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The last time the band played that part of the park was in 1991 — a free show following the death of concert promoter and longtime Deadhead \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>.\u003c/p>\n\u003cp>Certainly, times have changed.\u003c/p>\n\u003cp>A general admissions ticket for all three days is $635 — a shock for many longtime fans who remember when a joint cost more than a Dead concert ticket.\u003c/p>\n\u003cp>But Deadhead David Aberdeen is thrilled anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the spiritual home of the Grateful Dead,” said Aberdeen, who works at \u003ca href=\"https://www.kqed.org/news/25014/amoeba-music-named-best-record-store-in-u-s-by-rolling-stone\">Amoeba Music\u003c/a> in the Haight. “It seems very right to me that they celebrate it in this way.”\u003c/p>\n\u003cp>Formed in 1965, the Grateful Dead is synonymous with San Francisco and its counterculture. Members lived in a dirt-cheap Victorian in the Haight and later became a significant part of 1967’s \u003ca href=\"https://www.kqed.org/arts/tag/summer-of-love\">Summer of Love\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13925408']That summer eventually soured into bad acid trips and police raids, and prompted the band’s move to \u003ca href=\"https://www.kqed.org/arts/tag/marin-county\">Marin County\u003c/a> on the other end of the \u003ca href=\"https://www.kqed.org/arts/13913489\">Golden Gate Bridge\u003c/a>. But new Deadheads kept cropping up — even after iconic guitarist and singer \u003ca href=\"https://www.kqed.org/arts/13342850/jerry-garcias-guitar-heads-to-auction-could-fetch-1m\">Jerry Garcia\u003c/a>’s 1995 death — aided by cover bands and offshoots like Dead & Company.\u003c/p>\n\u003cp>“There are 18-year-olds who were obviously not even a twinkle in somebody’s eyes when Jerry died, and these 18-year-olds get the values of Deadheads,” said former Grateful Dead publicist and author Dennis McNally.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead on the corner of Haight and Ashbury. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fitting in, feeling at home\u003c/h2>\n\u003cp>Deadheads can reel off why and how, and the moment they fell in love with the music. Fans love that no two shows are the same; the band plays different songs each time. They also embrace the community that comes with a Dead show.\u003c/p>\n\u003cp>Sunshine Powers didn’t have friends until age 13, when she stepped off a city bus and into the Haight-Ashbury neighborhood.\u003c/p>\n\u003cp>[aside postid='arts_13853019']“I, all of a sudden, felt like I fit in. Or like I didn’t have to fit in,” says Powers, now 45 and the owner of tie-dye emporium \u003ca href=\"https://loveonhaightsf.com/\">Love on Haight\u003c/a>. “I don’t know which one it was, but I know it was like, OK.”\u003c/p>\n\u003cp>Similarly, her friend Taylor Swope, 47, survived a tough freshman year at a new school with the help of a Grateful Dead mixtape. The owner of the Little Hippie gift shop is driving from Brooklyn, New York, to sell merchandise, reconnect with friends and see the shows.\u003c/p>\n\u003cp>“The sense of, ‘I found my people, I didn’t fit in anywhere else and then I found this, and I felt at home.’ So that’s a big part of it,” she said of the allure.\u003c/p>\n\u003ch2>Magical live shows\u003c/h2>\n\u003cp>Sometimes, becoming a Deadhead is a process.\u003c/p>\n\u003cp>Thor Cromer, 60, had attended several Dead shows, but was ambivalent about the hippies. That changed on March 15, 1990, in Landover, Maryland.\u003c/p>\n\u003cp>“That show, whatever it was, whatever magic hit,” he said, “it was injected right into my brain.”\u003c/p>\n\u003cp>Cromer, who worked for the U.S. Senate then, eventually took time off to follow the band on tour and saw an estimated 400 shows from spring 1990 until \u003ca href=\"https://www.kqed.org/news/10630061/20-years-ago-today-captain-trips-died-and-the-dot-com-boom-took-off\">Garcia’s death\u003c/a>.\u003c/p>\n\u003cp>Cromer now works in technology and is flying in from Boston to join scores of fellow “rail riders” who dance in the rows closest to the stage.\u003c/p>\n\u003cp>[aside postid='arts_13967309']Aberdeen, 62, saw his first Dead show in 1984. As the only person in his college group with a driver’s license, he was tapped to drive a crowded VW Bug from Antioch College in Yellow Springs, Ohio, to Syracuse, New York.\u003c/p>\n\u003cp>“I thought it was pretty weird,” he said. “But I liked it.”\u003c/p>\n\u003cp>He fell in love the following summer, when the Dead played a venue near his college.\u003c/p>\n\u003cp>Aberdeen remembers rain pouring down in the middle of the show and a giant rainbow appearing over the band when they returned for their second act. They played “Comes a Time,” a rarely played Garcia ballad.\u003c/p>\n\u003cp>“There is a lot of excitement, and there will be a lot of people here,” Aberdeen said. “Who knows when we’ll have an opportunity to get together like this again?”\u003c/p>\n\u003cp>Fans were able to see Dead & Company in Las Vegas earlier this year, but no new dates have been announced. Guitarist Bob Weir is 77, and drummers Mickey Hart and Bill Kreutzmann are 81 and 79, respectively. Besides Garcia, founding members Ron “Pigpen” McKernan on keyboards died in 1973 and bassist \u003ca href=\"https://www.kqed.org/arts/13967309/the-grateful-dead-bassist-phil-lesh-dies-at-84\">Phil Lesh died\u003c/a> last year at age 84.\u003c/p>\n\u003cfigure id=\"attachment_13967310\" class=\"wp-caption aligncenter\" style=\"max-width: 1385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-52691498-scaled-e1753903266478.jpeg\" alt=\"An older white man with grey hair wearing a brown suede jacket holding up a book with the Grateful Dead logo on it.\" width=\"1385\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Phil Lesh of the Grateful Dead holds a copy of his book, ‘Searching for the Sound: My Life with the Grateful Dead’ at the Los Angeles Times Festival of Books on April 24, 2005. \u003ccite>(Michael Buckner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Multiple events planned for Dead’s 60th\u003c/h2>\n\u003cp>Mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a>, who is not a Deadhead but counts “Sugar Magnolia” as his favorite Dead song, is overjoyed at the economic boost as San Francisco recovers from pandemic-related hits to its tech and tourism sectors.\u003c/p>\n\u003cp>“They are the reason why so many people know and love San Francisco,” he said.\u003c/p>\n\u003cp>[aside postid='arts_13284583']The weekend features parties, shows and celebrations throughout the city. Grahame Lesh & Friends will perform three nights starting Thursday. Lesh is the son of Phil Lesh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, which would have been Garcia’s 83rd birthday, officials will rename a street after the San Francisco native. On Saturday, visitors can celebrate the city’s annual Jerry Day at the Jerry Garcia Amphitheater located in a park near Garcia’s childhood home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/grateful-dead\">Grateful Dead\u003c/a> are pouring into \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> for three days of concerts and festivities marking the 60th anniversary of the scruffy jam band that came to embody a city where people once wore flowers in their hair and made love, not war.\u003c/p>\n\u003cp>Dead & Company, featuring original Grateful Dead members \u003ca href=\"https://www.kqed.org/arts/11682940/bob-weir-criticizes-politicians-on-stage-at-bonnaroo\">Bob Weir\u003c/a> and \u003ca href=\"https://www.kqed.org/forum/201206251000/mickey-hart\">Mickey Hart\u003c/a>, will play \u003ca href=\"https://www.kqed.org/news/tag/golden-gate-park\">Golden Gate Park\u003c/a>’s Polo Field starting Friday with an estimated 60,000 attendees each day. The last time the band played that part of the park was in 1991 — a free show following the death of concert promoter and longtime Deadhead \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>.\u003c/p>\n\u003cp>Certainly, times have changed.\u003c/p>\n\u003cp>A general admissions ticket for all three days is $635 — a shock for many longtime fans who remember when a joint cost more than a Dead concert ticket.\u003c/p>\n\u003cp>But Deadhead David Aberdeen is thrilled anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the spiritual home of the Grateful Dead,” said Aberdeen, who works at \u003ca href=\"https://www.kqed.org/news/25014/amoeba-music-named-best-record-store-in-u-s-by-rolling-stone\">Amoeba Music\u003c/a> in the Haight. “It seems very right to me that they celebrate it in this way.”\u003c/p>\n\u003cp>Formed in 1965, the Grateful Dead is synonymous with San Francisco and its counterculture. Members lived in a dirt-cheap Victorian in the Haight and later became a significant part of 1967’s \u003ca href=\"https://www.kqed.org/arts/tag/summer-of-love\">Summer of Love\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That summer eventually soured into bad acid trips and police raids, and prompted the band’s move to \u003ca href=\"https://www.kqed.org/arts/tag/marin-county\">Marin County\u003c/a> on the other end of the \u003ca href=\"https://www.kqed.org/arts/13913489\">Golden Gate Bridge\u003c/a>. But new Deadheads kept cropping up — even after iconic guitarist and singer \u003ca href=\"https://www.kqed.org/arts/13342850/jerry-garcias-guitar-heads-to-auction-could-fetch-1m\">Jerry Garcia\u003c/a>’s 1995 death — aided by cover bands and offshoots like Dead & Company.\u003c/p>\n\u003cp>“There are 18-year-olds who were obviously not even a twinkle in somebody’s eyes when Jerry died, and these 18-year-olds get the values of Deadheads,” said former Grateful Dead publicist and author Dennis McNally.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead on the corner of Haight and Ashbury. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fitting in, feeling at home\u003c/h2>\n\u003cp>Deadheads can reel off why and how, and the moment they fell in love with the music. Fans love that no two shows are the same; the band plays different songs each time. They also embrace the community that comes with a Dead show.\u003c/p>\n\u003cp>Sunshine Powers didn’t have friends until age 13, when she stepped off a city bus and into the Haight-Ashbury neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I, all of a sudden, felt like I fit in. Or like I didn’t have to fit in,” says Powers, now 45 and the owner of tie-dye emporium \u003ca href=\"https://loveonhaightsf.com/\">Love on Haight\u003c/a>. “I don’t know which one it was, but I know it was like, OK.”\u003c/p>\n\u003cp>Similarly, her friend Taylor Swope, 47, survived a tough freshman year at a new school with the help of a Grateful Dead mixtape. The owner of the Little Hippie gift shop is driving from Brooklyn, New York, to sell merchandise, reconnect with friends and see the shows.\u003c/p>\n\u003cp>“The sense of, ‘I found my people, I didn’t fit in anywhere else and then I found this, and I felt at home.’ So that’s a big part of it,” she said of the allure.\u003c/p>\n\u003ch2>Magical live shows\u003c/h2>\n\u003cp>Sometimes, becoming a Deadhead is a process.\u003c/p>\n\u003cp>Thor Cromer, 60, had attended several Dead shows, but was ambivalent about the hippies. That changed on March 15, 1990, in Landover, Maryland.\u003c/p>\n\u003cp>“That show, whatever it was, whatever magic hit,” he said, “it was injected right into my brain.”\u003c/p>\n\u003cp>Cromer, who worked for the U.S. Senate then, eventually took time off to follow the band on tour and saw an estimated 400 shows from spring 1990 until \u003ca href=\"https://www.kqed.org/news/10630061/20-years-ago-today-captain-trips-died-and-the-dot-com-boom-took-off\">Garcia’s death\u003c/a>.\u003c/p>\n\u003cp>Cromer now works in technology and is flying in from Boston to join scores of fellow “rail riders” who dance in the rows closest to the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Aberdeen, 62, saw his first Dead show in 1984. As the only person in his college group with a driver’s license, he was tapped to drive a crowded VW Bug from Antioch College in Yellow Springs, Ohio, to Syracuse, New York.\u003c/p>\n\u003cp>“I thought it was pretty weird,” he said. “But I liked it.”\u003c/p>\n\u003cp>He fell in love the following summer, when the Dead played a venue near his college.\u003c/p>\n\u003cp>Aberdeen remembers rain pouring down in the middle of the show and a giant rainbow appearing over the band when they returned for their second act. They played “Comes a Time,” a rarely played Garcia ballad.\u003c/p>\n\u003cp>“There is a lot of excitement, and there will be a lot of people here,” Aberdeen said. “Who knows when we’ll have an opportunity to get together like this again?”\u003c/p>\n\u003cp>Fans were able to see Dead & Company in Las Vegas earlier this year, but no new dates have been announced. Guitarist Bob Weir is 77, and drummers Mickey Hart and Bill Kreutzmann are 81 and 79, respectively. Besides Garcia, founding members Ron “Pigpen” McKernan on keyboards died in 1973 and bassist \u003ca href=\"https://www.kqed.org/arts/13967309/the-grateful-dead-bassist-phil-lesh-dies-at-84\">Phil Lesh died\u003c/a> last year at age 84.\u003c/p>\n\u003cfigure id=\"attachment_13967310\" class=\"wp-caption aligncenter\" style=\"max-width: 1385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-52691498-scaled-e1753903266478.jpeg\" alt=\"An older white man with grey hair wearing a brown suede jacket holding up a book with the Grateful Dead logo on it.\" width=\"1385\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Phil Lesh of the Grateful Dead holds a copy of his book, ‘Searching for the Sound: My Life with the Grateful Dead’ at the Los Angeles Times Festival of Books on April 24, 2005. \u003ccite>(Michael Buckner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Multiple events planned for Dead’s 60th\u003c/h2>\n\u003cp>Mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a>, who is not a Deadhead but counts “Sugar Magnolia” as his favorite Dead song, is overjoyed at the economic boost as San Francisco recovers from pandemic-related hits to its tech and tourism sectors.\u003c/p>\n\u003cp>“They are the reason why so many people know and love San Francisco,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The weekend features parties, shows and celebrations throughout the city. Grahame Lesh & Friends will perform three nights starting Thursday. Lesh is the son of Phil Lesh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, which would have been Garcia’s 83rd birthday, officials will rename a street after the San Francisco native. On Saturday, visitors can celebrate the city’s annual Jerry Day at the Jerry Garcia Amphitheater located in a park near Garcia’s childhood home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Zakir Hussain, the world-renowned Indian tabla maestro, was known for his unique ability to connect with artists across all types of musical genres like bluegrass, jazz and rock.\u003c/p>\n\u003cp>“His instruments were like the rains, dense sheets of sounds performed like blurs of lightning-fast fingers on small, tuned drums,” Grateful Dead drummer Mickey Hart said \u003ca href=\"https://www.instagram.com/mickeyhart/p/DDplkmjz9qM/?img_index=1\">in a post\u003c/a> about Hussain, who died in December at the age of 73. “With the skill of a surgeon, he weaved a rhythmic spell with each finger at the most rapid speeds that can be imaginable. The world will never be the same without him.”\u003c/p>\n\u003cp>[aside postID='arts_13969516']Now Hart, along with over two dozen prominent artists like Charles Lloyd, Joshua Redman, and Julian Lage, are preparing to gather to pay respects to Hussain through music. The \u003ca href=\"https://buy.acmeticketing.com/events/516/detail/6792e130662efc3b066b1b56?date=2025-02-28T00:00:00-0800\">one-time-only memorial concert\u003c/a>, organized by Hussain’s family, will take place Friday, Feb. 28, at San Francisco’s Grace Cathedral. Also on the lineup are performances by Béla Fleck, Jayanthi Kumaresh, Third Coast Percussion, Anantha Krishnan, Eric Harland, Dave Holland, Chris Potter, John Sanchez and more.\u003c/p>\n\u003cp>The event aims to bring together not only fans of Hussain’s music, but his music industry friends, too. Tickets for the event start at $65, with special ticket options and prices for reserved seating and undergraduate students. All proceeds are being directed to the Zakir Hussain Institute of Music.\u003c/p>\n\u003cp>Hussain lived for decades just north of the Golden Gate Bridge, in the Marin County town of San Anselmo. Every detail of the event, from the lineup of featured artists to the cathedral itself — where Hussain played in years past — has been thoughtfully chosen to honor Hussain’s musical legacy and lasting mark on the Bay Area.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘A Celebration of the Life and Music of Zakir Hussain’ takes place on Friday, Feb. 28, at Grace Cathedral in San Francisco. \u003ca href=\"https://buy.acmeticketing.com/events/516/list?date=2025-02-28T00:00:00-0800\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Indian tabla player Zakir Hussain — who united musicians from diverse cultures and by doing so, shaped modern world music — died on Sunday in San Francisco.\u003cstrong> \u003c/strong>He was 73.\u003c/p>\n\u003cp>In a statement, his family said the cause of death was idiopathic pulmonary fibrosis.\u003c/p>\n\u003cp>“His prolific work as a teacher, mentor and educator has left an indelible mark on countless musicians. He hoped to inspire the next generation to go further. He leaves behind an unparalleled legacy as a cultural ambassador and one of the greatest musicians of all time,” his family added.\u003c/p>\n\u003cp>Hussain’s career spanned over five decades, during which he was revered as a national treasure both in India and the United States. He made his Bay Area home in San Anselmo, in Marin County, and was admired worldwide. \u003c/p>\n\u003cp>[aside postID='arts_13891739']\u003c/p>\n\u003cp>He defied genres and collaborated with an impressive range of musicians, including jazz saxophonist Charles Lloyd, bluegrass artists Edgar Meyer and Béla Fleck, as well as rockstars George Harrison and Van Morrison. His versatility earned him the rare distinction of performing twice on NPR’s Tiny Desk — once \u003ca href=\"https://www.npr.org/2010/07/26/128652297/bela-fleck-edgar-meyer-zakir-hussain-tiny-desk-concert\">in 2010\u003c/a> and then \u003ca href=\"https://www.npr.org/2023/10/30/1208837412/shakti-tiny-desk-concert\">in 2023\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You know, you come from India and you say, ‘OK, I’m representing a 3,000-year-old history,’ so you think you’re gonna teach the world about rhythms and drums and so on,” \u003ca href=\"https://www.npr.org/2015/01/08/375637915/the-tabla-master-who-jammed-with-the-grateful-dead\">he told NPR in 2015\u003c/a>. “And then you arrive here. You suddenly realize that you know nothing. You’re just one little dot in the painting that is the music of the universe.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/zakir-hussain/\">\u003cstrong>Watch an episode of KQED’s ‘Spark’ with Zakir Hussain here\u003c/strong>\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Beyond his performances, Hussain was admired for his passion to teaching Indian drumming, further spreading appreciation for the art form.\u003c/p>\n\u003cp>Hussain often said that his musical journey began soon after he was born in Bombay. In the 2015 NPR interview, he recalled a tradition where a father whispers a prayer into his newborn son’s ear. Instead, his father chose to sing him rhythms. \u003c/p>\n\u003cp>“My mother was very upset and said, ‘Why are you doing this?’ And he said, ‘Because this \u003cem>is\u003c/em> my prayer,'” Hussain said.\u003c/p>\n\u003cp>He told NPR that it was his father’s dream for him to carry on the tradition of being an Indian classical musician. His father, Alla Rakha, was considered one of the world’s greatest player’s of tabla, a centuries-old Indian hand drum. His father taught Hussain how to play the tabla when he was 7 years old. \u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2048x1437+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F4e%2F8f%2F4f0a60b14885b03986cfcda31151%2Fgettyimages-1557479932.jpg\" alt=\"Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist's question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003.\">\u003cfigcaption>Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist’s question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003. \u003ccite> (Indranil Mukherjee | AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his father also introduced Hussain to music from around the world, which is how Hussain fell in love with rock and Western music. \u003c/p>\n\u003cp>“I was the only kid on the block who was walking down the street with a boombox on my shoulder, playing as loud as I could ‘Light My Fire,'” Hussain recalled.\u003c/p>\n\u003cp>In 1970, at 19, Hussain traveled to the U.S. where he spent the following years working with rockstars like George Harrison, Van Morrison and Mickey Hart, the drummer from The Grateful Dead. He also played with jazz musician John Handy.\u003c/p>\n\u003cp>In 1973, Hussain formed the Indian jazz fusion band Shakti with jazz guitarist John McLaughlin. With its melodic and rhythm instruments, the band helped American listeners appreciate sounds and instruments beyond Western music. \u003c/p>\n\u003cp>In 2024, Hussain became the first musician from India to receive three Grammy awards in the same year after Shakti won Best Global Music Album, and Hussain’s collaboration with Edgar Meyer and Béla Fleck featuring Rakesh Chaurasia won Best Global Music Performance and Best Contemporary Instrumental Album.\u003c/p>\n\u003cp>[aside postID='news_10780713']\u003c/p>\n\u003cp>Hussain told NPR in 2015 that throughout the course of his career, he has found similarities between rhythmists around the world — regardless of approach or style. \u003c/p>\n\u003cp>“We were all on the same wavelength, the same quest, looking for perfection, which we will never find. But that didn’t matter because it’s all about the journey — not the goal,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Felix Contreras contributed reporting.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You know, you come from India and you say, ‘OK, I’m representing a 3,000-year-old history,’ so you think you’re gonna teach the world about rhythms and drums and so on,” \u003ca href=\"https://www.npr.org/2015/01/08/375637915/the-tabla-master-who-jammed-with-the-grateful-dead\">he told NPR in 2015\u003c/a>. “And then you arrive here. You suddenly realize that you know nothing. You’re just one little dot in the painting that is the music of the universe.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/zakir-hussain/\">\u003cstrong>Watch an episode of KQED’s ‘Spark’ with Zakir Hussain here\u003c/strong>\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Beyond his performances, Hussain was admired for his passion to teaching Indian drumming, further spreading appreciation for the art form.\u003c/p>\n\u003cp>Hussain often said that his musical journey began soon after he was born in Bombay. In the 2015 NPR interview, he recalled a tradition where a father whispers a prayer into his newborn son’s ear. Instead, his father chose to sing him rhythms. \u003c/p>\n\u003cp>“My mother was very upset and said, ‘Why are you doing this?’ And he said, ‘Because this \u003cem>is\u003c/em> my prayer,'” Hussain said.\u003c/p>\n\u003cp>He told NPR that it was his father’s dream for him to carry on the tradition of being an Indian classical musician. His father, Alla Rakha, was considered one of the world’s greatest player’s of tabla, a centuries-old Indian hand drum. His father taught Hussain how to play the tabla when he was 7 years old. \u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2048x1437+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F4e%2F8f%2F4f0a60b14885b03986cfcda31151%2Fgettyimages-1557479932.jpg\" alt=\"Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist's question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003.\">\u003cfigcaption>Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist’s question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003. \u003ccite> (Indranil Mukherjee | AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his father also introduced Hussain to music from around the world, which is how Hussain fell in love with rock and Western music. \u003c/p>\n\u003cp>“I was the only kid on the block who was walking down the street with a boombox on my shoulder, playing as loud as I could ‘Light My Fire,'” Hussain recalled.\u003c/p>\n\u003cp>In 1970, at 19, Hussain traveled to the U.S. where he spent the following years working with rockstars like George Harrison, Van Morrison and Mickey Hart, the drummer from The Grateful Dead. He also played with jazz musician John Handy.\u003c/p>\n\u003cp>In 1973, Hussain formed the Indian jazz fusion band Shakti with jazz guitarist John McLaughlin. With its melodic and rhythm instruments, the band helped American listeners appreciate sounds and instruments beyond Western music. \u003c/p>\n\u003cp>In 2024, Hussain became the first musician from India to receive three Grammy awards in the same year after Shakti won Best Global Music Album, and Hussain’s collaboration with Edgar Meyer and Béla Fleck featuring Rakesh Chaurasia won Best Global Music Performance and Best Contemporary Instrumental Album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Phil Lesh, bassist and founding member of countercultural rock band The Grateful Dead, has died. He was 84 years old. His family posted the news on Lesh’s official \u003ca href=\"https://www.instagram.com/p/DBjvWcHPbQB/?hl=en\">Instagram page\u003c/a>.\u003c/p>\n\u003cp>Born in Berkeley, Calif., in 1940, Lesh was initially drawn to classical music. He played violin as a child before turning his attention to the trumpet, which he studied throughout high school and his time at the College of San Mateo. In the early ’60s, he met banjo player Jerry Garcia, who later asked him to join his rock band, The Warlocks, as their bassist — an instrument Lesh did not play. He accepted nonetheless, and in 1965, The Grateful Dead was born, with Lesh finding his footing in the improvisation-driven group as he went.[aside postID='arts_13853019']\u003c/p>\n\u003cp>“On a day-to-day basis, the psychic pivot to the Dead is Phil Lesh, the most aggressive purist, the anti-philistine Artist,” wrote Grateful Dead biographer Dennis McNally in his 2002 book \u003cem>A Long Strange Trip: The Inside History of the Grateful Dead.\u003c/em> “It is he who most often and most loudly demands that they dance as closely as possible to the edge of the nearest available precipice. Intellectual, kinetic, intense, he was once nicknamed Reddy Kilowatt in recognition of his high mental and physical velocity.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/5541x3704+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F90%2F1c%2Fa76b7c8347c3a75954f9bb2305cc%2Fgettyimages-1061690214.jpg\" alt=\"The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970.\">\u003cfigcaption>The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970. \u003ccite> (Michael Ochs Archives/Getty Images | Hulton Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the Dead’s decades of musical longevity and reinvention, Lesh went on to sing lead vocals on some of the band’s most memorable songs, including “Box of Rain” off the 1970 album \u003cem>American Beauty\u003c/em>, which he composed alongside longtime Dead lyricist Robert Hunter, and “Unbroken Chain” off 1974’s \u003cem>From the Mars Hotel.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nxjvo4BRf-Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Garcia’s death in 1995, Lesh reunited with fellow band members Bob Weir and Mickey Hart and keyboardist Bruce Hornsby to tour as The Other Ones, and later, The Dead. He also released albums with his own group, Phil Lesh and Friends, and for a decade operated a popular venue called Terrapin Crossroads in San Rafael. There, Lesh often performed alongside his sons, Grahame and Brian. Though \u003ca href=\"https://datebook.sfchronicle.com/music/grateful-dead-bassists-former-marin-music-venue-listed-for-5-million\">Terrapin closed in 2021\u003c/a>, the Lesh family continued to champion live music in Northern California, most recently organizing a festival called Sunday Daydream, which Lesh headlined this past summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would have to say that music and performing are as essential as food and drink to me, but even more so as I get older,” Lesh told \u003cem>The Marin Independent Journal\u003c/em> in June. “While it can sometimes be more of a challenge physically than it was when I was a young whippersnapper, I’ve found that age brings wisdom, and with that comes musical experience and knowledge that I didn’t have when I was younger.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Phil Lesh, bassist and founding member of countercultural rock band The Grateful Dead, has died. He was 84 years old. His family posted the news on Lesh’s official \u003ca href=\"https://www.instagram.com/p/DBjvWcHPbQB/?hl=en\">Instagram page\u003c/a>.\u003c/p>\n\u003cp>Born in Berkeley, Calif., in 1940, Lesh was initially drawn to classical music. He played violin as a child before turning his attention to the trumpet, which he studied throughout high school and his time at the College of San Mateo. In the early ’60s, he met banjo player Jerry Garcia, who later asked him to join his rock band, The Warlocks, as their bassist — an instrument Lesh did not play. He accepted nonetheless, and in 1965, The Grateful Dead was born, with Lesh finding his footing in the improvisation-driven group as he went.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“On a day-to-day basis, the psychic pivot to the Dead is Phil Lesh, the most aggressive purist, the anti-philistine Artist,” wrote Grateful Dead biographer Dennis McNally in his 2002 book \u003cem>A Long Strange Trip: The Inside History of the Grateful Dead.\u003c/em> “It is he who most often and most loudly demands that they dance as closely as possible to the edge of the nearest available precipice. Intellectual, kinetic, intense, he was once nicknamed Reddy Kilowatt in recognition of his high mental and physical velocity.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/5541x3704+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F90%2F1c%2Fa76b7c8347c3a75954f9bb2305cc%2Fgettyimages-1061690214.jpg\" alt=\"The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970.\">\u003cfigcaption>The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970. \u003ccite> (Michael Ochs Archives/Getty Images | Hulton Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the Dead’s decades of musical longevity and reinvention, Lesh went on to sing lead vocals on some of the band’s most memorable songs, including “Box of Rain” off the 1970 album \u003cem>American Beauty\u003c/em>, which he composed alongside longtime Dead lyricist Robert Hunter, and “Unbroken Chain” off 1974’s \u003cem>From the Mars Hotel.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nxjvo4BRf-Y'\n title='//www.youtube.com/embed/nxjvo4BRf-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Garcia’s death in 1995, Lesh reunited with fellow band members Bob Weir and Mickey Hart and keyboardist Bruce Hornsby to tour as The Other Ones, and later, The Dead. He also released albums with his own group, Phil Lesh and Friends, and for a decade operated a popular venue called Terrapin Crossroads in San Rafael. There, Lesh often performed alongside his sons, Grahame and Brian. Though \u003ca href=\"https://datebook.sfchronicle.com/music/grateful-dead-bassists-former-marin-music-venue-listed-for-5-million\">Terrapin closed in 2021\u003c/a>, the Lesh family continued to champion live music in Northern California, most recently organizing a festival called Sunday Daydream, which Lesh headlined this past summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would have to say that music and performing are as essential as food and drink to me, but even more so as I get older,” Lesh told \u003cem>The Marin Independent Journal\u003c/em> in June. “While it can sometimes be more of a challenge physically than it was when I was a young whippersnapper, I’ve found that age brings wisdom, and with that comes musical experience and knowledge that I didn’t have when I was younger.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s more than a theater. It’s a cultural touchstone … that’s rooted in the Harlem community,” Ebanks said. “It really is a recognition of a collective passion. … Over the decades, The Apollo has never stood still.”\u003c/p>\n\n",
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"headline": "Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s more than a theater. It’s a cultural touchstone … that’s rooted in the Harlem community,” Ebanks said. “It really is a recognition of a collective passion. … Over the decades, The Apollo has never stood still.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "herb-greene-haight-ashbury-experience-photography-review",
"title": "Herb Greene’s Photography Offers Much More Than Music Icons",
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"headTitle": "Herb Greene’s Photography Offers Much More Than Music Icons | KQED",
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"content": "\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>[aside postid='arts_13039627']First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13920973']Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "When Indian Classical Music Giants Collided With Psychedelic San Francisco",
"headTitle": "When Indian Classical Music Giants Collided With Psychedelic San Francisco | KQED",
"content": "\u003cp>In May of 1970, at a San Francisco concert venue best known for reverberating with the sounds of the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Grateful Dead\u003c/a> and Jefferson Airplane, three masters of Indian classical music took the stage for a celebration of Indian ragas. The concert was recorded by another legend of the time: Owsley Stanley, the man who designed the Dead’s innovative sound system, as well as making what was reputed to be the best LSD of its day. That recording is now available as a live album, titled \u003cem>Bear’s Sonic Journals: That Which Colors the Mind\u003c/em>.\u003c/p>\n\u003cp>On that night, Indian sarod master Ali Akbar Khan was joined on stage by sitar player Indranil Bhattacharya and a 19-year-old percussionist named \u003ca href=\"https://www.npr.org/artists/113441328/zakir-hussain\" target=\"_blank\" rel=\"noopener noreferrer\">Zakir Hussain\u003c/a>. Hussain had just arrived in America a few months before, occupied with finding his way around the country and understanding the slang: “Words like ‘far-out’ and ‘groovy’ and all weren’t quite registering,” he says.\u003c/p>\n\u003cp>The language of the hippie generation may not have clicked for Hussain, but sitar maestro Ravi Shankar had already electrified the Woodstock and Monterey Pop festivals. The audience in San Francisco that night was primed to listen.\u003c/p>\n\u003cp>“In India, I was used to playing with the audience chiming in,” Hussain recalls. “Everybody saying ‘Wow’ and … ‘Do that again,’ and all that stuff. But here the audience was quiet, eyes closed, meditative. The room was dark so you couldn’t really make eye contact with the audience, and so you were left to rely on your interaction with your fellow musicians.”\u003c/p>\n\u003cp>Since his first American concert, Zakir Hussain has become perhaps the most famous tabla player in the world. He now lives in California, and he says it was this performance 50 years ago that showed him that Indian classical music could be played in the West in its purest form. “It really set the tone of how I would present myself to my fellow musicians—whoever I was accompanying—for the rest of my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Capturing the performance in the highest fidelity possible was the goal of Owsley Stanley, the man known to friends as “The Bear.” Hussain says Stanley was often seen running around “like a madman,” tripping over wires and cursing. “This was a guy who knew what needed to be done about how this music should be presented to those who were not there. I mean, Bear had this idea that the music should be heard in a way where people can close their eyes and actually see where the musicians are seated.”\u003c/p>\n\u003cp>“His objective with his recording was to try to capture the audiences’ experience so that he could improve the sound system,” says Starfinder Stanley, son of the late sound man and head of the \u003ca href=\"https://owsleystanleyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Owsley Stanley Foundation\u003c/a>. He describes his father as an “audiophile who was born in a low fidelity world,” devoted to improving the sound systems and overall sonic experience of rock and roll. “He called his tapes his sonic journals,” he recalls. “They were his working diary so that he could improve the sound.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=myYeIlhh45U\u003c/p>\n\u003cp>The Foundation has begun restoring Stanley’s tapes and releasing the music. “He had collected about 1,300 reels of 80 different artists in nearly every idiom you can imagine of music,” says Hawk Semins, the executive producer of the series. From Miles Davis to Janis Joplin, Semins says these live recordings capture the ‘magic’ of the ’60s and ’70s Bay Area music scene. “It’s just absolutely remarkable the mix that’s reflected, the contacts that there were, the open-mindedness of the scene in terms of the various musical influences,” he says. “You’ve got Ali Akbar Khan one night, and you’ve got Commander Cody another night, and you’ve got the Grateful Dead another night. And they were all listening to each other, and they were all playing with each other.”\u003c/p>\n\u003cp>It was a time for expanding consciousness, and while Starfinder acknowledges his father’s role in chemically altering the minds of that scene’s participants, he insists the music was Owsley Stanley’s real drug. Zakir Hussain says that idea is captured in the new album’s title: Thousands of years ago, an ancient thinker named Bharata lived in India; he wrote many treatises, including the \u003cem>Natya Shastra\u003c/em>, where raga originates. “It says, ‘\u003cem>Rangati iti raga\u003c/em>,’ which means ‘That which colors the mind is a raga.’ And that ties into this recording, the title.”\u003c/p>\n\u003cp>Starfinder says he hopes the recordings can introduce a new generation to a pivotal moment in American music history, when genres and cultures cross-pollinated in a spirit of openness and dialogue. He suggests that the album makes a great companion in the chaos of our current time, especially in moments where one needs to unplug and step back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stop doom-scrolling through all the crazy stuff that’s going on,” he says. “Let this into your mind, and let it soothe that internal monologue. And this album in particular is great for that—you know, it just transports you.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+The+Giants+Of+Indian+Classical+Music+Collided+With+Psychedelic+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In May of 1970, at a San Francisco concert venue best known for reverberating with the sounds of the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Grateful Dead\u003c/a> and Jefferson Airplane, three masters of Indian classical music took the stage for a celebration of Indian ragas. The concert was recorded by another legend of the time: Owsley Stanley, the man who designed the Dead’s innovative sound system, as well as making what was reputed to be the best LSD of its day. That recording is now available as a live album, titled \u003cem>Bear’s Sonic Journals: That Which Colors the Mind\u003c/em>.\u003c/p>\n\u003cp>On that night, Indian sarod master Ali Akbar Khan was joined on stage by sitar player Indranil Bhattacharya and a 19-year-old percussionist named \u003ca href=\"https://www.npr.org/artists/113441328/zakir-hussain\" target=\"_blank\" rel=\"noopener noreferrer\">Zakir Hussain\u003c/a>. Hussain had just arrived in America a few months before, occupied with finding his way around the country and understanding the slang: “Words like ‘far-out’ and ‘groovy’ and all weren’t quite registering,” he says.\u003c/p>\n\u003cp>The language of the hippie generation may not have clicked for Hussain, but sitar maestro Ravi Shankar had already electrified the Woodstock and Monterey Pop festivals. The audience in San Francisco that night was primed to listen.\u003c/p>\n\u003cp>“In India, I was used to playing with the audience chiming in,” Hussain recalls. “Everybody saying ‘Wow’ and … ‘Do that again,’ and all that stuff. But here the audience was quiet, eyes closed, meditative. The room was dark so you couldn’t really make eye contact with the audience, and so you were left to rely on your interaction with your fellow musicians.”\u003c/p>\n\u003cp>Since his first American concert, Zakir Hussain has become perhaps the most famous tabla player in the world. He now lives in California, and he says it was this performance 50 years ago that showed him that Indian classical music could be played in the West in its purest form. “It really set the tone of how I would present myself to my fellow musicians—whoever I was accompanying—for the rest of my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Capturing the performance in the highest fidelity possible was the goal of Owsley Stanley, the man known to friends as “The Bear.” Hussain says Stanley was often seen running around “like a madman,” tripping over wires and cursing. “This was a guy who knew what needed to be done about how this music should be presented to those who were not there. I mean, Bear had this idea that the music should be heard in a way where people can close their eyes and actually see where the musicians are seated.”\u003c/p>\n\u003cp>“His objective with his recording was to try to capture the audiences’ experience so that he could improve the sound system,” says Starfinder Stanley, son of the late sound man and head of the \u003ca href=\"https://owsleystanleyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Owsley Stanley Foundation\u003c/a>. He describes his father as an “audiophile who was born in a low fidelity world,” devoted to improving the sound systems and overall sonic experience of rock and roll. “He called his tapes his sonic journals,” he recalls. “They were his working diary so that he could improve the sound.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/myYeIlhh45U'\n title='//www.youtube.com/embed/myYeIlhh45U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Foundation has begun restoring Stanley’s tapes and releasing the music. “He had collected about 1,300 reels of 80 different artists in nearly every idiom you can imagine of music,” says Hawk Semins, the executive producer of the series. From Miles Davis to Janis Joplin, Semins says these live recordings capture the ‘magic’ of the ’60s and ’70s Bay Area music scene. “It’s just absolutely remarkable the mix that’s reflected, the contacts that there were, the open-mindedness of the scene in terms of the various musical influences,” he says. “You’ve got Ali Akbar Khan one night, and you’ve got Commander Cody another night, and you’ve got the Grateful Dead another night. And they were all listening to each other, and they were all playing with each other.”\u003c/p>\n\u003cp>It was a time for expanding consciousness, and while Starfinder acknowledges his father’s role in chemically altering the minds of that scene’s participants, he insists the music was Owsley Stanley’s real drug. Zakir Hussain says that idea is captured in the new album’s title: Thousands of years ago, an ancient thinker named Bharata lived in India; he wrote many treatises, including the \u003cem>Natya Shastra\u003c/em>, where raga originates. “It says, ‘\u003cem>Rangati iti raga\u003c/em>,’ which means ‘That which colors the mind is a raga.’ And that ties into this recording, the title.”\u003c/p>\n\u003cp>Starfinder says he hopes the recordings can introduce a new generation to a pivotal moment in American music history, when genres and cultures cross-pollinated in a spirit of openness and dialogue. He suggests that the album makes a great companion in the chaos of our current time, especially in moments where one needs to unplug and step back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stop doom-scrolling through all the crazy stuff that’s going on,” he says. “Let this into your mind, and let it soothe that internal monologue. And this album in particular is great for that—you know, it just transports you.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+The+Giants+Of+Indian+Classical+Music+Collided+With+Psychedelic+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Hunter, the man behind the poetic and mystical words for many of the Grateful Dead’s finest songs, has died at age 78.\u003c/p>\n\u003cp>Grateful Dead drummer Mickey Hart says Hunter died Monday at his Northern California home. The cause of death was not disclosed.\u003c/p>\n\u003cp>Although proficient on a number of instruments including guitar, violin, cello and trumpet, Hunter never appeared on stage with the Grateful Dead.\u003c/p>\n\u003cp>Instead he was content to stay in the background and let his written words speak for him during the band’s 30-year run that ended with the 1995 death of guitarist Jerry Garcia.\u003c/p>\n\u003cp>Hunter’s songs included such classics as “Truckin’,” ″Uncle John’s Band,” ″Box of Rain” and “Ripple.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He also collaborated with Bob Dylan and others, including Hart and other members of the Grateful Dead.\u003c/p>\n\n",
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"content": "\u003cp>It all started with a feeling. \u003c/p>\n\u003cp>The year was 1992, and Grateful Dead manager Danny Rifkin was driving a van past San Quentin State Prison with the Gyuto Monks. According to Grateful Dead publicist Dennis McNally, “The monks saw the building and said, ‘We sense a lot of pain over there.'”\u003c/p>\n\u003cp>When Rifkin told them it was a prison, they asked to pull over for a puja, or healing prayer. Rifkin later connected with prison chaplain \u003ca href=\"http://www.chaplainearlsmith.com/\" rel=\"noopener\" target=\"_blank\">Earl Smith\u003c/a> to see about getting inside San Quentin, and he asked, “What’s the single best thing we can do?”\u003c/p>\n\u003cp>“And Earl said, ‘Convince these guys that they’re not here isolated for the rest of their lives, and that they still have a connection to the rest of the planet and society,'” McNally recalls. “Eventually, this led to Mickey Hart learning about their gospel choir.”\u003c/p>\n\u003cfigure id=\"attachment_13852759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg\" alt=\"Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of 'He's All I Need.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-13852759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of ‘He’s All I Need.’ \u003ccite>(Susana Millman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting concert inside San Quentin is a key moment in \u003cem>\u003ca href=\"https://www.facebook.com/invisiblebars/\" rel=\"noopener\" target=\"_blank\">Invisible Bars\u003c/a>\u003c/em>, a documentary by Bay Area filmmaker John Beck about the effect of prison on the families and children of the incarcerated. (It \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=25420\" rel=\"noopener\" target=\"_blank\">premieres on KQED TV\u003c/a> on Tuesday, March 19, at 11 p.m.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was an opportunity to leave there without leaving there, because you were in another place,” remembers Smith today. “We had a mix of staff and inmates doing what had never been done before. We had female staff members join the choir, and correctional officers playing the organ and drums.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nKLZHwr1Jj8\u003c/p>\n\u003cp>\u003cem>He’s All I Need\u003c/em>, a recording of the concert, was released by Grateful Dead Records in 1993. In the middle of some songs, inmates and prison staff alike tell short stories about their life at San Quentin, and testify to the Lord’s care. Looking back, “there was a magic about it,” says Smith, now the team chaplain for the Warriors and 49ers. \u003c/p>\n\u003cp>“Prison air is toxic, in so many cases, and what happened in that time, there was a breathing of clean air,” he adds.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13852737,13852743,13852750,13852740,13852745,13852752,13852739,13852754,13852744\"]\u003c/p>\n\u003cp>Another thing happened that day: Smith suggested to Rifkin that the Grateful Dead use their resources to help the children of inmates, who are at greater risk of landing in prison themselves. That eventually led to the creation of \u003ca href=\"http://www.projectavary.org/\" rel=\"noopener\" target=\"_blank\">Project Avary\u003c/a>, a nonprofit that provides support and guidance for children of incarcerated parents. \u003c/p>\n\u003cp>It’s the stories of those children shown in \u003cem>Invisible Bars\u003c/em>. (Public defender Jeff Adachi, who \u003ca href=\"https://www.kqed.org/news/11728381/san-francisco-public-defender-jeff-adachi-dies-at-age-59\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> in February, appears in the documentary as well.) And it all started with that day inside San Quentin, over 25 years ago.\u003c/p>\n\u003cp>“Even when you know that they’re going to let you out, when that door closes behind you, it is one cold feeling,” says McNally today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But at least for a day, there was a light in the middle of their dark, regular days. They felt it. And the audience in the chapel was just seized by the moment and the music.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all started with a feeling. \u003c/p>\n\u003cp>The year was 1992, and Grateful Dead manager Danny Rifkin was driving a van past San Quentin State Prison with the Gyuto Monks. According to Grateful Dead publicist Dennis McNally, “The monks saw the building and said, ‘We sense a lot of pain over there.'”\u003c/p>\n\u003cp>When Rifkin told them it was a prison, they asked to pull over for a puja, or healing prayer. Rifkin later connected with prison chaplain \u003ca href=\"http://www.chaplainearlsmith.com/\" rel=\"noopener\" target=\"_blank\">Earl Smith\u003c/a> to see about getting inside San Quentin, and he asked, “What’s the single best thing we can do?”\u003c/p>\n\u003cp>“And Earl said, ‘Convince these guys that they’re not here isolated for the rest of their lives, and that they still have a connection to the rest of the planet and society,'” McNally recalls. “Eventually, this led to Mickey Hart learning about their gospel choir.”\u003c/p>\n\u003cfigure id=\"attachment_13852759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg\" alt=\"Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of 'He's All I Need.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-13852759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of ‘He’s All I Need.’ \u003ccite>(Susana Millman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting concert inside San Quentin is a key moment in \u003cem>\u003ca href=\"https://www.facebook.com/invisiblebars/\" rel=\"noopener\" target=\"_blank\">Invisible Bars\u003c/a>\u003c/em>, a documentary by Bay Area filmmaker John Beck about the effect of prison on the families and children of the incarcerated. (It \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=25420\" rel=\"noopener\" target=\"_blank\">premieres on KQED TV\u003c/a> on Tuesday, March 19, at 11 p.m.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was an opportunity to leave there without leaving there, because you were in another place,” remembers Smith today. “We had a mix of staff and inmates doing what had never been done before. We had female staff members join the choir, and correctional officers playing the organ and drums.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nKLZHwr1Jj8'\n title='//www.youtube.com/embed/nKLZHwr1Jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>He’s All I Need\u003c/em>, a recording of the concert, was released by Grateful Dead Records in 1993. In the middle of some songs, inmates and prison staff alike tell short stories about their life at San Quentin, and testify to the Lord’s care. Looking back, “there was a magic about it,” says Smith, now the team chaplain for the Warriors and 49ers. \u003c/p>\n\u003cp>“Prison air is toxic, in so many cases, and what happened in that time, there was a breathing of clean air,” he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another thing happened that day: Smith suggested to Rifkin that the Grateful Dead use their resources to help the children of inmates, who are at greater risk of landing in prison themselves. That eventually led to the creation of \u003ca href=\"http://www.projectavary.org/\" rel=\"noopener\" target=\"_blank\">Project Avary\u003c/a>, a nonprofit that provides support and guidance for children of incarcerated parents. \u003c/p>\n\u003cp>It’s the stories of those children shown in \u003cem>Invisible Bars\u003c/em>. (Public defender Jeff Adachi, who \u003ca href=\"https://www.kqed.org/news/11728381/san-francisco-public-defender-jeff-adachi-dies-at-age-59\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> in February, appears in the documentary as well.) And it all started with that day inside San Quentin, over 25 years ago.\u003c/p>\n\u003cp>“Even when you know that they’re going to let you out, when that door closes behind you, it is one cold feeling,” says McNally today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But at least for a day, there was a light in the middle of their dark, regular days. They felt it. And the audience in the chapel was just seized by the moment and the music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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