Competition Plus Team
Since our inception, we have been passionately dedicated to delivering the most accurate, timely, and compelling content in the world of drag racing. Our readers depend on us for the latest news, in-depth features, expert analysis, and exclusive interviews that connect you to the sport’s pulse.
DEADHEAD UNDER THE HELMET: JEG COUGHLIN JR.’S OTHER LIFE
Drag racers often live two lives, one defined by the starting line and another shaped far from the strip.
Those lives usually stay separate, divided by helmets, schedules, and expectation.
Occasionally, the line blurs enough to reveal something unexpected.
For Jeg Coughlin Jr., the polished and corporate image rarely hints at what exists away from Pro Stock.
The multi-time NHRA Pro Stock world champion has built a career on preparation and control.
Nothing in that résumé suggests counterculture or improvisation.
A closer look at his helmet, however, tells a different story.
The imagery quietly points toward the Grateful Dead.
Only then does it become clear that Coughlin is a proud Deadhead.
“I never took you as a Grateful Dead kind of fella.”
“Well, being in high school in the ’80s, we loved a lot of classic rock.”
“I mean, we had amazing music as a kid growing up.”
“Still got great music, but learned to like The Grateful Dead just with some friends that loved to jam to it.”
Coughlin’s introduction to the band came through shared listening rather than image.
The connection was rooted in sound and time rather than identity.
That perspective mirrors how he approaches racing decisions.
“And my favorite song at the time was Terrapin Station, which is one of their longest songs.”
The choice reflects patience and appreciation for long-form rhythm.
Coughlin’s racing schedule shaped how deeply he could follow the band.
Racing commitments replaced concert nights during the Dead’s peak touring years.
“And still, John Mayer joined Bob Weir and some of the original band members of the Grateful Dead back in 2015 and they formed the Dead & Company.”
That moment reopened a door Coughlin once believed had closed.
It also reframed how he could engage with the music.
“I never made a show with Jerry at the head in the ’80s and ’90s when all my buddies were going.”
“I was going racing.”
His priorities were clear and intentional at the time.
“And so I missed the shows.”
“No regrets, but John Mayer’s popped in here in ’15 and beyond and been a front man with Bob Weir and the two of them and the rest of the Dead & Company band have revitalized not only the brand, but kept that music going.”
The modern incarnation gave the music continuity rather than closure.
Coughlin views that continuation as essential rather than nostalgic.
“There’s a lot of heart and soul in that music.”
He describes the appeal without mysticism or mythology.
“And whatever you read into it, bottom line has got a great beat, good melody, and it’s always good times.”
The description aligns closely with how he evaluates performance on the track.
Function and feel matter more than perception.
The contrast between Coughlin’s public persona and private taste rarely escapes notice.
It reinforces the idea that appearances in the pits rarely tell the full story.
“So somebody looks at you in a case of you can’t judge a book by the cover.”
“They’d never guess that Jeggie is a Deadhead.”
Coughlin accepts the assumption without resistance.
“That’s all right.”
“And I’m not afraid to say it.”
His comfort comes from familiarity rather than defiance.
The music has always existed quietly in his background.
“It’s not all the stereotypes that go along with it.”
“Doesn’t check everybody’s box, if you will.”
Coughlin’s interest predates championships and professional polish.
“Just always enjoyed the music.”
“And as a kid, I had one of their silk tapestries hanging up in my bedroom.”
That image contrasts sharply with the corporate world he now occupies.
It also underscores how long the connection has endured.
“So that along with Led Zeppelin and The Cars, I think I had a couple others, but music’s a big part of a lot of people’s lives.”
For Coughlin, it has always existed alongside racing rather than competing with it.
“And it’s like I just said, to see this music continue to play, it’s been playing for almost 70 years now.”
Longevity resonates with a driver who values sustained excellence.
“And I believe with John Mayer and the likes of his talents and resources and network, we’ll see another good 70 out of it.”
In a sport defined by horsepower, reaction time, and routine, personal layers often stay hidden.
Coughlin’s admission is not about image, rebellion, or contrast.
It is simply another reminder that racers carry full lives beneath their helmets.
And for one of Pro Stock’s most disciplined champions, the explanation is uncomplicated.
“And whatever you read into it, bottom line has got a great beat, good melody, and it’s always good times.”
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Competition Plus Team
Since our inception, we have been passionately dedicated to delivering the most accurate, timely, and compelling content in the world of drag racing. Our readers depend on us for the latest news, in-depth features, expert analysis, and exclusive interviews that connect you to the sport’s pulse.
Sign up for our newsletters and email list.
DEADHEAD UNDER THE HELMET: JEG COUGHLIN JR.’S OTHER LIFE
Drag racers often live two lives, one defined by the starting line and another shaped far from the strip.
Those lives usually stay separate, divided by helmets, schedules, and expectation.
Occasionally, the line blurs enough to reveal something unexpected.
For Jeg Coughlin Jr., the polished and corporate image rarely hints at what exists away from Pro Stock.
The multi-time NHRA Pro Stock world champion has built a career on preparation and control.
Nothing in that résumé suggests counterculture or improvisation.
A closer look at his helmet, however, tells a different story.
The imagery quietly points toward the Grateful Dead.
Only then does it become clear that Coughlin is a proud Deadhead.
“I never took you as a Grateful Dead kind of fella.”
“Well, being in high school in the ’80s, we loved a lot of classic rock.”
“I mean, we had amazing music as a kid growing up.”
“Still got great music, but learned to like The Grateful Dead just with some friends that loved to jam to it.”
Coughlin’s introduction to the band came through shared listening rather than image.
The connection was rooted in sound and time rather than identity.
That perspective mirrors how he approaches racing decisions.
“And my favorite song at the time was Terrapin Station, which is one of their longest songs.”
The choice reflects patience and appreciation for long-form rhythm.
Coughlin’s racing schedule shaped how deeply he could follow the band.
Racing commitments replaced concert nights during the Dead’s peak touring years.
“And still, John Mayer joined Bob Weir and some of the original band members of the Grateful Dead back in 2015 and they formed the Dead & Company.”
That moment reopened a door Coughlin once believed had closed.
It also reframed how he could engage with the music.
“I never made a show with Jerry at the head in the ’80s and ’90s when all my buddies were going.”
“I was going racing.”
His priorities were clear and intentional at the time.
“And so I missed the shows.”
“No regrets, but John Mayer’s popped in here in ’15 and beyond and been a front man with Bob Weir and the two of them and the rest of the Dead & Company band have revitalized not only the brand, but kept that music going.”
The modern incarnation gave the music continuity rather than closure.
Coughlin views that continuation as essential rather than nostalgic.
“There’s a lot of heart and soul in that music.”
He describes the appeal without mysticism or mythology.
“And whatever you read into it, bottom line has got a great beat, good melody, and it’s always good times.”
The description aligns closely with how he evaluates performance on the track.
Function and feel matter more than perception.
The contrast between Coughlin’s public persona and private taste rarely escapes notice.
It reinforces the idea that appearances in the pits rarely tell the full story.
“So somebody looks at you in a case of you can’t judge a book by the cover.”
“They’d never guess that Jeggie is a Deadhead.”
Coughlin accepts the assumption without resistance.
“That’s all right.”
“And I’m not afraid to say it.”
His comfort comes from familiarity rather than defiance.
The music has always existed quietly in his background.
“It’s not all the stereotypes that go along with it.”
“Doesn’t check everybody’s box, if you will.”
Coughlin’s interest predates championships and professional polish.
“Just always enjoyed the music.”
“And as a kid, I had one of their silk tapestries hanging up in my bedroom.”
That image contrasts sharply with the corporate world he now occupies.
It also underscores how long the connection has endured.
“So that along with Led Zeppelin and The Cars, I think I had a couple others, but music’s a big part of a lot of people’s lives.”
For Coughlin, it has always existed alongside racing rather than competing with it.
“And it’s like I just said, to see this music continue to play, it’s been playing for almost 70 years now.”
Longevity resonates with a driver who values sustained excellence.
“And I believe with John Mayer and the likes of his talents and resources and network, we’ll see another good 70 out of it.”
In a sport defined by horsepower, reaction time, and routine, personal layers often stay hidden.
Coughlin’s admission is not about image, rebellion, or contrast.
It is simply another reminder that racers carry full lives beneath their helmets.
And for one of Pro Stock’s most disciplined champions, the explanation is uncomplicated.
“And whatever you read into it, bottom line has got a great beat, good melody, and it’s always good times.”
John Doe
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DEADHEAD UNDER THE HELMET: JEG COUGHLIN JR.’S OTHER LIFE
Drag racers often live two lives, one defined by the starting line and another shaped far from the strip. Those lives usually stay separate, divided