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"content": "\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>[contextly_sidebar id=”NP2k2sRmZaUEykroiK5ox8yGTnIQTXN5″]\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\u003c/p>\n\u003cp>https://youtu.be/7IExZv-mgrw\u003c/p>\n\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\u003c/p>\n\u003cp>https://youtu.be/lMvFKpqnsWU\u003c/p>\n\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\u003c/p>\n\u003cp>https://youtu.be/KA84TNAGWJM\u003c/p>\n\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No time like now to take that bridge once more.\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=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7IExZv-mgrw'\n title='//www.youtube.com/embed/7IExZv-mgrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lMvFKpqnsWU'\n title='//www.youtube.com/embed/lMvFKpqnsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KA84TNAGWJM'\n title='//www.youtube.com/embed/KA84TNAGWJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Lizzo sings about being happy with how you look and who you are. That sort of self-love does not always come easy in this world for a plus-size black woman, but then Lizzo is no ordinary singer. She started as a rapper in Houston, shrugging off a church upbringing, then moved to Minneapolis and worked with Prince. She now hosts a\u003ca href=\"http://www.mtv.com/news/2922787/wonderland-promo-vmas/\" target=\"_new\" rel=\"noopener\"> live music show \u003c/a>on MTV called \u003cem>Wonderland\u003c/em>. My co-host on the Do List this week, A-lan Holt, says she loves Lizzo’s high-energy, full bodied performances. Catch her at the the Fillmore on Nov. 9 before she plays an even bigger venue. \u003ca href=\"http://thefillmore.com/event/lizzo/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tjILCNcHevY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
"baycurious": {
"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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},
"californiareport": {
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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}
},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
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