I just realized that I could see myself holding onto the rope of having straight-gig security and I had been shown something that was so much more commanding of my attention. It wasn’t a conscious decision that I was going to be a performer at that time.
The company I’d been working for had gone bankrupt, everybody was splitting off and I was at this party where I was being offered all of these computer jobs.īy this point, I’d had an interaction with Stevie Wonder over the computer stuff and it looked like there was a possibility of continuing a little more. It started when I was working in the Silicon Valley area doing computer stuff. Can you recall a transition point when you began to think about becoming a live performer? You have a master’s degree in composition and also worked behind the scenes for many years as a sound tech. The following conversation with Bralove focuses on his work through the onset of Dose Hermanos and a subsequent interview with Constanten will continue the narrative. Their latest album, Persistence of Memory, blends studio recordings and live cuts, all of which capture their efforts to remain entirely improvisational. The pair not only drew on their Dead connection but also on common reference points in the realms of classical music and the avant-garde. This led to a similar role on the Dead’s In the Dark, after which Bralove began touring with the band, initially providing assistance with MIDI technology, and eventually contributing live sounds to the musical collages during both “Drums” and “Space.”īralove and Constanten began their creative partnership shortly after Jerry Garcia’s passing in 1995. Following his discharge, he joined the group in the studio for Aoxomoxoa and on the road from late-1968 through early-1970 (with his apogee perhaps being the transcendent “Dark Star” on Live/Dead).īralove first worked with the Grateful Dead in 1985, while helping music director Merl Saunders capture and create keyboard sounds for The Twilight Zone reboot. Later in the decade, while stationed in Las Vegas serving as a computer programmer for the Air Force, Constanten spent some of his weekends on leave recording Anthem of the Sun. Some of that collective ethos draws on their (un)common experiences with the Grateful Dead.Ĭonstanten met fellow music student Phil Lesh at UC Berkeley in 1961, and the two became roommates. It’s pretty much, ‘How do I feel right now?’” The collection includes shirts, jumpsuits, guitars, instruments, and pieces from the Wall of Sound, a three-story PA system created by the band in 1974.“It’s about being in that psychedelic moment,” Bob Bralove says of Dose Hermanos, the fully improvisational keyboard duo that he created with Tom Constanten in 1995. Pieces were collected by people close to the band or people who worked with them in some way. Sotheby's sale includes several other items from the 1970s through the 1990s, which were peak tour eras for the world-famous band. "We just did this to keep the memory of Gut 'Terk' alive and to keep his history under one roof," a post on Outlaw Archive, shared after Bushnell bought the T-shirt, read. The yellow T-shirt's simple design was created by Allan "Gut" Terk, a Hell Angel's member and artist, which drew Bushnell to the piece according to his social media account.
#Grateful dead t shirt archive#
He runs an Instagram account called Outlaw Archive that shares his acquisitions, including the T-shirt. The extremely expensive T-shirt is now part of Bushnell's extensive collection of motorcycle club artifacts from the 1960s. The price was closer to $19,315.80 after expenses and fees. According to the San Francisco Chronicle, he actually paid way more than $17,640 when all was said and done. Bo Bushnell is the collector who won the auction and paid the price.
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