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dc.contributor.authorCarlson, Scott
dc.date.accessioned 2016-02-26T20:11:46Z
dc.date.available 2016-02-26T20:11:46Z
dc.date.issued 2014-11-12
dc.identifier.citation Carlson, Scott. ""Take it, You Can Have it": Grateful Dead Taping and the Idea of Open Access." (2014) https://hdl.handle.net/1911/88552.
dc.identifier.urihttps://hdl.handle.net/1911/88552
dc.description.abstract Historians and commentators have long praised the Grateful Dead for their razor-sharp business acumen, especially the band’s audience taping policies. What started as way to stem the tide of bootlegs (while keeping a certain segment of the fan base happy) accidentally turned out to be an brilliant marketing tool, as well as a cornerstone of Deadhead culture. This presentation re-contextualizes the Dead’s taping policies from a marketing context to that of Open Access, the unrestricted access to scholarly work mandated by a growing number of colleges and universities and ardently supported by many academic librarians. By tracing the history (and the similarities) of the two policies, this paper suggests what librarians and OA practitioners can learn from its precursor, a cutting-edge music sharing platform that remains strikingly relevant today.
dc.language.iso eng
dc.relation.urihttps://www.youtube.com/watch?v=41wn76S0cIE
dc.rights Attribution-NonCommercial-ShareAlike 3.0 United States
dc.rights.urihttp://creativecommons.org/licenses/by-nc-sa/3.0/us/
dc.title "Take it, You Can Have it": Grateful Dead Taping and the Idea of Open Access
dc.type Presentation
dc.subject.keywordGrateful Dead (Musical group)
Open access publishing
dc.citation.conferenceName So Many Roads: the World in the Grateful Dead, a Conference & Symposium
dc.citation.conferenceDate 2014-11-08
dc.type.dcmi MovingImage
dc.type.publication publisher version


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Attribution-NonCommercial-ShareAlike 3.0 United States
Except where otherwise noted, this item's license is described as Attribution-NonCommercial-ShareAlike 3.0 United States