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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","blocks":[],"excerpt":"A new Haight Street Art Center exhibit captures the neighborhood as it transitioned into the stuff of legend. ","status":"publish","parent":0,"modified":1705005799,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":923},"headData":{"title":"Herb Greene’s Haight-Ashbury Photographs: More Than Musicians | KQED","description":"A new Haight Street Art Center exhibit captures the neighborhood as it transitioned into the stuff of legend. ","ogTitle":"Herb Greene’s Photography Offers Much More Than Music Legends","ogDescription":"","ogImgId":"","twTitle":"Herb Greene’s Photography Offers Much More Than Music Legends","twDescription":"","twImgId":"","socialTitle":"Herb Greene’s Haight-Ashbury Photographs: More Than Musicians %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Herb Greene’s Photography Offers Much More Than Music Icons","datePublished":"2023-02-27T20:50:52.000Z","dateModified":"2024-01-11T20:43:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925408/herb-greene-haight-ashbury-experience-photography-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13039627","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920973","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925408/herb-greene-haight-ashbury-experience-photography-review","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_5426","arts_10278","arts_3649","arts_1845","arts_1846","arts_6387","arts_822","arts_905","arts_1761","arts_585"],"featImg":"arts_13925410","label":"arts_140"},"arts_13891739":{"type":"posts","id":"arts_13891739","meta":{"index":"posts_1591205157","site":"arts","id":"13891739","score":null,"sort":[1611597216000]},"guestAuthors":[],"slug":"when-indian-classical-music-giants-collided-with-psychedelic-san-francisco","title":"When Indian Classical Music Giants Collided With Psychedelic San Francisco","publishDate":1611597216,"format":"standard","headTitle":"When Indian Classical Music Giants Collided With Psychedelic San Francisco | KQED","labelTerm":{"term":137,"site":"arts"},"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","blocks":[],"excerpt":"New live album, 'That Which Colors the Mind,' captures Ali Akbar Khan, Zakir Hussain and Indranil Bhattacharya performing in 1970.","status":"publish","parent":0,"modified":1705019598,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":927},"headData":{"title":"When Indian Classical Music Giants Collided With Psychedelic San Francisco | KQED","description":"New live album, 'That Which Colors the Mind,' captures Ali Akbar Khan, Zakir Hussain and Indranil Bhattacharya performing in 1970.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"When Indian Classical Music Giants Collided With Psychedelic San Francisco","datePublished":"2021-01-25T17:53:36.000Z","dateModified":"2024-01-12T00:33:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Bilal Qureshi","nprImageAgency":"Courtesy of the Owsley Stanley Foundation","nprStoryId":"959394422","nprApiLink":"http://api.npr.org/query?id=959394422&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/01/23/959394422/when-the-giants-of-indian-classical-music-collided-with-psychedelic-san-francisc?ft=nprml&f=959394422","nprRetrievedStory":"1","nprPubDate":"Sat, 23 Jan 2021 08:46:00 -0500","nprStoryDate":"Sat, 23 Jan 2021 07:53:00 -0500","nprLastModifiedDate":"Sun, 24 Jan 2021 08:42:16 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2021/01/20210123_wesat_when_the_giants_of_indian_classical_music_collided_with_psychedelic_san_francisco.mp3?orgId=1&topicId=1106&d=404&p=7&story=959394422&ft=nprml&f=959394422","nprAudioM3u":"http://api.npr.org/m3u/1959884198-55ede0.m3u?orgId=1&topicId=1106&d=404&p=7&story=959394422&ft=nprml&f=959394422","templateType":"standard","featuredImageType":"standard","path":"/arts/13891739/when-indian-classical-music-giants-collided-with-psychedelic-san-francisco","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2021/01/20210123_wesat_when_the_giants_of_indian_classical_music_collided_with_psychedelic_san_francisco.mp3?orgId=1&topicId=1106&d=404&p=7&story=959394422&ft=nprml&f=959394422","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13891739/when-indian-classical-music-giants-collided-with-psychedelic-san-francisco","authors":["byline_arts_13891739"],"categories":["arts_1","arts_7862","arts_69","arts_75"],"tags":["arts_1845"],"affiliates":["arts_137"],"featImg":"arts_13891740","label":"arts_137"},"arts_13867040":{"type":"posts","id":"arts_13867040","meta":{"index":"posts_1591205157","site":"arts","id":"13867040","score":null,"sort":[1569354654000]},"guestAuthors":[],"slug":"robert-hunter-the-grateful-deads-poetic-lyricist-dies-at-78","title":"Robert Hunter, the Grateful Dead’s Poetic Lyricist, Dies at 78","publishDate":1569354654,"format":"standard","headTitle":"Robert Hunter, the Grateful Dead’s Poetic Lyricist, Dies at 78 | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"Hunter died Monday at his Northern California home.","status":"publish","parent":0,"modified":1705022094,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":150},"headData":{"title":"Robert Hunter, the Grateful Dead’s Poetic Lyricist, Dies at 78 | KQED","description":"Hunter died Monday at his Northern California home.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Robert Hunter, the Grateful Dead’s Poetic Lyricist, Dies at 78","datePublished":"2019-09-24T19:50:54.000Z","dateModified":"2024-01-12T01:14:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"John Rogers, Associated Press","templateType":"standard","featuredImageType":"standard","path":"/arts/13867040/robert-hunter-the-grateful-deads-poetic-lyricist-dies-at-78","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867040/robert-hunter-the-grateful-deads-poetic-lyricist-dies-at-78","authors":["byline_arts_13867040"],"categories":["arts_69","arts_235","arts_1564"],"tags":["arts_1845","arts_1091"],"featImg":"arts_13867042","label":"arts"},"arts_13853019":{"type":"posts","id":"arts_13853019","meta":{"index":"posts_1591205157","site":"arts","id":"13853019","score":null,"sort":[1552850638000]},"guestAuthors":[],"slug":"the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin","title":"The Time the Grateful Dead Organized a Gospel Concert at San Quentin","publishDate":1552850638,"format":"standard","headTitle":"The Time the Grateful Dead Organized a Gospel Concert at San Quentin | KQED","labelTerm":{"site":"arts"},"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=IJKGFwR9jIc\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","blocks":[],"excerpt":"See inmates and prison guards singing side-by-side at the concert inside San Quentin State Prison.","status":"publish","parent":0,"modified":1705026478,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":561},"headData":{"title":"The Time the Grateful Dead Organized a Gospel Concert at San Quentin | KQED","description":"See inmates and prison guards singing side-by-side at the concert inside San Quentin State Prison.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Time the Grateful Dead Organized a Gospel Concert at San Quentin","datePublished":"2019-03-17T19:23:58.000Z","dateModified":"2024-01-12T02:27:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13853019/the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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/IJKGFwR9jIc'\n title='//www.youtube.com/embed/IJKGFwR9jIc'\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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"type":"slideshow","size":"full","ids":"13852737,13852743,13852750,13852740,13852745,13852752,13852739,13852754,13852744","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853019/the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin","authors":["185"],"categories":["arts_835","arts_69","arts_235"],"tags":["arts_1118","arts_1845","arts_596","arts_1526","arts_1985"],"featImg":"arts_13852742","label":"arts"},"arts_13830688":{"type":"posts","id":"arts_13830688","meta":{"index":"posts_1591205157","site":"arts","id":"13830688","score":null,"sort":[1525114844000]},"guestAuthors":[],"slug":"now-playing-doclands-reconciles-truth-and-history-in-marin","title":"Now Playing! DocLands Reconciles Truth and History in Marin","publishDate":1525114844,"format":"standard","headTitle":"Now Playing! DocLands Reconciles Truth and History in Marin | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Rise above the imminent onslaught of summer blockbusters with a thrilling array of quirky portraits, environmental expeditions and social-issues films. ","status":"publish","parent":0,"modified":1705027982,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":377},"headData":{"title":"Now Playing! DocLands Reconciles Truth and History in Marin | KQED","description":"Rise above the imminent onslaught of summer blockbusters with a thrilling array of quirky portraits, environmental expeditions and social-issues films. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! DocLands Reconciles Truth and History in Marin","datePublished":"2018-04-30T19:00:44.000Z","dateModified":"2024-01-12T02:53:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13830688/now-playing-doclands-reconciles-truth-and-history-in-marin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>May signals the arrival of the summer blockbuster movie season, and if you listen closely you’ll make out the faint echo of brain cells dying in multiplexes across the land. Several antidotes come to mind, including the \u003ca href=\"http://www.doclands.com\" rel=\"noopener\" target=\"_blank\">DocLands Documentary Film Festival\u003c/a>, running May 3-6 at venues in San Rafael (at the Smith Rafael Film Center) and Mill Valley (CineArts Sequoia). Programmed and presented by the California Film Institute, the parent organization of the Mill Valley Film Festival, DocLands encompasses a broad swath of social-issues films, environmental expeditions and quirky portraits of extraordinarily unique individuals.\u003c/p>\n\u003cp>Connie Field, the East Bay force of nature who nearly a decade ago produced and directed a seven-part history of the international crusade to end apartheid in South Africa, premieres \u003cem>Have You Heard from Johannesburg: Oliver Tambo\u003c/em> (May 6) to commemorate the past year’s centennial of the ANC leader’s birth. Inspiring, infuriating and revelatory, Field’s film is the epitome of essential viewing.\u003c/p>\n\u003cfigure id=\"attachment_13830737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg\" alt=\"Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that's the subject of a new documentary, 'Olompali: A Hippie Odyssey.' \" width=\"800\" height=\"530\" class=\"size-medium wp-image-13830737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OLOMPALI_filmstill4-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jack Casady and Jerry Garcia playing music at Olompali, the Marin commune that’s the subject of a new documentary, ‘Olompali: A Hippie Odyssey.’ \u003ccite>(Peter Risley/Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chunk of history that Gregg Gibbs unearths in \u003cem>Olompali: A Hippie Odyssey\u003c/em> (May 6) begins with the magnetic force of the Summer of Love, which attracted young people from around the country to San Francisco. The doc focuses on a particularly idealistic group who turned on, dropped out, and established a commune 30 miles north of the city. \u003cem>Olompali\u003c/em> is narrated by Peter Coyote (who else?), who lived in a North Bay commune himself for a pivotal part of the ’60s and has an appreciation for the euphoria and frustrations of group living.\u003c/p>\n\u003cp>A touching entry in the subgenre of lost-movie documentaries, \u003cem>Saving Brinton\u003c/em> (May 6) spotlights a rural Iowa collector who found a long-untouched bin of reels and memorabilia in a farmhouse. This fellow, Michael Zahs, recognized the historical and artistic value of the films, but he became obsessed instead with the legacy of the itinerant 19th century businessman who introduced these movies to Midwestern farmers and townies. William Brinton was that man, and he has a movie named for him now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13830688/now-playing-doclands-reconciles-truth-and-history-in-marin","authors":["22"],"categories":["arts_74"],"tags":["arts_1118","arts_977","arts_1845","arts_596"],"featImg":"arts_13830736","label":"arts"},"arts_13827622":{"type":"posts","id":"arts_13827622","meta":{"index":"posts_1591205157","site":"arts","id":"13827622","score":null,"sort":[1521594045000]},"guestAuthors":[],"slug":"do-you-want-to-talk-to-the-man-in-charge-or-the-woman-who-knows-whats-going-on","title":"'Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What's Going On?'","publishDate":1521594045,"format":"standard","headTitle":"‘Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What’s Going On?’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Growing up in the late 1950s and early ’60s, Betty Cantor developed an early talent for tinkering. “I used to take things like radios, other little electronic devices if they didn’t work, open them up, mess with them, put them back together and they worked,” she remembers during a recent phone call. “I could fix watches that wouldn’t work for anybody else.” Her fascination with how things worked helped her breeze through the available math and science classes at her Martinez, Calif. high school to the point that, she said, “they ran out of things for me to do, so they let me go over to the college to play at the lab.”\u003c/p>\n\u003cp>“Math was fun, I enjoyed it, and science was discovery,” she says. “The universe is math, right? Just how it all fits together.” She began traveling regularly, sitting in on seminars about chemistry and metallurgy in Berkeley and San Francisco in the ’60s — a place where lots of other young people were also investigating, in lots of different ways, how the universe fit together. That’s where she met the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>, with whom she’d eventually travel thousands of miles over close to 20 years, recording hundreds of hours of tape and becoming one of the many female workers, supporters and associates who shaped the story of America’s most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.\u003c/p>\n\u003cp>[contextly_sidebar id=”oh1P5RN0B0Ewenz1DrgoySrRlDcLsAM2″]\u003c/p>\n\u003cp>During her junior year, Cantor had written a term paper on the history of psychedelic drugs. LSD, which had first been synthesized about 25 years earlier, had enjoyed a short period of favor in the U.S. as a potentially salubrious psychotherapeutic aid. By the time Cantor was researching it, the pendulum of official opinion was already starting its swing backward; in 1966, California and Nevada became the first states to criminalize possession of the drug, and a federal ban would follow two years later. The budding teen scientist wanted to draw her own conclusions, though, and for reasons that crossed over into the personal.\u003c/p>\n\u003cp>“I read everything back to 1943 on [psychedelics] basically, and decided maybe there was an answer to why I felt like an alien where I lived,” she says. “I decided I was going to see colors and tastes and I wasn’t going to go crazy. I had made that decision.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At some point during her senior year, Cantor went to San Francisco and took her first acid trip. “And I ended up at 710 Ashbury Street,” she says — the Victorian house where members of the Grateful Dead and associates lived together, like turned-on, tuned-in fraternity brothers, in 1966 and ’67.\u003c/p>\n\u003cp>“Bobby [Weir] opened it up, he had his guitar on him, and he just ushered me in,” she remembers. “He bowed and said ‘Come on in.’ That was that.”\u003c/p>\n\u003cp>Cantor’s inaugural dose of LSD-25 might easily have come via the efforts of another couple of young women in the Dead orbit: Melissa Cargill and Rhoney Gissen, two Berkeley undergrads who shared a boyfriend named Augustus Owsley Stanley III, or Bear for short. Gissen was a Berkeley transfer student, a former Mount Holyoke lit major attracted to the wild scene burgeoning on the opposite coast. She and Cargill became lab assistants for their partner, helping to synthesize a pure and potent LSD that has been lovingly memorialized in media ranging from Jefferson Airplane song lyrics to official biographies. They also became experts in setting up and taking down the huge Wall of Sound PA system Bear — a Renaissance man of the hippie era, who was also an early adopter of the high-protein low-carb diet and believer in global climate change — invented, revolutionizing concert sound.\u003c/p>\n\u003cp>In her 2012 book \u003cem>Owsley and Me: My LSD Family\u003c/em>, Gissen (now known as Rhoney Gissen Stanley after taking on Bear’s last name, though the two never married) writes about how the Dead provided a backdrop and a context for her own personal awakening: expanding her mind, questioning her assumptions and becoming confident in making her own choices — including the choice to leave the group’s immediate orbit in the early 1970s, once she had a young son to care for.\u003c/p>\n\u003cp>“One of the reasons I left was that I wanted to forge my own path,” she says. “Other women felt the same; we didn’t want to raise our kids around a drug-taking, rock and roll environment.”\u003c/p>\n\u003cp>“A lot of women were unable to come into their own until they actually left the scene,” she continues, although many formed what she called “cottage industries” that orbited the band: travel agencies, fashion design, poster art, ticketing, newsletters — and many also stayed in touch, even after leaving the active scene.\u003c/p>\n\u003cp>“I still talk to women I met in 1968 [through the Grateful Dead]” she says. “The women formed a community, and that community still exists. Our children had children, and the grandchildren are friendly.”\u003c/p>\n\u003cp>Meanwhile, back in the ’60s, Cantor didn’t run away with the Grateful Dead circus immediately. She had some experience booking bands for events at her high school back across the bay, so here in her new cosmic counterculture world, it made sense to get a job at the Avalon Ballroom, the historic venue on Sutter and Van Ness where promoters like Chet Helms and Bill Graham booked acid-friendly groups like the Dead, the 13th Floor Elevators and \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a>. Cantor started out putting up posters around town for the Avalon, then moved, in swift order, to running concessions, running the box office and finally, traveling to Denver in late 1967 to help the Helms’ Family Dog collective set up an outpost.\u003c/p>\n\u003cp>The Denver project was short-lived, and Cantor was back in San Francisco by 1968, working at the Carousel Ballroom and learning sound engineering at an underground FM station, thinking she might want to be a DJ. That led to an apprenticeship with Dead recording tech Bob Matthews, who she met (and briefly dated) while handling concessions at the Carousel. “Their subsequent romance,” longtime band publicist and historian Dennis McNally writes, “did not obscure the fact that she turned into a good engineer as well as an ace hot-dog salesperson.”\u003c/p>\n\u003cp>In the end, Cantor chose mics and tape over hot dogs, though, working as an engineer and producer on official live and studio albums from 1968’s \u003cem>Anthem of the Sun\u003c/em> through 1981’s \u003cem>Dead Set — \u003c/em>and perhaps more importantly, recording hundreds of reels of soundboard tape. In a community of fans that prizes each live document of the band for its own special \u003cem>terroir\u003c/em>, its unique setlist and vibe, Betty Boards became some of the most celebrated; it was a Betty Board that the Library of Congress, in 2011, inducted into its National Recording Registry to commemorate the particularly legendary May 1977 concert at Cornell University’s Barton Hall.\u003c/p>\n\u003cp>Cantor had been solidly ensconced in the Dead camp — which was expanding as colorfully as the images in a liquid light show at the Avalon — for several years when Candace Brightman signed on for her own long, strange, multi-decade trip. Raised in the Chicago suburbs, Brightman had studied set design at St. John’s College in Annapolis, Md. and then made her way to New York City, a childhood dream. When she applied for a cashier’s job at the Anderson Theater on Second Avenue — a forerunner to Bill Graham’s Fillmore East and later, a very brief expansion of CBGB — she was turned down, but sent backstage to see if they had anything for her. They told her to come back on Friday.\u003c/p>\n\u003cp>“So I came back Friday, but there was nobody there to teach me,” she tells me on the phone from her home in Hawaii. “It’s clear they’re about to start the show… The band came onstage, and I hit a circuit breaker. Everybody seemed pleased… I thought, ‘Oh, okay. That’s not too hard.'”\u003c/p>\n\u003cp>“Scrabbling around lower Manhattan with weird jobs was a big adventure,” she says. “I was born in ’44. I was supposed to grow up and marry some rich guy. That whole thing never took with me at all. I was always getting sent to detention study hall in high school, and getting in trouble with the police and everything — I mean, not getting in trouble with them, but I liked to run away from them when they were trying to catch me. I just liked to have a lot of fun, and I didn’t like people who took themselves too seriously… and the Dead were so into absurdity, which is one of my favorite things in the world.”\u003c/p>\n\u003cp>Among the theater people and the hippies and rockers in the East Village, she’d found her tribe. There was an overlap between the staff of the more loosely managed neighborhood rock venues and nearby NYU’s technical theater department so, serendipitously, Brightman picked up formal skills on the job. She lit the Grateful Dead at the Anderson and the Fillmore East, as well as during their famous 1971 run at the Capitol Theatre in Port Chester, N.Y., a little ways outside the city. That was where Jerry Garcia, after a gig opening for the Mahavishnu Orchestra with keyboard player Howard Wales, invited her to join the gang.\u003c/p>\n\u003cp>[contextly_sidebar id=”8qrA8mtFF4M2EHo4Tjj3w5fUZvjIWfk0″]\u003c/p>\n\u003cp>It felt like the perfect job for a designer who had always felt creatively in tune with light (“I don’t like certain times of day,” she answers when I ask if she feels like a visually-oriented person, “I could never have worked in an office because of fluorescent lighting”) and who gravitated toward the eccentric and the unpredictable. Brightman became the Grateful Dead’s first touring lighting designer, hitting the road with them (and Betty Cantor) for the Europe ’72 tour that would become an iconic live triple album of the same name.\u003c/p>\n\u003cp>A 1973 \u003cem>Rolling Stone\u003c/em> article about the burgeoning Grateful Dead business empire reveals the beginnings of the patchwork quilt of band-related cottage industries Rhoney Gissen Stanley remembered. Frankie Weir, Bob’s then-partner, ran a travel agency called Fly By Night that handled tour details for the Dead and other bands. Eileen Law managed the office and the growing fan mailing list (which introduced the phrase \u003cem>Deadheads \u003c/em>into the lexicon) which she continued to do well into the 21st century. Betty Cantor was a cofounder of Alembic, the Dead-associated gear workshop and studio established in 1968; Phil Lesh’s ex Rosie McGee, who had changed her name from Florence Nathan, worked there and at Fly By Night well after the breakup. Drummer Bill Kreutzmann’s wife Susila, who also owned a boutique, made T-shirts — an enterprise that Dennis McNally, author of the epic 2002 band history \u003cem>Long Strange Trip: The Inside History of the Grateful Dead\u003c/em>, theorizes could well have been the dawn of the rock and roll shirts as concert merch.\u003c/p>\n\u003cp>“They basically only trusted women with their office and their money, from 1970 on,” McNally tells me — after the famous financial debacle in which drummer Mickey Hart’s father Lenny managed to embezzle more than $100,000 from band accounts during a stint as manager. That’s corroborated by the detailed 1994 reference text \u003cem>Skeleton Key: A Dictionary for Deadheads\u003c/em>. It sets the scene in its entry for “Office” with the description of a sign there that read: “Do you want to talk to the man-in-charge, or to the woman who knows what’s going on?” The office, the entry goes on to say, was “primarily the domain of strong, unpretentious women,” represented heavily in accounting, fan relations, licensing and publishing and other roles.\u003c/p>\n\u003cp>Cantor was on the board, Brightman directed the lights, Cargill and Gissen had made the dope and set up the revolutionary sound system (under Owsley’s stewardship) and back at the office, several departments boasted reasonable gender parity. So was the Grateful Dead a precociously woke organization, a paragon of women in psychedelic STEM? In \u003cem>Long Strange Trip\u003c/em>, McNally answers bluntly in the negative: “It would be ridiculous to suggest that the Dead is a bastion of feminist liberation.”\u003c/p>\n\u003cp>His observation comes in a mini-chapter titled “Interlude/Intermission: ‘Waits Backstage While I Sing to You,'” a reference to the \u003cem>American Beauty \u003c/em>track “Sugar Magnolia,” that ode to the capable and patient band girlfriend (“takes the wheel when I’m seeing double / pays my ticket when I speed”) usually assumed to have been inspired by Frankie Weir. McNally’s interlude covers much of the same ground as \u003cem>Skeleton Key\u003c/em>‘s peek inside the Dead offices, although perhaps with more emphasis on the relationships between the extended family of employees, colleagues, friends and lovers that turned on the band’s axis, with the lines between identities often blurred. The \u003cem>Rolling Stone \u003c/em>piece describes that community with the term \u003cem>karass\u003c/em>, a Kurt Vonnegut coinage from his 1963 sci-fi novel \u003cem>Cat’s Cradle\u003c/em> — from which the band got the name of its music-publishing company, Ice-Nine — meaning a group of otherwise-unrelated people who are destined to go through life linked to one another. (Considering how connected so many old-school affiliates seem to remain today, the term seems presciently accurate.) Women, the gist of the chapter seems to be, were full-fledged \u003cem>karass \u003c/em>members on their own Grateful Dead path — divorces, breakups and job changes notwithstanding.\u003c/p>\n\u003cp>Still, McNally makes clear, it was no gender-neutral utopia. The same chapter, set in the ’80s, quotes a roadie overheard saying “I love the sight of spandex in the morning.”\u003c/p>\n\u003cp>“The Grateful Dead were, absolutely, sexist,” McNally tells me. “They were the victims of stock mid-century American male privilege and attitude. No question. But at the same time, they had … very strong, interesting and creative women who weren’t shy about their opinions… So they weren’t dumb and they weren’t Neanderthals and they learned things.”\u003c/p>\n\u003cp>Stanley, who is at work on her own history of women in the sprawling Grateful Dead scene, tells me that the de facto sexism of the rock world was actually a bit of a blessing for her and Cargill during their time with Owsley. “When we traveled, like to Monterey Pop, and we were at the airport – to just be a girlfriend sitting on the trunk looking pretty was a way of protecting the fact that we had all these chemicals with us,” she says.\u003c/p>\n\u003cp>Amir Bar-Lev, who directed the 2017 Grateful Dead documentary \u003cem>Long Strange Trip: The Untold Story of the Grateful Dead\u003c/em>, agreed with McNally that the band’s culture included a “misogynistic streak” – he said that to a \u003cem>Billboard\u003c/em> journalist who asked him why the ambitious, four-hour film included so few interviews with women. Spouses and ex-spouses, and children – like Jerry Garcia’s daughter Trixie – make up most of the female representation in the movie. Gissen, Brightman and Cantor don’t appear; neither does Eileen Law or key early associate Carolyn “Mountain Girl” Adams Garcia, both of whom, Bar-Lev told \u003cem>Billboard,\u003c/em> declined to participate.\u003c/p>\n\u003cp>The omissions seem notable, especially considering that for those fans who might be listening for a mention of Law or Brightman or Cantor or accountant Nancy Mallonee or Ice-Nine Publishing administrator Annette Flowers or even the iconic hippie queen Mountain Girl — a member of Ken Kesey’s band of psychedelic cosmonauts, the Merry Pranksters, who turns up in Tom Wolfe’s \u003cem>Electric Kool-Aid Acid Test\u003c/em> – the mentions don’t come. (Annabelle Garcia, Mountain Girl’s daughter with Jerry, joined the director and band members at the Sundance Film Festival.)\u003c/p>\n\u003cp>Donna Jean Godchaux — who was invited to and did agree to be interviewed for \u003cem>A Long Strange Trip — \u003c/em>holds the distinction of being the only female member of the Grateful Dead. She sang in the band for almost all of the 1970s, while her husband Keith was taking his turn in the ever-shifting Dead keyboardist’s chair (the perpetual morbid joke being that to play keys for the Dead is like taking on the drummer’s job in Spinal Tap.) It’s probably also fair to say that Donna wins the prize for most-criticized former band member. A Rolling Stone feature on her from 2014 begins with this apologetic lede: “Donna Jean Godchaux knows what you’re thinking, especially if you’re a Deadhead: That her voice wasn’t always spot-on.”\u003c/p>\n\u003cp>Donna, who grew up near Florence, Ala. (the site of the Alabama Music Hall of Fame, of which she is an inductee) worked as a teen backup vocalist on sessions in Muscle Shoals, recording behind \u003ca href=\"https://www.npr.org/artists/15406033/percy-sledge\">Percy Sledge\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis \u003c/a>and Cher, among others, at the famed studio there before falling in with the Dead — to whose fans she would eventually become a topic of endless argument. McNally offered some perspective in defense of the singer. Her sense of showmanship, for one, he says, offended fans who liked to think of their band as virtuously free from such razzle-dazzle and flash.\u003c/p>\n\u003cp>“She had certain stage tricks, as it were, that violated the aesthetics of the Grateful Dead,” he says, “which was no theatrics, no smoke bombs… There was a very puritanical streak to Deadheads that held great pride in the fact that they didn’t wear costumes; it was all about the music.” As for complaints about the recordings on which Donna appeared in the ’70s: “It had a great deal more to do with the flaws of the albums,” he says. “They did \u003cem>Shakedown Street \u003c/em>coked out. It’s a mediocre album. Plus, they just didn’t like being in the studio. They did not make good studio albums. And ‘Terrapin [Station]'” – the title track from the 1977 album that was the Godchauxs’ second-to-last as band members – “was a masterpiece, as a song.” Still, Donna Godchaux has so far gone down in history, in part, as the sort of Skyler White of Dead fandom: a female flashpoint of complaints.\u003c/p>\n\u003cp>The \u003cem>Rolling Stone \u003c/em>report from ’73 — the year after Donna joined up — runs down the many departments buzzing away in the band’s business hive. It refers to the crew’s space in the office as the “boys’ room,” never mind that newly-hired Brightman appears briefly in the piece running lights and directing a union crew — and that surely, as Cantor was a member of the sound team, the room would have been her domain, too. But rock and roll production was — surprise of surprises — itself a boys’ room, and Brightman and Cantor (who would soon marry road manager Rex Jackson) faced their share of challenges.\u003c/p>\n\u003cp>“Imagine a venue in Texas in 1972,” says Brightman. “‘Who’s this pretty lady?’ And in France! Forget it. They hated having women do anything.” Once, a company in Atlanta refused to rent gear to her. She remembers sometimes pretending not to be in charge, in order to make her job go more smoothly with venue staff – although still, her tools might get stolen or her ladder moved when she was hanging lights, sometimes by her own team. (Which, admittedly, Brightman — who still sounds actively mischievous, close to 50 years after taking a job, in part, because of its potential for absurdity — thinks was kind of funny: “Actually, I think that’s hilarious,” she says. “There was one time when I got down off the ladder and went over and tried to beat [stage manager and guitar tech] Steve Parish up. He’s about 6’3″, and I beat him up – I was just so mad I was pounding on him. Then we fell over into Billy Kreutzmann’s drum kit.”)\u003c/p>\n\u003cp>Betty Cantor-Jackson also recalls having to do a certain level of social acrobatics just to get her job done right: “The only way I could get things done was to ask stupid questions that actually weren’t stupid – they were questions designed to get them to understand what they were working with. I couldn’t \u003cem>tell \u003c/em>him, because that would not go, because I was a girl… [I would] play a dumb blonde and ask stupid questions and get them to understand their own self.” Cantor-Jackson took the extra time to convince venue sound engineers that her ideas were their own, and in that way, she recorded an increasingly celebrated body of work, including tapes from Radio City Music Hall, \u003cem>Saturday Night Live\u003c/em> and the now-enshrined Cornell ’77 show.\u003c/p>\n\u003cp>“I hated it, but there were times I had to do it,” she says. “If I wanted to hear them play loud on TV, then I better make sure it works.”\u003c/p>\n\u003cp>Brightman and Cantor-Jackson traveled together on tour for years and were friends, though the nature of their different jobs meant their work didn’t overlap very much. Still, as two women in a tech crew where women were scarce, they had to come up with a solution to cut down on the frequency with which they were mistaken for one another. People tended to look for Cantor-Jackson more often, so when they had the T-shirts made with her face on them, she says, “Candace’s said ‘No I’m Not,’ and mine said ‘Yes I Am.'”\u003c/p>\n\u003cp>Brightman left the Dead and returned to the group several times over the years, sometimes quitting over bad behavior in her traveling workplace.\u003c/p>\n\u003cp>“We were all big dogs, kind of daring each other to do things,” she says. She enjoyed a lot of it. The band had the right level of weirdness to keep her entertained — and she figures she had whatever strangely calibrated formula of personality it took to thrive in their singular company. One thing Brightman couldn’t abide, though, was when the big dogs picked on the little dogs — and that was the crew, she says, not the band. She had her own team on the road – which often included other women – but other tech staff were definitely of the “spandex in the morning” variety, and it pissed her off. “That was really hard,” she admits. “I wish to God they didn’t have that crew. We could have had so much fun.”\u003c/p>\n\u003cp>“They talked so badly,” she says. “Like, someone would say [about a female crew member] ‘If she wasn’t so ugly, I’d f*** her brains out.’ I’d get in there and say ‘Don’t you ever talk like that around my crew.’ That’s where I put my foot down, when I see someone else getting abused.”\u003c/p>\n\u003cp>Cantor-Jackson left the band caravan in the ’80s and never really returned. Her husband Rex had been killed in a car wreck in 1976, and at some point after that, she dated Dead keyboardist Brent Mydland. When they split, she felt alienated and frozen out, as an “ex-old lady.” The ties of the \u003cem>karass\u003c/em> weren’t working for her, and financial problems snowballed. In the mid-’80s, she lost her house to foreclosure and put most of her possessions — including more than a thousand reels of tape, from the Dead and other groups — in a storage unit. But when she found herself unable to keep current on the fees, her things were auctioned off, \u003cem>Storage Wars\u003c/em>-style. The lengthy saga — moldy or damaged tapes, buyers who figured out what they were, archivists who restored them and fans who eagerly welcomed them back into circulation — helped create one of the more dramatic narratives within the Grateful Dead storybook. Arguably, when the tale was reported in multiple publications, including \u003cem>Relix \u003c/em>and the \u003cem>New Yorker\u003c/em>, it also (deservedly) helped revive the sparkle on her image in the scene and beyond.\u003c/p>\n\u003cp>In the early 1970s, Stanley took Starfinder, her toddler son with Bear, back to the East Coast where she became (like her father) a dentist.\u003c/p>\n\u003cp>“There was so much voodoo going on with the flower children, ‘What sign are you’ or, ‘Let’s throw the I Ching,'” she tells me. “I decided I needed to balance that by studying science.” Today, she runs a holistic orthodontia practice in Saugerties, NY. The soldering skills she learned on Owsley’s sound crew, she says, come in handy in her practice.\u003c/p>\n\u003cp>Brightman continued to work in lighting design for Dead-related projects and, between 2004-2008, for the jamband Widespread Panic. In 2015, she came out of retirement in Hawaii to direct lighting for the Grateful Dead’s 50th-anniversary Fare Thee Well shows at Chicago’s Soldiers Field and Levis Stadium in Santa Clara, Calif. In a particularly bitter twist of irony, it was announced in early 2018 that Brightman — who had carefully, delightedly crafted the way bands were seen for more than 40 years — is losing her vision to age-related macular degeneration. Fans have set up a crowdfunding account for her treatment.\u003c/p>\n\u003cp>Cantor-Jackson is the production manager, engineer and road manager for Glide Memorial, an inclusive Methodist congregation in San Francisco with an eight-piece band and up to 110 people in its choir. She also has an ongoing gig with the Chris Robinson Brotherhood and its associated projects, whose jam/Americana fandom overlaps heavily with Deadheads, recording their live shows as “Betty’s Blends.” For the 50th anniversary Grateful Dead celebration in 2015, Betty went to the shows in Santa Clara, instead of trekking to Chicago for the more-heralded Fourth of July weekend run.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m sure I could’ve gotten tickets, though,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Do+You+Want+To+Talk+To+The+Man-In-Charge%2C+Or+The+Woman+Who+Knows+What%27s+Going+On%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Across several decades (and despite widespread sexism) women workers, supporters and associates shaped the story of America's most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.","status":"publish","parent":0,"modified":1705028229,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":49,"wordCount":4572},"headData":{"title":"'Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What's Going On?' | KQED","description":"Across several decades (and despite widespread sexism) women workers, supporters and associates shaped the story of America's most weird, colorful, sui generis rock and roll band.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What's Going On?'","datePublished":"2018-03-21T01:00:45.000Z","dateModified":"2024-01-12T02:57:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Ed Perlstein","nprByline":"Alison Fensterstock","nprImageAgency":"Redferns","nprStoryId":"593958534","nprApiLink":"http://api.npr.org/query?id=593958534&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/03/20/593958534/do-you-want-to-talk-to-the-man-in-charge-or-the-woman-who-knows-what-s-going-on?ft=nprml&f=593958534","nprRetrievedStory":"1","nprPubDate":"Tue, 20 Mar 2018 10:01:00 -0400","nprStoryDate":"Tue, 20 Mar 2018 10:01:12 -0400","nprLastModifiedDate":"Tue, 20 Mar 2018 10:01:12 -0400","path":"/arts/13827622/do-you-want-to-talk-to-the-man-in-charge-or-the-woman-who-knows-whats-going-on","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in the late 1950s and early ’60s, Betty Cantor developed an early talent for tinkering. “I used to take things like radios, other little electronic devices if they didn’t work, open them up, mess with them, put them back together and they worked,” she remembers during a recent phone call. “I could fix watches that wouldn’t work for anybody else.” Her fascination with how things worked helped her breeze through the available math and science classes at her Martinez, Calif. high school to the point that, she said, “they ran out of things for me to do, so they let me go over to the college to play at the lab.”\u003c/p>\n\u003cp>“Math was fun, I enjoyed it, and science was discovery,” she says. “The universe is math, right? Just how it all fits together.” She began traveling regularly, sitting in on seminars about chemistry and metallurgy in Berkeley and San Francisco in the ’60s — a place where lots of other young people were also investigating, in lots of different ways, how the universe fit together. That’s where she met the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>, with whom she’d eventually travel thousands of miles over close to 20 years, recording hundreds of hours of tape and becoming one of the many female workers, supporters and associates who shaped the story of America’s most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During her junior year, Cantor had written a term paper on the history of psychedelic drugs. LSD, which had first been synthesized about 25 years earlier, had enjoyed a short period of favor in the U.S. as a potentially salubrious psychotherapeutic aid. By the time Cantor was researching it, the pendulum of official opinion was already starting its swing backward; in 1966, California and Nevada became the first states to criminalize possession of the drug, and a federal ban would follow two years later. The budding teen scientist wanted to draw her own conclusions, though, and for reasons that crossed over into the personal.\u003c/p>\n\u003cp>“I read everything back to 1943 on [psychedelics] basically, and decided maybe there was an answer to why I felt like an alien where I lived,” she says. “I decided I was going to see colors and tastes and I wasn’t going to go crazy. I had made that decision.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At some point during her senior year, Cantor went to San Francisco and took her first acid trip. “And I ended up at 710 Ashbury Street,” she says — the Victorian house where members of the Grateful Dead and associates lived together, like turned-on, tuned-in fraternity brothers, in 1966 and ’67.\u003c/p>\n\u003cp>“Bobby [Weir] opened it up, he had his guitar on him, and he just ushered me in,” she remembers. “He bowed and said ‘Come on in.’ That was that.”\u003c/p>\n\u003cp>Cantor’s inaugural dose of LSD-25 might easily have come via the efforts of another couple of young women in the Dead orbit: Melissa Cargill and Rhoney Gissen, two Berkeley undergrads who shared a boyfriend named Augustus Owsley Stanley III, or Bear for short. Gissen was a Berkeley transfer student, a former Mount Holyoke lit major attracted to the wild scene burgeoning on the opposite coast. She and Cargill became lab assistants for their partner, helping to synthesize a pure and potent LSD that has been lovingly memorialized in media ranging from Jefferson Airplane song lyrics to official biographies. They also became experts in setting up and taking down the huge Wall of Sound PA system Bear — a Renaissance man of the hippie era, who was also an early adopter of the high-protein low-carb diet and believer in global climate change — invented, revolutionizing concert sound.\u003c/p>\n\u003cp>In her 2012 book \u003cem>Owsley and Me: My LSD Family\u003c/em>, Gissen (now known as Rhoney Gissen Stanley after taking on Bear’s last name, though the two never married) writes about how the Dead provided a backdrop and a context for her own personal awakening: expanding her mind, questioning her assumptions and becoming confident in making her own choices — including the choice to leave the group’s immediate orbit in the early 1970s, once she had a young son to care for.\u003c/p>\n\u003cp>“One of the reasons I left was that I wanted to forge my own path,” she says. “Other women felt the same; we didn’t want to raise our kids around a drug-taking, rock and roll environment.”\u003c/p>\n\u003cp>“A lot of women were unable to come into their own until they actually left the scene,” she continues, although many formed what she called “cottage industries” that orbited the band: travel agencies, fashion design, poster art, ticketing, newsletters — and many also stayed in touch, even after leaving the active scene.\u003c/p>\n\u003cp>“I still talk to women I met in 1968 [through the Grateful Dead]” she says. “The women formed a community, and that community still exists. Our children had children, and the grandchildren are friendly.”\u003c/p>\n\u003cp>Meanwhile, back in the ’60s, Cantor didn’t run away with the Grateful Dead circus immediately. She had some experience booking bands for events at her high school back across the bay, so here in her new cosmic counterculture world, it made sense to get a job at the Avalon Ballroom, the historic venue on Sutter and Van Ness where promoters like Chet Helms and Bill Graham booked acid-friendly groups like the Dead, the 13th Floor Elevators and \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a>. Cantor started out putting up posters around town for the Avalon, then moved, in swift order, to running concessions, running the box office and finally, traveling to Denver in late 1967 to help the Helms’ Family Dog collective set up an outpost.\u003c/p>\n\u003cp>The Denver project was short-lived, and Cantor was back in San Francisco by 1968, working at the Carousel Ballroom and learning sound engineering at an underground FM station, thinking she might want to be a DJ. That led to an apprenticeship with Dead recording tech Bob Matthews, who she met (and briefly dated) while handling concessions at the Carousel. “Their subsequent romance,” longtime band publicist and historian Dennis McNally writes, “did not obscure the fact that she turned into a good engineer as well as an ace hot-dog salesperson.”\u003c/p>\n\u003cp>In the end, Cantor chose mics and tape over hot dogs, though, working as an engineer and producer on official live and studio albums from 1968’s \u003cem>Anthem of the Sun\u003c/em> through 1981’s \u003cem>Dead Set — \u003c/em>and perhaps more importantly, recording hundreds of reels of soundboard tape. In a community of fans that prizes each live document of the band for its own special \u003cem>terroir\u003c/em>, its unique setlist and vibe, Betty Boards became some of the most celebrated; it was a Betty Board that the Library of Congress, in 2011, inducted into its National Recording Registry to commemorate the particularly legendary May 1977 concert at Cornell University’s Barton Hall.\u003c/p>\n\u003cp>Cantor had been solidly ensconced in the Dead camp — which was expanding as colorfully as the images in a liquid light show at the Avalon — for several years when Candace Brightman signed on for her own long, strange, multi-decade trip. Raised in the Chicago suburbs, Brightman had studied set design at St. John’s College in Annapolis, Md. and then made her way to New York City, a childhood dream. When she applied for a cashier’s job at the Anderson Theater on Second Avenue — a forerunner to Bill Graham’s Fillmore East and later, a very brief expansion of CBGB — she was turned down, but sent backstage to see if they had anything for her. They told her to come back on Friday.\u003c/p>\n\u003cp>“So I came back Friday, but there was nobody there to teach me,” she tells me on the phone from her home in Hawaii. “It’s clear they’re about to start the show… The band came onstage, and I hit a circuit breaker. Everybody seemed pleased… I thought, ‘Oh, okay. That’s not too hard.'”\u003c/p>\n\u003cp>“Scrabbling around lower Manhattan with weird jobs was a big adventure,” she says. “I was born in ’44. I was supposed to grow up and marry some rich guy. That whole thing never took with me at all. I was always getting sent to detention study hall in high school, and getting in trouble with the police and everything — I mean, not getting in trouble with them, but I liked to run away from them when they were trying to catch me. I just liked to have a lot of fun, and I didn’t like people who took themselves too seriously… and the Dead were so into absurdity, which is one of my favorite things in the world.”\u003c/p>\n\u003cp>Among the theater people and the hippies and rockers in the East Village, she’d found her tribe. There was an overlap between the staff of the more loosely managed neighborhood rock venues and nearby NYU’s technical theater department so, serendipitously, Brightman picked up formal skills on the job. She lit the Grateful Dead at the Anderson and the Fillmore East, as well as during their famous 1971 run at the Capitol Theatre in Port Chester, N.Y., a little ways outside the city. That was where Jerry Garcia, after a gig opening for the Mahavishnu Orchestra with keyboard player Howard Wales, invited her to join the gang.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It felt like the perfect job for a designer who had always felt creatively in tune with light (“I don’t like certain times of day,” she answers when I ask if she feels like a visually-oriented person, “I could never have worked in an office because of fluorescent lighting”) and who gravitated toward the eccentric and the unpredictable. Brightman became the Grateful Dead’s first touring lighting designer, hitting the road with them (and Betty Cantor) for the Europe ’72 tour that would become an iconic live triple album of the same name.\u003c/p>\n\u003cp>A 1973 \u003cem>Rolling Stone\u003c/em> article about the burgeoning Grateful Dead business empire reveals the beginnings of the patchwork quilt of band-related cottage industries Rhoney Gissen Stanley remembered. Frankie Weir, Bob’s then-partner, ran a travel agency called Fly By Night that handled tour details for the Dead and other bands. Eileen Law managed the office and the growing fan mailing list (which introduced the phrase \u003cem>Deadheads \u003c/em>into the lexicon) which she continued to do well into the 21st century. Betty Cantor was a cofounder of Alembic, the Dead-associated gear workshop and studio established in 1968; Phil Lesh’s ex Rosie McGee, who had changed her name from Florence Nathan, worked there and at Fly By Night well after the breakup. Drummer Bill Kreutzmann’s wife Susila, who also owned a boutique, made T-shirts — an enterprise that Dennis McNally, author of the epic 2002 band history \u003cem>Long Strange Trip: The Inside History of the Grateful Dead\u003c/em>, theorizes could well have been the dawn of the rock and roll shirts as concert merch.\u003c/p>\n\u003cp>“They basically only trusted women with their office and their money, from 1970 on,” McNally tells me — after the famous financial debacle in which drummer Mickey Hart’s father Lenny managed to embezzle more than $100,000 from band accounts during a stint as manager. That’s corroborated by the detailed 1994 reference text \u003cem>Skeleton Key: A Dictionary for Deadheads\u003c/em>. It sets the scene in its entry for “Office” with the description of a sign there that read: “Do you want to talk to the man-in-charge, or to the woman who knows what’s going on?” The office, the entry goes on to say, was “primarily the domain of strong, unpretentious women,” represented heavily in accounting, fan relations, licensing and publishing and other roles.\u003c/p>\n\u003cp>Cantor was on the board, Brightman directed the lights, Cargill and Gissen had made the dope and set up the revolutionary sound system (under Owsley’s stewardship) and back at the office, several departments boasted reasonable gender parity. So was the Grateful Dead a precociously woke organization, a paragon of women in psychedelic STEM? In \u003cem>Long Strange Trip\u003c/em>, McNally answers bluntly in the negative: “It would be ridiculous to suggest that the Dead is a bastion of feminist liberation.”\u003c/p>\n\u003cp>His observation comes in a mini-chapter titled “Interlude/Intermission: ‘Waits Backstage While I Sing to You,'” a reference to the \u003cem>American Beauty \u003c/em>track “Sugar Magnolia,” that ode to the capable and patient band girlfriend (“takes the wheel when I’m seeing double / pays my ticket when I speed”) usually assumed to have been inspired by Frankie Weir. McNally’s interlude covers much of the same ground as \u003cem>Skeleton Key\u003c/em>‘s peek inside the Dead offices, although perhaps with more emphasis on the relationships between the extended family of employees, colleagues, friends and lovers that turned on the band’s axis, with the lines between identities often blurred. The \u003cem>Rolling Stone \u003c/em>piece describes that community with the term \u003cem>karass\u003c/em>, a Kurt Vonnegut coinage from his 1963 sci-fi novel \u003cem>Cat’s Cradle\u003c/em> — from which the band got the name of its music-publishing company, Ice-Nine — meaning a group of otherwise-unrelated people who are destined to go through life linked to one another. (Considering how connected so many old-school affiliates seem to remain today, the term seems presciently accurate.) Women, the gist of the chapter seems to be, were full-fledged \u003cem>karass \u003c/em>members on their own Grateful Dead path — divorces, breakups and job changes notwithstanding.\u003c/p>\n\u003cp>Still, McNally makes clear, it was no gender-neutral utopia. The same chapter, set in the ’80s, quotes a roadie overheard saying “I love the sight of spandex in the morning.”\u003c/p>\n\u003cp>“The Grateful Dead were, absolutely, sexist,” McNally tells me. “They were the victims of stock mid-century American male privilege and attitude. No question. But at the same time, they had … very strong, interesting and creative women who weren’t shy about their opinions… So they weren’t dumb and they weren’t Neanderthals and they learned things.”\u003c/p>\n\u003cp>Stanley, who is at work on her own history of women in the sprawling Grateful Dead scene, tells me that the de facto sexism of the rock world was actually a bit of a blessing for her and Cargill during their time with Owsley. “When we traveled, like to Monterey Pop, and we were at the airport – to just be a girlfriend sitting on the trunk looking pretty was a way of protecting the fact that we had all these chemicals with us,” she says.\u003c/p>\n\u003cp>Amir Bar-Lev, who directed the 2017 Grateful Dead documentary \u003cem>Long Strange Trip: The Untold Story of the Grateful Dead\u003c/em>, agreed with McNally that the band’s culture included a “misogynistic streak” – he said that to a \u003cem>Billboard\u003c/em> journalist who asked him why the ambitious, four-hour film included so few interviews with women. Spouses and ex-spouses, and children – like Jerry Garcia’s daughter Trixie – make up most of the female representation in the movie. Gissen, Brightman and Cantor don’t appear; neither does Eileen Law or key early associate Carolyn “Mountain Girl” Adams Garcia, both of whom, Bar-Lev told \u003cem>Billboard,\u003c/em> declined to participate.\u003c/p>\n\u003cp>The omissions seem notable, especially considering that for those fans who might be listening for a mention of Law or Brightman or Cantor or accountant Nancy Mallonee or Ice-Nine Publishing administrator Annette Flowers or even the iconic hippie queen Mountain Girl — a member of Ken Kesey’s band of psychedelic cosmonauts, the Merry Pranksters, who turns up in Tom Wolfe’s \u003cem>Electric Kool-Aid Acid Test\u003c/em> – the mentions don’t come. (Annabelle Garcia, Mountain Girl’s daughter with Jerry, joined the director and band members at the Sundance Film Festival.)\u003c/p>\n\u003cp>Donna Jean Godchaux — who was invited to and did agree to be interviewed for \u003cem>A Long Strange Trip — \u003c/em>holds the distinction of being the only female member of the Grateful Dead. She sang in the band for almost all of the 1970s, while her husband Keith was taking his turn in the ever-shifting Dead keyboardist’s chair (the perpetual morbid joke being that to play keys for the Dead is like taking on the drummer’s job in Spinal Tap.) It’s probably also fair to say that Donna wins the prize for most-criticized former band member. A Rolling Stone feature on her from 2014 begins with this apologetic lede: “Donna Jean Godchaux knows what you’re thinking, especially if you’re a Deadhead: That her voice wasn’t always spot-on.”\u003c/p>\n\u003cp>Donna, who grew up near Florence, Ala. (the site of the Alabama Music Hall of Fame, of which she is an inductee) worked as a teen backup vocalist on sessions in Muscle Shoals, recording behind \u003ca href=\"https://www.npr.org/artists/15406033/percy-sledge\">Percy Sledge\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis \u003c/a>and Cher, among others, at the famed studio there before falling in with the Dead — to whose fans she would eventually become a topic of endless argument. McNally offered some perspective in defense of the singer. Her sense of showmanship, for one, he says, offended fans who liked to think of their band as virtuously free from such razzle-dazzle and flash.\u003c/p>\n\u003cp>“She had certain stage tricks, as it were, that violated the aesthetics of the Grateful Dead,” he says, “which was no theatrics, no smoke bombs… There was a very puritanical streak to Deadheads that held great pride in the fact that they didn’t wear costumes; it was all about the music.” As for complaints about the recordings on which Donna appeared in the ’70s: “It had a great deal more to do with the flaws of the albums,” he says. “They did \u003cem>Shakedown Street \u003c/em>coked out. It’s a mediocre album. Plus, they just didn’t like being in the studio. They did not make good studio albums. And ‘Terrapin [Station]'” – the title track from the 1977 album that was the Godchauxs’ second-to-last as band members – “was a masterpiece, as a song.” Still, Donna Godchaux has so far gone down in history, in part, as the sort of Skyler White of Dead fandom: a female flashpoint of complaints.\u003c/p>\n\u003cp>The \u003cem>Rolling Stone \u003c/em>report from ’73 — the year after Donna joined up — runs down the many departments buzzing away in the band’s business hive. It refers to the crew’s space in the office as the “boys’ room,” never mind that newly-hired Brightman appears briefly in the piece running lights and directing a union crew — and that surely, as Cantor was a member of the sound team, the room would have been her domain, too. But rock and roll production was — surprise of surprises — itself a boys’ room, and Brightman and Cantor (who would soon marry road manager Rex Jackson) faced their share of challenges.\u003c/p>\n\u003cp>“Imagine a venue in Texas in 1972,” says Brightman. “‘Who’s this pretty lady?’ And in France! Forget it. They hated having women do anything.” Once, a company in Atlanta refused to rent gear to her. She remembers sometimes pretending not to be in charge, in order to make her job go more smoothly with venue staff – although still, her tools might get stolen or her ladder moved when she was hanging lights, sometimes by her own team. (Which, admittedly, Brightman — who still sounds actively mischievous, close to 50 years after taking a job, in part, because of its potential for absurdity — thinks was kind of funny: “Actually, I think that’s hilarious,” she says. “There was one time when I got down off the ladder and went over and tried to beat [stage manager and guitar tech] Steve Parish up. He’s about 6’3″, and I beat him up – I was just so mad I was pounding on him. Then we fell over into Billy Kreutzmann’s drum kit.”)\u003c/p>\n\u003cp>Betty Cantor-Jackson also recalls having to do a certain level of social acrobatics just to get her job done right: “The only way I could get things done was to ask stupid questions that actually weren’t stupid – they were questions designed to get them to understand what they were working with. I couldn’t \u003cem>tell \u003c/em>him, because that would not go, because I was a girl… [I would] play a dumb blonde and ask stupid questions and get them to understand their own self.” Cantor-Jackson took the extra time to convince venue sound engineers that her ideas were their own, and in that way, she recorded an increasingly celebrated body of work, including tapes from Radio City Music Hall, \u003cem>Saturday Night Live\u003c/em> and the now-enshrined Cornell ’77 show.\u003c/p>\n\u003cp>“I hated it, but there were times I had to do it,” she says. “If I wanted to hear them play loud on TV, then I better make sure it works.”\u003c/p>\n\u003cp>Brightman and Cantor-Jackson traveled together on tour for years and were friends, though the nature of their different jobs meant their work didn’t overlap very much. Still, as two women in a tech crew where women were scarce, they had to come up with a solution to cut down on the frequency with which they were mistaken for one another. People tended to look for Cantor-Jackson more often, so when they had the T-shirts made with her face on them, she says, “Candace’s said ‘No I’m Not,’ and mine said ‘Yes I Am.'”\u003c/p>\n\u003cp>Brightman left the Dead and returned to the group several times over the years, sometimes quitting over bad behavior in her traveling workplace.\u003c/p>\n\u003cp>“We were all big dogs, kind of daring each other to do things,” she says. She enjoyed a lot of it. The band had the right level of weirdness to keep her entertained — and she figures she had whatever strangely calibrated formula of personality it took to thrive in their singular company. One thing Brightman couldn’t abide, though, was when the big dogs picked on the little dogs — and that was the crew, she says, not the band. She had her own team on the road – which often included other women – but other tech staff were definitely of the “spandex in the morning” variety, and it pissed her off. “That was really hard,” she admits. “I wish to God they didn’t have that crew. We could have had so much fun.”\u003c/p>\n\u003cp>“They talked so badly,” she says. “Like, someone would say [about a female crew member] ‘If she wasn’t so ugly, I’d f*** her brains out.’ I’d get in there and say ‘Don’t you ever talk like that around my crew.’ That’s where I put my foot down, when I see someone else getting abused.”\u003c/p>\n\u003cp>Cantor-Jackson left the band caravan in the ’80s and never really returned. Her husband Rex had been killed in a car wreck in 1976, and at some point after that, she dated Dead keyboardist Brent Mydland. When they split, she felt alienated and frozen out, as an “ex-old lady.” The ties of the \u003cem>karass\u003c/em> weren’t working for her, and financial problems snowballed. In the mid-’80s, she lost her house to foreclosure and put most of her possessions — including more than a thousand reels of tape, from the Dead and other groups — in a storage unit. But when she found herself unable to keep current on the fees, her things were auctioned off, \u003cem>Storage Wars\u003c/em>-style. The lengthy saga — moldy or damaged tapes, buyers who figured out what they were, archivists who restored them and fans who eagerly welcomed them back into circulation — helped create one of the more dramatic narratives within the Grateful Dead storybook. Arguably, when the tale was reported in multiple publications, including \u003cem>Relix \u003c/em>and the \u003cem>New Yorker\u003c/em>, it also (deservedly) helped revive the sparkle on her image in the scene and beyond.\u003c/p>\n\u003cp>In the early 1970s, Stanley took Starfinder, her toddler son with Bear, back to the East Coast where she became (like her father) a dentist.\u003c/p>\n\u003cp>“There was so much voodoo going on with the flower children, ‘What sign are you’ or, ‘Let’s throw the I Ching,'” she tells me. “I decided I needed to balance that by studying science.” Today, she runs a holistic orthodontia practice in Saugerties, NY. The soldering skills she learned on Owsley’s sound crew, she says, come in handy in her practice.\u003c/p>\n\u003cp>Brightman continued to work in lighting design for Dead-related projects and, between 2004-2008, for the jamband Widespread Panic. In 2015, she came out of retirement in Hawaii to direct lighting for the Grateful Dead’s 50th-anniversary Fare Thee Well shows at Chicago’s Soldiers Field and Levis Stadium in Santa Clara, Calif. In a particularly bitter twist of irony, it was announced in early 2018 that Brightman — who had carefully, delightedly crafted the way bands were seen for more than 40 years — is losing her vision to age-related macular degeneration. Fans have set up a crowdfunding account for her treatment.\u003c/p>\n\u003cp>Cantor-Jackson is the production manager, engineer and road manager for Glide Memorial, an inclusive Methodist congregation in San Francisco with an eight-piece band and up to 110 people in its choir. She also has an ongoing gig with the Chris Robinson Brotherhood and its associated projects, whose jam/Americana fandom overlaps heavily with Deadheads, recording their live shows as “Betty’s Blends.” For the 50th anniversary Grateful Dead celebration in 2015, Betty went to the shows in Santa Clara, instead of trekking to Chicago for the more-heralded Fourth of July weekend run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m sure I could’ve gotten tickets, though,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Do+You+Want+To+Talk+To+The+Man-In-Charge%2C+Or+The+Woman+Who+Knows+What%27s+Going+On%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13827622/do-you-want-to-talk-to-the-man-in-charge-or-the-woman-who-knows-whats-going-on","authors":["byline_arts_13827622"],"categories":["arts_69"],"tags":["arts_820","arts_1845","arts_596","arts_1761"],"affiliates":["arts_137"],"featImg":"arts_13827623","label":"arts_137"},"arts_13823971":{"type":"posts","id":"arts_13823971","meta":{"index":"posts_1591205157","site":"arts","id":"13823971","score":null,"sort":[1518058884000]},"guestAuthors":[],"slug":"cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70","title":"Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70","publishDate":1518058884,"format":"standard","headTitle":"Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\n\u003cp>https://twitter.com/BKCHarvard/status/961373106047774721\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"He was an Internet visionary who foresaw conflicts between the government and individual liberty in the information age.","status":"publish","parent":0,"modified":1705028562,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":323},"headData":{"title":"Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70 | KQED","description":"He was an Internet visionary who foresaw conflicts between the government and individual liberty in the information age.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Cyber-Libertarian and Pioneer John Perry Barlow Dies at Age 70","datePublished":"2018-02-08T03:01:24.000Z","dateModified":"2024-01-12T03:02:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Jesse Knish","nprByline":"Richard Gonzales","nprImageAgency":"Getty Images for SXSW","nprStoryId":"584124201","nprApiLink":"http://api.npr.org/query?id=584124201&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/thetwo-way/2018/02/07/584124201/cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70?ft=nprml&f=584124201","nprRetrievedStory":"1","nprPubDate":"Wed, 07 Feb 2018 20:21:00 -0500","nprStoryDate":"Wed, 07 Feb 2018 19:08:00 -0500","nprLastModifiedDate":"Wed, 07 Feb 2018 20:22:26 -0500","path":"/arts/13823971/cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"961373106047774721"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13823971/cyber-libertarian-and-pioneer-john-perry-barlow-dies-at-age-70","authors":["byline_arts_13823971"],"categories":["arts_71","arts_69","arts_235"],"tags":["arts_1448","arts_1845","arts_596","arts_1091"],"affiliates":["arts_137"],"featImg":"arts_13823972","label":"arts_137"},"arts_13284583":{"type":"posts","id":"arts_13284583","meta":{"index":"posts_1591205157","site":"arts","id":"13284583","score":null,"sort":[1496184596000]},"guestAuthors":[],"slug":"six-historic-venues-from-1967-that-werent-the-fillmore","title":"Six Historic Venues from 1967 That Weren't the Fillmore","publishDate":1496184596,"format":"image","headTitle":"Six Historic Venues from 1967 That Weren’t the Fillmore | KQED","labelTerm":{"term":1839,"site":"arts"},"content":"\u003cp>When people talk about San Francisco as the epicenter of hippie culture in 1967, Bill Graham’s Fillmore Auditorium is invariably mentioned as the scene’s musical focal point. A 1,000-capacity hall that was once a roller-skating rink, the Fillmore served as training grounds for bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company. By many accounts, the “San Francisco Sound” came from the Fillmore’s stage — and as young people came to San Francisco in droves, Graham’s shows were practically tourist attractions.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13338499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But the Fillmore wasn’t the only stage during the Summer of Love. Once the San Francisco Sound became mainstream, all kinds of new clubs popped up, providing gigs for groups who weren’t on that week’s bill at the Fillmore.\u003c/p>\n\u003cp>“There were so many dives that popped up out of nowhere, and because the [Grateful] Dead had done one show there, they were the new club on the map,” Flamin’ Groovies guitarist Cyril Jordan said.\u003c/p>\n\u003cp>Not all those places had an impact on the music, but the ones that did have stories worth telling. Here’s just a few.\u003c/p>\n\u003cfigure id=\"attachment_13333481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The entrance to the former Avalon Ballroom\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to the former Avalon Ballroom. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avalon Ballroom\u003c/h2>\n\u003cp>In 1966, when asked by the \u003ca href=\"http://www.rockmine.com/Archive/Library/MojoNav/Mojo08.pdf\" target=\"_blank\" rel=\"noopener\">Mojo Navigator\u003c/a> where would she would rather play — the Fillmore or the Avalon — Janis Joplin said the acoustics at the Avalon were better, and that the last time her band played the Fillmore, the audience members “weren’t really into the music” and “would walk around trying to pick each other up, sailors and all that…”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those comments led to Joplin and Big Brother And The Holding Company being unofficially banned from Graham’s stage for about seven months. It didn’t matter — they were managed by Chet Helms, who also ran the Avalon, the hall with the better sound.\u003c/p>\n\u003cp>Tall, bearded, and with hair to his shoulders before it was a hippie standard, Helms was a messiah-like figure with a religious view of music that he was hell-bent on preaching. Helms was also Joplin’s earliest supporter, and he believed in her so much that he drove to Texas to bring her back with him to San Francisco — twice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yxdTnLL2fec\u003c/p>\n\u003cp>After putting on a few shows with a little help from Bill Graham, Helms broke out on his own and, while working with a local commune called the Family Dog, secured permits to rent the Avalon Ballroom, a former dance hall on Sutter. Helms had the phrase “May the baby Jesus shut your mouth and open your mind” painted above the entrance, and went on to book a series of concerts that focused not just on music but an entire experience.\u003c/p>\n\u003cp>“When you come to the Avalon, some of the time, you just get entertainment, but very often, you get a connection with people. In a sense, an oceanic experience of being unified with something larger than yourself, that is essentially ultimately regenerating and renewing and is what the word recreation means in its true sense,” Helms said \u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/chet-helms-on-bringing-janis-to-s-f-starting-music-scene-1998-qa/\" target=\"_blank\" rel=\"noopener\">during a 1998 interview\u003c/a>.\u003c/p>\n\u003cp>From \u003ca href=\"http://www.chickenonaunicycle.com/FD%20Shows.htm\" target=\"_blank\" rel=\"noopener\">January 1966 to March of ’69\u003c/a>, Helms booked bands of all stripes at the Avalon, including psychedelic rock pioneers like the 13th Floor Elevators and Captain Beefheart and almost-forgotten-by-then blues musicians like Bo Diddley and Buddy Guy. He gave Moby Grape and the Steve Miller Band their first big breaks, and — like the Fillmore — every show was advertised with eye-catching, multi-colored psychedelic posters that now go for hundreds of dollars. Ask anybody who was alive back then and they’ll tell you the Avalon wasn’t appropriating the hippie culture — it was the real deal. It’s why many call Helms the “father of the Summer of Love.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iC8tlP4N6uc\u003c/p>\n\u003cp>But noise complaints brought the Avalon’s fun times to an end. Helms relocated Family Dog Productions to a space on the Great Highway, and other promoters who tried to book the hall afterward could never recreate the same vibe.\u003c/p>\n\u003cp>Today, the Regency Ballroom, a live music venue right next door, is often mistaken for the Avalon. In actuality, the old Avalon is now an office space — and, for a brief time, the shell of the Avalon \u003ca href=\"http://www.sfgate.com/homeandgarden/slideshow/S-F-Real-World-house-in-old-Avalon-Ballroom-75179.php\" target=\"_blank\" rel=\"noopener\">served as living quarters\u003c/a> for the cast of MTV’s \u003cem>The Real World\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13333482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Matrix \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Matrix. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Matrix\u003c/h2>\n\u003cp>The Matrix came to be after \u003ca href=\"http://web.archive.org/web/20050222091301/http://www.geocities.com/balinmiracles/hightimesart.html\" target=\"_blank\" rel=\"noopener\">Marty Balin convinced three guys\u003c/a> he met randomly at a bar to put up $3,000 each for a club he wanted to start. He then found a former pizza place in the Marina, signed a lease, and, before opening, enlisted some friends to paint a gigantic mural of the four horsemen on the wall.\u003c/p>\n\u003cp>Balin later said he opened the Matrix so he could start a band and have a place to play. That band turned out to be the Jefferson Airplane, and they were the first group to play the club. On opening night, a publicist convinced local jazz critic Ralph Gleason to come to the show. Gleason fell in love with the band that night, and not only did he dedicate an entire column in the \u003cem>San Francisco Chronicle\u003c/em> to them, he would go onto be the group’s biggest cheerleader.\u003c/p>\n\u003cp>It wasn’t long before the place started packing in all the local eccentrics, who would be treated to early performances from the Doors, Grateful Dead and the Steve Miller Blues Band in an intimate setting (the club sat about 100 people). An early Matrix regular was gonzo journalist Hunter S. Thompson, who immortalized the club in his book, \u003ci>Fear And Loathing in Las Vegas\u003c/i>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QkaJzNwQUTM\u003c/p>\n\u003cp>One huge bonus for bands playing the Matrix was the high-quality recording setup used to capture performances. Almost every group’s set was put to tape, and recordings of Steppenwolf, Santana, the Great Society (Grace Slick’s first band) and the Velvet Underground were later released as live albums. But many tapes never saw the light of day, like the recording of fuzz-rock legends Blue Cheer, who played the club once as a six-piece. According to the band’s Leigh Stephens, the Matrix recording convinced the group that they needed to pare down to a trio.\u003c/p>\n\u003cp>“We listened to [our recording] back and three guys were playing the songs one way and the other three were somewhere else,” Stephens said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tx9f0IAKYYI\u003c/p>\n\u003cp>Balin’s share was eventually bought out by two of the other partners, and after a few different bookers, the club closed in 1972. Now, the building is an “ultralounge” concept, still called the Matrix, which is owned by Lt. Gov. Gavin Newsom’s company, the Plumpjack Group. For a short time it hosted live bands, but now only DJs provide the tunes.\u003c/p>\n\u003cp>\u003ci>(Bonus link: An interview with the singers of The Only Alternative and His Other Possibilities on the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/210748\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Television Archive\u003c/a>.)\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13333479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg\" alt=\"California Hall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Hall \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>California Hall\u003c/h2>\n\u003cp>Chet Helms used this large rental hall for a few shows, as did many activists raising funds for various causes — the end of marijuana prohibition, for instance, or sexual liberation. The Hells Angels also once held a party there, and Blue Cheer played “A Tribute to J. Edgar Hoover” (not a genuine celebration of the former head of the F.B.I.).\u003c/p>\n\u003cfigure id=\"attachment_13333872\" class=\"wp-caption alignright\" style=\"max-width: 538px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13333872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg\" alt='Flyer from \"A Tribute to J. Edgar Hoover\"' width=\"538\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg 538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-520x732.jpg 520w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Flyer from “A Tribute to J. Edgar Hoover.” \u003ccite>(Courtesy of Chicken on a Unicycle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are some heaven-sent lineups that happened at the California Hall — a fundraiser for the Sexual Freedom League is a standout, which featured the Doors, Captain Beefheart and the 13th Floor Elevators. But you won’t hear much about California Hall from those in the scene, as it simply wasn’t a great place to see shows. Housed inside a 1912 building, the hall itself didn’t have great acoustics. Its lack of soundproofing made it sound “boomy,” which you can hear in a live recording of Big Brother and the Holding Company.\u003c/p>\n\u003cp>“That was the worst gig in town,” Jordan said. “Everybody who played there sounded like shit. I remember bands playing their first show there and breaking up afterward.”\u003c/p>\n\u003cp>What the hall is remembered more for are non-musical activities. In 1965, the “\u003ca href=\"https://www.lgbtran.org/Exhibits/CRH/Room.aspx?RID=3\" target=\"_blank\" rel=\"noopener\">Council on Religion and the Homosexual\u003c/a>,” which brought together gay men and religious leaders, tried to host a Mardi Gras-themed drag party at the hall to raise funds. When police caught wind of the plans, they attempted to force the hall’s owners to shut it down. When that failed, officers stood outside the hall and took pictures of attendees in an attempt to intimidate them. Some of the ministers from the event held a press conference the next day and described the police as being like the Gestapo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RScBsb0vYOc\u003c/p>\n\u003cp>San Francisco Police attracted more bad press at California Hall decades later in 1984, when they held a graduation party for new recruits at the Rathskeller, a restaurant in the basement. During the party, a shy recruit was \u003ca href=\"http://articles.latimes.com/1985-04-15/news/mn-13956_1_police-department\" target=\"_blank\" rel=\"noopener\">handcuffed to a chair and made to receive a blowjob\u003c/a> from a prostitute.\u003c/p>\n\u003cp>Still, whenever a new music scene popped up in the city, as punk did in the ’80s, its bands would hold shows at the California Hall. U2 played there in 1981. The hall now houses fashion classes for the Academy of Art.\u003c/p>\n\u003cfigure id=\"attachment_13333480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Goodwill where the Straight Theater once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Goodwill where the Straight Theater once stood \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Straight Theater\u003c/h2>\n\u003cp>The Straight Theater holds the honor of being the only live venue actually located in the Haight-Ashbury during the neighborhood’s hippie heydays. Opened as the Haight Theater in 1910, it operated as the ‘hood’s main movie house until it closed in 1964, after two of its owners turned it into an experimental gay theater. For the crime of risqué decor and showing movies like Ed Wood’s \u003ca href=\"http://hoodline.com/2015/07/from-haight-theater-to-goodwill-the-history-of-1700-haight-street\" target=\"_blank\" rel=\"noopener\">\u003ci>Glen or Glenda\u003c/i>, the owners were run out of town by locals in a matter of weeks\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=taoDcurT738\u003c/p>\n\u003cp>Two years later, in 1966, five hippie artists had the idea to buy the theater and turn it into a performing arts space. The Grateful Dead and Country Joe played fundraising concerts at the Avalon, and as many as 20 people supposedly invested in the theater.\u003c/p>\n\u003cp>But the neighborhood didn’t take kindly to the idea. It hadn’t been long since locals ran out the owners who’d showed a movie about a crossdresser, and now they had a hippie problem on their hands. A place for lovey-dovey hippie music was expected to make the neighborhood’s “problems” worse, and the San Francisco Police Department denied the Straight’s application for performance permits.\u003c/p>\n\u003cp>The buyers kept fighting. At a Permit Appeals board hearing, Dame Judith Anderson, considered one of the greatest classical stage actors of the 20th century, testified in support of the club. As the stepmom of one of the five buyers, Anderson told the board that there would be nothing wrong with hippies coming to the theater for rock ‘n’ roll, since they would be exposed to culture in the process — the owners had planned to host poetry readings and even Shakespeare. (Anderson was also clear that she wasn’t a fan of the “hippie cult,” citing their “sick faces and hideous behavior.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rx9Gz34BFMQ\u003c/p>\n\u003cp>The owners won their permit, and by June of ’67, the Straight hosted shows for the Steve Miller Band, Clover (pre-Huey Lewis and the News) and the Grateful Dead, who in the beginning had to bill their concerts as “dancing lessons” because the owners didn’t yet have the proper permits.\u003c/p>\n\u003cp>True to Anderson’s testimony, the hall hosted a wide variety of entertainment, including film screenings like the 5am premiere of the Beatles’ \u003ci>Magical Mystery Tour\u003c/i>. It’s also where Kenneth Anger had 1,500-feet of his famous film \u003ci>Lucifer Rising\u003c/i> stolen after a multimedia event called “Equinox of the Gods.” The theft left \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/features/kenneth-anger-no-rest-for-the-wicked-9185690.html\" target=\"_blank\" rel=\"noopener\">Anger so distraught \u003c/a>that he announced he was dead in the pages of the \u003cem>Village Voice\u003c/em>.\u003c/p>\n\u003cp>The Straight also hosted quite a few “nude theater” events, one of which took place in the middle of a conference on runaway children. According to reports, with over 400 juveniles in attendance during a discussion on why teens run away from home, members of the Jane Lapiner Dance Group came on stage and began doing their thing, naked. Two officers accosted the performers but were stopped by the crowd. Other audience members then surrounded the dancers and escorted them off stage.\u003c/p>\n\u003cp>Though the theater held memorable shows, it always struggled for money. Within a year, it turned to fundraising concerts to keep the doors open. It shut down in 1969 and sat empty for over a decade before it was torn down. A Goodwill is now on Haight St. where the 1,400-seat Straight once stood.\u003c/p>\n\u003cfigure id=\"attachment_13333483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The lot where the Ark once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lot where the Ark once stood \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Ark\u003c/h2>\n\u003cp>Built in 1916, the Charles Van Damme was a steamboat that shuttled commuters from Richmond to San Rafael for over 20 years. After being decommissioned and stripped of its parts, the old ferry sat landlocked on Sausalito’s waterfront, in the middle of the town’s thriving houseboat community, still sporting its paddlewheel.\u003c/p>\n\u003cp>Infamous \u003ca href=\"http://www.pressdemocrat.com/csp/mediapool/sites/PressDemocrat/News/story.csp?cid=2291971&sid=555&fid=181\" target=\"_blank\" rel=\"noopener\">North Bay restaurateur Juanita Musson\u003c/a> housed her late-night diner Juanita’s Galley there for three years before taking her famous clientele and irreverent hijinks to Sonoma Valley. Fred “Marti” Martinez and Frank McGinnis then bought the Van Damme, cleaned up the boat’s interior, and by 1965 they had turned it into a plush after-hours nightclub. The Ark was born.\u003c/p>\n\u003cp>Despite never charging a cover and paying the bands with food — breakfast, usually, since the shows either started or ended at 2am — many seminal groups came to play the Ark. Big Brother and the Holding Company, the Charlatans, and the West Coast Pop Experimental Band played there often, and in attendance would sometimes be stars like David Crosby, Bob Dylan and Jimi Hendrix. Even Otis Redding came down to the club when he was living in a Sausalito houseboat and writing his hit, “(Sittin’ On) The Dock of the Bay.”\u003c/p>\n\u003cp>But the Ark’s biggest contribution to Bay Area music was serving as the incubator for Moby Grape, the band that could’ve ruled the world were it not for bad luck and a host of issues, drugs among them. Moby Grape played their first shows at the Ark and used the boat as a rehearsal space in the daytime. Neil Young and Stephen Stills occasionally jammed with the band on stage, and Young would later say that his song “Mr. Soul” was simply a melding of two Moby Grape tracks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ffDNfpn7b4Y\u003c/p>\n\u003cp>Another band that became an Ark favorite was the Sparrow, a Canadian band featuring a singer named John Kay. After the Sparrow broke up, Kay moved to Los Angeles and started Steppenwolf, the riff-tastic rockers behind the rebel anthem “Born to Be Wild.”\u003c/p>\n\u003cp>In 1968, during one of its 2-6am weekend shows, someone set fire to the Ark. Subsequent repairs forced the club to shut down for a little while, but the owners tried to keep it going for a few months more until closing it for good. When asked why decades later, \u003ca href=\"http://www.marinij.com/general-news/20060410/famed-ferrys-final-voyage\" target=\"_blank\" rel=\"noopener\">Martinez said\u003c/a> that the muddy lot where the Ark sat clashed with the club’s fancier vibe, keeping it from fulfilling its potential, so they moved on. (Martinez then started the classy waterfront restaurant Ondine.)\u003c/p>\n\u003cp>For years after its time as the Ark, the Charles Van Damme would serve as a center for the local houseboat community. Bands like the Redlegs would play and use the cover charges to help keep up the deteriorating boat. In the early ’80s it was condemned by local authorities, and after an unsuccessful attempt to raise hundreds of thousands of dollars for restoration, it was bulldozed. Locals didn’t make the demolition easy, as dozens laid in front of the bulldozers and were arrested.\u003c/p>\n\u003cp>The site where the Ark once stood is now just a dirt lot, and \u003ca href=\"http://www.charlesvandammeferry.org/\" target=\"_blank\" rel=\"noopener\">local houseboat activists \u003c/a>continue to care for its paddlewheel.\u003c/p>\n\u003cfigure id=\"attachment_13333484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333484\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The corner where the Jabberwock used to be\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The corner where the Jabberwock used to be. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Jabberwock\u003c/h2>\n\u003cp>As San Francisco was becoming a breeding ground for psychedelic rock, Berkeley was still enjoying its reputation as \u003ca href=\"http://www.chickenonaunicycle.com/Berkeley%20Art.htm\" target=\"_blank\" rel=\"noopener\">part of the folk circuit\u003c/a>. Throughout the ’60s, folk musicians flocked to Berkeley from around the country to clubs like the Blind Lemon, Steppenwolf and the Cabale, and for over a decade it hosted the Berkeley Folk Music Festival, a major event for the genre.\u003c/p>\n\u003cp>Many of Berkeley’s folk venues were short-lived. Among the shortest-lived but most beloved was the Jabberwock, a former jazz club on Telegraph Avenue. Bill Ehlert, a.k.a. the “Jolly Blue Giant,” bought the place in 1965, and Cal students and local musicians regularly packed the place for bills that read today like a Roots Music Hall of Fame; John Fahey, Doc Watson, Skip James and Ramblin’ Jack Elliott are just a few legends that graced its stage.\u003c/p>\n\u003cp>A roots-music aficionado from Los Angeles named Joe McDonald lived next to the Jabberwock and was a regular, playing in the house “pickup” group, the Instant Action Jug Band, with a guitarist named Barry Melton. McDonald, Melton and a few others would end up recording a song McDonald wrote in a matter of minutes called “I-Feel-Like-I’m-Fixin’-to-Die Rag.” Released on an EP, the song — a satire-laden protest of the Vietnam War — became a regional hit, so McDonald and Melton began playing at the Jabberwock as Country Joe McDonald and the Fish. Three years later, they’d play “Fixin’-To-Die” at Woodstock, with a \u003ca href=\"http://www.countryjoe.com/cheer.htm\" target=\"_blank\" rel=\"noopener\">cheer heard ’round the world\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oyr7P8VCPDg\u003c/p>\n\u003cp>The bands that developed in the Jabberwock seemed to embrace a dark sense of humor with their Americana. Another notable song from the Jabberwock’s scene was “Friendly Neighborhood Narco Agent” by \u003cem>Berkeley Barb\u003c/em> writer Jef Jaison. \u003ca href=\"http://www.eljefe.net/fnnafaq.html\" target=\"_blank\" rel=\"noopener\">Inspired by a pot dealer\u003c/a> who ripped off some undercover police officers at a Berkeley pizza shop by selling them a large quantity of Jasmine tea for hundreds of dollars, it became of a staple on Dr. Demento’s legendary comedy music show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zqjSG4YPIG0\u003c/p>\n\u003cp>The Jabberwock closed in 1967 when Ehlert couldn’t afford to bring the club up to code. Doc Watson played its final show, and the club was immortalized by Jaison in the \u003cem>Berkeley Barb\u003c/em>. By 1969, the corner of Telegraph and Russell where the Jabberwock once stood was a barren lot.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Special thanks to Ross Hannan for expertise and connections. Hannan and Corry Arnold created the \u003ca href=\"http://www.chickenonaunicycle.com/\" target=\"_blank\" rel=\"noopener\">Chicken on a Unicycle website\u003c/a>, a one-stop source for information on the Bay Area’s live music scene during the ’60s.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Everyone knows about the Fillmore Auditorium — but what about the smaller clubs crucial to San Francisco's music scene in the Summer of Love?","status":"publish","parent":0,"modified":1705030500,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":51,"wordCount":3338},"headData":{"title":"Six Historic Venues from 1967 That Weren't the Fillmore | KQED","description":"Everyone knows about the Fillmore Auditorium — but what about the smaller clubs crucial to San Francisco's music scene in the Summer of Love?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Six Historic Venues from 1967 That Weren't the Fillmore","datePublished":"2017-05-30T22:49:56.000Z","dateModified":"2024-01-12T03:35:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13284583/six-historic-venues-from-1967-that-werent-the-fillmore","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When people talk about San Francisco as the epicenter of hippie culture in 1967, Bill Graham’s Fillmore Auditorium is invariably mentioned as the scene’s musical focal point. A 1,000-capacity hall that was once a roller-skating rink, the Fillmore served as training grounds for bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company. By many accounts, the “San Francisco Sound” came from the Fillmore’s stage — and as young people came to San Francisco in droves, Graham’s shows were practically tourist attractions.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13338499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But the Fillmore wasn’t the only stage during the Summer of Love. Once the San Francisco Sound became mainstream, all kinds of new clubs popped up, providing gigs for groups who weren’t on that week’s bill at the Fillmore.\u003c/p>\n\u003cp>“There were so many dives that popped up out of nowhere, and because the [Grateful] Dead had done one show there, they were the new club on the map,” Flamin’ Groovies guitarist Cyril Jordan said.\u003c/p>\n\u003cp>Not all those places had an impact on the music, but the ones that did have stories worth telling. Here’s just a few.\u003c/p>\n\u003cfigure id=\"attachment_13333481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The entrance to the former Avalon Ballroom\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to the former Avalon Ballroom. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avalon Ballroom\u003c/h2>\n\u003cp>In 1966, when asked by the \u003ca href=\"http://www.rockmine.com/Archive/Library/MojoNav/Mojo08.pdf\" target=\"_blank\" rel=\"noopener\">Mojo Navigator\u003c/a> where would she would rather play — the Fillmore or the Avalon — Janis Joplin said the acoustics at the Avalon were better, and that the last time her band played the Fillmore, the audience members “weren’t really into the music” and “would walk around trying to pick each other up, sailors and all that…”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those comments led to Joplin and Big Brother And The Holding Company being unofficially banned from Graham’s stage for about seven months. It didn’t matter — they were managed by Chet Helms, who also ran the Avalon, the hall with the better sound.\u003c/p>\n\u003cp>Tall, bearded, and with hair to his shoulders before it was a hippie standard, Helms was a messiah-like figure with a religious view of music that he was hell-bent on preaching. Helms was also Joplin’s earliest supporter, and he believed in her so much that he drove to Texas to bring her back with him to San Francisco — twice.\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/yxdTnLL2fec'\n title='//www.youtube.com/embed/yxdTnLL2fec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After putting on a few shows with a little help from Bill Graham, Helms broke out on his own and, while working with a local commune called the Family Dog, secured permits to rent the Avalon Ballroom, a former dance hall on Sutter. Helms had the phrase “May the baby Jesus shut your mouth and open your mind” painted above the entrance, and went on to book a series of concerts that focused not just on music but an entire experience.\u003c/p>\n\u003cp>“When you come to the Avalon, some of the time, you just get entertainment, but very often, you get a connection with people. In a sense, an oceanic experience of being unified with something larger than yourself, that is essentially ultimately regenerating and renewing and is what the word recreation means in its true sense,” Helms said \u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/chet-helms-on-bringing-janis-to-s-f-starting-music-scene-1998-qa/\" target=\"_blank\" rel=\"noopener\">during a 1998 interview\u003c/a>.\u003c/p>\n\u003cp>From \u003ca href=\"http://www.chickenonaunicycle.com/FD%20Shows.htm\" target=\"_blank\" rel=\"noopener\">January 1966 to March of ’69\u003c/a>, Helms booked bands of all stripes at the Avalon, including psychedelic rock pioneers like the 13th Floor Elevators and Captain Beefheart and almost-forgotten-by-then blues musicians like Bo Diddley and Buddy Guy. He gave Moby Grape and the Steve Miller Band their first big breaks, and — like the Fillmore — every show was advertised with eye-catching, multi-colored psychedelic posters that now go for hundreds of dollars. Ask anybody who was alive back then and they’ll tell you the Avalon wasn’t appropriating the hippie culture — it was the real deal. It’s why many call Helms the “father of the Summer of Love.”\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/iC8tlP4N6uc'\n title='//www.youtube.com/embed/iC8tlP4N6uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But noise complaints brought the Avalon’s fun times to an end. Helms relocated Family Dog Productions to a space on the Great Highway, and other promoters who tried to book the hall afterward could never recreate the same vibe.\u003c/p>\n\u003cp>Today, the Regency Ballroom, a live music venue right next door, is often mistaken for the Avalon. In actuality, the old Avalon is now an office space — and, for a brief time, the shell of the Avalon \u003ca href=\"http://www.sfgate.com/homeandgarden/slideshow/S-F-Real-World-house-in-old-Avalon-Ballroom-75179.php\" target=\"_blank\" rel=\"noopener\">served as living quarters\u003c/a> for the cast of MTV’s \u003cem>The Real World\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13333482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Matrix \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Matrix. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Matrix\u003c/h2>\n\u003cp>The Matrix came to be after \u003ca href=\"http://web.archive.org/web/20050222091301/http://www.geocities.com/balinmiracles/hightimesart.html\" target=\"_blank\" rel=\"noopener\">Marty Balin convinced three guys\u003c/a> he met randomly at a bar to put up $3,000 each for a club he wanted to start. He then found a former pizza place in the Marina, signed a lease, and, before opening, enlisted some friends to paint a gigantic mural of the four horsemen on the wall.\u003c/p>\n\u003cp>Balin later said he opened the Matrix so he could start a band and have a place to play. That band turned out to be the Jefferson Airplane, and they were the first group to play the club. On opening night, a publicist convinced local jazz critic Ralph Gleason to come to the show. Gleason fell in love with the band that night, and not only did he dedicate an entire column in the \u003cem>San Francisco Chronicle\u003c/em> to them, he would go onto be the group’s biggest cheerleader.\u003c/p>\n\u003cp>It wasn’t long before the place started packing in all the local eccentrics, who would be treated to early performances from the Doors, Grateful Dead and the Steve Miller Blues Band in an intimate setting (the club sat about 100 people). An early Matrix regular was gonzo journalist Hunter S. Thompson, who immortalized the club in his book, \u003ci>Fear And Loathing in Las Vegas\u003c/i>.\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/QkaJzNwQUTM'\n title='//www.youtube.com/embed/QkaJzNwQUTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One huge bonus for bands playing the Matrix was the high-quality recording setup used to capture performances. Almost every group’s set was put to tape, and recordings of Steppenwolf, Santana, the Great Society (Grace Slick’s first band) and the Velvet Underground were later released as live albums. But many tapes never saw the light of day, like the recording of fuzz-rock legends Blue Cheer, who played the club once as a six-piece. According to the band’s Leigh Stephens, the Matrix recording convinced the group that they needed to pare down to a trio.\u003c/p>\n\u003cp>“We listened to [our recording] back and three guys were playing the songs one way and the other three were somewhere else,” Stephens said.\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/Tx9f0IAKYYI'\n title='//www.youtube.com/embed/Tx9f0IAKYYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Balin’s share was eventually bought out by two of the other partners, and after a few different bookers, the club closed in 1972. Now, the building is an “ultralounge” concept, still called the Matrix, which is owned by Lt. Gov. Gavin Newsom’s company, the Plumpjack Group. For a short time it hosted live bands, but now only DJs provide the tunes.\u003c/p>\n\u003cp>\u003ci>(Bonus link: An interview with the singers of The Only Alternative and His Other Possibilities on the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/210748\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Television Archive\u003c/a>.)\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13333479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg\" alt=\"California Hall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Hall \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>California Hall\u003c/h2>\n\u003cp>Chet Helms used this large rental hall for a few shows, as did many activists raising funds for various causes — the end of marijuana prohibition, for instance, or sexual liberation. The Hells Angels also once held a party there, and Blue Cheer played “A Tribute to J. Edgar Hoover” (not a genuine celebration of the former head of the F.B.I.).\u003c/p>\n\u003cfigure id=\"attachment_13333872\" class=\"wp-caption alignright\" style=\"max-width: 538px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13333872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg\" alt='Flyer from \"A Tribute to J. Edgar Hoover\"' width=\"538\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg 538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-520x732.jpg 520w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Flyer from “A Tribute to J. Edgar Hoover.” \u003ccite>(Courtesy of Chicken on a Unicycle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are some heaven-sent lineups that happened at the California Hall — a fundraiser for the Sexual Freedom League is a standout, which featured the Doors, Captain Beefheart and the 13th Floor Elevators. But you won’t hear much about California Hall from those in the scene, as it simply wasn’t a great place to see shows. Housed inside a 1912 building, the hall itself didn’t have great acoustics. Its lack of soundproofing made it sound “boomy,” which you can hear in a live recording of Big Brother and the Holding Company.\u003c/p>\n\u003cp>“That was the worst gig in town,” Jordan said. “Everybody who played there sounded like shit. I remember bands playing their first show there and breaking up afterward.”\u003c/p>\n\u003cp>What the hall is remembered more for are non-musical activities. In 1965, the “\u003ca href=\"https://www.lgbtran.org/Exhibits/CRH/Room.aspx?RID=3\" target=\"_blank\" rel=\"noopener\">Council on Religion and the Homosexual\u003c/a>,” which brought together gay men and religious leaders, tried to host a Mardi Gras-themed drag party at the hall to raise funds. When police caught wind of the plans, they attempted to force the hall’s owners to shut it down. When that failed, officers stood outside the hall and took pictures of attendees in an attempt to intimidate them. Some of the ministers from the event held a press conference the next day and described the police as being like the Gestapo.\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/RScBsb0vYOc'\n title='//www.youtube.com/embed/RScBsb0vYOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Police attracted more bad press at California Hall decades later in 1984, when they held a graduation party for new recruits at the Rathskeller, a restaurant in the basement. During the party, a shy recruit was \u003ca href=\"http://articles.latimes.com/1985-04-15/news/mn-13956_1_police-department\" target=\"_blank\" rel=\"noopener\">handcuffed to a chair and made to receive a blowjob\u003c/a> from a prostitute.\u003c/p>\n\u003cp>Still, whenever a new music scene popped up in the city, as punk did in the ’80s, its bands would hold shows at the California Hall. U2 played there in 1981. The hall now houses fashion classes for the Academy of Art.\u003c/p>\n\u003cfigure id=\"attachment_13333480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Goodwill where the Straight Theater once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Goodwill where the Straight Theater once stood \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Straight Theater\u003c/h2>\n\u003cp>The Straight Theater holds the honor of being the only live venue actually located in the Haight-Ashbury during the neighborhood’s hippie heydays. Opened as the Haight Theater in 1910, it operated as the ‘hood’s main movie house until it closed in 1964, after two of its owners turned it into an experimental gay theater. For the crime of risqué decor and showing movies like Ed Wood’s \u003ca href=\"http://hoodline.com/2015/07/from-haight-theater-to-goodwill-the-history-of-1700-haight-street\" target=\"_blank\" rel=\"noopener\">\u003ci>Glen or Glenda\u003c/i>, the owners were run out of town by locals in a matter of weeks\u003c/a>.\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/taoDcurT738'\n title='//www.youtube.com/embed/taoDcurT738'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two years later, in 1966, five hippie artists had the idea to buy the theater and turn it into a performing arts space. The Grateful Dead and Country Joe played fundraising concerts at the Avalon, and as many as 20 people supposedly invested in the theater.\u003c/p>\n\u003cp>But the neighborhood didn’t take kindly to the idea. It hadn’t been long since locals ran out the owners who’d showed a movie about a crossdresser, and now they had a hippie problem on their hands. A place for lovey-dovey hippie music was expected to make the neighborhood’s “problems” worse, and the San Francisco Police Department denied the Straight’s application for performance permits.\u003c/p>\n\u003cp>The buyers kept fighting. At a Permit Appeals board hearing, Dame Judith Anderson, considered one of the greatest classical stage actors of the 20th century, testified in support of the club. As the stepmom of one of the five buyers, Anderson told the board that there would be nothing wrong with hippies coming to the theater for rock ‘n’ roll, since they would be exposed to culture in the process — the owners had planned to host poetry readings and even Shakespeare. (Anderson was also clear that she wasn’t a fan of the “hippie cult,” citing their “sick faces and hideous behavior.”)\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/rx9Gz34BFMQ'\n title='//www.youtube.com/embed/rx9Gz34BFMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The owners won their permit, and by June of ’67, the Straight hosted shows for the Steve Miller Band, Clover (pre-Huey Lewis and the News) and the Grateful Dead, who in the beginning had to bill their concerts as “dancing lessons” because the owners didn’t yet have the proper permits.\u003c/p>\n\u003cp>True to Anderson’s testimony, the hall hosted a wide variety of entertainment, including film screenings like the 5am premiere of the Beatles’ \u003ci>Magical Mystery Tour\u003c/i>. It’s also where Kenneth Anger had 1,500-feet of his famous film \u003ci>Lucifer Rising\u003c/i> stolen after a multimedia event called “Equinox of the Gods.” The theft left \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/features/kenneth-anger-no-rest-for-the-wicked-9185690.html\" target=\"_blank\" rel=\"noopener\">Anger so distraught \u003c/a>that he announced he was dead in the pages of the \u003cem>Village Voice\u003c/em>.\u003c/p>\n\u003cp>The Straight also hosted quite a few “nude theater” events, one of which took place in the middle of a conference on runaway children. According to reports, with over 400 juveniles in attendance during a discussion on why teens run away from home, members of the Jane Lapiner Dance Group came on stage and began doing their thing, naked. Two officers accosted the performers but were stopped by the crowd. Other audience members then surrounded the dancers and escorted them off stage.\u003c/p>\n\u003cp>Though the theater held memorable shows, it always struggled for money. Within a year, it turned to fundraising concerts to keep the doors open. It shut down in 1969 and sat empty for over a decade before it was torn down. A Goodwill is now on Haight St. where the 1,400-seat Straight once stood.\u003c/p>\n\u003cfigure id=\"attachment_13333483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The lot where the Ark once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lot where the Ark once stood \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Ark\u003c/h2>\n\u003cp>Built in 1916, the Charles Van Damme was a steamboat that shuttled commuters from Richmond to San Rafael for over 20 years. After being decommissioned and stripped of its parts, the old ferry sat landlocked on Sausalito’s waterfront, in the middle of the town’s thriving houseboat community, still sporting its paddlewheel.\u003c/p>\n\u003cp>Infamous \u003ca href=\"http://www.pressdemocrat.com/csp/mediapool/sites/PressDemocrat/News/story.csp?cid=2291971&sid=555&fid=181\" target=\"_blank\" rel=\"noopener\">North Bay restaurateur Juanita Musson\u003c/a> housed her late-night diner Juanita’s Galley there for three years before taking her famous clientele and irreverent hijinks to Sonoma Valley. Fred “Marti” Martinez and Frank McGinnis then bought the Van Damme, cleaned up the boat’s interior, and by 1965 they had turned it into a plush after-hours nightclub. The Ark was born.\u003c/p>\n\u003cp>Despite never charging a cover and paying the bands with food — breakfast, usually, since the shows either started or ended at 2am — many seminal groups came to play the Ark. Big Brother and the Holding Company, the Charlatans, and the West Coast Pop Experimental Band played there often, and in attendance would sometimes be stars like David Crosby, Bob Dylan and Jimi Hendrix. Even Otis Redding came down to the club when he was living in a Sausalito houseboat and writing his hit, “(Sittin’ On) The Dock of the Bay.”\u003c/p>\n\u003cp>But the Ark’s biggest contribution to Bay Area music was serving as the incubator for Moby Grape, the band that could’ve ruled the world were it not for bad luck and a host of issues, drugs among them. Moby Grape played their first shows at the Ark and used the boat as a rehearsal space in the daytime. Neil Young and Stephen Stills occasionally jammed with the band on stage, and Young would later say that his song “Mr. Soul” was simply a melding of two Moby Grape tracks.\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/ffDNfpn7b4Y'\n title='//www.youtube.com/embed/ffDNfpn7b4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another band that became an Ark favorite was the Sparrow, a Canadian band featuring a singer named John Kay. After the Sparrow broke up, Kay moved to Los Angeles and started Steppenwolf, the riff-tastic rockers behind the rebel anthem “Born to Be Wild.”\u003c/p>\n\u003cp>In 1968, during one of its 2-6am weekend shows, someone set fire to the Ark. Subsequent repairs forced the club to shut down for a little while, but the owners tried to keep it going for a few months more until closing it for good. When asked why decades later, \u003ca href=\"http://www.marinij.com/general-news/20060410/famed-ferrys-final-voyage\" target=\"_blank\" rel=\"noopener\">Martinez said\u003c/a> that the muddy lot where the Ark sat clashed with the club’s fancier vibe, keeping it from fulfilling its potential, so they moved on. (Martinez then started the classy waterfront restaurant Ondine.)\u003c/p>\n\u003cp>For years after its time as the Ark, the Charles Van Damme would serve as a center for the local houseboat community. Bands like the Redlegs would play and use the cover charges to help keep up the deteriorating boat. In the early ’80s it was condemned by local authorities, and after an unsuccessful attempt to raise hundreds of thousands of dollars for restoration, it was bulldozed. Locals didn’t make the demolition easy, as dozens laid in front of the bulldozers and were arrested.\u003c/p>\n\u003cp>The site where the Ark once stood is now just a dirt lot, and \u003ca href=\"http://www.charlesvandammeferry.org/\" target=\"_blank\" rel=\"noopener\">local houseboat activists \u003c/a>continue to care for its paddlewheel.\u003c/p>\n\u003cfigure id=\"attachment_13333484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333484\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The corner where the Jabberwock used to be\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The corner where the Jabberwock used to be. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Jabberwock\u003c/h2>\n\u003cp>As San Francisco was becoming a breeding ground for psychedelic rock, Berkeley was still enjoying its reputation as \u003ca href=\"http://www.chickenonaunicycle.com/Berkeley%20Art.htm\" target=\"_blank\" rel=\"noopener\">part of the folk circuit\u003c/a>. Throughout the ’60s, folk musicians flocked to Berkeley from around the country to clubs like the Blind Lemon, Steppenwolf and the Cabale, and for over a decade it hosted the Berkeley Folk Music Festival, a major event for the genre.\u003c/p>\n\u003cp>Many of Berkeley’s folk venues were short-lived. Among the shortest-lived but most beloved was the Jabberwock, a former jazz club on Telegraph Avenue. Bill Ehlert, a.k.a. the “Jolly Blue Giant,” bought the place in 1965, and Cal students and local musicians regularly packed the place for bills that read today like a Roots Music Hall of Fame; John Fahey, Doc Watson, Skip James and Ramblin’ Jack Elliott are just a few legends that graced its stage.\u003c/p>\n\u003cp>A roots-music aficionado from Los Angeles named Joe McDonald lived next to the Jabberwock and was a regular, playing in the house “pickup” group, the Instant Action Jug Band, with a guitarist named Barry Melton. McDonald, Melton and a few others would end up recording a song McDonald wrote in a matter of minutes called “I-Feel-Like-I’m-Fixin’-to-Die Rag.” Released on an EP, the song — a satire-laden protest of the Vietnam War — became a regional hit, so McDonald and Melton began playing at the Jabberwock as Country Joe McDonald and the Fish. Three years later, they’d play “Fixin’-To-Die” at Woodstock, with a \u003ca href=\"http://www.countryjoe.com/cheer.htm\" target=\"_blank\" rel=\"noopener\">cheer heard ’round the world\u003c/a>.\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/oyr7P8VCPDg'\n title='//www.youtube.com/embed/oyr7P8VCPDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The bands that developed in the Jabberwock seemed to embrace a dark sense of humor with their Americana. Another notable song from the Jabberwock’s scene was “Friendly Neighborhood Narco Agent” by \u003cem>Berkeley Barb\u003c/em> writer Jef Jaison. \u003ca href=\"http://www.eljefe.net/fnnafaq.html\" target=\"_blank\" rel=\"noopener\">Inspired by a pot dealer\u003c/a> who ripped off some undercover police officers at a Berkeley pizza shop by selling them a large quantity of Jasmine tea for hundreds of dollars, it became of a staple on Dr. Demento’s legendary comedy music show.\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/zqjSG4YPIG0'\n title='//www.youtube.com/embed/zqjSG4YPIG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Jabberwock closed in 1967 when Ehlert couldn’t afford to bring the club up to code. Doc Watson played its final show, and the club was immortalized by Jaison in the \u003cem>Berkeley Barb\u003c/em>. By 1969, the corner of Telegraph and Russell where the Jabberwock once stood was a barren lot.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Special thanks to Ross Hannan for expertise and connections. Hannan and Corry Arnold created the \u003ca href=\"http://www.chickenonaunicycle.com/\" target=\"_blank\" rel=\"noopener\">Chicken on a Unicycle website\u003c/a>, a one-stop source for information on the Bay Area’s live music scene during the ’60s.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13284583/six-historic-venues-from-1967-that-werent-the-fillmore","authors":["93"],"programs":["arts_1839"],"categories":["arts_69"],"tags":["arts_1119","arts_1118","arts_977","arts_1845","arts_1846","arts_596","arts_1761","arts_1864","arts_1072"],"featImg":"arts_13337830","label":"arts_1839"},"arts_13039627":{"type":"posts","id":"arts_13039627","meta":{"index":"posts_1591205157","site":"arts","id":"13039627","score":null,"sort":[1492030784000]},"guestAuthors":[],"slug":"de-young-summer-of-love-50th-anniversary","title":"At the de Young, the 'Summer of Love Experience' Is a Broken Record","publishDate":1492030784,"format":"image","headTitle":"At the de Young, the ‘Summer of Love Experience’ Is a Broken Record | KQED","labelTerm":{"term":1839,"site":"arts"},"content":"\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In honor of the Summer of Love's 50th anniversary, the museum rehashes surface-level aesthetics, fashion and ephemera from 1967 — with barely any connection to today.","status":"publish","parent":0,"modified":1705030973,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1656},"headData":{"title":"At the de Young, the 'Summer of Love Experience' Is a Broken Record | KQED","description":"In honor of the Summer of Love's 50th anniversary, the museum rehashes surface-level aesthetics, fashion and ephemera from 1967 — with barely any connection to today.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the de Young, the 'Summer of Love Experience' Is a Broken Record","datePublished":"2017-04-12T20:59:44.000Z","dateModified":"2024-01-12T03:42:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13039627/de-young-summer-of-love-50th-anniversary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13039627/de-young-summer-of-love-50th-anniversary","authors":["7237","61"],"programs":["arts_1839"],"categories":["arts_835","arts_76","arts_69","arts_70"],"tags":["arts_5426","arts_1346","arts_2504","arts_1118","arts_1845","arts_1846","arts_6387","arts_596","arts_769","arts_1146","arts_1761","arts_2996","arts_2473"],"featImg":"arts_13042307","label":"arts_1839"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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