document_title: Question

question_text: a question that can be answered with a true or false is considered a

text: Question

text: Uses[edit]

text: The principal use of questions is to elicit information from the person being addressed by indicating the information which the speaker (or writer) desires. However, questions can also be used for a number of other purposes. Questions may be asked for the purpose of testing someone's knowledge, as in a quiz or examination. Raising a question may guide the questioner along an avenue of research (see Socratic method).

text: A research question is an interrogative statement that manifests the objective or line of scholarly or scientific inquiry designed to address a specific gap in knowledge. Research questions are expressed in a language that is appropriate for the academic community that has the greatest interest in answers that would address said gap. These interrogative statements serve as launching points for the academic pursuit of new knowledge by directing and delimiting an investigation of a topic, a set of studies, or an entire program of research.

text: A rhetorical question is asked to make a point, and does not expect an answer (often the answer is implied or obvious). Some questions are used principally as polite requests, as with "Would you pass the salt?"

text: Pre-suppositional or loaded questions, such as "Have you stopped beating your wife?" may be used as a joke or to embarrass an audience, because any answer a person could give would imply more information than he was willing to affirm.

text: Questions can also be used as titles of works of literature, art and scholarship. Examples include Leo Tolstoy's short story How Much Land Does a Man Need?, the painting And When Did You Last See Your Father?, the movie What About Bob?, and the academic work Who Asked the First Question?

text: By purpose[edit]

text: Various categorizations of questions have been proposed.[by whom?] With regard to research projects, one system distinguishes:[2]

text:
descriptive questions, used primarily with the aim of describing the existence of some thing or process
relational questions, designed to look at the relationships between two or more variables
causal questions, designed to determine whether certain variables affect one or more outcome variables

text: For the purpose of surveys, one type of question asked is the closed-ended (also closed or dichotomous) question, usually requiring a yes/no answer or the choice of an option(s) from a list (see also multiple choice). There are also nominal questions, designed to inquire about a level of quantitative measure, usually making connections between a number and a concept (as in "1 = Moderate; 2 = Severe; 3 = ...").[3] Open-ended or open questions give the respondent greater freedom to provide information or opinions on a topic. (The distinction between closed and open questions is applied in a variety of other contexts too, such as job interviewing.) Surveys also often contain qualifying questions (also called filter questions or contingency questions), which serve to determine whether the respondent needs to continue on to answer subsequent questions.

text: Some types of questions that may be used in an educational context are listed in Bloom's Taxonomy of educational objectives. These include questions designed to test and promote:

text:
Knowledge: Who, what, when, where, why, how . . . ? Describe . . . ?
Comprehension: Retell . . .
Application: How is . . . an example of . . . ?; How is . . . related to . . . ?; Why is . . . significant?
Analysis: What are the parts or features of . . . ? Classify . . . according to . . . ;
Synthesis: What would you infer from . . . ? What ideas can you add to . . . ? How would you design a new . . . ? What would happen if you combined . . . ? What solutions would you suggest for . . . ?
Evaluation: Do you agree that . . . ? What do you think about . . . ? What is the most important . . . ? Place the following in order of priority . . . ? How would you decide about . . . ? What criteria would you use to assess . . . ? [4]

text: McKenzie's "Questioning Toolkit"[5] lists 17 types of questions, and suggests that thinkers need to orchestrate and combine these types.[6] Examples of these question types include the irreverent question, the apparently irrelevant question, the hypothetical question and the unanswerable question. Questions can also be infelicitous, being based on incorrect and illogical premises (e.g. "Why do cats have green wings?").

text: Strategic studies also took into consideration the questioning process. In Humint (Human Intelligence), a taxonomy of questions includes:

text:
Direct questions: basic questions normally beginning with an interrogative (who, what, where, when, how, or why) and requiring a narrative answer. They are brief, precise, and simply worded to avoid confusion.
Initial questions: directed toward obtaining the basic information on the topic. In other words, they are the “who, what, where, when, how, and why” of each topic.
Follow-up questions: used to expand on and complete the information obtained from the initial questions.
Nonpertinent questions: questions that do not pertain to the collection objectives. They are used to conceal the collection objectives or to strengthen rapport with the source.
Repeat questions: ask the source for the same information obtained in response to earlier questions.
Control questions: developed from recently confirmed information from other sources that is not likely to have changed.
Prepared questions developed by the HUMINT collector, normally in writing, prior to the questioning.
Prepared questions: used primarily when dealing with information of a technical nature or specific topic.
Negative questions: questions that contain a negative word in the question itself such as, "Didn’t you go to the pick-up point?”
Compound questions: consist of two questions asked at the same time; for example, “Where were you going after work and who were you to meet there?”
Vague questions: do not have enough information for the source to understand exactly what the HUMINT collector is asking. They may be incomplete, general, or otherwise nonspecific.
Elicitation: is the gaining of information through direct interaction with a human source where the source is not aware of the specific purpose for the conversation.[7]

text: By grammatical form [edit]

text: Questions that ask whether or not some statement is true are called yes–no questions (or polar questions, or general questions[8]), since they can in principle be answered by a "yes" or "no" (or similar words or expressions in other languages). Examples include "Do you take sugar?", "Should they be believed?" and "Am I the loneliest person in the world?"

text: A type of question that is similar in form to a yes–no question, but is not intended to be answered with a "yes" or "no", is the alternative question[9] (or choice question). This presents two or more alternative answers, as in "Do you want fish or lamb?", or "Are you supporting England, Ireland or Wales?" The expected response is one of the alternatives, or some other indication such as "both" or "neither" (questionnaire forms sometimes contain an option "none of the above" or similar for such questions). Because of their similarity in form to yes–no questions, they may sometimes be answered "yes" or "no", possibly humorously or as a result of misunderstanding.

text: The other main type of question (other than yes–no questions) is those called wh-questions (or non-polar questions, or special questions[8]). These use interrogative words (wh-words) such as when, which, who, how, etc. to specify the information that is desired. (In some languages the formation of such questions may involve wh-movement – see the section below for grammatical description.) The name derives from the fact that most of the English interrogative words (with the exception of how) begin with the letters wh. These are the types of question sometimes referred to in journalism and other investigative contexts as the Five Ws.

text: Tag questions are a grammatical structure in which a declarative statement or an imperative is turned into a question by adding an interrogative fragment (the "tag"), such as right in "You remembered the eggs, right?", or isn't it in "It's cold today, isn't it?" Tag questions may or may not be answerable with a yes or no.

text: As well as direct questions (such as Where are my keys?), there also exist indirect questions (also called interrogative content clauses), such as where my keys are. These are used as subordinate clauses in sentences such as "I wonder where my keys are" and "Ask him where my keys are." Indirect questions do not necessarily follow the same rules of grammar as direct questions.[10] For example, in English and some other languages, indirect questions are formed without inversion of subject and verb (compare the word order in "where are they?" and "(I wonder) where they are"). Indirect questions may also be subject to the changes of tense and other changes that apply generally to indirect speech.

text: Grammar[edit]

text: Languages may use both syntax and prosody to distinguish interrogative sentences (which pose questions) from declarative sentences (which state propositions). Syntax refers to grammatical changes, such as moving words around or adding question words; prosody refers here to changes in intonation while speaking.

text: In English, German, French and various other languages, questions are marked by a distinct word order featuring inversion – the subject is placed after the verb rather than before it: "You are cold" becomes "Are you cold?" However, English allows such inversion only with a particular class of verbs (called auxiliary or special verbs), and thus sometimes requires the addition of an auxiliary do, does or did before inversion can take place ("He sings" → "Does he sing?") – for details see do-support.

text: In some languages, yes–no questions are marked by an interrogative particle, such as the Japanese か ka, Mandarin 吗 ma and Polish czy. Also, in languages generally, wh-questions are marked by an interrogative word (wh-word) such as what, where or how. In languages such as English this word generally moves to the front of the sentence (wh-fronting), and subject–verb inversion occurs as in yes–no questions, but in some other languages these changes in word order are not necessary (e.g. Mandarin 你要什么？ nǐ yào shénme, meaning "what do you want?" is literally "you want what?").

text: Intonation patterns characteristic of questions often involve a raised pitch near the end of the sentence. In English this occurs especially for yes–no questions; it may also be used for sentences that do not have the grammatical form of questions, but are nonetheless intended to elicit information (declarative questions), as in "You're not using this?"

text: In languages written in Latin, Cyrillic or certain other scripts, a question mark at the end of a sentence identifies questions in writing. (In Spanish an additional inverted mark is placed at the beginning: ¿Cómo está usted? "How are you?") As with intonation, this feature is not restricted to sentences having the grammatical form of questions – it may also indicate a sentence's pragmatic function.

text: Responses[edit]

text: The most typical response to a question is an answer that provides the information indicated as being sought by the questioner. This may range from a simple yes or no (in the case of yes–no questions) to a more complex or detailed answer. (An answer may be correct or incorrect, depending on whether the information it presents is true or false.) An indication of inability or unwillingness to provide an answer is the other response to a question.

text: "Negative questions" are interrogative sentences which contain negation in their phrasing, such as "Shouldn't you be working?" These can have different ways of expressing affirmation and denial from the standard form of question, and they can be confusing, since it is sometimes unclear whether the answer should be the opposite of the answer to the non-negated question. For example, if one does not have a passport, both "Do you have a passport?" and "Don't you have a passport?" are properly answered with "No", despite apparently asking opposite questions. The Japanese and Korean languages avoid this ambiguity. Answering "No" to the second of these in Japanese or Korean would mean, "I do have a passport".

text: A similar ambiguous question in English is "Do you mind if...?" The responder may reply unambiguously "Yes, I do mind," if they do mind, or "No, I don't mind," if they don't, but a simple "No" or "Yes" answer can lead to confusion, as a single "No" can seem like a "Yes, I do mind" (as in "No, please don't do that"), and a "Yes" can seem like a "No, I don't mind" (as in "Yes, go ahead"). An easy way to bypass this confusion would be to ask a non-negative question, such as "Is it all right with you if...?"

text: Some languages have different particles (for example the French "si", the German "doch" or the Danish and Norwegian "jo") to answer negative questions (or negative statements) in an affirmative way; they provide a means to express contradiction.

text: More information on these issues can be found in the articles yes–no question, yes and no, and answer ellipsis.

text: Learning[edit]

text: Questions are used from the most elementary stage of learning to original research. In the scientific method, a question often forms the basis of the investigation and can be considered a transition between the observation and hypothesis stages. Students of all ages use questions in their learning of topics, and the skill of having learners creating "investigatable" questions is a central part of inquiry education. The Socratic method of questioning student responses may be used by a teacher to lead the student towards the truth without direct instruction, and also helps students to form logical conclusions.

text: A widespread and accepted use of questions in an educational context is the assessment of students' knowledge through exams.

text: Philosophy[edit]

text: The philosophical questions are conceptual, not factual questions. There are questions that are not fully answered by any other. Philosophy deals with questions that arise when people reflect on their lives and their world. Some philosophical questions are practical: for example, "Is euthanasia justifiable?", "Does the state have the right to censor pornography or restrict tobacco advertising?", "To what extent are Māori and Pākehā today responsible for decisions made by their ancestors?"

text: Other philosophical questions are more theoretical, although they often arise through thinking about practical issues. The questions just listed, for example, may prompt more general philosophical questions about the circumstances under which it may be morally justifiable to take a life, or about the extent to which the state may restrict the liberty of the individual. Some "classic" questions of philosophy are speculative and theoretical and concern the nature of knowledge, reality and human existence: for example, "What, if anything, can be known with certainty?", "Is the mind essentially non-physical?", "Are values absolute or relative?", "Does the universe need explanation in terms of a Supreme Intelligence?", "What, if anything, is the meaning or purpose of human existence?" Finally, the philosophical questions are typically about conceptual issues; they are often questions about our concepts and the relation between our concepts and the world they represent. Every question implies a statement and every statement implies a question.[11]

text: Origins[edit]

text: Enculturated apes Kanzi, Washoe, Sarah and a few others who underwent extensive language training programs (with the use of gestures and other visual forms of communications) successfully learned to answer quite complex questions and requests (including question words "who" what", "where"), although so far they failed to learn how to ask questions themselves. For example, David and Anne Premack wrote: "Though she [Sarah] understood the question, she did not herself ask any questions — unlike the child who asks interminable questions, such as What that? Who making noise? When Daddy come home? Me go Granny's house? Where puppy? Sarah never delayed the departure of her trainer after her lessons by asking where the trainer was going, when she was returning, or anything else".[12] The ability to ask questions is often assessed in relation to comprehension of syntactic structures. It is widely accepted, that the first questions are asked by humans during their early infancy, at the pre-syntactic, one word stage of language development, with the use of question intonation.[13]


document_title: Credit union

question_text: what is a checking account called at a credit union

root

text: Credit union

text: Differences from other financial institutions[edit]

text: Credit unions differ from banks and other financial institutions in that those who have accounts in the credit union are its members and owners,[1] and they elect their board of directors in a one-person-one-vote system regardless of their amount invested.[1] Credit unions see themselves as different from mainstream banks, with a mission to be "community-oriented" and "serve people, not profit".[7][8][9]

tag: p

text: Credit unions offer many of the same financial services as banks, but often using a different terminology; common services include share accounts (savings accounts), share draft accounts (checking accounts), credit cards, share term certificates (certificates of deposit), and online banking. Normally, only a member of a credit union may deposit or borrow money.[1] Surveys of customers at banks and credit unions have consistently shown a significantly higher customer satisfaction rate with the quality of service at credit unions.[10][11] Credit unions have historically claimed to provide superior member service and to be committed to helping members improve their financial situation. In the context of financial inclusion credit unions claim to provide a broader range of loan and savings products at a much cheaper cost to their members than do most microfinance institutions.[12]

text: Not-for-profit status[edit]

text: In the credit union context, "not-for-profit" must be distinguished from a charity.[13] Credit unions are "not-for-profit" because their purpose is to serve their members rather than to maximize profits,[12][12][13] so, unlike charities and the like, credit unions do not rely on donations, and are financial institutions that must make what is, in economic terms, a small profit (i.e., in non-profit accounting terms, a "surplus") to remain in existence.[12][14] According to the World Council of Credit Unions (WOCCU), a credit union's revenues (from loans and investments) must exceed its operating expenses and dividends (interest paid on deposits) in order to maintain capital and solvency.[14]

text: In the United States, credit unions incorporated and operating under a state credit union law are tax-exempt under Section 501(c)(14)(A).[15] Federal credit unions organized and operated in accordance with the Federal Credit Union Act are tax-exempt under Section 501(c)(1).[16]

text: Global presence[edit]

text: According to the World Council of Credit Unions (WOCCU), at the end of 2014 there were 57,480 credit unions in 105 countries. Collectively they served 217.4 million members and oversaw US$1.79 trillion in assets.[17] WOCCU does not include data from cooperative banks, so, for example, some countries generally seen as the pioneers of credit unionism, such as Germany, France, the Netherlands, and Italy, are not always included in their data. The European Association of Co-operative Banks reported 38 million members in those four countries at the end of 2010.[18]

text: The countries with the most credit union activity are highly diverse. According to WOCCU, the countries with the greatest number of credit union members were the United States (101 million), India (20 million), Canada (10 million), Brazil (6.0 million), South Korea (5.7 million), Philippines (5.4 million), Kenya and Mexico (5.1 million each), Ecuador (4.8 million), Australia (4.5 million), Thailand (4.1 million), Colombia (3.6 million) and Ireland (3.3 million).[17]

text: The countries with the highest percentage of credit union members in the economically active population were Barbados (82%),[19] Ireland (75%), Grenada (72%), Trinidad & Tobago (68%), Belize and St. Lucia (67% each), St. Kitts & Nevis (58%), Jamaica (53% each), Antigua and Barbuda (49%), the United States (48%), Ecuador (47%), and Canada (43%). Several African and Latin American countries also had high credit union membership rates, as did Australia and South Korea. The average percentage for all countries considered in the report was 8.2%.[17] Credit unions were launched in Poland in 1992; as of 2012[update] there were 2,000 credit union branches there with 2.2 million members.[20]

text: History[edit]

text: Modern credit union history dates from 1852, when Franz Hermann Schulze-Delitzsch consolidated the learning from two pilot projects, one in Eilenburg and the other in Delitzsch in the Kingdom of Saxony into what are generally recognized as the first credit unions in the world. He went on to develop a highly successful urban credit union system.[21] In 1864 Friedrich Wilhelm Raiffeisen founded the first rural credit union in Heddesdorf (now part of Neuwied) in Germany.[21] By the time of Raiffeisen's death in 1888, credit unions had spread to Italy, France, the Netherlands, England, Austria, and other nations.[22]

text: The first credit union in North America, the Caisse Populaire de Lévis in Quebec, Canada, began operations on January 23, 1901 with a 10-cent deposit. Founder Alphonse Desjardins, a reporter in the Canadian parliament, was moved to take up his mission in 1897 when he learned of a Montrealer who had been ordered by the court to pay nearly C$5,000 in interest on a loan of $150 from a moneylender. Drawing extensively on European precedents, Desjardins developed a unique parish-based model for Quebec: the caisse populaire.[citation needed]

text: In the United States, St. Mary's Bank Credit Union of Manchester, New Hampshire, was the first credit union. Assisted by a personal visit from Desjardins, St. Mary's was founded by French-speaking immigrants to Manchester from Quebec on November 24, 1908. America's Credit Union Museum now occupies the location of the home from which St. Mary's Bank Credit Union first operated.[citation needed] On November 1910 the Woman's Educational and Industrial Union set up the Industrial Credit Union, modeled on the Desjardins credit unions it was the first non-faith-based community credit union serving all people in the greater Boston area. The oldest statewide credit union in the United States was established in 1913. The St. Mary's Bank Credit Union serves any resident of the Commonwealth of Massachusetts.[23]

text: After being promoted by the Catholic Church in the 1940s to assist the poor in Latin America, credit unions expanded rapidly during the 1950s and 1960s, especially in Bolivia, Costa Rica, the Dominican Republic, Honduras, and Peru. The Regional Confederation of Latin American Credit Unions (COLAC) was formed and with funding by the Inter-American Development Bank credit unions in the regions grew rapidly throughout the 1970s and into the early 1980s. In 1988 COLAC credit unions represented 4 million members across 17 countries with a loan portfolio of circa half a billion US dollars. However, from the late 1970s onwards many Latin American credit unions struggled with inflation, stagnating membership and serious loan recovery problems. In the 1980s donor agencies such as USAID attempted to rehabilitate Latin American credit unions by providing technical assistance and focusing credit unions' efforts on mobilising deposits from the local population. In 1987 the regional financial crisis caused a run on credit unions. Significant withdrawals and high default rates caused liquidity problems for many credit unions in the region.[24]

text: Stability and risks[edit]

text: Credit unions and banks in most jurisdictions are legally required to maintain a reserve requirement of assets to liabilities. If a credit union or traditional bank is unable to maintain positive cash flow and/or is forced to declare insolvency, its assets are distributed to creditors (including depositors) in order of seniority according to bankruptcy law. If the total deposits exceed the assets remaining after more senior creditors are paid, all depositors will lose some or all of their initial deposits. However, most jurisdictions have deposit insurance that promises to make depositors whole up to a maximum insurable account level. In the aftermath of the financial crisis of 2007–2008 there was a dramatic increase in the number of bank failures but not in the number of credit union failures, and in 2017 all depositors at failed credit unions were fully covered by deposit insurance but depositors at a failed traditional bank were not covered by deposit insurance.[25]

text: Corporate[edit]

text: Credit unions as such provide service only to individual consumers. Corporate credit unions (also known as central credit unions in Canada) provide service to credit unions, with operational support, funds clearing tasks, and product and service delivery.

text: Leagues and associations[edit]

text: Credit unions often form cooperatives among themselves to provide services to members. A Credit Union Service Organization (CUSO) is generally a for-profit subsidiary of one or more credit unions formed for this purpose. For example, CO-OP Financial Services, the largest credit union owned interbank network in the United States, provides an ATM network and shared branching services to credit unions. Other examples of cooperatives among credit unions include credit counseling services as well as insurance and investment services.[citation needed]

text: State credit union leagues can partner with outside organizations to promote initiatives for credit unions or customers. For example, the Indiana Credit Union League sponsors an initiative called "Ignite", which is used to encourage innovation in the credit union industry, with the Filene Research Institute.[26]

text: The World Council of Credit Unions (WOCCU) is both a trade association for credit unions worldwide and a development agency. The WOCCU's mission is to "assist its members and potential members to organize, expand, improve and integrate credit unions and related institutions as effective instruments for the economic and social development of all people".[27]

text: The Credit Union National Association (CUNA) is a national trade association for both state- and federally chartered credit unions located in the United States. The National Credit Union Foundation is the primary charitable arm of the United States' credit union movement and an affiliate of CUNA.

text: Deposit insurance[edit]

text: In the United States, federal credit unions are chartered by and overseen by the National Credit Union Administration (NCUA), which also provides deposit insurance similar to the manner in which the Federal Deposit Insurance Corporation (FDIC) provides deposit insurance to banks. State-Chartered credit unions are overseen by the state's financial regulation agency and may, but are not required to, obtain deposit insurance. Because of problems with bank failures in the past, no state provides deposit insurance and as such there are two primary sources for depository insurance – the NCUA and American Share Insurance (ASI), a private insurer based in Ohio.

text: In Canada, most credit unions are provincially incorporated and regulated, with deposit insurance provided by a provincial Crown corporation. For example, in Ontario, up to $250,000 of coverage is provided through the Deposit Insurance Corporation of Ontario.


document_title: The Boy in the Dress

question_text: who plays lisa james in the boy in the dress

text: The Boy in the Dress

text: Plot[edit]

text: The story follows a 12-year-old boy named Dennis and his 14-year-old brother John, whose parents got divorced when he was only 7. The boys remain with their father, who resorts to comfort eating after his wife leaves. Dennis is talented in football, and is one of the best on his team. However, he deeply misses his mother, who left their family about five years ago, and finds comfort remembering his mother's yellow dress in an old picture. Dennis sees the same dress on the cover of a Vogue magazine, and buys a copy from Raj, the local shop owner. But when Dad finds the magazine, he is furious. John teases him by calling him "Denise". At school that day, Dennis is given detention for kicking a football through a window. While in detention, he talks to a girl named Lisa James, the prettiest and most fashionable girl in the school. Lisa invites him over to her house, and dresses him up in girls' clothing. Lisa and Dennis, after dressing him up in an electric blue dress, decide to take Dennis out in public, under the alter ego of "Denise", a French exchange student who speaks very little English. They go to Raj's corner shop. Raj does not recognise Dennis, believing he is "Denise". Subsequently, with their success of fooling Raj, Dennis goes to school with Lisa - as "Denise".

text: Dennis upsets his French teacher by criticizing her French accent. At break, Dennis kicks a football, slips, and is revealed to be a boy. Mr Hawtrey, the headmaster, expels him from the school for cross-dressing. Dad is furious, and sends Dennis to his room. Darvesh, Dennis's best friend, comes over, but is sent back to his home by Dad. Pushed by Darvesh, Dennis goes to an important football match on Saturday, where his entire team encourages him to play in a dress. The team wins against Maudlin Street, the rivaling football team. Dennis's dad attends the match, forgiving Dennis. On an early Sunday morning, Raj informs Dennis that Mr Hawtrey's sister, Doris, buys the Telegraph now instead of him. He also includes that there was "something funny about her". Lisa and Dennis go to Raj's shop and find out that Doris is actually Mr Hawtrey cross-dressing in a skirt. The two threaten that unless Dennis is reinstated to the school, they will tell everyone of Mr Hawtrey's cross-dressing habits. Mr Hawtrey agrees to reinstate Dennis.

text: At the end of the story, Dennis, his dad, and his brother get over the pain of the loss of Dennis's mother. Dennis and Lisa stay friends, and John starts to look out for his younger brother more.

text: Characters[edit]

text:
Dennis Sims - A 12-year-old. He lives with his brother, John, and his dad, an overweight truck driver. Dennis has a best friend called Darvesher. He lives in an ordinary house in an ordinary town and he's different. He is a pupil at Elm Forest School. Dennis prefers wearing girl's clothes instead of boy's clothes; with the help of Lisa, he invents an alter-ego, "Denise", who is a French exchange student. He is played by Billy Kennedy.
Denise – Dennis' alter ego. Denise is French and speaks very little English, Dennis and Lisa create her when Dennis tries on Lisa's dress which she made. She is played by Billy Kennedy.
John Simms – Dennis's 14-year-old brother who is a pupil at Elm Forest School. He is played by Oliver Barry-Brooke
Lisa James – A 14-year-old. She is the prettiest girl in the school and is adored by everyone, she is a pupil at Elm Forest School. Lisa loves Vogue, fashion, dresses and shoes. She is played by Temi Orelaja.
Miss Windsor – A French teacher. She is played by Jennifer Saunders.
Raj – Owner of a local newspaper-shop. He is kind and loves children. He is played by Harish Patel.
Mr Hawtrey (in the film, Mr Hawthorne) – An extremely strict and unfair headteacher to the school. He expels Dennis for cross-dressing, but he himself cross-dresses, too. He is played by Tim McInnerny.
Gareth Small – a 14-year-old boy in Lisa's class and Cherise's boyfriend. He is shown to be the captain of Dennis's football club and is a pupil at Elm Forest School. He is played by Sonny Ashbourne-Serkis.
Mac Cribbins – a pupil at Elm Forest school who is in Lisa's class. He is very greedy and he likes Denise. He does not appear in the film adaptation.
Darvesh Singh – Dennis' best friend and is a Sikh, he's also in Dennis's football club and is very polite, he is a student at Elm Forest School. He is played by Aaron Chawla.
Jaspreet Kaur – Darvesh's mum. She is a Sikh, and she's very supportive and a bit weird. She is played by Meera Syal.
Mum – Dennis and John's mother who is very beautiful. She leaves and never comes back. Her name is not mentioned in the book and in the film. In fact there are not any pictures of her in book. She is played by Emma Cooke.
Dad (in the film, Peter Simms) – Dennis and John's father, whose name is not revealed in the book. He is a long-distance lorry driver, who resorts to comfort eating after his wife leaves. He is played by Steve Speirs.

tag: ul

text: Only in film adaptation

text:
Cherise – a pupil at Elm Forest School. She is Gareth's girlfriend and is very snooty and cynical. She is played by Rosheen Hinze.
Mr Norris – the PE teacher at Elm Forest School and also teaches a bit of History. He is played by James Buckley.
Herself – a woman from the Vogue Magazine who Dennis is interested in. She is played by Kate Moss.
Miss Price – a teacher at Elm Forest School who is very nice, but determined to do things. She is played by Felicity Montagu.
St Kenneth's pupil – a boy who joined for the semi's in Dennis's football club. He is played by Alex Thomas.
Himself – a man who comes to see the cup final. He is played by Gary Lineker.
Referee – the football coach who joins for the cup final. He is a bit weird. He is played by David Walliams.

text: Literary significance and reception[edit]

text: Reviewers and the press noted the book's resonance with Walliams's own cross-dressing.[3] Philip Ardagh in the Guardian noted the novelty of Walliams's light-hearted approach to the themes, compared with treatments in earlier children's books on the subject like Terence Blacker's 2004 title Boy 2 Girl.[4] Nicolette Jones in the Times praised Blake's illustrations and, though she called Walliams' writing "not the finest", noted "Everyone is on the side of freedom and tolerance by the end, for which the book must be applauded."[2]

text: Controversy[edit]

text: The Boy in the Dress has been the subject of some controversy. In September 2017, during the Australian Marriage Law Postal Survey, retailer Aldi was criticised in Australia by some customers for selling the book. One customer claimed the book had an "agenda" to "groom and sexualise" children, while another accused Aldi of "child abuse", with some threatening a boycott. Other customers defended the company.[5]

text: Allusions[edit]

text: Dennis's father tells him "No more Small England, or whatever it is". French teacher Miss Windsor cuts short a school detention, hoping to get home in time to watch Neighbours, though in America this reference has been changed to The Young and the Restless.

text: Publication history[edit]

text: The book was published in hardcover by HarperCollins in October 2008, with a paperback release scheduled for May 2009.[6] Walliams and his comedy partner Matt Lucas recorded an audiobook of the story, also for HarperCollins, which was released in November 2008.[7] HarperCollins were reported to have signed Walliams for a two-book deal.[1][3]

text: Film adaptation[edit]

text: A television film adaptation was produced for BBC One, and aired on Boxing Day 2014 at 6.55pm.[8]

text: Filming began on 19 October 2014, according to Walliams' Official Twitter page. Casting for the episode[clarification needed] was later announced on 21 October 2014.[9]


document_title: Grateful Dead

question_text: when did the warlocks become the grateful dead

text: Grateful Dead

text: Formation (1965–1966)[edit]

text: The Grateful Dead began their career as the Warlocks, a group formed in early 1965 from the remnants of a Palo Alto, California jug band called Mother McCree's Uptown Jug Champions.[20] The band's first show was at Magoo's Pizza located at 639 Santa Cruz Avenue in suburban Menlo Park, California, on May 5, 1965. They were initially known as the Warlocks; coincidentally, the Velvet Underground (similarly influenced by avant-garde music) was also using that name on the East Coast.[21][22] The show was not recorded but the set list has been preserved. Gigging as a bar band,[23] the group quickly changed its name after finding out that another band of the same name (not the Velvet Underground, who by then had also changed their name) had signed a recording contract. The first show under the new name Grateful Dead was in San Jose, California on December 4, 1965, at one of Ken Kesey's Acid Tests.[24][25][26] Earlier demo tapes have survived, but the first of over 2,000 concerts known to have been recorded by the band's fans was a show at the Fillmore Auditorium in San Francisco on January 8, 1966.[27] Later that month, the Grateful Dead played at the Trips Festival, an early psychedelic rock concert.[28]

text: The name "Grateful Dead" was chosen from a dictionary. According to Phil Lesh, in his autobiography (pp. 62), "... [Jerry Garcia] picked up an old Britannica World Language Dictionary ... [and] ... In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'" The definition there was "the soul of a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial." According to Alan Trist, director of the Grateful Dead's music publisher company Ice Nine, Garcia found the name in the Funk & Wagnalls Folklore Dictionary, when his finger landed on that phrase while playing a game of Fictionary.[29] In the Garcia biography, Captain Trips, author Sandy Troy states that the band was smoking the psychedelic DMT at the time.[30] The term "grateful dead" appears in folktales of a variety of cultures. In mid-1969, Phil Lesh told another version of the story to Carol Maw, a young Texan visiting with the band in Marin County who also ended up going on the road with them to the Fillmore East and Woodstock. In this version, Phil said, "Jerry found the name spontaneously when he picked up a dictionary and the pages fell open. The words 'grateful' and 'dead' appeared straight opposite each other across the crack between the pages in unrelated text."

text: Other supporting personnel who signed on early included Rock Scully, who heard of the band from Kesey and signed on as manager after meeting them at the Big Beat Acid Test; Stewart Brand, "with his side show of taped music and slides of Indian life, a multimedia presentation" at the Big Beat and then, expanded, at the Trips Festival; and Owsley Stanley, the "Acid King" whose LSD supplied the tests and who, in early 1966, became the band's financial backer, renting them a house on the fringes of Watts and buying them sound equipment. "We were living solely off of Owsley's good graces at that time. ... [His] trip was he wanted to design equipment for us, and we were going to have to be in sort of a lab situation for him to do it," said Garcia.[30]

text: Main career (1967–1995)[edit]

text: One of the group's earliest major performances in 1967 was the Mantra-Rock Dance—a musical event held on January 29, 1967, at the Avalon Ballroom by the San Francisco Hare Krishna temple. The Grateful Dead performed at the event along with the Hare Krishna founder Bhaktivedanta Swami, poet Allen Ginsberg, bands Moby Grape and Big Brother and the Holding Company with Janis Joplin, donating proceeds to the Krishna temple.[31][32] The band's first LP, The Grateful Dead, was released on Warner Brothers in 1967.

text: Classically trained trumpeter Phil Lesh performed on bass guitar. Bob Weir, the youngest original member of the group, played rhythm guitar. Ron "Pigpen" McKernan played keyboards and harmonica until shortly before his death in 1973 at the age of 27. Garcia, Weir, and McKernan shared the lead vocal duties more or less equally; Lesh only sang a few leads, but his tenor was a key part of the band's three-part vocal harmonies. Bill Kreutzmann played drums, and in September 1967 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments.

text: 1970 included tour dates in New Orleans, Louisiana, where the band performed at The Warehouse for two nights. On January 31, 1970, the local police raided their hotel on Bourbon Street, and arrested and charged a total of 19 people with possession of various drugs.[33] The second night's concert was performed as scheduled after bail was posted. Eventually, the charges were dismissed, except those against sound engineer Owsley Stanley, who was already facing charges in California for manufacturing LSD. This event was later memorialized in the lyrics of the song "Truckin'", a single from American Beauty which reached number 64 on the charts.

text: Mickey Hart took time off from the Grateful Dead beginning in February 1971,[34] leaving Kreutzmann once again as the sole percussionist. Hart rejoined the Grateful Dead for good in October 1974. Tom "TC" Constanten was added as a second keyboardist from 1968 to 1970, while Pigpen also played various percussion instruments and sang.

text: After Constanten's departure, Pigpen reclaimed his position as sole keyboardist. Less than two years later, in late 1971, Pigpen was joined by another keyboardist, Keith Godchaux, who played grand piano alongside Pigpen's Hammond B-3 organ. In early 1972, Keith's wife, Donna Jean Godchaux, joined the Grateful Dead as a backing vocalist.

text: Following the Grateful Dead's "Europe '72" tour, Pigpen's health had deteriorated to the point that he could no longer tour with the band. His final concert appearance was June 17, 1972, at the Hollywood Bowl, in Los Angeles[35];[36]  he died in March 1973 of complications from liver damage.[37]

text: The death of Pigpen did not slow the band down, and they continued with their new members. They soon formed their own record group, Grateful Dead Records.[38] Later that year, they released their next studio album, the jazz-influenced Wake of the Flood. It became their biggest commercial success thus far.[39] Meanwhile, capitalizing on Flood’s success, the band soon went back to the studio, and the next year, 1974, released another album, From the Mars Hotel. Not long after that album’s release however, the Dead decided to take a hiatus from live touring.

text: In September 1975, the Dead released their eighth studio album, Blues for Allah. Their hiatus was short-lived, though, as they resumed touring in June 1976.[38] That same year, they signed with Arista Records. Their new contract soon produced Terrapin Station in 1977. The band's tour in the spring of that year is held in high regard by their fans, and their concert of May 8 at Cornell University in Ithaca, New York is often considered to be one of the best performances of their career.[40][41][42]

text: Although things appeared to be going well for the band, problems were arising with their two newest members, Keith and Donna Jean Godchaux. The pair were frequently fighting, and Keith's heroin addiction was affecting his playing. Both of these issues were causing complications with touring, and they agreed to leave the band in February 1979.

text: Following the departure of the Godchauxs, Brent Mydland joined as keyboardist and vocalist and was considered "the perfect fit". The Godchauxs then formed the Heart of Gold Band before Keith died in a car accident in 1980. Mydland was the keyboardist for the Grateful Dead for 11 years until his death by narcotics overdose in July 1990,[43] becoming the third keyboardist to die.

text: During the 1980s the band transformed as the talents of Mydland helped power the group. Shortly after Mydland found his place in the early 1980s, Garcia's health began to decline. His drug habits caused him to lose his liveliness on stage. After beginning to curtail his opiate usage in 1985 gradually, Garcia slipped into a diabetic coma for several days in July 1986. After he recovered, the band released In the Dark in July 1987, which became their best selling studio album and produced their only top-10 single, "Touch of Grey". Also that year, the group toured with Bob Dylan, as heard on the album Dylan & the Dead.

text: Inspired by Garcia's improved health and a successful album, the band's energy and chemistry peaked in the late 1980s and 1990. Performances were vigorous, and as a result, every show exceeded its maximum audience capacity. The band's "high time" came to a sudden halt when Mydland died after the summer tour in 1990. They now had to rebuild; Vince Welnick, former keyboardist for the Tubes, joined as a band member, while Bruce Hornsby, who had a successful career with his band the Range, joined as a touring member. Both performed on keyboards and vocals – Welnick until the band's end, and Hornsby mainly from 1990 to 1992.

text: Aftermath (1995 to present)[edit]

text: Jerry Garcia died in August 1995 and the remaining band members decided to disband.[44] Since that time, there have been a number of reunions by the surviving members involving various combinations of musicians. Additionally, the former members have also begun or continued their individual projects.

text: In 1998, Bob Weir, Phil Lesh, and Mickey Hart, along with several other musicians, formed a band called the Other Ones, and performed a number of concerts that year, releasing a live album, The Strange Remain, the following year. In 2000, the Other Ones toured again, this time with Kreutzmann but without Lesh. After taking another year off, the band toured again in 2002 with Lesh. That year, the Other Ones then included all four living former Grateful Dead members who had been in the band for most or all of its history. At different times the shifting lineup of the Other Ones also included guitarists Mark Karan, Steve Kimock, and Jimmy Herring, keyboardists Bruce Hornsby, Jeff Chimenti, and Rob Barraco, saxophonist Dave Ellis, drummer John Molo, bassist Alphonso Johnson, and vocalist Susan Tedeschi.[45]

text: In 2003, the Other Ones, still including Weir, Lesh, Hart, and Kreutzmann, changed their name to the Dead.[46] The Dead toured the United States in 2003, 2004 and 2009. The band's lineups included Jimmy Herring and Warren Haynes on guitar, Jeff Chimenti and Rob Barraco on keyboards, and Joan Osborne on vocals.[47] In 2008, members of the Dead played two concerts, called "Deadheads for Obama" and "Change Rocks".

text: Following the 2009 Dead tour, Lesh and Weir formed the band Furthur, which debuted in September 2009.[48] Joining Lesh and Weir in Furthur were John Kadlecik (guitar), Jeff Chimenti (keyboards), Joe Russo (drums), Jay Lane (drums), Sunshine Becker (vocals), and Zoe Ellis (vocals). Lane and Ellis left the band in 2010, and vocalist Jeff Pehrson joined later that year. Furthur disbanded in 2014.[49]

text: In 2010, Hart and Kreutzmann re-formed the Rhythm Devils, and played a summer concert tour.[50]

text: Since 1995, the former members of the Grateful Dead have also pursued solo music careers. Both Bob Weir & RatDog[51][52] and Phil Lesh and Friends[53][54] have performed many concerts and released several albums. Mickey Hart and Bill Kreutzmann have also each released a few albums. Hart has toured with his world music percussion ensemble Planet Drum[55] as well as the Mickey Hart Band.[56] Kreutzmann has led several different bands, including BK3,[57] 7 Walkers (with Papa Mali),[58] and Billy & the Kids.[59] Donna Godchaux has returned to the music scene, with the Donna Jean Godchaux Band,[60] and Tom Constanten also continues to write and perform music.[61] All of these groups continue to play Grateful Dead music.

text: In October 2014, it was announced that Martin Scorsese will produce a documentary film about the Grateful Dead, to be directed by Amir Bar-Lev. David Lemieux will supervise the musical selection, and Weir, Hart, Kreutzmann and Lesh have agreed to new interviews for the film.[62] Bar-Lev's four-hour documentary, titled Long Strange Trip, was released in 2017.[63][64]

text: "Fare Thee Well"[edit]

text: In 2015, Weir, Lesh, Kreutzmann, and Hart reunited for five concerts called "Fare Thee Well: Celebrating 50 Years of the Grateful Dead".[65] The shows were performed on June 27 and 28 at Levi's Stadium in Santa Clara, California, and on July 3, 4 and 5 at Soldier Field in Chicago, Illinois.[65][66] The band stated that this would be the final time that Weir, Lesh, Hart, and Kreutzmann would perform together.[67] They were joined by Trey Anastasio of Phish on guitar, Jeff Chimenti on keyboards, and Bruce Hornsby on piano.[68][69] Demand for tickets was very high.[70][71] The concerts were simulcast via various media.[72][73] The Chicago shows have been released as a box set of CDs and DVDs.[74]

text: Dead & Company[edit]

text: In the fall of 2015, Mickey Hart, Bill Kreutzmann and Bob Weir joined with guitarist John Mayer, keyboardist Jeff Chimenti, and bassist Oteil Burbridge to tour in a band called Dead & Company. Mayer recounts that in 2011 he was listening to Pandora and happened upon the Grateful Dead song "Althea", and that soon Grateful Dead music was all he would listen to.[75] The band has played three tours, and is currently embarking on a fourth:  October–December 2015, June–July 2016, and May–July 2017.[76][77]. Fall tour was shortly announced after summer 2017. Nov–Dec 2017.

text: Musical style[edit]

text: The Grateful Dead formed during the era when bands such as the Beatles, the Beach Boys and the Rolling Stones were dominating the airwaves. "The Beatles were why we turned from a jug band into a rock 'n' roll band," said Bob Weir. "What we saw them doing was impossibly attractive. I couldn't think of anything else more worth doing."[78] Former folk-scene star Bob Dylan had recently put out a couple of records featuring electric instrumentation. Grateful Dead members have said that it was after attending a concert by the touring New York City band the Lovin' Spoonful that they decided to "go electric" and look for a dirtier sound. Jerry Garcia and Bob Weir (each of whom had been immersed in the American folk music revival of the late 1950s and early 1960s), were open-minded to electric guitars.

text: The Grateful Dead's early music (in the mid-1960s) was part of the process of establishing what "psychedelic music" was, but theirs was essentially a "street party" form of it. They developed their "psychedelic" playing as a result of meeting Ken Kesey in Palo Alto, California, and subsequently becoming the house band for the Acid Tests he staged.[79] They did not fit their music to an established category such as pop rock, blues, folk rock, or country & western. Individual tunes within their repertoire could be identified under one of these stylistic labels, but overall their music drew on all of these genres and, more frequently, melded several of them. Bill Graham said of the Grateful Dead, "They're not the best at what they do, they're the only ones that do what they do."[80] Often (both in performance and on recording) the Dead left room for exploratory, spacey soundscapes.

text: Their live shows, fed by an improvisational approach to music, were different from most touring bands. While rock and roll bands often rehearse a standard set, played with minor variations, the Grateful Dead did not prepare in this way. Garcia stated in a 1966 interview, "We don't make up our sets beforehand. We'd rather work off the tops of our heads than off a piece of paper."[81] They maintained this approach throughout their career. For each performance, the band drew material from an active list of a hundred or so songs.[81]

text: The 1969 live album Live/Dead did capture the band in-form, but commercial success did not come until Workingman's Dead and American Beauty, both released in 1970. These records largely featured the band's laid-back acoustic musicianship and more traditional song structures. With their rootsy, eclectic stylings, particularly evident on the latter two albums, the band pioneered the hybrid Americana genre.[82][83][84]

text: As the band and its sound matured over thirty years of touring, playing, and recording, each member's stylistic contribution became more defined, consistent, and identifiable. Lesh, who was originally a classically trained trumpet player with an extensive background in music theory, did not tend to play traditional blues-based bass forms, but more melodic, symphonic and complex lines, often sounding like a second lead guitar. Weir, too, was not a traditional rhythm guitarist, but tended to play jazz-influenced, unique inversions at the upper end of the Dead's sound. The two drummers, Mickey Hart and Kreutzmann, developed a unique, complex interplay, balancing Kreutzmann's steady beat with Hart's interest in percussion styles outside the rock tradition. Hart incorporated an 11-count measure to his drumming, bringing a dimension to the band's sound that became an important part of its style.[85] Garcia's lead lines were fluid, supple and spare, owing a great deal of their character to his training in fingerpicking and banjo.

text: The band's primary lyricists, Robert Hunter and John Perry Barlow, commonly used themes involving love and loss, life and death, gambling and murder, beauty and horror, chaos and order, God and other religious themes, travelling and touring.[citation needed] In a retrospective, The New Yorker described Hunter's verses as "elliptical, by turns vivid and gnomic", which were often "hippie poetry about roses and bells and dew,"[86] and critic Robert Christgau described them as "American myths" that later gave way to "the old karma-go-round".[87]

text: Merchandising and representation[edit]

text: Hal Kant was an entertainment industry attorney who specialized in representing musical groups. He spent 35 years as principal lawyer and general counsel for the Grateful Dead, a position in the group that was so strong that his business cards with the band identified his role as "Czar".[88]

text: Kant brought the band millions of dollars in revenue through his management of the band's intellectual property and merchandising rights. At Kant's recommendation, the group was one of the few rock 'n roll pioneers to retain ownership of their music masters and publishing rights.

text: In 2006, the Grateful Dead signed a ten-year licensing agreement with Rhino Entertainment to manage the band's business interests including the release of musical recordings, merchandising, and marketing. The band retained creative control and kept ownership of its music catalog.[89][90]

text: A Grateful Dead video game titled Grateful Dead Game – The Epic Tour[91] was released in April 2012 and was created by Curious Sense.[92]

text: Live performances[edit]

text: The Grateful Dead toured constantly throughout their career, playing more than 2,300 concerts.[93] They promoted a sense of community among their fans, who became known as "Deadheads", many of whom followed their tours for months or years on end. In their early career, the band also dedicated their time and talents to their community, the Haight-Ashbury area of San Francisco, making available free food, lodging, music, and health care to all. It has been said that the band performed "more free concerts than any band in the history of music".[94]

text: With the exception of 1975, when the band was on hiatus and played only four concerts together, the Grateful Dead performed many concerts every year, from their formation in April 1965, until July 9, 1995.[95] Initially all their shows were in California, principally in the San Francisco Bay Area and in or near Los Angeles. They also performed, in 1965 and 1966, with Ken Kesey and the Merry Pranksters, as the house band for the Acid Tests. They toured nationally starting in June 1967 (their first foray to New York), with a few detours to Canada, Europe and three nights at the Great Pyramid of Giza in Egypt in 1978. They appeared at the Monterey Pop Festival in 1967, the Woodstock Festival in 1969 and the Festival Express train tour across Canada in 1970. They were scheduled to appear as the final act at the infamous Altamont Free Concert on December 6, 1969 after the Rolling Stones but withdrew after security concerns. "That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play," staff at Rolling Stone magazine wrote in a detailed narrative on the event"[96]

text: Their first UK performance was at the Hollywood Music Festival in 1970. Their largest concert audience came in 1973 when they played, along with the Allman Brothers Band and the Band, before an estimated 600,000 people at the Summer Jam at Watkins Glen.[97] The 1998 edition of the Guinness Book of World Records recognized them with a listing under the heading, "most rock concerts performed" (2,318 concerts).[98] They played to an estimated total of 25 million people, more than any other band, with audiences of up to 80,000 attending a single show. Many of these concerts were preserved in the band's tape vault, and several dozen have since been released on CD and as downloads. The Dead were known for the tremendous variation in their setlists from night to night—the list of songs documented to have been played by the band exceeds 500.[99] The band has released four concert videos under the name View from the Vault.

text: In the 1990s, the Grateful Dead earned a total of $285 million in revenue from their concert tours, the second-highest during the 1990s, with the Rolling Stones earning the most.[100] This figure is representative of tour revenue through 1995, as touring stopped after the death of Jerry Garcia.[100]

text: Their numerous studio albums were generally collections of new songs that they had first played in concert. The band was also famous for its extended musical jams, which featured both individual improvisations as well as distinctive "group-mind" improvisations during which each of the band members improvised individually while simultaneously blending together as a cohesive musical unit. Musically, this may be illustrated in that the band not only improvised within the form of songs, but also with the form. The Grateful Dead have often been described as having never played the same song the same way twice. The cohesive listening abilities of each band member made for a transcendence of what might be called "free form" and improvisation. Their concert sets often blended songs, one into the next (a segue).

text: Concert sound systems[edit]

text: The Wall of Sound was a large sound system designed specifically for the Grateful Dead.[101][102] The band was never satisfied with the house system anywhere they played. After the Monterey Pop Festival, the band's crew 'borrowed' some of the other performers' sound equipment and used it to host some free shows in San Francisco.[103] In their early days, soundman Owsley "Bear" Stanley designed a public address (PA) and monitor system for them. Stanley was the Grateful Dead's soundman for many years; he was also one of the largest suppliers of LSD.[104] Stanley's sound systems were delicate and finicky, and frequently brought shows to a halt with technical breakdowns. After Stanley went to jail for manufacturing LSD in 1970, the group briefly used house PAs, but found them to be even less reliable than those built by their former soundman. On February 2, 1970 the group contacted Bob Heil to use his system.[105] In 1971, the band purchased their first solid-state sound system from Alembic Inc Studios. Because of this, Alembic would play an integral role in the research, development, and production of the Wall of Sound. The band also welcomed Dan Healy into the fold on a permanent basis that year. Healy would mix the Grateful Dead's live sound until 1993.

text: Tapes[edit]

text: Like several other bands during this time, the Grateful Dead allowed their fans to record their shows. For many years the tapers set up their microphones wherever they could, and the eventual forest of microphones became a problem for the official sound crew. Eventually, this was solved by having a dedicated taping section located behind the sound board, which required a special "tapers" ticket. The band allowed sharing of tapes of their shows, as long as no profits were made on the sale of their show tapes.[106] Sometimes the sound crew would allow the tapers to connect directly to the sound board, which created exceptional concert recordings.[107]

text: Recently, there have been some disputes over which recordings archive.org could host on their site. Although all the recordings are hosted at present, the sound board recordings can only be streamed and not downloaded.[107]

text: Of the approximately 2,350 shows the Grateful Dead played, almost 2,200 were taped, and most of these are available online.[108] The band began collecting and cataloging tapes early on and Dick Latvala was their keeper. "Dick's Picks" is named after Latvala. After his death in 1999, David Lemieux gradually took the post. Concert set lists from a subset of 1,590 Grateful Dead shows were used to perform a comparative analysis between how songs were played in concert and how they are listened online by Last.fm members.[109] In their book Marketing Lessons from the Grateful Dead: What Every Business Can Learn From the Most Iconic Band in History,[110] David Meerman Scott and Brian Halligan identify the taper section as a crucial contributor to increasing the Grateful Dead's fan base.

text: Artwork[edit]

text: Over the years, a number of iconic images have come to be associated with the Grateful Dead. Many of these images originated as artwork for concert posters or album covers.

text: Deadheads[edit]

text: Fans and enthusiasts of the band are commonly referred to as Deadheads. While the origin of the term may be unclear, Dead Heads were made canon by the notice placed inside the Skull and Roses (1971) album by manager Jon McIntire:

text:
“

DEAD FREAKS UNITE: Who are you? Where are you? How are you?Send us your name and address and we'll keep you informed.Dead Heads, P.O. Box 1065, San Rafael, California 94901.

”

tag: table

text: Many of the Dead Heads would go on tour with the band. As a group, the Dead Heads were considered very mellow. "I'd rather work nine Grateful Dead concerts than one Oregon football game," Police Det. Rick Raynor said. "They don't get belligerent like they do at the games".[120]

text: Donation of archives[edit]

text: On April 24, 2008, members Bob Weir and Mickey Hart, along with Nion McEvoy, CEO of Chronicle Books, UC Santa Cruz chancellor George Blumenthal, and UC Santa Cruz librarian Virginia Steel, held a press conference announcing  UCSC's McHenry Library would be the permanent home of the Grateful Dead's complete archival history from 1965 to the present. The archive includes correspondence, photographs, fliers, posters, and several other forms of memorabilia and records of the band. Also included are unreleased videos of interviews and TV appearances that will be installed for visitors to view, as well as stage backdrops and other props from the band's concerts.

text: Blumenthal stated at the event, "The Grateful Dead Archive represents one of the most significant popular cultural collections of the 20th century; UC Santa Cruz is honored to receive this invaluable gift. The Grateful Dead and UC Santa Cruz are both highly innovative institutions—born the same year—that continue to make a major, positive impact on the world." Guitarist Bob Weir stated, "We looked around, and UC Santa Cruz seems the best possible home. If you ever wrote the Grateful Dead a letter, you'll probably find it there!"[121]

text: Professor of music Fredric Lieberman was the key contact between the band and the university, who let the university know about the search for a home for the archive, and who had collaborated with Mickey Hart on three books in the past, Planet Drum (1990), Drumming at the Edge of Magic (1991), and Spirit into Sound (2006).[122][123][124]

text: The first large-scale exhibition of materials from the Grateful Dead Archive was mounted at the New-York Historical Society in 2010.[125]

text: Awards[edit]

text: In 2004, Rolling Stone ranked the Grateful Dead No. 57 on their list of the 100 Greatest Artists of All Time.[126]

text: On February 10, 2007, the Grateful Dead received a Grammy Lifetime Achievement Award. The award was accepted on behalf of the band by Mickey Hart and Bill Kreutzmann.[127]

text: In 2011, a recording of the Grateful Dead's May 8, 1977, concert at Cornell University's Barton Hall was selected for induction into the National Recording Registry of the Library of Congress.[128]

text: Twelve members of the Grateful Dead (the eleven official performing members plus Robert Hunter) were inducted into the Rock and Roll Hall of Fame in 1994, and Bruce Hornsby was their presenter.[6]

text: Membership[edit]

text: Lead guitarist Jerry Garcia was often viewed both by the public and the media as the leader or primary spokesperson for the Grateful Dead, but was reluctant to be perceived that way, especially since he and the other group members saw themselves as equal participants and contributors to their collective musical and creative output.[129][130] Garcia, a native of San Francisco, grew up in the Excelsior District. One of his main influences was bluegrass music, and he also performed—on banjo, one of his other great instrumental loves, along with the pedal steel guitar—in bluegrass bands, notably Old and in the Way with mandolinist David Grisman.

text: Bruce Hornsby never officially joined the band full-time, because of his other commitments, but he did play keyboards at most Dead shows between September 1990 and March 1992, and sat in with the band over one hundred times in all between 1988 and 1995. Jerry Garcia referred to him as a "floating member" who could come and go as he pleased.[131][132][133]

text: Robert Hunter and John Perry Barlow were the band's primary lyricists, starting in 1967 and 1971, respectively, and continuing until the band's dissolution.[134][135][135] Hunter collaborated mostly with Garcia and Barlow mostly with Weir, though each wrote with other band members as well. Both are listed as official members at Dead.net, the band's website, alongside the performing members.[18] Barlow was the only member not inducted into the Rock and Roll Hall of Fame.

text: Discography[edit]

text:
The Grateful Dead (1967)
Anthem of the Sun (1968)
Aoxomoxoa (1969)
Live/Dead (1969)
Workingman's Dead (1970)
American Beauty (1970)
Grateful Dead (Skull & Roses) (1971)
Europe '72 (1972)
History of the Grateful Dead, Volume One (Bear's Choice) (1973)
Wake of the Flood (1973)
From the Mars Hotel (1974)
Blues for Allah (1975)
Steal Your Face (1976)
Terrapin Station (1977)
Shakedown Street (1978)
Go to Heaven (1980)
Reckoning (1981)
Dead Set (1981)
In the Dark (1987)
Dylan & the Dead (1989)
Built to Last (1989)
Without a Net (1990)