Photo by Susana Millman

Industry Profile: Dennis McNally

— Jane Cohen and Bob Grossweiner

As the Grateful Dead's historian and publicist for more than 20 years, Dennis McNally put his Ph.D. in American history to good use, chronicling one of the music industry's most enduring bands in his long-awaited, recently published book, A Long Strange Trip, The Inside History of the Grateful Dead (Broadway Books).

Dennis' journey with the Grateful Dead began in October 1972 when he attended his first Dead concert in Springfield, Mass., and became hooked. After his first book, Desolate Angel: Jack Kerouac, the Beat Generation, and America, was published, Dennis sent a copy to Jerry Garcia. Garcia was immediately impressed with his historical approach, and at one of their first meetings said to Dennis, "For the sake of history, or whatever, as a member of the Grateful Dead, and as a person who's consciously involved in some kind of historical process, right, it's very important to me that somehow some essence of what we're doing is accurately … that some representation of us is undertaken." Shortly after, as Dennis tells it, Garcia said, "Why don't you do us?" After an exhaustive 18 years of research, Dennis began writing in 2000.

After you received your Ph.D. in American History, what did you plan to do?
What I wanted to do was write a book about the Dead. What I was doing was waiting - first as a secretary, later as a typist for court reporters, making a living. Garcia invited me to work on a book about the Dead in 1980, and I began immediately. In 1983 I put in a year as Bill Graham's first archivist. Then, in 1984, I became the Dead's publicist.

What made you driven to write a book about the Dead?
Because I loved the music and saw that they were directly, historically, connected to the Beat tradition.

After you wrote Desolate Angel: Jack Kerouac, the Beat Generation, and America, what made you send a copy to Jerry Garcia?
Because I thought he'd be interested and I wanted to write a book about the Dead; this would serve as an appropriate intellectual introduction. I guessed correctly about Garcia's interest.

Why do you describe Kerouac as your "intellectual forefather?"
I've always been in sympathy with subcultures outside the conventional "mainstream" culture, connected to the bohemian tradition.

As A Long Strange Trip exposes some inner happenings and presumably "secrets" of the Dead, what were the feelings of the members when you were planning to write the book?
I've never had anything but support from the band about the project; their egos are tough enough not to worry about the truth. They supported me at the beginning, and when I was done they read it, corrected it as to facts, but absolutely kept hands-off as to opinions. It's my version. I feel they were quite open during interviews. The Dead is not just six guys on stage but a mysterious relationship among the band, the crew, the audience, the instruments, etc. - and that's what we all take seriously. As individuals, the band members are pretty relaxed about their own foibles and limits.

How do the band members feel about the finished product?
They're very happy with it.

What is your favorite story in the book?
I suppose the one about Patrick Leahy and the Secretary of State - see the chapter about Dead Heads.

Any good parts left out of the book?
Nope. Didn't have to cut anything, and didn't feel I left anything out that counted.

Any other books on the horizon?
Yes, one about artists who lived or grew up along the Mississippi River and Highway 61.

Did you ever expect the surviving Dead members to form this summer as The Other Ones considering the seemingly bad blood between some of the members?
They've always squabbled to some extent. They're way better at playing with each other than doing business - after all, it's what they enjoy and care about. Yes, I did think that eventually they'd remember how good it felt to play together and resume, in some fashion.

What do you think of Dark Star Orchestra and its note for note recreation of a specific Grateful Dead show?
Incredible ability as far as execution. As I told them the one time I saw them, I gave them 99% for execution, but only 85% for show selection -- their response was that they didn't have their "Pigpen or Donna Jean," so their options were limited. It's fascinating, because they go far beyond covering - down to physical gestures. Kind of Beatlemania meets the Dead.

What was your favorite Grateful Dead performance and why?
My favorite show, although I was not there, was 3/1/69 -- it's simply a classic early Dead psychedelic adventure, truly inspired music. It's my favorite show by way of a tape that came into my possession. Simply the psychedelic Dead at its best. The best music I ever saw as a Dead Head (shows I worked at don't count because I couldn't give it my full attention) was the last 45 minutes of a set in Springfield, Mass. in 1974 - "Playing in the Band" into "Uncle John's Band" back into "Playin'" -- It ended the first set and it was utterly magnificent. Some of the descriptions of those songs in the book are from that night.

What have been some of your more unusual/interesting publicist experiences with the Dead?
Taking the band to the United Nations (and talking with UN diplomats). Taking members of the band to the Senate Dining Room to have lunch with Senators Leahy and Boxer -- and watching Strom Thurmond shake Jerry Garcia and Mickey Hart's hand. Making introductions between VP Al Gore and members of the band at the White House. Being the doorman at Jerry's 1993 wedding -- and at his funeral.

Your thoughts about the problems with staging Terrapin Station this year
Well, we're still living down the audience excesses of the late '80s and '90s, and thus had to overload for what turned out not to be significant problems at all. It's inevitable, I suppose. Hopefully, both Dead Heads and local politicians will stay relaxed, and we can go about our business in a calmer way.

It appears you never had a break since when the Dead took time off, and the members took on their solo careers
No, I've continued to work for GDP since 1984. From 1997 to now I've worked two jobs - the book and GDP.

What do you feel we can expect from the Grateful Dead members in the future?
More of the same - more Other Ones, more solo projects. They're too young to retire.

Was it easy to get publicity for the Dead?
Generally, but that's a really shotgun question -- depends on the situation.

How were the individual Grateful Dead members with publicity?
Jerry accepted it as a responsibility although he did not seek it, Bobby, Phil, and Billy hated it to varying degrees but would do it if the situation demanded it (rarely), and Mickey had many projects that called for it and grew to enjoy it when properly organized.

Were there any publicity outlets that were hard to break for the Dead?
Again, it depends. The band loathed TV, so that was moot. We didn't get played on the radio generally, but, of course, most rock radio news outlets adored the Dead.

What is your take on Dick's Picks?
Dick's Picks is the perfect meeting of Dead Head's desire and the band's needs - namely, to have an income and make use of an incredible vault. The occasional Dead Head quibbles about selection, but, in general, the releases have been welcomed with open ears.

What were your experiences with Dead Heads?
In general, I was seen by Dead Heads as a link to the band and thus respected, and of course my wife, virtually all of my friends, and etc. are all Dead Heads and I kind of like them. I probably had a conflict that wasn't just an intellectual disagreement with Dead Heads maybe three times in 11 years -- there were certainly people in the parking lot who felt our policies about vending were wrong, but that never bothered me much. I had very very few crazies calling me, which was great. And I've just spent three weeks having Dead Heads give me total strokes of approval for the book, so it's hard to think of them in any way but the warmest.

Were you surprised when Garcia died?
No, it had become clear that he was quite sick - but it still came as a shock.

First industry job
Publicist for the Grateful Dead. I began in June 1984, when the receptionist complained at a company meeting no one was dealing with the media and Garcia said, "Get McNally to do it, he knows that s**t." And everyone said, "Sure." Obviously, they gave it a great deal of consideration.

Career highlights
Introducing Jerry Garcia to Al Gore, helping with the band's first instant platinum album, "In the Dark." In March 1993, we got a call from Al's "Director of Advance," a Dead Head named Dennis Alpert, who invited us to visit the house - the White House. So we got a guided tour that ended at the VP's office (Mr. President was away that day). Big fun.

Career disappointment
Losing Jerry Garcia.

Greatest challenge
Being publicist for Dead Heads as well as the Dead.

Best business decision
Figuring out that you should make no decisions based primarily on profit.

Best advice you received
My job training - Garcia told me to always be nice, but never suck up.

Best advice to offer
Tell the freaking truth.

Most memorable industry experience
Promoting an album of Mickey Hart's (in an unknown language -- actually a lost civilization from Central America) at the Library of Congress with the GD and members of Congress … and lots of media. Although the album -- The Spirit Cries -- was released on Rykodisc, it was from the Library of Congress' archives (one of the great sound resources in the world) -- and, since it was rather obscure (few living people spoke the language), I suggested we use the GD and its friends in Congress, including Senator Pat Leahy, to draw attention to it. I turned out to be right. A lovely night.

Office paraphernalia
Lots of books, a computer, a boom box.

Industry pet peeve
Decisions made for corporate reasons.

If I wasn't doing this, I would be...
Washing dishes.

Industry mentors
Clive Davis, Roy Lott, Don Ienner, and Sean Coakley of Arista; Bill Graham, John Scher, David Marsden and Amy Clarke in the touring industry; Cameron Sears, Richard Loren, Danny Rifkin and Jon McIntire of Grateful Dead Productions.

Dennis can be reached at 415-896-2198; e-mail: Dennis@deadnet.com

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