What better way to get almost anyone to align themselves with a corporation?What better personalization tool for a brand to get behind than the one that viscerally triggers an emotional response?This allowed many Deadheads a way to follow the band on its tours.During the early 1980s, the number of Deadheads taping shows increased, and the band created a special section for fans who wished to record the show.Archive curator Nicholas Meriwether, who has also written extensively about the culture and its impact on society, states "The Grateful Dead archive is going to end up being a critical way for us to approach and understand the 1960s and the counterculture of the era...It’s also going to tell us a lot about the growth and development of modern rock theater, and it’s helping us understand fan culture." By the late 1970s, some Deadheads began to sell tie-dye T-shirts, veggie burritos, or other items at Grateful Dead concerts.The friend was Dick Latvala, who at the time was the official archivist of the Grateful Dead, the keeper of the band’s fabled vault of live recordings, and an unapologetic enthusiast who would listen to old Dead shows for twelve hours at a stretch, notebook in hand.Eaton, too, was a longtime Deadhead—he had seen the band perform around four hundred times and had been making and trading tapes of their concerts for twenty years.
That power is exactly what makes our favorite songs a valuable branding accessory for the tech companies that mediate so much of our everyday lives.
In the Myspace era, music fans could slap “Hey There Delilah” next to your Top 8 to set the mood as you scrolled through their page, and today Facebook users are able to choose tunes with much fanfare, offering users the ability to add songs to your profile to help better find their soulmate.
This is a change that will impact a lot of people: Spotify is by far the biggest streaming service in the world, and though Tinder does not publicly release its number of users, a .
Hirst has described the formative experience of seeing dead bodies as a teenager: ‘When I was really young, I wanted to know about death and I went to the morgue and I got these bodies and I felt sick and I thought I was going to die and it was awful. And the point where death starts and life stops, for me, in my mind, before I saw them, was there. Death was moved a bit further away.” ‘With Dead Head’ is an expression of the difficulties inherent in attempting to understand our own mortality, and in dealing with the “unacceptable idea” of death. Hirst explains: “To me, the smile and everything seemed to sum up this problem between life and death.
And then when I’d seen them and I’d dealt with them for a while, it was over there again.