![]() ![]() Personal data is any information about you by which you can be identified or be identifiable. This privacy policy also explains your data privacy rights. This privacy policy explains how we collect, use, share, transfer and sell (for California residents only) your personal data when you use the services provided on our sites and our apps or interact with us. Information on how we will facilitate your rights and respond to your questions.įind out more about how we manage your personal data below: 2. Information on how we protect your personal data. Transparency about how we collect and use your personal data, including when and how it is shared. Information about your rights, the choices available to you, and our obligations in the UK, European Union, in California, in Australia, and elsewhere. We think carefully about our use of personal data, and below you can find the details of what we do to protect your privacy. This reflects our relationship with our readers in these locations where we provide localised editions of our editorial content. To complement our global approach to privacy protection, this policy also incorporates specific information privacy rights granted to individuals under Californian and Australian privacy law. This commitment exists throughout the lifecycle of your personal data, from the design of any Guardian service which uses personal data to the deletion of that data. We are strongly committed to keeping your personal data safe. 1970, nicknamed the Steal Your Face after appearing on the 1976 live album of that name.Our values guide everything that we do – including our editorial approach and how we use personal data. Grateful Dead logo, originally designed c. One of his close friends from involved in that world was musician Bob Thomas of the band the Golden Toad, who (in addition to working on some of Owsley’s labs) would create the art for Live/Dead, as well as the dancing bears and the Dead’s skull-and-lightning bolt Steal Your Face logo. Along with his partners, he was an enthusiastic attendee of the early Renaissance Faires in California, countercultural events that grew from the same underground arts scene as the Grateful Dead, topic of a great book by Rachel Lee Rubin. Owsley had many fascinations and obsessions, from alchemy to coffee, from ballet to hi-fi stereo. “Turnaroumd,” Jorma Kaukonen & Jack Casady (with Joey Covington), from the Owsley Stanley Foundation release Before We Were Them The Owsley Stanley Foundation has dedicated itself to preserving many of Bear’s Sonic Journals of other artists, so far including the New Riders of the Purple Sage, the Allman Brothers Band, Doc & Merle Watson, Jorma Kaukonen and Jack Casady, and-most lately- Commander Cody and His Lost Planet Airmen. Stanley’s recordings can be heard on many Grateful Dead releases from the late ‘60s and early ‘70s, such as the incredible Dick’s Picks 4, recorded at the Fillmore East in February 1970. ![]() Owsley Stanley at the Fillmore East, February 1970. It’s a story inseparable from the history of the Grateful Dead - and, for that matter, perhaps the entirety of western culture over the past half-century. They’re marching.īack cover of Bear’s Choice, art by Bob Thomas, 1973Īlso known as Bear, and in addition to his work as a trailblazing pioneer of live concert sound, Owsley Stanley was also the most legendary underground LSD chemist in history. ![]() And he would’ve told you the bears aren’t dancing. ![]() The “Bear” was Owsley Stanley, and it was the first release of music from he called his Sonic Journals, verite audio documents of his work as the Grateful Dead’s first sound engineer. The album was a tribute to Ron “Pigpen” McKernan, who’d passed away that spring. The bears first appeared in July 1973 on the Grateful Dead live album, The History of the Grateful Dead, Volume One: Bear’s Choice. What’s With the Bear(s)? Supplementary NotesĪll those dancing bears might look cute and cuddly, but there’s a lot more to them. ![]()
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