used Malcolm McLaren's term "New Wave" to designate music by bands not exactly punk, but related to, and part of the same musical scene;^[24] the term was also used in that sense by music journalist Charles Shaar Murray in his comments about The Boomtown Rats.^[25] For a period of time in 1976 and 1977 the two terms were interchangeable.^[9][26] By the end of 1977, "New Wave" had replaced "Punk" as the definition for new underground music in the UK.^[23]

In the United States, Sire Records needed a term by which it could market its newly signed bands, who had frequently played the club CBGB. Because radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "New Wave". Like the filmmakers of the French New Wave movement whom the genre was named after, its new artists, such as the Ramones and Talking Heads, were anti-corporate and experimental. At first most American writers exclusively used the term "New Wave" to describe British punk acts. Starting in December 1976, The New York Rocker, which was suspicious of the term "punk," became the first American journal to enthusiastically use the term starting with British acts, and later appropriating it to acts associated with the CBGB scene.^[23]

Talking Heads performing in Toronto in 1978.

Music historian Vernon Joynson states that New Wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.^[27] Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity, or more polished production, came to be categorized as "New Wave". This came to include musicians who had come to prominence in the British pub rock scene of the mid-1970s, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods and Dr. Feelgood;^[28] and according to Allmusic "angry, intelligent" singer-songwriters who "approached pop music with the sardonic attitude and tense, aggressive energy of punk" such as Elvis Costello, Joe Jackson, and Graham Parker.^[29] In the U.S., the first New Wavers were the not-so-punk acts associated with the New York club CBGB, such as Talking Heads, Mink DeVille and Blondie.^[10] CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave."^[30] Furthermore, many artists who would have originally been classified as punk were also termed New Wave. A 1977 Phonogram Records compilation album of the same name (New Wave) features US artists including the Dead Boys, Ramones, Talking Heads and The Runaways.^[10][31]

The New Wave sound of this era represented a break from the smooth-oriented blues and rock & roll sounds of late 1960s to mid 1970s rock music. According to music journalist Simon Reynolds, the music had a twitchy, agitated feel to it. New Wave musicians often played choppy rhythm guitars with fast tempos. Keyboards were common as were stop-and-start song structures and melodies. Reynolds noted that New Wave vocalists sounded high-pitched, geeky and suburban.^[15]

Power pop, a genre that started before punk at the very beginning of the 1970s, became associated with New Wave at the end of the decade because their brief catchy songs fit into the mood of the era. The Romantics, The Records, The Motors,^[10] Cheap Trick, and 20/20 were groups that had success playing this style.^[32] Helped by the success of power pop groups such as The Knack, skinny ties became fashionable among New Wave musicians.^[9]

A revival of ska music led by The Specials, Madness and the The Beat/English Beat added humor and a strong dance beat to New Wave.^[3]

Later still, "New Wave" came to imply a less noisy, often synthesizer-based, pop sound. The term post-punk was coined to describe groups such as Siouxsie and the Banshees, Joy Division, Gang of Four and The Cure, which were initially considered part of the New Wave but were more ambitious, serious and challenging, darker, and less pop oriented. Some of these groups would later adopt synths.^[33][34] Although distinct, punk, New Wave, and post-punk all shared common ground: an energetic reaction to what they perceived as the overproduced, uninspired popular music of the 1970s.^[35]

Allmusic explained that New Wave's stylistic diversity occurred because New Wave "retained the fresh vigor and irreverence of punk music, as well as a fascination with electronics, style, and art". This diversity extended to the numerous one hit wonders that came out of the genre.^[37][38]

The term fell out of favour in the United Kingdom during the early 1980s because its usage had become too general.^[10] Conventional wisdom holds that the genre "died" in the middle of the 1980s. Theo Cateforis, Assistant Professor of Music History and Cultures at Syracuse University, contends New Wave "receded" during this period when advances in synthesizer technology caused New Wave groups and mainstream pop and rock groups to sound more alike.^[9]

MTV brought an "image is everything" mantra to New Wave during the 1980s. New Wave men put eyeliner on and New Wave women wore pants. Pants were tucked inside boots. Lingerie was worn on the outside, and sequined gloves were popular. Hair was dyed red, gold and green.^[39]

Related movements in Europe[link]

In Finland in the wake of Punk and New Wave the Suomi-Rock phenomenon occurred. Eppu Normaali were the seminal act of this phenomenon.^[12] During the late 1970s and early 1980s in Amsterdam a movement that mixed the post punk and New Wave early 1980s emerged called Ultra, which was an abbreviation for ultra modern. More garage-oriented New Wave became popular in Holland during the late 1980s. Clan of Xymox and Minny Pops became successful abroad and contributed to the maturation of Dutch Alternative Pop.^[40]

The New Romantic scene had developed in the London nightclubs Billy's and The Blitz and was associated with bands including Duran Duran, Japan, Ultravox, Visage, Adam and the Ants, Bow Wow Wow, Soft Cell, Spandau Ballet, ABC and Culture Club.^[41] They adopted their visual and musical style from David Bowie and Roxy Music.^[42] The Italian scene between the end of '70s and the '80s was very important for the new wave, because^[who?] there were some groups and singers like Krisma, Franco Battiato, Giuni Russo, Alice, Diaframma, Pankow, Garbo, Fausto Rossi, Alberto Camerini, Garbo Litfiba and CCCP Fedeli alla linea. Some of them, like Krisma and Battiato, experimented with a very avant-garde music.^{[citation needed][original research?]}

Reception in the United States[link]

In the summer of 1977 both Time^[43] and Newsweek magazines wrote favorable lead stories on the "punk/new wave" movement.^[37] Acts associated with the movement received little or no radio airplay or music industry support. Small scenes developed in major cities. Continuing into the next year, public support remained limited to select elements of the artistic, bohemian and intellectual population,^[23] as arena rock and disco dominated the charts.^[38]

Debbie Harry from the band Blondie, performing at Maple Leaf Gardens, Toronto, in 1977.

Starting in late 1978 and continuing into 1979, acts associated with punk and acts that mixed punk with other genres began to make chart appearances and receive airplay on rock stations. Blondie, Talking Heads, The Police and The Cars would chart during this period.^[9][38] "My Sharona", a single from The Knack, was Billboard magazine's number one single of 1979. The success of "My Sharona" prompted record companies to rush out and sign New Wave groups.^[9] New Wave music scenes developed in Ohio^[38] and Athens, Georgia.^[44] 1980 saw brief forays into New Wave-styled music by non-New Wave artists Billy Joel and Linda Ronstadt.^[9] The release during this period of Gary Numan's album The Pleasure Principle would be the pop chart breakthrough for Synthpop acts with a cool, detached stage presence and no "definable gender characteristics".^[38]

Early in 1980 highly influential radio consultant Lee Abrams wrote a memo saying with a few exceptions "we're not going to be seeing many of the New Wave circuit acts happening very big over here (in America). As a movement, we don't expect it to have much influence." Lee Ferguson, a consultant to KWST interviewed at the time, said Los Angeles radio stations were banning disc jockeys from using the term and noted, "Most of the people who call music New Wave are the ones looking for a way not to play it."^[45] Second albums by artists who had successful debut albums, along with the newly signed artists, both failed to sell and radio pulled most New Wave programming.^[9]

The arrival of MTV in 1981 would usher in New Wave's most successful era. British artists, unlike many of their American counterparts, had learned how to use the music video early on.^[38][46] Several British acts signed to independent labels were able to outmarket and outsell American artists that were signed with major labels. Journalists labeled this phenomenon a "Second British Invasion".^[46][47] MTV continued its heavy rotation of videos by New Wave-oriented acts until 1987, when it changed to a heavy metal and rock dominated format.^[48]

Martha Davis of The Motels performs at Hollywood Park.

In a December 1982 Gallup poll, 14% of teenagers rated New Wave music as their favorite type of music, making it the third most popular.^[49] New Wave had its greatest popularity on the West Coast. Unlike other genres, race was not a factor in the popularity of New Wave music, according to the poll. ^[49] Urban Contemporary radio stations were the first to play dance-oriented New Wave artists such as the B-52's, Culture Club, Duran Duran and ABC.^[50] By this period the definition of New Wave music in the United States (and the Philippines^[39]) had changed from the less rebellious, more commercial version of punk that it had been described as a few years earlier. For most of the remainder of the 1980s the term "New Wave" was used in America to describe nearly every new pop or pop rock artist that largely used synthesizers. New Wave is still used today to describe these acts, as well as late 1970s and 1980s post-punk and alternative acts.^[3][51][52]

Fans, music journalists, and artists rebelled against this catch-all definition by inventing dozens of genre names.^[9][38] Synthpop or "Technopop" as it was described by the U.S. press,^[53] which filled a void left by disco,^[20] was a broad subgenre that included groups such as The Human League, Depeche Mode, Soft Cell, a-ha, New Order, Orchestral Manoeuvres In The Dark, Yazoo,^[54] Ultravox,^[38] Kajagoogoo,^[55] and the Thompson Twins.^[56]

New Wave soundtracks were used in mainstream "Brat Pack" films such as Valley Girl, Sixteen Candles, Pretty In Pink, and The Breakfast Club.^[38][57] John Hughes, a director of several of these films, was enthralled with British New Wave Music and put music from acts such as The Psychedelic Furs, Simple Minds, and Echo and The Bunnymen into his films, helping put New Wave into the mainstream. Several of these songs remain standards of the era.^[58] Critics described the MTV acts as shallow or vapid,^[38][46] but the danceable quality of the music and quirky fashion sense associated with New Wave artists appealed to audiences.^[38] The use of synthesizers by New Wave acts influenced the development of house music in Chicago and techno in Detroit. New Wave’s indie spirit would be crucial to the development of college rock and grunge/alternative rock in the latter half of the 1980s and beyond.^[38] New Wave is considered part of alternative rock today.^[3]

Post-1980s revivals and influence[link]

Franz Ferdinand performing in 2006.

In 1991 retro futurist acts such as Stereolab and Saint Etienne mixed New Wave and kitschy 1960s pop.^[59] In the aftermath of grunge, the British music press launched a campaign to promote the New Wave of New Wave. This campaign involved overtly punk and New Wave influenced acts such as Elastica and Smash but was eclipsed by Britpop.^[10] Other acts of note during the 1990s included No Doubt, Metric,^[60] Six Finger Satellite, and Brainiac.^[11][61] During that decade the synthesizer-heavy dance sounds of British and European New Wave acts influenced various incarnations of Eurodisco and trance.^[20][38] Chris Martin was inspired to start Coldplay by a-ha.^[62]

During the 2000s a number of acts emerged that mined from a diversity of New Wave and post-punk influences. Among these were The Strokes, Interpol, Yeah Yeah Yeahs, Franz Ferdinand, The Epoxies, She Wants Revenge, Bloc Party, Foals,^[63] Kaiser Chiefs, and The Killers. These acts were sometimes labeled "New New Wave". By 2004 these acts were described as "hot".^[18] New Wave became revived during the mid 2000s with acts such as The Sounds, The Ting Tings, The Birthday Massacre,^[64] Hot Chip,^[65][66] Passion Pit,^[67] The Presets,^[68] La Roux, Ladytron,^[69] Shiny Toy Guns,^[70] Hockey,^[71] Gwen Stefani, Ladyhawke, and Marina and the Diamonds.^{[11][18][72][73][74][75][76][77][78][79][80]} While some journalists and fans regarded this as a revival, others argue that the phenomenon is a continuation of the original movements.^{[11][81][82][83]} The Drums are an example of the current trend in the United States indie pop scene that mines both the sounds and attitudes of the British New Wave Era. British group La Roux, who had a number 8 single on Billboard's Hot 100, is an example of the influence New Wave is having on indie dance.^{[19][20][21][84]} In addition, in the late 2000s a New Wave influenced genre called Chillwave developed. Notable artists are Toro Y Moi, Neon Indian, Twin Shadow and Washed Out.^[85][86][87]

Disney Channel stars such as Jonas Brothers and Hannah Montana embraced new wave sounds.^[22] Hip-hop artists commonly sample 1980s synthpop and R&B artists such as Rihanna have also embraced that subgenre.^[22]

Many have claimed that daring, spunky and over-the-top fashions of today's stars such as Katy Perry and Lady Gaga channel 1980s New Wave fashion.^[39]

Parallel movements[link]

• Coldwave
• Dark Wave
• Neue Deutsche Welle
• No Wave
• Yugoslav New Wave
• Movida española

See also[link]

• List of New Wave bands and artists
• Electronic rock

References[link]

External links[link]

• About.com Profile of the New Wave Genre
• Encyclopædia Britannica Definition
• St. James Encyclopedia of Pop Culture Article
• Punk 2 New Wave Top 100 list and short reviews
• Rolling Stone Magazine's Rock and Roll Daily blog Favorite 1980s New Wave Lists Reporters, Readers
• A Real New Wave Rolls Out of Ohio Robert Christgau for The Village Voice 17 April 1978
• 1997 Interview with Brat Pack Film Director John Hughes Published MTV 7 August 2009
• Walking on the Moon: The Untold Story of the Police and the Rise of New Wave book by Chris Campion previewed by Google Books
• Rock Against the Bloc A look back at the Punk/New Wave movement in Poland by the Krakow Post 1 February 2010
• Drowning In My Nostalgia Philippine Inquirer 7 September 2002 A critic looks back at her teenage fan days in The Philippines and Los Angeles

Further reading[link]

• Cateforis, Theodore. Are We Not New Wave?: Modern Pop at the Turn of the 1980s . University of Michigan Press, June 7, 2011. ISBN 978-0-472-03470-3.
• Buckszpa, Danial. The Encyclopedia of New Wave. Sterling Publishing, May 1, 2012 ISBN 978-1-4027-8472-9

v t e Punk rock Sub-Genres 2 Tone Anarcho-punk Art punk Celtic punk Christian punk Cowpunk Crust punk Dance-punk Deathrock Digital hardcore Folk punk Garage punk Glam punk Gothic rock Gypsy punk Hardcore punk Horror punk Nazi punk New Wave No Wave Noise rock Oi! Pop punk Post-hardcore Post-punk Psychobilly Punk blues Punk jazz Punk Pathetique Queercore Rapcore Riot grrrl Scottish Gaelic punk Ska punk Skate punk Street punk Synthpunk Taqwacore Trallpunk Other topics Afro-punk Protopunk DIY ethic First wave punk musicians Second wave punk musicians List of punk bands #–K L–Z Punk subculture Punk fashion Punk ideologies Punk visual art Moshing Punk literature Punk zine Straight edge Punk films (list) Punk filmmakers Timeline of punk rock Portal

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2012)

The topic of this article may not meet Wikipedia's general notability guideline. Please help to establish notability by adding reliable, secondary sources about the topic. If notability cannot be established, the article is likely to be merged, redirected, or deleted. (February 2012)

Wave Music is an independent dance music record label founded in 1995 by François Kevorkian, headquartered in New York City.

Its catalog features a wide spectrum of musical styles by many different artists, as well as several compilation series, such as Body&SOUL-NYC, Deep&Sexy, Bossa Mundo, and Frequencies.

Over the years, Wave Music has launched a variety of imprints (sub-labels) such as Wavetec, clicktracks, Wave Classics, Streetwave, and Deep Space Media. As well, it distributes other independent labels such as Chez Music and Bombay Records.

Selected List Of Artists[link]

• A Hundred Birds
• Abstract Truth
• Alphamotive
• Beat Pharmacy
• Barbara Mendes
• Blue 6
• Boyd Jarvis
• Carlos 'GoGo' Gomez
• D'Malicious
• Eric Kupper Presents Organika
• Eternal Sun
• Floppy Sounds
• Fonda Rae
• François K.
• Kevin Aviance
• Matthias 'Matty' Heilbronn
• Moments Of Soul
• Peckham Royalty
• Solu Music
• Willie Graff & T.Tauri

See also[link]

• List of record labels

External links[link]

• Wave Music Official Site
• Discogs Listing for Wave Music
• Wave Music on MySpace

Look up New Wave in Wiktionary, the free dictionary.

New Wave may refer to:

Movements in film[link]

• Australian New Wave
• French New Wave, or Nouvelle Vague, the inaugural New Wave cinema movement
• Indian New Wave, or Parallel Cinema, which began around the same time as the French New Wave
• Japanese New Wave, or Nuberu Bagu, which also developed around the same time as the French Nouvelle Vague
• Persian New Wave, or Iranian New Wave, started in the 1960s
• New German Cinema, new wave of German cinema
• Czechoslovak New Wave
• Cinema Novo or Novo Cinema, a movement in Brazilian and Portuguese film
• Hong Kong New Wave, a movement in Hong Kong film led by Tsui Hark
• Romanian New Wave
• British New Wave
• Taiwan New Wave
• Thai New Wave
• New Hollywood, also known as the American New Wave

Movements in music[link]

• New Wave music, in the United Kingdom and the United States in the late 1970s and through the 1980s
• New Wave of British Heavy Metal
• New Wave of American Heavy Metal
• Neue Deutsche Welle, the German New Wave music movement in the late 1970s and early 1980s
• Yugoslav New Wave, aka Novi Val, Novi Talas or Nov Bran, the New Wave scene in Yugoslavia in the late 1970s and early 1980s
• Nueva ola, a form of Spanish language popular music inspired on the musical developments of US and Europe in the 50s and 60s

Albums and songs[link]

• New Wave (The Auteurs album), 1993
• New Wave (Against Me! album), 2007
• New Wave (The Challengers album), 1995
• New Wave (Dizzy Gillespie album), 1963
• "The New Wave", a 1994 single by the band Daft Punk
• New Wave (Against Me! song)

Other[link]

• New Wave science fiction, a movement in science fiction
• New Wave (design), a typographical design philosophy
• HP NewWave, a software product released by Hewlett-Packard circa 1988
• The New Wave (comics), a 1986 comic book by Eclipse Comics
• New Wave (comics), a fictional character in the DC Comics universe
• New Wave (competition), an annual international competition of young singers of popular music
• New Wave Kitakyushu, a Japanese football (soccer) club

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This article's references may not meet Wikipedia's guidelines for reliable sources. Please help by checking whether the references meet the criteria for reliable sources. (April 2010)

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)

Cetu Javu were a German synthpop band which released songs between 1987 and the mid-1990s. The band consisted of Chris Demere, Stefan Engelke, Torsten Engelke, and Javier Revilla-Diez. The lead singer of the band, Javier Revilla-Diez, was a Spaniard, so while most of the band's songs were sung in English, some were sung in Spanish.

Cetu Javu had several dance hits with "Situations", "Have In Mind (the Kalimba Mix)" and "Adónde" in 1988.^[1]

Their former lead singer Javier Revilla-Diez is currently a Professor of Geography at Leibniz University of Hannover.^[2]

Cetu Javu released two albums, Southern Lands (ZYX Music, 1990)^[3] and Where Is Where (Blanco y Negro Records, 1992).^[4]

References[link]

Jerry Garcia
Jerry Garcia performing in New Haven, CT at the Jerry Garcia WPLR Show.
Background information
Birth name	Jerome John Garcia
Born	August 1, 1942 San Francisco, California, U.S.
Died	August 9, 1995(1995-08-09) (aged 53) Forest Knolls, California, U.S.
Genres	Folk rock, bluegrass, country rock, jazz, rock and roll, psychedelic rock, rhythm and blues, blues-rock
Occupations	Musician, songwriter
Instruments	Guitar, pedal steel guitar, banjo, vocals
Years active	1960–1995
Labels	Rhino, Arista, Warner Bros., Acoustic Disc, Grateful Dead
Associated acts	Grateful Dead, Legion of Mary, Reconstruction, Jerry Garcia Band, Old and in the Way, Jerry Garcia Acoustic Band, New Riders of the Purple Sage
Website	JerryGarcia.com
Notable instruments
Gibson SGs Guild Starfire 1957 Gibson Les Paul Gold-top Les Paul with P-90 Fender Stratocaster "Alligator" Doug Irwin-modified Alembic "Wolf" Doug Irwin Custom "Tiger" Doug Irwin Custom "Rosebud" Stephen Cripe Custom "Lightning Bolt," Martin D-28, Takamine acoustic-electric guitars

Jerome John "Jerry" Garcia (August 1, 1942 – August 9, 1995) was an American musician who was best known for his lead guitar work, singing and songwriting with the band the Grateful Dead.^[1][2] Though he disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group.^[1][2][3][4]

One of its founders, Garcia performed with the Grateful Dead for their entire three-decade career (1965–1995). Garcia also founded and participated in a variety of side projects, including the Saunders-Garcia Band (with longtime friend Merl Saunders), Jerry Garcia Band, Old and in the Way, the Garcia/Grisman acoustic duo, Legion of Mary, and the New Riders of the Purple Sage (which Garcia co-founded with John Dawson and David Nelson).^[1] He also released several solo albums, and contributed to a number of albums by other artists over the years as a session musician. He was well known by many for his distinctive guitar playing and was ranked 13th in Rolling Stone's "100 Greatest Guitarists of All Time" cover story.^[5]

Later in life, Garcia was sometimes ill because of his unstable weight, and in 1986 went into a diabetic coma that nearly cost him his life. Although his overall health improved somewhat after that, he also struggled with heroin and cocaine addictions,^[3][4] and was staying in a California drug rehabilitation facility when he died of a heart attack in August 1995.^[2][4]

Childhood and early life[link]

Jerry Garcia's ancestry was Galician (Spanish), Irish, and Swedish.^[6] He was born in San Francisco, California, on August 1, 1942, to Jose Ramon "Joe" Garcia and Ruth Marie "Bobbie" (née Clifford) Garcia.^[7][8][9] His parents named him after composer Jerome Kern.^[7][10][11] Jerome John was their second child, preceded by Clifford Ramon "Tiff", who was born in 1937.^[12][13] Shortly before Clifford's birth, their father and a partner leased a building in downtown San Francisco and turned it into a bar, partly in response to Jose being blackballed from a musician's union for moonlighting.^[14]

Garcia was influenced by music at an early age,^[15] taking piano lessons for much of his childhood.^[16] His father was a retired professional musician and his mother enjoyed playing the piano.^[7] His father's extended family—who had emigrated from Spain in 1919—would often sing during reunions.^[13]

At age four,^[17][18] while vacationing in the Santa Cruz Mountains, Garcia underwent amputation of two-thirds of his right middle finger.^[19][20] Garcia was given the chore of steadying wood while his elder brother chopped, when he inadvertently put his finger in the way of the falling axe.^[20] After his mother wrapped his hand in a towel Garcia's father drove him over thirty miles to the nearest hospital.^[19] A few weeks later, Garcia—who never looked at the finger after the accident—was surprised to discover most of it missing when the bandage he was wearing came off during a bath.^[21] Garcia later confided that he often used it to his advantage in his youth, showing it off to other children in his neighborhood.

Garcia experienced several tragic events during his youth. Less than a year after losing the segment of his finger, his father died. While on vacation with his family near Arcata in Northern California in 1947, his father went fly-fishing in the Trinity River, part of the Six Rivers National Forest.^[22] Not long after entering he slipped on a rock underfoot, plunging into the deep rapids of the river. The incident was witnessed by a group of boys who immediately sought help, beckoning a pair of nearby fishermen. By the time he was pulled from the water, he had already drowned. Garcia later claimed to have seen his father fall into the river, but Dennis McNally, author of the book A Long Strange Trip: The Inside Story of the Grateful Dead, asserts that he did not, instead forming the memory from hearing the story repeated many times.^[11] Blair Jackson, who wrote the biography Garcia: An American Life, lends weight to McNally's claim, citing that the newspaper article describing Jose's death made no mention of Garcia being at the scene—even misidentifying him as his parents' daughter.^[22]

Following the accident, Garcia's mother took over their late father's bar, buying out his partner for full ownership. As a result, Ruth Garcia began working full-time, sending Jerry and his brother to live just down the road with their maternal grandparents, Tillie and William Clifford. During the five-year period in which he lived with his grandparents, Garcia enjoyed a large amount of autonomy and attended Monroe School, the local elementary school. At the school, Garcia was greatly encouraged in his artistic abilities by his third grade teacher: through her, he discovered that "being a creative person was a viable possibility in life."^[23] According to Garcia, it was around this time that he was opened up to country and to bluegrass by his grandmother, who he recalled enjoyed listening to the Grand Ole Opry. His elder brother, Clifford, however, staunchly believed the contrary, insisting that Garcia was "fantasizing all [that] ... she'd been to Opry, but she didn't listen to it on the radio." It was at this point that Garcia started playing the banjo, his first stringed instrument.^[24]

In 1953, Garcia's mother was remarried to a man named Wally Matusiewicz.^[25] Subsequently, Garcia and his brother moved back home with their mother and new stepfather. However, due to the roughneck reputation of their neighborhood at the time, the Excelsior District, Garcia's mother moved their family to Menlo Park.^[25] During their stay in Menlo Park, Garcia became acquainted with racism and antisemitism, things he disliked intensely.^[25] The same year, Garcia was also introduced to rock and roll and rhythm and blues by his brother, and enjoyed listening to the likes of Ray Charles, John Lee Hooker, B. B. King, Hank Ballard, and, in a few years, Chuck Berry.^[26] Clifford often memorized the vocals for his favorite songs, and would then make Garcia learn the harmony parts, a move to which Garcia later attributed much of his early ear training.^[26]

In mid-1957, Garcia began smoking cigarettes and was introduced to marijuana.^[27][28] Garcia would later reminisce about the first time he smoked marijuana: "Me and a friend of mine went up into the hills with two joints, the San Francisco foothills, and smoked these joints and just got so high and laughed and roared and went skipping down the streets doing funny things and just having a helluva time".^[15] During this time, Garcia also took up an art program at the San Francisco Art Institute to further his burgeoning interest in the visual arts.^[17] The teacher there was Wally Hedrick, an artist who came to prominence during the 1960s. During the classes, he often encouraged Garcia in his drawing and painting skills.^[29]

In June of the same year, Garcia graduated from the local Menlo Oaks school. He then moved with his family back to San Francisco, where they lived in an apartment above the newly built bar, the old one having previously been torn down to make way for a freeway entrance.^[30] Two months later, on Garcia's fifteenth birthday, his mother purchased him an accordion, to his great disappointment.^[15] Garcia had long been captivated by many rhythm and blues artists, especially Chuck Berry and Bo Diddley: his one wish at this point was to have an electric guitar.^[30] After some pleading, his mother exchanged the accordion for a Danelectro with a small amplifier at a local pawnshop.^[31] Garcia's stepfather, who was somewhat proficient with instruments, helped tune his guitar to an unusual open tuning.^[27]

After a short stint at Denman Junior High School, Garcia attended tenth grade at Balboa High School in 1958, where he often got into trouble for skipping classes and fighting.^[32] Consequently, in 1959, Garcia's mother again moved the family to get Garcia to stay out of trouble, this time to Cazadero, a small town in Sonoma County, 90 miles north of San Francisco.^[32] This turn of events did not sit well with Garcia. To get to Analy High School, the nearest school, he had to travel by bus thirty miles to Sebastopol, a move which only made him more unhappy.^[33] Garcia did, however, join a band at his school known as the Chords. After performing and winning a contest, the band's reward was recording a song—they chose "Raunchy" by Bill Doggett.^[34]

Recording career[link]

Relocation and band beginnings[link]

Garcia stole his mother's car in 1960, and as punishment, joined the United States Army. He received basic training at Fort Ord.^[15] After training, he was transferred to Fort Winfield Scott in the Presidio of San Francisco.^[35] Garcia spent most of his time in the army at his leisure, missing roll call and accruing many counts of AWOL.^[36] As a result, Garcia was given a general discharge on December 14, 1960.^[37]

In January 1961, Garcia drove down to East Palo Alto to see Laird Grant, an old friend from middle school.^[38] He had purchased a 1950 Cadillac sedan from a cook in the army, which barely made it to Grant's residence before it broke down.^[38] Garcia proceeded to spend the next few weeks sleeping where friends would allow, eventually using his car as a home. Through Grant, Garcia met Dave McQueen in February, who, after hearing Garcia perform some blues, introduced him to local people and to the Chateau, a rooming house located near Stanford University which was then a popular hangout.^[39]

On February 20, 1961, Garcia entered a car with Paul Speegle, a 16-year-old artist and acquaintance of Garcia; Jack Royerton, a poet from Indiana and childhood friend of Garcia; Lee Adams, the house manager of the Chateau and driver of the car; and Alan Trist, a companion of theirs.^[39] After speeding past the Menlo Park Veterans Hospital, the car encountered a curve and, traveling around ninety miles per hour, collided with the guard rail, sending the car rolling turbulently.^[40][41] Garcia was hurled through the windshield of the car into a nearby field with such force he was literally thrown out of his shoes and would later be unable to recall the ejection.^[40] Lee Adams, the driver, and Alan Trist, who was seated in the back, were thrown from the car as well, suffering from abdominal injuries and a spine fracture, respectively.^[40] Royerton suffered a mild concussion and shattered his ulna. Garcia escaped with a broken collarbone, while Speegle, still in the car, was fatally injured.^[41]

The accident served as an awakening for Garcia, who later commented: "That's where my life began. Before then I was always living at less than capacity. I was idling. That was the slingshot for the rest of my life. It was like a second chance. Then I got serious".^[42] It was at this time that Garcia began to realize that he needed to begin playing the guitar in earnest—a move which meant giving up his love of drawing and painting.^[43]

Garcia met Robert Hunter, who would become a long-time lyrical collaborator with the Grateful Dead, in April 1961.^[1][7] Garcia and Hunter began to participate in the local art and music scenes, sometimes playing at Kepler's Books.^[7] Garcia performed his first concert with Hunter, each earning five dollars. Garcia and Hunter also played in a band called the Wildwood Boys with David Nelson, a future contributor to some Grateful Dead albums.^[17]

In 1962 Garcia met Phil Lesh, the eventual bassist of the Grateful Dead, during a party in Menlo Park's bohemian Perry Lane neighborhood (where Ken Kesey lived).^[44] Lesh would later write in his autobiography that Garcia resembled the composer Claude Debussy, with his "dark, curly hair, goatee, Impressionist eyes".^[17] While attending another party in Palo Alto, Lesh approached Garcia to suggest that he record some songs on Lesh's tape recorder (Phil was musically trained, though he did not start playing bass guitar until the formation of the Grateful Dead in 1965) with the intention of getting them played on the radio station KPFA.^[17] Using an old Wollensak tape recorder, they recorded "Matty Groves" and "The Long Black Veil", among several other tunes. Their efforts were not in vain, leading to a spot on the show, a ninety-minute special on Garcia. It was broadcast as: "'The Long Black Veil' and Other Ballads: An Evening with Jerry Garcia".^[17]

Garcia soon began playing and teaching acoustic guitar and banjo.^[17] One of Garcia's students was Bob Matthews, who later engineered many of the Grateful Dead's albums.^[45] Matthews went to high school and was friends with Bob Weir, and on New Year's Eve 1963, he introduced Weir and Garcia.^[45]

Between 1962 and 1964, Garcia sang and performed mainly bluegrass, old-time and folk music. One of the bands Garcia performed with was the Sleepy Hollow Hog Stompers, a bluegrass act. The group consisted of Jerry Garcia on guitar, banjo, vocals, and harmonica, Marshall Leicester on banjo, guitar, and vocals, and Dick Arnold on fiddle and vocals.^[46] Soon after this, Garcia joined a local bluegrass and folk band called Mother McCree's Uptown Jug Champions, whose membership included Ron "Pigpen" McKernan, a rhythm and blues fan. Around this time, the psychedelic LSD was gaining popularity. Garcia first began experimenting with LSD in 1964; later, when asked how it changed his life, he remarked: "Well, it changed everything [...] the effect was that it freed me because I suddenly realized that my little attempt at having a straight life and doing that was really a fiction and just wasn't going to work out. Luckily I wasn't far enough into it for it to be shattering or anything; it was like a realization that just made me feel immensely relieved".^[15]

In 1965, Mother McCree's Uptown Jug Champions evolved into the Warlocks, with the addition of Phil Lesh on bass guitar and Bill Kreutzmann on percussion. However, the band discovered that another group was performing under their newly selected name, prompting another name change. Garcia came up with the name by opening a Funk and Wagnall's dictionary to an entry for "Grateful Dead".^[15][16][17] The definition for "Grateful Dead" was "a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial".^[47] The band's first reaction was disapproval.^[15][16] Garcia later explained the group's reaction: "I didn't like it really, I just found it to be really powerful. [Bob] Weir didn't like it, [Bill] Kreutzmann didn't like it and nobody really wanted to hear about it. [...]"^[15] Despite their dislike of the name, it quickly spread by word of mouth, and soon became their official title.

Career with the Grateful Dead[link]

The corner of Haight and Ashbury, center of the San Francisco neighborhood in which the Grateful Dead shared a house at 710 Ashbury from fall 1966 to spring 1968.

Garcia served as lead guitarist, as well as one of the principal vocalists and songwriters of the Grateful Dead for their entire career. Garcia composed such songs as "Dark Star",^[48] "Franklin's Tower",^[48] and "Scarlet Begonias",^[48] among many others. Robert Hunter, an ardent collaborator with the band, wrote the lyrics to all but a few of Garcia's songs.

Garcia was well-noted for his "soulful extended guitar improvisations",^[2] which would frequently feature interplay between himself and his fellow band members. His fame, as well as the band's, arguably rested on their ability to never play a song the same way twice.^[3] Often, Garcia would take cues from rhythm guitarist Bob Weir on when to solo, remarking that "there are some [...] kinds of ideas that would really throw me if I had to create a harmonic bridge between all the things going on rhythmically with two drums and Phil [Lesh's] innovative bass playing. Weir's ability to solve that sort of problem is extraordinary. [...] Harmonically, I take a lot of my solo cues from Bob."^[49]

When asked to describe his approach to soloing, Garcia commented: "It keeps on changing. I still basically revolve around the melody and the way it’s broken up into phrases as I perceive them. With most solos, I tend to play something that phrases the way the melody does; my phrases may be more dense or have different value, but they’ll occur in the same places in the song. [...]"^[50]

Garcia and the band toured almost constantly from their formation in 1965 until Garcia's death in 1995, a stint which gave credit to the name "endless tour". Periodically, there were breaks due to exhaustion or health problems, often due to unstable health and/or Garcia's drug use. During their three decade span, the Grateful Dead played 2,314 shows.^[3]

Garcia's mature guitar-playing melded elements from the various kinds of music that had enthralled him. Echoes of bluegrass playing (such as Arthur Smith and Doc Watson) could be heard. But the "roots music" behind bluegrass had its influence, too, and melodic riffs from Celtic fiddle jigs can be distinguished.^{[citation needed]} There was also early rock (like Lonnie Mack, James Burton and Chuck Berry), contemporary blues (such as Freddie King and Lowell Fulson), country and western (such as Roy Nichols and Don Rich), and jazz (like Charlie Christian and Django Reinhardt) to be heard in Jerry's style. Don Rich was the sparkling country guitar player in Buck Owens's "the Buckaroos" band of the 1960s, but besides Rich's style, both Garcia's pedal steel guitar playing (on Grateful Dead records and others) and his standard electric guitar work, were influenced by another of Owens's Buckaroos of that time, pedal-steel player Tom Brumley. And as an improvisational soloist, John Coltrane was one of his greatest personal and musical influences.

Garcia later described his playing style as having "descended from barroom rock and roll, country guitar. Just 'cause that's where all my stuff comes from. It's like that blues instrumental stuff that was happening in the late Fifties and early Sixties, like Freddie King." Garcia's style varied somewhat according to the song or instrumental to which he was contributing. His playing had a number of so-called "signatures" and, in his work through the years with the Grateful Dead, one of these was lead lines making much use of rhythmic triplets (examples include the songs "Good Morning Little School Girl", "New Speedway Boogie", "Brokedown Palace", "Deal", "Loser", "Truckin'", "That's It for the Other One", "U.S. Blues", "Sugaree", and "Don't Ease Me In").

Side projects[link]

In addition to the Grateful Dead, Garcia had numerous side projects, the most notable being the Jerry Garcia Band. He was also involved with various acoustic projects such as Old and in the Way and other bluegrass bands, including collaborations with noted bluegrass mandolinist David Grisman. The documentary film Grateful Dawg chronicles the deep, long-term friendship between Garcia and Grisman.^[51]

Other groups of which Garcia was a member at one time or another include the Black Mountain Boys, Legion of Mary, Reconstruction, and the Jerry Garcia Acoustic Band. Jerry Garcia was also an appreciative fan of jazz artists and improvisation: he played with jazz keyboardists Merl Saunders and Howard Wales for many years in various groups and jam sessions, and he appeared on saxophonist Ornette Coleman's 1988 album, Virgin Beauty. His collaboration with Merl Saunders and Muruga Booker on the Grammy-nominated world music album Blues From the Rainforest launched the Rainforest Band.^[52]

Garcia also spent a lot of time in the recording studio helping out fellow musician friends in session work, often adding guitar, vocals, pedal steel, sometimes banjo and piano and even producing. He played on over 50 studio albums the styles of which were eclectic and varied, including bluegrass, rock, folk, blues, country, jazz, electronic music, gospel, funk, and reggae. Artists who sought Garcia's help included the likes of Jefferson Airplane (most notably Surrealistic Pillow, Garcia being listed as their "Spiritual Advisor"), Tom Fogerty, David Bromberg, Robert Hunter (Liberty, on Relix Records), Paul Pena, Peter Rowan, Warren Zevon, Country Joe McDonald, Ken Nordine, Ornette Coleman, Bruce Hornsby, Bob Dylan and many more. He was also one of the first musicians to really cover in depth Motown music in the early 1970s and probably the most prolific coverer of Bob Dylan songs. In 1995 Garcia played on three tracks for the CD Blue Incantation by guitarist Sanjay Mishra, making it his last studio collaboration.

Throughout the early 1970s, Garcia, Grateful Dead bassist Phil Lesh, drummer Mickey Hart, and David Crosby collaborated intermittently with MIT-educated composer and biologist Ned Lagin on several projects in the realm of early electronica; these include the album Seastones (released by the Dead on their Round Records subsidiary) and L, an unfinished dance work.

Garcia also lent pedal-steel guitar playing to fellow-San Francisco musicians New Riders of the Purple Sage from their initial dates in 1969 to October 1971, when increased commitments with the Dead forced him to opt out of the group. He appears as a band member on their début album New Riders of the Purple Sage, and produced Home, Home On The Road, a 1974 live album by the band. He also contributed pedal steel guitar to the enduring hit "Teach Your Children" by Crosby, Stills, Nash, & Young. Garcia also played steel guitar licks on Brewer & Shipley's 1970 album Tarkio. Despite considering himself a novice on the pedal steel, Garcia routinely ranked high in player polls. After a long lapse from playing the pedal-steel, he played it once more during several of the Dead's concerts with Bob Dylan during the summer of 1987.

Having studied art at the San Francisco Art Institute, Garcia embarked on a second career in the visual arts. He offered for sale and auction to the public a number of illustrations, lithographs, and water colors. Some of those pieces became the basis of a line of men's neckties characterized by bright colors and abstract patterns. Even in 2005, ten years after Garcia's death, new styles and designs continued to be produced and sold.

Personal life[link]

Garcia met his first wife, Sara Ruppenthal Garcia, in 1963.^[17] She was working at the coffee house in the back of Kepler's Bookstore where Garcia, Hunter, and Nelson performed. They married on April 23, 1963, and on December 8 of that year the only child they had together, their daughter Heather, was born.^[53]

Garcia and his fellow musicians were subjected to a handful of drug busts during their lifetime. On October 2, 1967, 710 Ashbury Street in San Francisco (where the Grateful Dead had taken up residence the year before) was raided after a police tip-off.^[17] Grateful Dead members Phil Lesh, Bob Weir, and Ron "Pigpen" McKernan were apprehended on marijuana charges which were later dropped, although Garcia himself was not arrested.^[54] The following year, Garcia's picture was used in a campaign commercial for Richard Nixon.^[55]

Most of the Grateful Dead were arrested again in January 1970, after they flew to New Orleans from Hawaii.^[17] After returning to their hotel from a performance, the band checked into their rooms, only to be quickly raided by police. Around fifteen people were arrested on the spot, including many of the road crew, management, and nearly all of the Grateful Dead (except Garcia, who arrived later, and Ron "Pigpen" McKernan, who was not taking drugs at the time).^[17]

During August 1970, Garcia's mother Ruth was involved in a car accident near Twin Peaks in San Francisco.^[17] Garcia, who was recording the album American Beauty at the time, often left the sessions to visit his mother with his brother Clifford. She died on September 28, 1970. That same year, Garcia participated in the soundtrack for the film Zabriskie Point.

Carolyn Adams, also known as 'Mountain Girl', gave birth to Garcia's second and third daughters, Annabelle Walker Garcia (February 2, 1970) and Theresa Adams "Trixie" Garcia (September 21, 1974). Adams and Garcia married in 1981.^[53]

In 1975, around the time Blues for Allah was being created, Garcia met Deborah Koons, the woman who would much later become his third wife and widow.^[17] He began seeing her while he was still involved with Adams, with whom Koons had a less-than-perfect relationship. Garcia and Adams eventually went different ways.

While touring in late 1973 the band began to use cocaine in order to reduce the exhausting effects^{[citation needed]} of constantly being on the road. During the band's hiatus in 1975, Garcia was introduced to a smoke-able form of heroin. Influenced by the stresses of creating and releasing The Grateful Dead Movie in 1977, Garcia's cocaine and heroin use increased. This, combined with the drug use of several other members of the Grateful Dead, produced turbulent times for the band: the band's chemistry began "cracking and crumbling",^[17] resulting in poor group cohesion. As a result, Keith and Donna Godchaux were asked to leave the band in February 1979. With the addition of keyboardist Brent Mydland, the band was reaching new heights. Though things seemed to be getting better for the band, Garcia's health was descending. By 1983, Garcia had lost his "liveliness" on stage. The so-called "endless tour," the result of years of financial risks, drug use and mistakes, also became extremely taxing.

Garcia's use of heroin increased heavily over the years, eventually culminating in the rest of the Grateful Dead holding an intervention in January 1985.^[17] Given the choice between the band or the drugs, Garcia readily agreed to check into a rehabilitation center in Oakland, California. A few days later in January, before the start of his program in Oakland, Garcia was arrested for drug possession in Golden Gate Park; Garcia subsequently attended a drug diversion program. Throughout 1985, Garcia fought to kick his habit while on tour, and by 1986, was completely clean.

Precipitated by an unhealthy weight, bad eating habits, and recent drug use, Garcia collapsed into a diabetic coma in July 1986, waking up five days later.^[3][4] Garcia later spoke about this period of unconsciousness as surreal: "Well, I had some very weird experiences. My main experience was one of furious activity and tremendous struggle in a sort of futuristic, space-ship vehicle with insectoid presences. After I came out of my coma, I had this image of myself as these little hunks of protoplasm that were stuck together kind of like stamps with perforations between them that you could snap off."^[16] Garcia's coma had a profound effect on him: it forced him to have to relearn how to play the guitar, as well as other, more basic skills. Within a handful of months, Garcia quickly recovered, playing with the Jerry Garcia Band and the Grateful Dead again later that year.^[17] Garcia frequently saw a woman named Manasha Matheson during this period. Together they produced Garcia's fourth and final child, a girl named Keelin Noel Garcia, who was born December 20, 1987.^[53] (Jerry, Keelin and Manasha toured and shared a home together as a family until 1993.) After Garcia's recovery, the band released a comeback album "In the Dark" in 1987, which became their best ever selling studio album. Inspired by Garcia's improved health and a successful album, the band's energy and chemistry peaked in the late 1980s and 1990.

During the summer of 1990, keyboardist Brent Mydland died of a drug overdose. Mydland's death greatly affected Garcia, leading him to believe that the on and off stage chemistry would never be the same. Before beginning the fall tour, the band acquired keyboardists Vince Welnick and Bruce Hornsby. The power of Hornsby's keys musically drove Garcia to new heights on stage. As the band continued through 1991, Garcia became concerned with the band's future. He was burnt out from four straight years of high powered touring. Jerry thought a break was necessary, mainly so that the band could come back with fresh material. The idea was put off by the pressures of management, and the touring continued. Jerry's decrease in both his stamina and his interest to continue touring, may have caused him to use again. Though his relapse was relatively brief, lasting through the summer, the band was quick to react. Soon after the last show of the tour in Denver, Garcia was confronted by the Grateful Dead with another intervention. After a somewhat disastrous meeting, Garcia invited Phil Lesh over to his home in San Rafael, California, where he explained that after the meeting he would start attending a methadone clinic. Garcia said that he simply wanted to clean up in his own way, and get back to making music.^[17]

After returning from the Grateful Dead's 1992 summer tour, Garcia became extremely sick, evidently a throwback to his diabetic coma in 1986.^[17] Refusing to go to the hospital, he instead enlisted the aid of an acupuncturist named Yen Wei Choong and a licensed doctor to treat him personally at home. Garcia recovered over the following days, despite the Grateful Dead having to cancel their fall tour to allow him time to recuperate. Following this episode, Garcia quit smoking, became a vegetarian, and began losing weight.

Garcia and girlfriend Barbara Meier, who had met in December of the previous year, separated at the beginning of the Dead's 1993 spring tour. In 1994, Garcia renewed acquaintances with Deborah Koons, with whom he had been involved sometime around 1975. They married on February 14, 1994, in Sausalito, California. The wedding was attended by family and friends.^[17] Garcia had divorced Adams in January of that year.

By the beginning of 1995, Garcia's physical and mental condition began a decline. His playing ability suffered to the point where he would turn down the volume of his guitar, and he often had to be reminded of what song he was performing.^[17] Due to his frail condition, he began to use again just to dull the pain.

In light of his second drug relapse and current condition, Garcia checked himself into the Betty Ford Center during July 1995. His stay was limited, however, lasting only two weeks. Motivated by the experience, he then checked into the Serenity Knolls treatment center in Forest Knolls, California.^[4][56]

Death[link]

On August 9, 1995, at 4:23 am, Garcia's body was discovered in his room at the rehabilitation clinic.^[4][56] The cause of death was a heart attack.^[57] Garcia had long struggled with drug addiction,^[4] weight problems, sleep apnea,^[4]a long standing cigarette habit and diabetes all of which contributed to his physical decline. Phil Lesh remarked in his autobiography that, upon hearing of Garcia's death, "I was struck numb; I had lost my oldest surviving friend, my brother."^[17] On the morning of August 10, Garcia was rested at a funeral home in San Rafael, California. Garcia's funeral was held on August 12, at St. Stephen's Episcopal Church in Belvedere.^[17][56] It was attended by his family, the remaining Grateful Dead members and their friends, including former basketball player Bill Walton and musician Bob Dylan, and his widow Deborah Koons,^[56] who barred Garcia's other two wives from the ceremony.^[17]

On August 13, a municipally sanctioned public memorial took place in the Polo Fields of San Francisco's Golden Gate Park, and was attended by about 25,000 people.^[17] The crowds produced hundreds of flowers, gifts, images, and even a bagpipe rendition of "Amazing Grace"^[56] in remembrance.

On April 4, 1996, Bob Weir and Deborah Koons spread half of Garcia's cremated ashes into the Ganges River at the holy city of Rishikesh, India,^[17][58] a site sacred to Hindus. Then, according to Garcia's last wishes, the other half of his ashes were poured into the San Francisco Bay. Deborah Koons did not allow one of Garcia's ex-wives, Carolyn "Mountain Girl" Garcia, to attend the spreading of the ashes.^[59]

Musical equipment[link]

Garcia played many guitars during his career, which ranged from Fender Stratocasters and Gibson SGs to custom-made instruments. During his thirty-odd years of being a musician, Garcia used about 25 guitars.^[60]

In 1965, when Garcia was playing with the Warlocks, he used a Guild Starfire,^[60] which he also used on the début album of the Grateful Dead. Beginning in late 1967 and ending in 1968, Garcia played various colored Gibson Les Paul guitars. In 1969, he picked up the Gibson SG and used it for most of that year and 1970, except for a small period in between where he used a Sunburst Fender Stratocaster.

During Garcia's "pedal steel flirtation period" (as Bob Weir referred to it in Anthem to Beauty), from approximately 1969 to 1974, he played a ZB Custom D-10 steel guitar, especially in his earlier public performances. Although this was a double neck guitar, Garcia often would choose not to attach the last 5 pedal rods for the rear or Western Swing neck. Additionally, he was playing an Emmons D-10 at the time of the Grateful Dead's and New Riders of the Purple Sage's final appearances at the Filmore East in late April 1971. Also, he had been given a Fender Pedal Steel (probably a 1000 model) prior to owning the ZB Custom, but did not play it much.^{[citation needed]}

In 1969, Garcia played pedal steel on two notable outside recordings: the track "The Farm" on the Jefferson Airplane album Volunteers; and the hit single "Teach Your Children" by Crosby, Stills, Nash & Young from their album Déjà Vu, released in 1970. Garcia played on the latter album in exchange for harmony lessons for the Grateful Dead, who were at the time recording their acoustic albums Workingman's Dead and American Beauty.^[61]

In 1972, Garcia used a Fender Stratocaster nicknamed Alligator for its alligator sticker on the pickguard.^[60] The guitar was given to him by Graham Nash. This was due in part to damage to his first custom-made guitar, made by Alembic. This guitar, nicknamed Wolf for a memorable sticker Garcia added below the tailpiece, cost $1500 – extremely high for the time.^[62]

In the late eighties Garcia, Weir and CSN (along with many others) endorsed Alvarez Yairi acoustic guitars. There are many photographs circulating (mostly promotional) of Jerry playing a DY99 Virtuoso Custom with a Modulus Graphite neck. He opted to play with the less decorated model but the promotional photo from the Alvarez Yairi catalog has him holding the "tree of life" model. This hand-built guitar was notable for the collaboration between Japanese luthier Kazuo Yairi and Modulus Graphite of San Rafael. As with most things Garcia, with his passing, the DY99 model is rendered legend and valuable among collectors.

Wolf was made with an ebony fingerboard and featured numerous embellishments like alternating grain designs in the headstock, ivory inlays, and fret marker dots made of sterling silver. The body was composed of western maple wood which had a core of purpleheart. Garcia later had former Alembic employee Doug Irwin replace the electronics inside the guitar, at which point he added his own logo to the headstock alongside the Alembic logo. The system included two interchangeable plates for configuring pickups: one was made for strictly single coils, while the other accommodated humbuckers. Shortly after receiving the modified instrument, Garcia requested another custom guitar from Irwin with the advice "don't hold back."^[62]

During the Grateful Dead's European Tour, Wolf was dropped on several occasions, one of which caused a minor crack in the headstock. Garcia returned it to Irwin to fix; during its two-year absence Garcia played predominantly Travis Bean guitars. On September 28, 1977, Irwin delivered the renovated Wolf back to Garcia.^[62] The wolf sticker which gave the guitar its name had now been inlaid into the instrument; it also featured an effects loop between the pick-ups and controls (so inline effects would "see" the same signal at all times) which was bypassable. Irwin also put a new face on the headstock with only his logo (he later claimed to have built the guitar himself, though pictures through time clearly show the progression of logos, from Alembic, to Alembic & Irwin, to only Irwin). In the "Grateful Dead Movie" Jerry is playing Wolf and this film provides excellent views of Wolf.

Nearly seven years after he first requested it, Garcia received his third custom guitar from Irwin in 1979 (the first Irwin was "Eagle", the second was "Wolf").^[63] The first concert that Jerry played Tiger was August 4, 1979 at the Oakland Auditorium Arena.^[63] It was named Tiger from the inlay on the preamp cover.^[64] The body of Tiger was of rich quality: the top layer was cocobolo, with the preceding layers being maple stripe, vermilion, and flame maple, in that order.^[64] The neck was made of western maple with an ebony fingerboard. The pickups consisted of a single coil DiMarzio SDS-1 and two humbucker DiMarzio Super IIs which were easily removable due to Garcia's preference for replacing his pickups every year or two.^[64] The electronics were composed of an effects bypass loop, which allowed Garcia to control the sound of his effects through the tone and volume controls on the guitar, and a preamplifier/buffer which rested behind a plate in the back of the guitar. In terms of weight, everything included made Tiger tip the scales at 13½ pounds. This was Garcia's principal guitar for the next eleven years, and most played.

In 1990, Irwin completed Rosebud, Garcia's fourth custom guitar.^[65] It was similar to his previous guitar Tiger in many respects, but featured different inlays and electronics, tone and volume controls, and weight. Rosebud, unlike Tiger, was configured with three humbuckers; the neck and bridge pickups shared a tone control, while the middle had its own. Atop the guitar was a Roland GK-2 pickup which fed the controller set inside the guitar. The GK2 was used in junction with the Roland GR-50 rack mount synthesizer. The GR-50 synthesizer in turn drove a Korg M1R synthesizer producing the MIDI effects heard during live performances of this period as heard on the Grateful Dead recording 'Without a Net'.^[65][66] Sections of the guitar were hollowed out to bring the weight down to 11½ pounds. The inlay, a dancing skeleton holding a rose, covers a plate just below the bridge. The final cost of the instrument was $11,000.^[65]

In 1993, carpenter-turned-luthier Stephen Cripe tried his hand at making an instrument for Garcia.^[60] After researching Tiger through pictures and films, Cripe set out on what would soon become known as Lightning Bolt, again named for its inlay.^[67] The guitar used Brazilian rosewood for the fingerboard and East Indian rosewood for the body, which, with admitted irony from Cripe, was taken from a 19th century bed used by opium smokers.^[67] Built purely from guesswork, Lightning Bolt was a hit with Garcia, who began using the guitar exclusively. Soon after, Garcia requested that Cripe build a backup of the guitar. Cripe, who had not measured or photographed the original, was told simply to "wing it."^[67]

Cripe later delivered the backup, which was known by the name Top Hat. Garcia bought it from him for the price of $6,500, making it the first guitar that Cripe had ever sold.^[67] However, infatuated with Lightning Bolt, Garcia rarely used the backup.

After Garcia's death, the ownership of his Wolf and Tiger came into question. According to Garcia's will,^[53] his guitars were to go to Doug Irwin, who had constructed them.^[68][69] The remaining Grateful Dead members disagreed—they considered his guitars to be property of the band, leading to a lawsuit between the two parties.^[68][69] In 2001, Irwin won the case. Irwin, being a victim of a hit-and-run accident in 1998,^[69] was left nearly penniless. He placed Garcia's guitars up for auction in hopes of being able to start another guitar workshop.^[68]

On May 8, 2002, Wolf and Tiger, among other memorabilia, were placed for auction at Studio 54 in New York City.^[68] Tiger was purchased for $957,500, while Wolf was bought for $789,500. Together, the instruments were bought for 1.74 million dollars, setting a new world record.^[69] Wolf is in a private collection kept in a secure climate controlled room in a private residence at Utica, N.Y., and Tiger is in the private collection of Indianapolis Colts owner Jim Irsay.^[70]

Legacy[link]

Garcia appeared in the 1977 movie Close Encounters of the Third Kind as an extra during the scenes in India in a crowd shot.^[71] During the following year, the Grateful Dead would occasionally improvise the theme from "Close Encounters" in concert.

In 1987, ice cream manufacturer Ben & Jerry's came out with Cherry Garcia, which is named after the guitarist and consists of "cherry ice cream with cherries and fudge flakes".^{[72][73][74][75]}

Garcia was inducted into the Rock and Roll Hall of Fame as a member of the Grateful Dead in 1994.

Famous guitar player and known Jerry fan Warren Haynes wrote the song "Patchwork Quilt" in memory of Jerry.

In the episode titled "Halloween: The Final Chapter" on the show Roseanne, aired shortly after his death on October 31, 1995, a tribute to Jerry Garcia was made, and the character name of the baby was Jerry Garcia Conner.

In 2003, Rolling Stone Magazine ranked Jerry Garcia 13th in their list of the 100 Greatest Guitarists of All Time.^[5]

In 2005, Rapper Proof from the group D12 released an album named after Garcia, Searching for Jerry Garcia. The album was dedicated to the Grateful Dead and released ten years to the day of Garcia's death.

Ween recorded the song, "So Long Jerry" during the sessions for their 12 Golden Country Greats album, but it was left off the album, eventually appearing on the "Piss Up a Rope" single.

According to fellow Bay Area guitar player Henry Kaiser, Garcia is "the most recorded guitarist in history. With more than 2,200 Grateful Dead concerts, and 1,000 Jerry Garcia Band concerts captured on tape – as well as numerous studio sessions – there are about 15,000 hours of his guitar work preserved for the ages."^[76]

On July 30, 2004, Melvin Seals was the first Jerry Garcia Band member to headline an outdoor music and camping festival called the Grateful Garcia Gathering. The festival is a tribute to the Grateful Dead's guitarist Jerry Garcia. "Jerry Garcia Band" drummer David Kemper, joined Melvin Seals & JGB in 2007. To date, other musicians and friends of Jerry's have also included Donna Jean Godchaux, Mookie Siegel, Pete Sears, G.E. Smith, Barry Sless, and Jackie Greene to name a few musicians. The 3G's festival is still going strong hosting hundreds of fans yearly to see such headliners as Elf Lettuce, The Workshy, and Afternoon Moon at a swinger's campground in Wisconsin.

On July 21, 2005, the San Francisco Recreation and Park Commission passed a resolution to name the amphitheater in McLaren Park "The Jerry Garcia Amphitheater."^[77] The amphitheater is located in the Excelsior District, where Garcia grew up. The first show to happen at the Jerry Garcia Amphitheater was Jerry Day 2005 on August 7, 2005. Tiff Garcia was the first person to welcome everybody to the "Jerry Garcia Amphitheater." Jerry Day is an annual celebration of Jerry in his childhood neighborhood. The dedication ceremony (Jerry Day 2) on October 29, 2005 was officiated by mayor Gavin Newsom.

On September 24, 2005, the Comes a Time: A Celebration of the Music & Spirit of Jerry Garcia tribute concert was held at the Hearst Greek Theatre in Berkeley, California.^[78] The concert featured Bob Weir, Bill Kreutzmann, Mickey Hart, Bruce Hornsby, Trey Anastasio, Warren Haynes, Jimmy Herring, Michael Kang, Jay Lane, Jeff Chimenti, Mark Karan, Robin Sylvester, Kenny Brooks, Melvin Seals, Merl Saunders, Marty Holland, Stu Allen, Gloria Jones, and Jackie LaBranch.

Also in 2008, Georgia-based composer Lee Johnson released an orchestral tribute to the music of the Grateful Dead, recorded with the Russian National Orchestra, entitled "Dead Symphony: Lee Johnson Symphony No. 6." Johnson was interviewed on NPR on the July 26, 2008 broadcast of "Weekend Edition", and gave much credit to the genius and craft of Garcia's songwriter. A live performance with the Baltimore Symphony Orchestra, conducted by Johnson himself, was held Friday, August 1.^[79]

Seattle rock band Soundgarden wrote and recorded the instrumental song "Jerry Garcia's Finger", dedicated to the singer, which was released as a b-side with their single "Pretty Noose".

The argentinian band Massacre included a song called "A Jerry Garcia" (To Jerry Garcia) on their album "Juguetes para olvidar".

Numerous music festivals across the United States and Uxbridge, Middlesex, UK hold annual events in memory of Jerry Garcia.

Discography[link]

• Jerry Garcia^[80]
  • Garcia – 1972
  • Compliments – 1974
  • Reflections – 1976
  • Run for the Roses – 1982
• Jerry Garcia Band
  • Cats Under the Stars – 1978
  • Jerry Garcia Band – 1991
  • How Sweet It Is – 1997
  • Don't Let Go – 2001
  • Shining Star – 2001
  • After Midnight: Kean College, 2/28/80 – 2004
  • Let It Rock: The Jerry Garcia Collection, Vol. 2 – 2009
• Jerry Garcia Acoustic Band
  • Almost Acoustic – 1988
  • Ragged but Right – 2010
• Jerry Garcia and Merl Saunders
  • Heavy Turbulence – with Tom Fogerty – 1972 (LP)
  • Fire Up – 1973 (LP)
  • Live at the Keystone – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1973 (LP)
  • Keystone Encores, Volume 1 – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (LP)
  • Keystone Encores, Volume 2 – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (LP)
  • Live at the Keystone Vol. 1 – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (CD)
  • Live at the Keystone Vol. 2 – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (CD)
  • Keystone Encores – Merl Saunders / Jerry Garcia / John Kahn / Bill Vitt – 1988 (CD)
  • Fire Up Plus – with John Kahn, Tom Fogerty and Ron Tutt – 1992 (CD)
  • Keystone Berkeley, September 1, 1974 – Jerry Garcia and Merl Saunders – 2004 (also listed under Pure Jerry series)
  • Legion of Mary: The Jerry Garcia Collection, Vol. 1 – Legion of Mary – 2005
  • Well Matched: The Best Of Merl Saunders & Jerry Garcia – 2006 (also listed under Compilations)
• New Riders of the Purple Sage
  • New Riders of the Purple Sage – 1971
  • Before Time Began – 1986
  • Vintage NRPS – 1986
• Old and in the Way
  • Old and in the Way – 1975
  • That High Lonesome Sound – 1996
  • Breakdown – 1997
  • Live at the Boarding House – 2008
• Jerry Garcia and David Grisman
  • Garcia/Grisman – 1991
  • Not for Kids Only – 1993
  • Shady Grove – 1996
  • So What – 1998
  • The Pizza Tapes (featuring Tony Rice) – 2000
  • Grateful Dawg – 2001
  • Been All Around This World – 2004
• Compilations
  • All Good Things – 2004 (box set of studio albums Garcia, Compliments, Reflections, Cats Under The Stars, Run For The Roses', as well as outtakes, jams, and alternate versions)
  • Garcia Plays Dylan – 2005
  • The Very Best of Jerry Garcia – 2006
  • Well Matched: The Best Of Merl Saunders & Jerry Garcia – 2006
• Pure Jerry – a series of live concert CDs licensed by the Garcia Family LLC.^[81]
  • Theatre 1839, July 29 & 30, 1977 – Jerry Garcia Band – 2004
  • Lunt-Fontanne, New York City, October 31, 1987 – Jerry Garcia Band and Jerry Garcia Acoustic Band – 2004
        (This album is one of 10 "live jam releases of this century" according to the August issue of Guitar One magazine.)
  • Lunt-Fontanne, New York City, The Best of the Rest, October 15 – 30, 1987 – Jerry Garcia Band and Jerry Garcia Acoustic Band – 2004
  • Keystone Berkeley, September 1, 1974 – Jerry Garcia and Merl Saunders – 2004
  • Merriweather Post Pavilion, September 1 & 2, 1989 – Jerry Garcia Band – 2005
  • Warner Theatre, March 18, 1978 – Jerry Garcia Band – 2005
  • Coliseum, Hampton, VA, November 9, 1991 – Jerry Garcia Band – 2006 (with Bruce Hornsby)
  • Marin Veterans Memorial Auditorium, February 28, 1986 – Jerry Garcia and John Kahn – 2009
  • Bay Area, 1978 – Jerry Garcia Band – 2009