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"content": "\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/grateful-dead\">Grateful Dead\u003c/a> are pouring into \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> for three days of concerts and festivities marking the 60th anniversary of the scruffy jam band that came to embody a city where people once wore flowers in their hair and made love, not war.\u003c/p>\n\u003cp>Dead & Company, featuring original Grateful Dead members \u003ca href=\"https://www.kqed.org/arts/11682940/bob-weir-criticizes-politicians-on-stage-at-bonnaroo\">Bob Weir\u003c/a> and \u003ca href=\"https://www.kqed.org/forum/201206251000/mickey-hart\">Mickey Hart\u003c/a>, will play \u003ca href=\"https://www.kqed.org/news/tag/golden-gate-park\">Golden Gate Park\u003c/a>’s Polo Field starting Friday with an estimated 60,000 attendees each day. The last time the band played that part of the park was in 1991 — a free show following the death of concert promoter and longtime Deadhead \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>.\u003c/p>\n\u003cp>Certainly, times have changed.\u003c/p>\n\u003cp>A general admissions ticket for all three days is $635 — a shock for many longtime fans who remember when a joint cost more than a Dead concert ticket.\u003c/p>\n\u003cp>But Deadhead David Aberdeen is thrilled anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the spiritual home of the Grateful Dead,” said Aberdeen, who works at \u003ca href=\"https://www.kqed.org/news/25014/amoeba-music-named-best-record-store-in-u-s-by-rolling-stone\">Amoeba Music\u003c/a> in the Haight. “It seems very right to me that they celebrate it in this way.”\u003c/p>\n\u003cp>Formed in 1965, the Grateful Dead is synonymous with San Francisco and its counterculture. Members lived in a dirt-cheap Victorian in the Haight and later became a significant part of 1967’s \u003ca href=\"https://www.kqed.org/arts/tag/summer-of-love\">Summer of Love\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13925408']That summer eventually soured into bad acid trips and police raids, and prompted the band’s move to \u003ca href=\"https://www.kqed.org/arts/tag/marin-county\">Marin County\u003c/a> on the other end of the \u003ca href=\"https://www.kqed.org/arts/13913489\">Golden Gate Bridge\u003c/a>. But new Deadheads kept cropping up — even after iconic guitarist and singer \u003ca href=\"https://www.kqed.org/arts/13342850/jerry-garcias-guitar-heads-to-auction-could-fetch-1m\">Jerry Garcia\u003c/a>’s 1995 death — aided by cover bands and offshoots like Dead & Company.\u003c/p>\n\u003cp>“There are 18-year-olds who were obviously not even a twinkle in somebody’s eyes when Jerry died, and these 18-year-olds get the values of Deadheads,” said former Grateful Dead publicist and author Dennis McNally.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead on the corner of Haight and Ashbury. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fitting in, feeling at home\u003c/h2>\n\u003cp>Deadheads can reel off why and how, and the moment they fell in love with the music. Fans love that no two shows are the same; the band plays different songs each time. They also embrace the community that comes with a Dead show.\u003c/p>\n\u003cp>Sunshine Powers didn’t have friends until age 13, when she stepped off a city bus and into the Haight-Ashbury neighborhood.\u003c/p>\n\u003cp>[aside postid='arts_13853019']“I, all of a sudden, felt like I fit in. Or like I didn’t have to fit in,” says Powers, now 45 and the owner of tie-dye emporium \u003ca href=\"https://loveonhaightsf.com/\">Love on Haight\u003c/a>. “I don’t know which one it was, but I know it was like, OK.”\u003c/p>\n\u003cp>Similarly, her friend Taylor Swope, 47, survived a tough freshman year at a new school with the help of a Grateful Dead mixtape. The owner of the Little Hippie gift shop is driving from Brooklyn, New York, to sell merchandise, reconnect with friends and see the shows.\u003c/p>\n\u003cp>“The sense of, ‘I found my people, I didn’t fit in anywhere else and then I found this, and I felt at home.’ So that’s a big part of it,” she said of the allure.\u003c/p>\n\u003ch2>Magical live shows\u003c/h2>\n\u003cp>Sometimes, becoming a Deadhead is a process.\u003c/p>\n\u003cp>Thor Cromer, 60, had attended several Dead shows, but was ambivalent about the hippies. That changed on March 15, 1990, in Landover, Maryland.\u003c/p>\n\u003cp>“That show, whatever it was, whatever magic hit,” he said, “it was injected right into my brain.”\u003c/p>\n\u003cp>Cromer, who worked for the U.S. Senate then, eventually took time off to follow the band on tour and saw an estimated 400 shows from spring 1990 until \u003ca href=\"https://www.kqed.org/news/10630061/20-years-ago-today-captain-trips-died-and-the-dot-com-boom-took-off\">Garcia’s death\u003c/a>.\u003c/p>\n\u003cp>Cromer now works in technology and is flying in from Boston to join scores of fellow “rail riders” who dance in the rows closest to the stage.\u003c/p>\n\u003cp>[aside postid='arts_13967309']Aberdeen, 62, saw his first Dead show in 1984. As the only person in his college group with a driver’s license, he was tapped to drive a crowded VW Bug from Antioch College in Yellow Springs, Ohio, to Syracuse, New York.\u003c/p>\n\u003cp>“I thought it was pretty weird,” he said. “But I liked it.”\u003c/p>\n\u003cp>He fell in love the following summer, when the Dead played a venue near his college.\u003c/p>\n\u003cp>Aberdeen remembers rain pouring down in the middle of the show and a giant rainbow appearing over the band when they returned for their second act. They played “Comes a Time,” a rarely played Garcia ballad.\u003c/p>\n\u003cp>“There is a lot of excitement, and there will be a lot of people here,” Aberdeen said. “Who knows when we’ll have an opportunity to get together like this again?”\u003c/p>\n\u003cp>Fans were able to see Dead & Company in Las Vegas earlier this year, but no new dates have been announced. Guitarist Bob Weir is 77, and drummers Mickey Hart and Bill Kreutzmann are 81 and 79, respectively. Besides Garcia, founding members Ron “Pigpen” McKernan on keyboards died in 1973 and bassist \u003ca href=\"https://www.kqed.org/arts/13967309/the-grateful-dead-bassist-phil-lesh-dies-at-84\">Phil Lesh died\u003c/a> last year at age 84.\u003c/p>\n\u003cfigure id=\"attachment_13967310\" class=\"wp-caption aligncenter\" style=\"max-width: 1385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-52691498-scaled-e1753903266478.jpeg\" alt=\"An older white man with grey hair wearing a brown suede jacket holding up a book with the Grateful Dead logo on it.\" width=\"1385\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Phil Lesh of the Grateful Dead holds a copy of his book, ‘Searching for the Sound: My Life with the Grateful Dead’ at the Los Angeles Times Festival of Books on April 24, 2005. \u003ccite>(Michael Buckner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Multiple events planned for Dead’s 60th\u003c/h2>\n\u003cp>Mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a>, who is not a Deadhead but counts “Sugar Magnolia” as his favorite Dead song, is overjoyed at the economic boost as San Francisco recovers from pandemic-related hits to its tech and tourism sectors.\u003c/p>\n\u003cp>“They are the reason why so many people know and love San Francisco,” he said.\u003c/p>\n\u003cp>[aside postid='arts_13284583']The weekend features parties, shows and celebrations throughout the city. Grahame Lesh & Friends will perform three nights starting Thursday. Lesh is the son of Phil Lesh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, which would have been Garcia’s 83rd birthday, officials will rename a street after the San Francisco native. On Saturday, visitors can celebrate the city’s annual Jerry Day at the Jerry Garcia Amphitheater located in a park near Garcia’s childhood home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/grateful-dead\">Grateful Dead\u003c/a> are pouring into \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> for three days of concerts and festivities marking the 60th anniversary of the scruffy jam band that came to embody a city where people once wore flowers in their hair and made love, not war.\u003c/p>\n\u003cp>Dead & Company, featuring original Grateful Dead members \u003ca href=\"https://www.kqed.org/arts/11682940/bob-weir-criticizes-politicians-on-stage-at-bonnaroo\">Bob Weir\u003c/a> and \u003ca href=\"https://www.kqed.org/forum/201206251000/mickey-hart\">Mickey Hart\u003c/a>, will play \u003ca href=\"https://www.kqed.org/news/tag/golden-gate-park\">Golden Gate Park\u003c/a>’s Polo Field starting Friday with an estimated 60,000 attendees each day. The last time the band played that part of the park was in 1991 — a free show following the death of concert promoter and longtime Deadhead \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>.\u003c/p>\n\u003cp>Certainly, times have changed.\u003c/p>\n\u003cp>A general admissions ticket for all three days is $635 — a shock for many longtime fans who remember when a joint cost more than a Dead concert ticket.\u003c/p>\n\u003cp>But Deadhead David Aberdeen is thrilled anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the spiritual home of the Grateful Dead,” said Aberdeen, who works at \u003ca href=\"https://www.kqed.org/news/25014/amoeba-music-named-best-record-store-in-u-s-by-rolling-stone\">Amoeba Music\u003c/a> in the Haight. “It seems very right to me that they celebrate it in this way.”\u003c/p>\n\u003cp>Formed in 1965, the Grateful Dead is synonymous with San Francisco and its counterculture. Members lived in a dirt-cheap Victorian in the Haight and later became a significant part of 1967’s \u003ca href=\"https://www.kqed.org/arts/tag/summer-of-love\">Summer of Love\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That summer eventually soured into bad acid trips and police raids, and prompted the band’s move to \u003ca href=\"https://www.kqed.org/arts/tag/marin-county\">Marin County\u003c/a> on the other end of the \u003ca href=\"https://www.kqed.org/arts/13913489\">Golden Gate Bridge\u003c/a>. But new Deadheads kept cropping up — even after iconic guitarist and singer \u003ca href=\"https://www.kqed.org/arts/13342850/jerry-garcias-guitar-heads-to-auction-could-fetch-1m\">Jerry Garcia\u003c/a>’s 1995 death — aided by cover bands and offshoots like Dead & Company.\u003c/p>\n\u003cp>“There are 18-year-olds who were obviously not even a twinkle in somebody’s eyes when Jerry died, and these 18-year-olds get the values of Deadheads,” said former Grateful Dead publicist and author Dennis McNally.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead on the corner of Haight and Ashbury. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fitting in, feeling at home\u003c/h2>\n\u003cp>Deadheads can reel off why and how, and the moment they fell in love with the music. Fans love that no two shows are the same; the band plays different songs each time. They also embrace the community that comes with a Dead show.\u003c/p>\n\u003cp>Sunshine Powers didn’t have friends until age 13, when she stepped off a city bus and into the Haight-Ashbury neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I, all of a sudden, felt like I fit in. Or like I didn’t have to fit in,” says Powers, now 45 and the owner of tie-dye emporium \u003ca href=\"https://loveonhaightsf.com/\">Love on Haight\u003c/a>. “I don’t know which one it was, but I know it was like, OK.”\u003c/p>\n\u003cp>Similarly, her friend Taylor Swope, 47, survived a tough freshman year at a new school with the help of a Grateful Dead mixtape. The owner of the Little Hippie gift shop is driving from Brooklyn, New York, to sell merchandise, reconnect with friends and see the shows.\u003c/p>\n\u003cp>“The sense of, ‘I found my people, I didn’t fit in anywhere else and then I found this, and I felt at home.’ So that’s a big part of it,” she said of the allure.\u003c/p>\n\u003ch2>Magical live shows\u003c/h2>\n\u003cp>Sometimes, becoming a Deadhead is a process.\u003c/p>\n\u003cp>Thor Cromer, 60, had attended several Dead shows, but was ambivalent about the hippies. That changed on March 15, 1990, in Landover, Maryland.\u003c/p>\n\u003cp>“That show, whatever it was, whatever magic hit,” he said, “it was injected right into my brain.”\u003c/p>\n\u003cp>Cromer, who worked for the U.S. Senate then, eventually took time off to follow the band on tour and saw an estimated 400 shows from spring 1990 until \u003ca href=\"https://www.kqed.org/news/10630061/20-years-ago-today-captain-trips-died-and-the-dot-com-boom-took-off\">Garcia’s death\u003c/a>.\u003c/p>\n\u003cp>Cromer now works in technology and is flying in from Boston to join scores of fellow “rail riders” who dance in the rows closest to the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Aberdeen, 62, saw his first Dead show in 1984. As the only person in his college group with a driver’s license, he was tapped to drive a crowded VW Bug from Antioch College in Yellow Springs, Ohio, to Syracuse, New York.\u003c/p>\n\u003cp>“I thought it was pretty weird,” he said. “But I liked it.”\u003c/p>\n\u003cp>He fell in love the following summer, when the Dead played a venue near his college.\u003c/p>\n\u003cp>Aberdeen remembers rain pouring down in the middle of the show and a giant rainbow appearing over the band when they returned for their second act. They played “Comes a Time,” a rarely played Garcia ballad.\u003c/p>\n\u003cp>“There is a lot of excitement, and there will be a lot of people here,” Aberdeen said. “Who knows when we’ll have an opportunity to get together like this again?”\u003c/p>\n\u003cp>Fans were able to see Dead & Company in Las Vegas earlier this year, but no new dates have been announced. Guitarist Bob Weir is 77, and drummers Mickey Hart and Bill Kreutzmann are 81 and 79, respectively. Besides Garcia, founding members Ron “Pigpen” McKernan on keyboards died in 1973 and bassist \u003ca href=\"https://www.kqed.org/arts/13967309/the-grateful-dead-bassist-phil-lesh-dies-at-84\">Phil Lesh died\u003c/a> last year at age 84.\u003c/p>\n\u003cfigure id=\"attachment_13967310\" class=\"wp-caption aligncenter\" style=\"max-width: 1385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-52691498-scaled-e1753903266478.jpeg\" alt=\"An older white man with grey hair wearing a brown suede jacket holding up a book with the Grateful Dead logo on it.\" width=\"1385\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Phil Lesh of the Grateful Dead holds a copy of his book, ‘Searching for the Sound: My Life with the Grateful Dead’ at the Los Angeles Times Festival of Books on April 24, 2005. \u003ccite>(Michael Buckner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Multiple events planned for Dead’s 60th\u003c/h2>\n\u003cp>Mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a>, who is not a Deadhead but counts “Sugar Magnolia” as his favorite Dead song, is overjoyed at the economic boost as San Francisco recovers from pandemic-related hits to its tech and tourism sectors.\u003c/p>\n\u003cp>“They are the reason why so many people know and love San Francisco,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The weekend features parties, shows and celebrations throughout the city. Grahame Lesh & Friends will perform three nights starting Thursday. Lesh is the son of Phil Lesh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, which would have been Garcia’s 83rd birthday, officials will rename a street after the San Francisco native. On Saturday, visitors can celebrate the city’s annual Jerry Day at the Jerry Garcia Amphitheater located in a park near Garcia’s childhood home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’",
"headTitle": "A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’ | KQED",
"content": "\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>[aside postid='arts_13950359']During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>[aside postid='arts_13950886']It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>[aside postid='news_11966749']Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\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>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\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>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s 1960s and ’70s Music Scene Takes Center Stage in New Docuseries",
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"content": "\u003cp>Janis Joplin’s first rehearsal with the rock band Big Brother & The Holding Company was apparently a loud affair. So loud it was alarming.\u003c/p>\n\u003cp>Bassist Peter Albin recalls the band raising the roof off one day in the 1960s when their playing was interrupted by a knock at the door. Two San Francisco police officers were investigating reports of a woman screaming.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers get a street-level view of the rise of the San Francisco dream — artistic freedom, community and authenticity — and its fall, thanks to hard drugs, commercialism and increasingly hard edges. The time period is 1965 to 1975, short but sweet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LTD7C-oFhc\u003c/p>\n\u003cp>“It’s not just the music,” says co-director Anoosh Tertzakian. “Everybody was trying to break the rules of whatever their medium was, and I think it’s in that breaking the rules that they found something new. The music was what was keeping the pulse together.”\u003c/p>\n\u003cp>The docuseries explores how the Grateful Dead got some of their iconic logos, how city music venues Avalon Ballroom and The Fillmore began, how the seminal Jefferson Airplane song “White Rabbit” came about and how the deaths at the Altamont show soured the hippie mood.\u003c/p>\n\u003cp>[aside postid='arts_13039627']Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>[aside postid='arts_13920973']The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Oh, that’s just Janis. It’s OK,” came the reply.\u003c/p>\n\u003cp>That fun nugget — as well as rare footage of the actual rehearsal — enliven \u003cem>San Francisco Sounds: A Place in Time\u003c/em>, a two-part documentary on MGM+ that concludes Sunday. The first part dropped Aug. 20.\u003c/p>\n\u003cp>The late Joplin is joined by an astonishing number of great artists who came to define the city — the Grateful Dead, Jefferson Airplane, Sly and the Family Stone, The Great Society, Steve Miller, Carlos Santana, Moby Grape, and Country Joe & The Fish, all mixing rock, folk and the blues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tertzakian and filmmaker Alison Ellwood, who last teamed up to capture the music of the Los Angeles neighborhood Laurel Canyon, turned their attention north and found a place “on the edge of the Earth.”\u003c/p>\n\u003cp>“It was like every misfit from anywhere in this country who rattled loose, ended up in San Francisco,” the series quotes Bob Weir of the Grateful Dead as saying.\u003c/p>\n\u003cp>The main guides are disc jockey Dusty Street, poster artist Victor Moscoso, light show artist Bill Ham and \u003cem>Rolling Stone\u003c/em> magazine journalist Ben Fong-Torres. The musicians are captured in audio interviews that play over archival footage — a technique Ellwood and Tertzakian used in \u003cem>Laurel Canyon: A Place in Time\u003c/em>, in 2020.\u003c/p>\n\u003cp>“It’s obviously a place that so many people have focused on and they really focus on the star quality of the musicians,” says Tertzakian. “And I think that was something that we really wanted to minimize in order to bring it back to the source.”\u003c/p>\n\u003cp>That technique both captures the spark of creativity and bypasses the grave. “We can’t set Grace Slick down and then counter it with Janis Joplin sitting down and doing an interview. So that’s another reason, just to keep everyone young, of the time of the moment,” says Ellwood.\u003c/p>\n\u003cp>An astonishing amount of footage and interviews were used, borrowed from reporters, universities, archive houses and personal collections. Susan Joy Balin, wife of Jefferson Airplane’s Marty Balin, handed over her own footage of the time, as did Jerry Slick, Grace’s ex-husband.\u003c/p>\n\u003cp>“We were saying, ‘Just give us whatever you have and let’s play around with it,’” says Tertzakian. “That was both super fun and also a challenge because the amount of material we had, we had to really pick and choose how to use it and in a relatively short time frame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hippie decline — charted in the second half — is heartbreaking, as record companies start flooding the music scene with money, and heroin starts to displace psychedelics, with disastrous consequences.\u003c/p>\n\u003cp>“Hordes of people invaded without the artistic vision and plan to come there in the first place. They just showed up with no plan and the city couldn’t sustain it,” says Ellwood.\u003c/p>\n\u003cp>But Tertzakian believes the San Francisco dream lives on. “For every one of these people, they lost something, but they kept it with them and they continued as they did their own art or lived their lives,” she says. “I feel like to a certain degree it trickled out.”\u003c/p>\n\u003cp>After Laurel Canyon and San Francisco, the filmmakers have yet to decide on the subject of their third music-related docuseries. Perhaps Greenwich Village or Nashville or the grunge scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been talking about lots of different things, but we’ll see,” says Ellwood.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Herb Greene’s Photography Offers Much More Than Music Icons",
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"content": "\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>[aside postid='arts_13039627']First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13920973']Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A new Haight Street Art Center exhibit captures the neighborhood as it transitioned into the stuff of legend. ",
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"title": "Herb Greene’s Haight-Ashbury Photographs: More Than Musicians | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "haight-ashbury-photography-elaine-mayes-summer-of-love-san-francisco",
"title": "Elaine Mayes’ Portraits Offer a Starker View of the Haight’s Summer of Love",
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"headTitle": "Elaine Mayes’ Portraits Offer a Starker View of the Haight’s Summer of Love | KQED",
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"content": "\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13310178']Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\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>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Mayes' new book looks beyond peace and love, documenting the stress of young people in the Vietnam War era.",
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"title": "Review: 'Haight Ashbury Portraits 1967-1968' by Elaine Mayes | KQED",
"description": "Mayes' new book looks beyond peace and love, documenting the stress of young people in the Vietnam War era.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\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>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2",
"headTitle": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2 | KQED",
"content": "\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The ’60s-informed documentary speaks more to start-up fans, libertarians and techies than to Summer of Love survivors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ace Of Cups Gets A First Chance At An Overdue Debut",
"headTitle": "Ace Of Cups Gets A First Chance At An Overdue Debut | KQED",
"content": "\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>[contextly_sidebar id=”3Fw7KUTU4i0QBAYDCzhpGEXlArXjWYHG”]\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”7EWp1mj8i823Hkkm76z2gTB6IwN3tUtX”]\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”hDhkDBEhbwVoaPdVpgoJGIa5E5Nm3eY9″]\u003c/p>\n\u003cp>There will be three main stages at Woodstock 50, plus three festival “neighborhoods,” each of which will offer its own programming of music, comedy, spoken word, film and food.\u003c/p>\n\u003cp>In a press release published Wednesday, the organizers say they hope to call back to the spirit that animated the iconic 1969 event — during another tumultuous epoch in American history. The mission of Woodstock 50, they say, is “to unite people in a shared experience with great artists, and encourage active support of equality, inclusion and a shared sustainable future.”\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em> interview, Lang and his colleagues plan to sell about 100,000 three-day passes to the festival and they expect most attendees to camp at the festival grounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in an apparent nod to festivalgoers’ expectations in 2019, the 50th anniversary edition will offer “glamping” tents and other amenities. Such services might also help the 2019 festival distance itself from the \u003ca href=\"https://www.huffingtonpost.com/2014/07/23/woodstock-99_n_5610534.html\">dire problems\u003c/a> that plagued a 1999 edition of Woodstock — an event that ended in fires, rioting and a number of lawsuits — which, like the chaotic \u003ca href=\"https://www.nytimes.com/1994/08/15/nyregion/woodstock-94-the-overview-woodstock-music-fades-and-muddy-trek-begins.html\">1994 Woodstock festival\u003c/a>, Lang was also involved in organizing.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Woodstock+Will+Return+This+Summer%2C+For+Its+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There will be three main stages at Woodstock 50, plus three festival “neighborhoods,” each of which will offer its own programming of music, comedy, spoken word, film and food.\u003c/p>\n\u003cp>In a press release published Wednesday, the organizers say they hope to call back to the spirit that animated the iconic 1969 event — during another tumultuous epoch in American history. The mission of Woodstock 50, they say, is “to unite people in a shared experience with great artists, and encourage active support of equality, inclusion and a shared sustainable future.”\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em> interview, Lang and his colleagues plan to sell about 100,000 three-day passes to the festival and they expect most attendees to camp at the festival grounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in an apparent nod to festivalgoers’ expectations in 2019, the 50th anniversary edition will offer “glamping” tents and other amenities. Such services might also help the 2019 festival distance itself from the \u003ca href=\"https://www.huffingtonpost.com/2014/07/23/woodstock-99_n_5610534.html\">dire problems\u003c/a> that plagued a 1999 edition of Woodstock — an event that ended in fires, rioting and a number of lawsuits — which, like the chaotic \u003ca href=\"https://www.nytimes.com/1994/08/15/nyregion/woodstock-94-the-overview-woodstock-music-fades-and-muddy-trek-begins.html\">1994 Woodstock festival\u003c/a>, Lang was also involved in organizing.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Woodstock+Will+Return+This+Summer%2C+For+Its+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”hi7lYwEpOEAdzR2MqfAMR6P1QQ9qOKRv”]\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnyx0Rrk26ilOHaBEmZXUwU64Zk7yxkL”]\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>[contextly_sidebar id=”TQWMJtTK2qs5Bu4tjU8iXIGckkWRfoCM”]\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”Z1UPm5PLzDNyQbToK3tY0vKpIc5nsp3Y”]\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>[contextly_sidebar id=”pO3kTlIFvu3TygHfg5oU8avvn02oiTsi”]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>[contextly_sidebar id=”wVi9mCobBvKoU5HhG7X0SmfiZXXMCRub”]\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Half a century later, 1968 continues to resonate as a landmark year for rock, pop and soul — in part, say musicians who were there in the studio, because artists were trying things no one had before.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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