{"id":164912,"date":"2023-07-17T13:28:04","date_gmt":"2023-07-17T17:28:04","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=164912"},"modified":"2024-11-15T15:22:56","modified_gmt":"2024-11-15T20:22:56","slug":"the-final-dead-show-part-one","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/","title":{"rendered":"The Final Dead Shows: Part One"},"content":{"rendered":"
\"\"

John Mayer looking good.<\/p><\/div>\n

Walking into a Dead & Company show is more or less how you imagine it would be: there are nearly forty thousand people converging on a baseball stadium wearing some of the worst outfits you have ever seen in your life. \u201cThis is really a lot of different types of white people, huh?\u201d a first-time attendee said as we walked into the show at San Francisco\u2019s Oracle Park (formerly AT&T Park, SBC Global Park, and PacBell Park.) On the street, a white guy with dreadlocks offered us mushrooms. Another white guy with dreadlocks held up a sign that said, \u201cCash, grass, or ass\u2014I\u2019ll take it all.\u201d A friend, stunned by the famous Northern California fog, bought an ugly tie-dye sweatshirt at a makeshift stand outside the stadium for seventy-eight dollars.<\/p>\n

It was the first night of a three-night run of the final shows for this iteration of the Grateful Dead\u2014the last tour ever, the last shows ever, though, as everyone knows, the Grateful Dead has been ending for nearly twenty years. When Jerry Garcia died in 1995, everyone thought that was the end. In 2015, many of the original band members played a tour that was literally called \u201cFare Thee Well.\u201d And yet, miraculously, it continued. But this time: Bob Weir is seventy-five, and John Mayer, the unlikely force behind this version of the band, has other things to get on to. At the very least, this is probably the last time they’ll ever sell out huge stadiums. So this was a major event that I had flown out from New York to see with five friends. I had been hearing for days that SFO was \u201clike Bonnaroo for Deadheads.\u201d On another friend\u2019s flight in, the pilot told them they were flying over a wildfire in Colorado. \u201cWow, it\u2019s literally \u2018Fire on the Mountain,\u2019\u00a0\u201d someone behind her said.<\/p>\n

In line, everyone checked out the scene, craning their necks to see how good other people\u2019s tie-dyes were. One guy was wearing a cape.<\/p>\n

\u201cIs that Andy Cohen?\u201d someone asked.<\/p>\n

\u201cThat\u2019s Andy Cohen. We literally locked eyes.\u201d<\/p>\n

I didn\u2019t see him, but we are all grateful for Andy Cohen\u2019s support of the cause. Inside the stadium, the queue for tour merchandise snaked up flights of stairs, because everyone needs a T-shirt that says something like DEAD & CO., THE FINAL TOUR<\/small> with an emblem of a rose or a dancing bear.<\/p>\n

In another line, this one for beer, I stood behind some clean-cut guys in Dead & Company shirts from last summer. These are the kind of guys\u2014nicknamed Co. Bros\u2014that Mayer has brought into the fold. They were complaining about their friend Connor, who had recently gotten a girlfriend.<\/p>\n

\u201cHe\u2019ll text me, \u2018hey wanna hang out, I\u2019m not free for the next four weekends,\u2019 \u201d one said.<\/p>\n

\u201cConnor got out of his MSG jam as soon as he started getting paid what he was worth,\u201d the other lamented. (Presumably Connor is no longer going to Phish shows at Madison Square Garden, which is fair.)<\/p>\n

A man selling beer out of an ice bucket was yelling, \u201cIced cold, ice cold,\u201d in that universal baseball-game voice. \u201cIt\u2019s my first Dead & Company show,\u201d he said. \u201cInteresting vibes.\u201d<\/p>\n

In our seats, waiting for the show to start\u2014Dead & Co. shows are typically quite punctual, in part because they go on forever and probably also because the oldest band member is seventy-nine and the average age of the crowd is definitely above fifty\u2014everyone was taking the same selfie: themselves and their friends against the backdrop of the stadium, which happens to be the same baseball stadium where I went when I was a kid in early-aughts San Francisco, in the heyday of waiting for Barry Bonds to break the record, before the steroids stuff. They started with \u201cNot Fade Away.\u201d<\/p>\n

There can be a little game that happens when the band starts playing a song\u2014everyone starts guessing which one it is. \u201c\u00a0\u2018Tennessee Jed!\u2019\u00a0\u201d my friend exclaimed.<\/p>\n

\u201cNo,\u201d I said, \u201cit\u2019s \u2018Ramble On Rose.\u2019\u00a0\u201d<\/p>\n

\u201cDefinitely \u2018Tennessee Jed,\u2019\u00a0\u201d another friend insisted, moments before the chorus of \u201cRamble On Rose\u201d came on. I was right, and I certainly didn\u2019t let anyone forget.<\/p>\n

\u201cI want to be a spinner,\u201d my friend said, looking down at the part of the floor near the general admission section where women in long skirts were engaged in their perpetual whirl. \u201cSociety doesn\u2019t really make a lot of room for spinners anymore,\u201d our other friend said. We all agreed this was true, and a shame.<\/p>\n

In line for the bathroom, three girls and I agreed that John Mayer was looking really good tonight. John Mayer is of course famous for being handsome, and good at guitar.<\/p>\n

\u201cDon\u2019t re-dose before set break,\u201d I heard a woman with a crown of roses in her hair warning her friend by the sink.<\/p>\n

\u201cOh. I already did.\u201d<\/p>\n

Back in my seat, I looked up at the empty part of the stands, the seats that aren\u2019t for sale, and saw one man who had somehow gotten up there dancing alone. He looked perfect.<\/p>\n

\u201cLet him cook!\u201d someone yelled, as Oteil Burbridge\u2014possibly the most talented musician in the band\u2014came on the jumbotron during \u201cFire on the Mountain.\u201d Oteil, like Mayer, is not an original member of the Grateful Dead but adds something arguably way better. Lo-fi graphics flashed across the screen, Oteil\u2019s face consumed \u00a0in a graphic design version of flames. \u201cNeed more Oteil time,\u201d the guy next to me said, lighting a joint.<\/p>\n

The songs went on and on, as they do. What is anyone doing while all this jamming is happening? They take up an astounding amount of time, some of these songs, and they do especially all added together, plus so much of it is pure instrumental noodling. Everyone is dancing a little bit, bobbing, but really they are having an extended, possibly endless, interior experience. Sometimes after an eighteen-minute version of \u201cEyes of the World\u201d I find myself wondering (and I quote the Dead): \u201cWhere does the time go?\u201d<\/p>\n

Then \u201cDrums\u201d started and everyone around me went to pee or get a beer. (\u201cDrums\u201d and \u201cSpace,\u201d for the unfamiliar, are a portion of every show that can really only be described as the longest instrumental noodling you have ever heard.)<\/p>\n

\u201cIt\u2019s so dumb to pee during Space,\u201d a woman in a Boston Red Sox\u2013Dead crossover shirt said, and everyone in the endless bathroom line agreed. But there really is no other time.<\/p>\n

A friend and I bought four beers in large cups, and as we headed back to our seats, a woman knocked into me, spilling an entire beer on my shorts. \u201cOh my God, babe, I\u2019m so sorry,\u201d she said. \u201cI\u2019ll buy you another beer!\u201d \u201cIt\u2019s okay,\u201d I said, even though it wasn\u2019t totally okay, because my Birkenstock was now full of beer that had cost $16.75 and didn\u2019t even come in a souvenir cup. A lot of people were watching this play out. I considered the karmic nature of spills, as I am always spilling on other people and myself, while we headed back to our seats. Two minutes later, the woman rushed down to my seat and handed me a twenty-dollar bill. Everyone around us cheered. I tried to refuse it, telling her it really was okay, but she said, \u201cUse it for something else.\u201d<\/p>\n

\u201cThat\u2019s what the Dead is all about!\u201d said some of the old guys who had been watching nearby, and gave me a high-five. In my Notes app, I wrote, \u201cthe dead is so perfect :(\u201d<\/p>\n

The band launched into their dirge \u201cHe\u2019s Gone.\u201d The line \u201cHe\u2019s gone, he\u2019s gone, and nothing\u2019s gonna bring him back\u201d\u2014is it possible to hear that without getting chills? I thought about my favorite live version of this song, which Weir dedicated to the Irish hunger striker Bobby Sands in 1981. I marveled, as I often do, at the passage of time. I tried to say something about this to one of my friends, but it got lost in the noise. I then watched someone try to fit an entire package of Red Vines into the tiny back pocket of their jeans for what felt like five minutes.<\/p>\n

The band made their usual move, from \u201cChina Cat Sunflower\u201d into \u201cI Know You Rider.\u201d \u201cWow, is this the last \u2018Rider\u2019 ever?\u201d someone asked. \u201cShut up,\u201d said someone else, as everyone yelled, \u201cI wish I were a headlight on a northbound train!\u201d Then, even louder, \u201cI\u2019D SHINE MY LIGHT THROUGH THAT COOL COLORADO RAIN!\u201d (Many people at Dead & Co. shows have spent significant time in Colorado, so that line always goes over well.)<\/p>\n

Two of my friends, under the influence of psychedelic drugs, were passing back and forth a pair of small pink sunglasses for the majority of the night. Every time one of them put the sunglasses on, she would reexperience the amazing experience of wearing the sunglasses anew, oohing and aaahing. Finally, the man behind them\u2014a gray-haired guy who had been swaying solo all night, sipping a beer\u2014asked if he could \u201ctry the sunglasses.\u201d I\u2019m not sure I\u2019ve ever seen anyone more disappointed. \u201cThat\u2019s it?\u201d he asked. You really have to wonder what it was that he expected.<\/p>\n

 <\/p>\n

Sophie Haigney is <\/em>The Paris Review‘s web editor. Read her subsequent dispatches here: “The Final Dead Shows: Part Two<\/a>” and “The Final Dead Shows: Part Three<\/a>.”<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cSociety doesn\u2019t really make a lot of room for spinners anymore.\u201d<\/p>\n","protected":false},"author":1345,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68673],"tags":[14236,67827,18669],"class_list":["post-164912","post","type-post","status-publish","format-standard","hentry","category-overheard","tag-concerts","tag-featured","tag-grateful-dead"],"acf":[],"yoast_head":"\nThe Final Dead Shows: Part One by Sophie Haigney<\/title>\n<meta name=\"description\" content=\"July 17, 2023 \u2013 \u201cSociety doesn\u2019t really make a lot of room for spinners anymore.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Final Dead Shows: Part One by Sophie Haigney\" \/>\n<meta property=\"og:description\" content=\"July 17, 2023 \u2013 \u201cSociety doesn\u2019t really make a lot of room for spinners anymore.\u201d\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2023-07-17T17:28:04+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-15T20:22:56+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-scaled.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1920\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Sophie Haigney\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Sophie Haigney\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/\"},\"author\":{\"name\":\"Sophie Haigney\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/5a9962c2972c13691ad35f414a47eb90\"},\"headline\":\"The Final Dead Shows: Part One\",\"datePublished\":\"2023-07-17T17:28:04+00:00\",\"dateModified\":\"2024-11-15T20:22:56+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/\"},\"wordCount\":1619,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-1024x768.jpeg\",\"keywords\":[\"concerts\",\"Featured\",\"Grateful Dead\"],\"articleSection\":[\"Overheard\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/\",\"name\":\"The Final Dead Shows: Part One by Sophie Haigney\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-1024x768.jpeg\",\"datePublished\":\"2023-07-17T17:28:04+00:00\",\"dateModified\":\"2024-11-15T20:22:56+00:00\",\"description\":\"July 17, 2023 \u2013 \u201cSociety doesn\u2019t really make a lot of room for spinners anymore.\u201d\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-scaled.jpeg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-scaled.jpeg\",\"width\":2560,\"height\":1920},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Final Dead Shows: Part One\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/5a9962c2972c13691ad35f414a47eb90\",\"name\":\"Sophie Haigney\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/fa15e82502d1740f49641be35828c4cbb78ae91cc172dbfd75793fa7bbcae4b6?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/fa15e82502d1740f49641be35828c4cbb78ae91cc172dbfd75793fa7bbcae4b6?s=96&d=mm&r=g\",\"caption\":\"Sophie Haigney\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/shaigney\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"The Final Dead Shows: Part One by Sophie Haigney","description":"July 17, 2023 \u2013 \u201cSociety doesn\u2019t really make a lot of room for spinners anymore.\u201d","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/","og_locale":"en_US","og_type":"article","og_title":"The Final Dead Shows: Part One by Sophie Haigney","og_description":"July 17, 2023 \u2013 \u201cSociety doesn\u2019t really make a lot of room for spinners anymore.\u201d","og_url":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2023-07-17T17:28:04+00:00","article_modified_time":"2024-11-15T20:22:56+00:00","og_image":[{"width":2560,"height":1920,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-scaled.jpeg","type":"image\/jpeg"}],"author":"Sophie Haigney","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Sophie Haigney","Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/"},"author":{"name":"Sophie Haigney","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/5a9962c2972c13691ad35f414a47eb90"},"headline":"The Final Dead Shows: Part One","datePublished":"2023-07-17T17:28:04+00:00","dateModified":"2024-11-15T20:22:56+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/"},"wordCount":1619,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-1024x768.jpeg","keywords":["concerts","Featured","Grateful Dead"],"articleSection":["Overheard"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/","url":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/","name":"The Final Dead Shows: Part One by Sophie Haigney","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-1024x768.jpeg","datePublished":"2023-07-17T17:28:04+00:00","dateModified":"2024-11-15T20:22:56+00:00","description":"July 17, 2023 \u2013 \u201cSociety doesn\u2019t really make a lot of room for spinners anymore.\u201d","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-scaled.jpeg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/07\/img-8061-scaled.jpeg","width":2560,"height":1920},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/17\/the-final-dead-show-part-one\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"The Final Dead Shows: Part One"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/5a9962c2972c13691ad35f414a47eb90","name":"Sophie Haigney","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/fa15e82502d1740f49641be35828c4cbb78ae91cc172dbfd75793fa7bbcae4b6?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/fa15e82502d1740f49641be35828c4cbb78ae91cc172dbfd75793fa7bbcae4b6?s=96&d=mm&r=g","caption":"Sophie Haigney"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/shaigney\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/164912","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/1345"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=164912"}],"version-history":[{"count":12,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/164912\/revisions"}],"predecessor-version":[{"id":169256,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/164912\/revisions\/169256"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=164912"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=164912"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=164912"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}