All language subtitles for Photos with Stories：The Rock and Roll Photography of Jim Marshall

Peter Shapiro present I wanna dance with

somebody featuring Andy fresco dance

like everyone is watching every Saturday

can download Andy for another round of

costumes groove smiles and soy tunes

live dance ups take your Saturday night

dance party to the next level with a

decked out dance floor every Saturday

night 11 p.m. Eastern 8:00 p.m. Pacific

dance together from home I want to dance

with somebody dance party featuring

Andy's morasco only on fans calm

[Music]

you

[Music]

[Music]

[Music]

you

so you want to watch the show and be in

the stream at the same time here's how

you'll need two devices it could be a

computer tablet phone or even a gaming

system one to watch the show and the

other to be in the street let's start

with the show go to fans comm on your

laptop desktop or mobile device scroll

down and select the show you want to

watch enter your info and boom you're in

the show

in 28th version we got a really really

killer show today we got a great guest

we have Amelia Davis joining us thank

you again it's Sunday I know it's it's

early for some of us on the west coast

we are gonna talk today about the

photography of jim marshall jim is one

of the most legendary legendary

photographers in rock and roll to ever

walk the face of the earth he is

legendary in many many many ways and his

body of work is really truly unmatched

in terms of the output quantity the

quality the access all the things that

that all of us

rock-and-roll photographers dream about

Jim had in spades so a couple of things

real quick the usual thank-you speech

appear Oh will who's running the

broadcast today Jonathan Healy Chris

patanti from marketing and staff may all

the people at the Brooklyn Bulls the

Capitol Theater Garcias thanks to

everybody again I want to mention save

our stages there's a slide up here save

our stages calm please check that out

and let's keep our small independent

music venues alive during the time of

corona the next two shows that we have

coming up the next one after this is on

July 12th we won't be here for the

fourth of July weekend because we'll all

be watching the fairly well broadcast

that Sunday the 50th anniversary of the

Grateful Dead here on fan's calm but on

July 12 I'm gonna have some people on

and we're gonna talk about the

photography of Mille Casal and you guys

all know that Neal was a musician who

played with the Chris Robinson

brotherhood and the hard working

Americans and he played a lot with Phil

Nash and Bob Weir and Oteil Burbridge

and his fans and he played with Ryan

Adams and the Cardinals for many years

and we lost Neal about ten months ago

and just about a little over a week ago

they announced the Neal Cassell music

foundation Neal Cassell music

foundation.org

and Neal was also a prolific

photographer and so

we started a Kickstarter campaign just

go to Kickstarter calm and search Casal

or go to Neil Casal music foundation org

and you can click into the Kickstarter

campaign and there's a coffee table book

that we produced to raise money for this

foundation so that shows gonna be on

July 12th and we're going to be showing

Neil's photography on July 19th I'm

going to be working with a guy named Jim

Crowley Jim's a San Francisco

photographer not a professional

photographer never wanted to be a

professional photographer he is a

professional rock and roll fan he has

pictures of Jim Marshall in him that

he's taken that he showed me and he just

snuck his camera into shows and he

started shooting in the 70s and still

shoots today as a hobby and just has a

crazy story so we're gonna do that on

July 19th Jim Marshall getting back to

Jim for a second here actually for the

rest of the time Jim and I were dear

friends Jim was a real true mentor to

every young photographer especially if

he wanted to be a rock photographer I

have a lot of photographs of Jim's

hanging on my wall in my office because

Jim was like yeah Blake's burn I'll

trade you here I'll give you a to bob

dylan's for one Keith Richards you know

like I mean I have 20 photos of Jim's

that he gave me when he was alive he was

an incredibly generous human being like

beyond anything that you can imagine Jim

was such a generous person that a dear

friend of his passed away about six

months I think before Jim passed away

and he was also a photographer a guy

named Barry Shapiro and Jim came to me

and said Blake's burg I need you to do

me a favor I need you to make a book of

Barry Shapiro's photography I went and

looked at Barry's photography with Jim

at a gallery it was incredible and Jim

said here and wrote me a check for

$10,000 on the spot and said make sure

this book gets published and and then

Jim wrote me that check and died two

weeks after he wrote that check so his

last grand gesture in life was to make

sure a book was made of one of his dear

friends photographer of that guy's

photographic archive it's an incredible

book and that's that's Jim Jim was the

most generous human being you could ever

imagine and after Jim passed away 10

years ago Amelia are we at 10 years ago

and 10 years yeah so after Jim passed

away every

thing was left to Amelia Davis our guest

today Amelia was Jim's dear friend his

assistant his listening board a sounding

board

maybe his punching bag at times is very

good mother mother and an Amelia's

partner Benita was part of that equation

and Jim had no family and no kids he had

no nieces no nephews and he left his

entire archive in the care of Amelia

Davis and there couldn't be a better

person out there to take care of this

body of work because she heard all of

the stories about these photographs from

Jim from the mouth of Jim she knew so

much about these photographs because

they would sit around and he would tell

her these stories about working with

everybody from Kristofferson to Monk and

these are the pictures that are behind

her right now

to muddy water so Janice and grace to

the Grateful Dead to Johnny Cash to Bob

Dylan the Rolling Stones and everybody

in between and so Amelia has over the

last 10 years brought Jim's work to the

forefront of contemporary photography

and how important it is on a museum

level as well as protecting it like they

are her children because these were

Jim's children as well

Jim referred to his photographs as his

children and and I am full disclosure

here about six months after Jim passed

away Amelia came to me and asked if I

would help out her in helping manage

Jim's estate and what I do for Amelia is

I do all the digital production here at

my studio so we do all the digital

scanning of Jim's work at the highest

quality that we could possibly do it at

and then I do all the licensing so if

somebody on a TV television show or a

documentary or a book or a magazine

wants to use one of Jim's photographs

that request comes to me and me and

Amelia and her partner Benita discussed

the terms and what we will allow and

what we won't allow because what's so

important in today's world with this

stuff is to protect the rights of the

creator of these photographs and we

spend an enormous amount of time Amelia

and myself reading and rewriting

contracts and protecting Jim's

work so that there's no confusion as to

how these photos can be used under what

circumstances and for how long and we're

very very particular about that and said

that's what I do with the estate and so

I've been very very fortunate because

I've been a fan of Jim Marshalls

photography since I was a teenager

Jim inspired me to do what I do be a

music photographer his were the first

photos of the Grateful Dead that I ever

saw we're gonna look at some of these

today when I opened up the album cover

to my dead and there's Jim Marshall

photos and I'd open up relics magazine

or Rolling Stone magazine and I would

see Jim's photography that's what

inspired me and so when I finally got to

meet Jim when I moved to San Francisco

and he sort of took me under his wing in

a little way I wanted to give back as

well to Jim because he was such an

important figure to me and his work was

so important and when I was asked to do

this with Amelia and and one of the

first things that we did was start to

scan his archive I got to see so much

incredible photography so we have a film

actually we have a trailer for the new

Jim Marshall documentary that Amelia and

Bonita her partner produced and let's

take a look at that trailer and then I'm

gonna come back and Amelia's gonna talk

a little bit about the film and then

we're gonna jump into our PowerPoint

presentation showing all these different

photographs of all these different

people that Jim worked with over the

years so let's take a couple of minutes

and let's watch this short little

trailer and you get a little taste of of

what Jim was all about and then we'll be

back with Amelia in a minute all right

go for it [ __ ] all the words man look at

my work look at my track record over 20

years of taking pictures look at my body

work

think it works Jim Marshall

here's to Marshall where do you start

Jim was the man Jim was nuts he was my

rock star my father had an abrasive

exterior but had a great big warm heart

underneath it Jim Marshall was exactly

the same way you did not want to be on

the wrong side of Jim Marshall

I've laws like cars guns and cameras

cars and guns have got me in trouble

cameras haven't Marshall started out

shooting site-geist of the sixties at

the height of the beatnik era John

Coltrane asked me how do you get to

Berkeley and so I said I'll Drive you

and I shot pictures at the interview and

they're beautiful he captured the

serenity of the guy and the depth and

the intensity miles he goes why do you

ever take pictures of me like that I go

why don't you let me

he's so important to an era where a lot

was changing socially artistically they

had to respect him to let them that

close Hendricks pictures for the

soundcheck

Jim is standing face to face with this

guy those photos are indelible his

pictures are a personification of the

incredible depth of feeling that

musicians had an artist lets you into

their life then I feel the violate that

trust is criminal

doing sound check I said Johnny let's do

a shot for the warden Jim pushed every

boundary it was rock and roll man 72

tour I probably didn't want coke to beg

then stuff that Jim got you'll never see

that again

[Applause]

[Music]

if I couldn't ask for a better life it

was nuts

[Music]

you

[Music]

all right Wow legendary legendary that's

all I can say so

Amelia you produced this film I know

it's been in some film festivals where's

it been where's it going as Corona got

in the way of of the next steps where

people can see us tell us a little bit

about the film before we jump into the

power point yeah the film is the film is

great it's it's been a long time coming

what's wonderful about the film is it

really showcases Jim not only as a music

photographer but his life how he grew up

what shaped him as a photographer as

well as his street photography and

everything in between we premiered it

it's South by Southwest in 2019 and then

we went to different film festivals and

we came to the San Francisco Film

Festival only one audience award which

was really great we screened it at the

Roxy and at the MoMA just got an

incredible reception from people and the

funny thing is everybody said you know I

thought I knew Jim but I didn't I really

didn't know all of Jim and so watching

the movie it made everybody feel like he

was around again which is the best

compliment we could get that Jim you

know Jim was there so we did get a

distributor in the UK modern films so we

went to the UK in January of this year

and we premiered the film there and it

was in Scotland did really well in the

UK and then we have a Russian

distributor so it's in Russia watching

it okay exactly and we have an Italian

distributor so it showed in Italy

so we're now in the talks with a u.s.

distributor which is great because

everybody's like when is it coming to

the US but of course it's taken a little

bit longer because of the whole corona

virus that hit and so everybody just

stopped doing everything you know it's

so in the meantime while you're waiting

for the film there's a companion book

called

show me the picture Chronicle Books

published that and it's in bookstores

now so if you want to get a sneak peek

at that that's out there so alright so

real quick we're gonna get going here on

the PowerPoint and showing some of Jim's

work so you know Jim was a working photo

journalist he was shooting all the time

and this and one of the things that was

interesting about Jim and I know this

from firsthand experience is that you

shoot a job you deliver those prints to

your client you file your negatives and

you might not go back and look at them

again for a year or two or five or ten

or in some cases with Jim 20 30 years

and so Jim would shoot a job of Janis

Joplin in 1966 or 7 and file those

negatives and people it's not like today

where you know Janice was legendary then

but she's legendary in a different way

today right so when people started

writing books about Janis Joplin after

she was dead or or you know an artist

that had been you know biography Jim

would then go back into his archive and

pull some stuff out but Jim had like

what I call his greatest hits right his

favorite photos and and a lot of times

Jim would just send out those same

photos over and over again Janice with

the Southern Comfort bottle or Bob Dylan

rolling the tire and so it was after

after Jim passed away when Amelia and I

and Bonita started talking and saying

let's go in and scan all of the Grateful

Dead or all of the Bob Dylan or all of

the Johnny Cash and we did that with

some of the big name artists Santana

Cash Dylan the stones the dead the

almonds Joan Baez airplane miles

Coltrane those guys Amelia and Bonita

would go in they looked through the

proof sheets they'd find everything they

could they'd give them to me and and Jim

would mark these proof sheets with this

grease pencil

of his favorites we made sure we scan

those but Jim was very funny like he

might have one or two shots on a roll of

film that he would think were his

favorites

you know the shots that he would share

but out there make prints of and I'd

look at this Bruce you know be like okay

well there's 14 other incredible

photographs that nobody's ever seen and

so we would scan Jim's too and the other

14 and then we'd have 16 so like with

the Grateful Dead or Jefferson Airplane

we have three four five hundred images

scans of those archives of those artists

whereas Jim was only showing you know

two three four ten photos we should talk

about to Jay Jay is that Jim everybody

thinks Jim was disorganized because you

know he was a drug addict and he was

crazy sometimes but he was very very

organized when it came to his children

and his archive so he made three by five

cards of each person he photographed and

on that three by five card he numbered

every single roll of film and

corresponding proof sheet with that

person on it and then put that on the

card so it was really easy for him it's

like rolling stone called up and said we

want to do an issue on Jimi Hendrix he

just pull the card that showed him every

roll of film that ade shot of Jimi

Hendrix and then he'd go through and get

him the one thing that we discovered is

that Jim didn't cross-reference so if on

a roll of Jimi Hendrix there was Janis

Joplin or there was a Grateful Dead he

didn't cross-reference on and put it on

the Grateful Dead or Jefferson

airplane's card so we discovered a lot

of this stuff which was frustrating

because we're like oh my god these are

such amazing photographs that Jim didn't

cross-reference sometimes it would just

be like one or two frames like so we'll

see the shot later there's a picture of

Bob Weir I'll tell the story when we get

to it but um real quick I wanna remind

everybody that if you have questions

submit them on the Facebook the fans

wherever we've got Harrison Joe Sam and

Quinn the relics team and the interns

there they're gathering your questions

at the end of the presentation we'll do

a little Q&A with Amelia so let's get

started here and and some of the first

stuff that we're gonna show here

that a lot of people didn't know about

Jim is that he was a street photographer

and so you know we've got pictures here

of the Jim shot on the streets of San

Francisco the lady with the hat and the

guys smoking the cigarette you know and

that's that's interesting cuz that's one

of his that's 1960 and that's North

Beach so you know what you have to

remember is Jim was photographing in

their 60s and rock-and-roll really

wasn't around yet so what he had as his

subjects were the people in the streets

and jazz and so that's what he really

photographed and and that's what we're

trying to showcase more of is that's

where he honed his skill that he then

took into his music photography and

really defined how Jim photographed and

showed you know music photography and

live music because he was self-taught so

Jim the way he learned was to go out in

the street and just photograph and so he

was an amazing technician from just

learning through trial and error what

worked what didn't so he knew his

lighting sources he loved to use natural

light and so you'll see that and a lot

of these early photos you'll see him

developing his skill and his eye he's

all documentary photography on the

streets here the three women and the

black man at the counter and they got

the kid with the gun next to the small

car and so Jim was a documentary

photographer and I would say that his

style of photographing rock bands was

also documentary most of very little of

what he did was hey pose and look at me

was all very very candid stuff which

will see a lot of in here I'm gonna flip

through some of these Emillio the kid

with the gun you can stop me at any time

and talk about this the young

african-american kid a lot of black

people in the film or here tell me about

the clown photo that was literally one

roll of film that Jim shot and that's in

New York City and that Jim moved to New

York at the end of 62 and he stayed

there until the end of 64 1964 and

that's really where he did a lot of his

street photography as well as his jazz

but this clown it's it's great the

Ringling Brothers Barnum Barnum and

Bailey Circus was in town in New York

City and Jim

just went there and shot and this is

just such a candid moment again nothing

is posed about this shot this was

backstage you know one of the clowns was

taking a break and he got it and one of

the most amazing things about Jim's

photography I think is I never feel like

I'm a voyeur looking in I feel like I'm

a participant I'm standing right there

with that person in that moment and

that's what Jim is able to do in all of

his photography his photographs whether

it's a clown or whether it's Mick Jagger

you feel like you're there so now we

have a series of photos that were taken

down in hazard Kentucky Hazzard County

Kentucky

in 1963 I'm pretty sure it was yeah look

through some of these while you talk

about what this was how he got this

assignment what he was after how it

ended up getting published but it starts

with this you know downtown hazard

Kentucky scene you can see the cars from

the late 50s and the destitute and

desperation a lot of these people's

faces go ahead and talk about Jim got an

assignment to go to hazard Kentucky and

it was going to be about the coal mining

families and you know income inequality

basically in poverty in America and so

Jim embedded himself he made friends

with these coal mining families and they

allowed him into their homes and a lot

of them hope they were really poor and

so their homes were made out of

cardboard literally cardboard shacks but

and on some of the faces of the children

and the adults you can see smudges and

it looks like it's cold but it's

actually cold sores it's because they

were inhaling all of the coal all the

time that it caused sores on their face

but Jim just treated them with dignity

and respect and the human the human 'ti

of them and so when he took these

photographs he was very proud of them

the writer actually did not go down to

Kentucky with Jim the writer looked at

Jim's photographs and wrote a very very

condescending article and Jim pulled it

and he said I am refusing to

this to be published he did not come

down here with me he's missed the whole

point of this and he felt that strongly

about his work that he pulled it and he

gave it to the Archdiocese of New York

and it was published in ramparts

magazine done so Jim had a lot of

integrity behind himself and he he knew

how he wanted his photographs

represented and he never let anybody

dictate or say what they should look

like what they can or can't look like

and this is such an important subject in

Jim's life because he always wanted to

showcase the underdog for him it was

really really important to showcase

people who weren't getting attention

whether it was for music or whether it's

poverty whatever it was Jim wanted to

use his camera as a tool to share that

with the world

on November 22nd 1963 was a one of those

historic days in our country's history

John F Kennedy was assassinated Jim was

not in Dallas Jim was in New York City

and he has a series of photographs which

I have up here the first one now the New

York world telegram these photos the

looks on these people's faces and and

the newspapers being held up tell such a

intense unique story

well what happened how did like where

what was going on the Jim all of a

sudden got these photographs of these

people well Jim Jim actually was still

in New York at that time he was in the

time Time Life Building when the news

hit that JFK had been shot and died and

so what they did was they told all the

photographers in the building just go go

down stairs go to the streets photograph

the reaction of the people and that's

what Jim did so it's just pure raw

emotion of the news being told that the

president the United States had been

shot and killed and there's again

they're so powerful and you just really

feel like you're standing there with

with everybody feeling that emotion with

them looking at the shot of the woman

with the transistor radio the veil in

front of her face I mean just what did

you know just what ammo

I mean again newspapers and and you know

look she's that's an early version of an

iPhone it's a prototype you know in 1963

and then the next one of the four guys

just everybody just staring blankly

people our country was in shock I mean

and and it just shows it all right so so

another really important series of

photographs that Jim did that were not

music based was when he went down to

Mississippi and here's this first photo

here of the colored laundromat why did

he go to Mississippi what was this

assignment

who is he photographing and and why do

these photos exist of you know from Jim

Jim you know what's very interesting is

Jim when went down to Mississippi

actually with Joan Baez because Jim had

you know developed a really close and

we'll get into this later with Joan Baez

and he had photographed her at the

Newport Folk Festival and after that she

went down to Mississippi because she was

very active in you know equality and

segregation and you know getting blacks

to vote and so Jim went down there and

experienced he photographed when these

members core and SNCC were going down

and signing up blacks to vote and

teaching them how to do that which was

really really important and there's a

series of photos here with the police

cars and what yeah what happened yeah

there were three three students Chaney

Schwerner and Goodman James Chaney was

black and the other two were white

Jewish students could come down to sign

blacks to vote the Ku Klux Klan had to

actually kidnap them basically kidnap

them and killed them and so Jim the face

of mrs. Cheney's face when she heard

that her son's body had been found by

the FBI so she thought that's right here

right now that that that's just shows

you the pure emotion that was happening

but Jim was there at the moment she was

told her son's body had been found

and this is the story that that film

Mississippi's burning is based on

correct correct yeah right Jim made a

book called peace for many years he

photographed every single peace sign

that he could see I think he did it for

about a decade right or at least in the

late sixties and you know it was a fun

little book that the estate put out just

a few years ago made up of peace signs

Jim put out a book I'm sorry the estate

put out a book a couple of years ago

called Jazz Festival Jim shot a lot of

jazz and this book this is Miles Davis

and Steve McQueen on the cover of the

book

Bill Clinton wrote some roasting text

for this book did he write the foreword

Clinton write the foreword for the book

you know there's a famous photo that

I've seen of Obama in the White House

pointing next to a John Coltrane photo

that Jim took that lived in the White

House also that was given to Obama

here's a shot of John Coltrane at the

Monterey Jazz Festival in 1960 and then

we get to these beautiful beautiful

black and white portraits that were

taken in Berkeley talk to me about

Coltrane

Jim's connection to Coltrane where these

portraits were taken and some of the

other things around John New York San

Francisco where they were shot why they

were shot something like that sure well

this was a this this beautiful portrait

of John Coltrane was 1960 and like I

said before you know San Francisco in

North Beach was really one of the

biggest places for jazz at that time and

so Jim was would go in and out of all

the jazz coffee houses and and jet where

they would play and perform and he met

John Coltrane so after one of the gigs

Jim ran into John Coltrane and John

Coltrane said hey do you know how to get

to where's Berkeley where is Berkeley

Jim said why and he said well I have an

interview with Ralph Gleason who was in

San Francisco Chronicle's music critic

of the time and he said and I don't know

how to get there and Jim said well I'll

Drive you there so Jim picked up John

Coltrane they went to Ralph Gleason's

house in Berkeley and Jim was the only

photographer there

just started snapping away and took

these incredible photographs of John

Coltrane in natural sunlight and the one

this one was actually an album cover

also the black-and-white one but from

that point Jim developed a really strong

friendship with John Coltrane and

photographed him and so when Jim moved

to New York he kept in two he had stayed

in touch with John Coltrane and did a

lot of photography of him for his albums

and things like that and there's a shot

I don't know if you have gotten to it in

the recording studio in the recording so

that's Van Gelder studio in New York and

then there's a shot of him in his back a

color shot of him in his backyard at

sunset in Queens New York which is

absolutely gorgeous and that became an

album cover as well right so that was

the rain or shine oh I'm covering and

that brings us to Miles Davis and so

this particular photograph was really

important in establishing Jim's

relationship with Miles so let's let's

go I'm gonna go past the album cover

this first portrait of Myles is also

when what year is this 1963 6161

yeah you had already connected with

Myles but Jim was you was scared of

Myles anybody in his own life and

there's two covered the book the Steve

McQueen shot and then you know there's

the boxing ring photos tell me about the

boxing ring photos and then tell me

about that connection between Coltrane

and Miles and Jay well actually

Jim yes he was you know Miles Davis was

a force to be reckoned with and Jim was

always afraid of Miles Davis and so Jim

finally got enough courage one day and

went up to Myles and said hey Myles why

do you have a green trumpet and Myles

looked at me and goes hey [ __ ] I

didn't ask you why you had a black

camera scared the [ __ ] out of Jim and so

Jim was just afraid of him for the next

few years and then he finally said you

know it's ridiculous I really really

want to get close to him and have these

intimate photographs like I was able to

do with John Coltrane so Jim knew that

Miles Davis loved John Coltrane

he loved that photograph that color

photo of John Coltrane in his backyard

in Queens so Jim made that photograph

wrapped it up and then backstage of

Winterland when Miles Davis was done

playing Jim approached him and gave him

this little package and Miles looked at

it and then just kept talking with

people and Jim goes hey miles open it

mouths like later later so Jim got very

frustrated he started walking away Miles

Davis opened it up and he looked at me

and screamed at Janie goes hey Jim and

Jim turn around he goes yeah he goes

this is John Coltrane and Jim goes I

know and he goes I love John Coltrane

Jim goes I know and he goes why don't

you take pictures of me like this and

Jim goes why don't you let me and it was

from that point on

Miles Davis then gave Jim all access to

photograph him but it was because of

that beautiful photograph that intimate

photograph that Jim took of John

Coltrane that allowed him to get close

to Miles Davis and so he also had a

lifelong friendship with Miles Davis and

miles loved to box and so Jim

photographed him two years in a row one

was 1970 in the next one was 71 at new

Newman's jam in San Francisco I mean he

was a good boxer but he would always say

to a sparring partner and don't don't

hit me in the mouth I got a play tonight

so they couldn't hit him in the mouth

and of course that ended up as a wreck

Miles Davis album cover which we're

looking at here and then the shots of

him in the red shirt are from the Isle

of Wight show and the out there's an

interesting story of the Isle of Wight

also there's very few pictures of Miles

Davis smiling people didn't really get

that and as you can see in this Jim was

able to get Miles Davis to smile just to

this candid moment but the Isle of Wight

miles had flown Jim out to the point to

be his photographer for that and he had

all the press passage and passes and the

credentials so he got he was going up to

stage and one of the security guys said

you can't go on stage and he goes but

I'm with miles he flew me out here and

he goes you can't go on stage so Jim

yelled two miles and he's

hey miles he won't let me up here so

miles came over and he looked at the

security guy and he goes you want me to

go out there and tell those 300,000

crazy [ __ ] that you're not

gonna allow Miles Davis to play and the

guy looked down and he goes after you

mr. Marshall

and so Jim went up and was able to take

him but they had these this great

relationship the two of them nice

alright we're gonna skip ahead here to

the Allman Brothers Duane Allman

backstage Duane and Jim had an

incredible relationship which of course

translated to the rest of the band you

know this of course there's the most

legendary intimate shot of Duane

rehearsing in the in the bathroom at the

Holiday Inn on Van Ness Avenue here in

San Francisco and you know this great

candid portrait of Gregg Allman in the

70s with the Ray Bans and Dickey Betts

and and that shot of Greg onstage at the

Fillmore East little white bubble which

is used on that record live at the

Fillmore East here's a shot of Bill

Graham Fillmore East mark even that says

the Allman Brothers Band wasn't this

originally shot to be the cover of live

at the Fillmore East and tell me tell me

about why it wasn't and and how and how

they ended up shooting that cover and

where they shot it and how that came

about

yeah they Jim was suppose he was hired

to shoot the live at Fillmore East cover

and they just nobody got in today I'll

hated it they were like this just

doesn't have any energy this doesn't

show what it's like so they were trying

to figure out what to do and so when

they went down to Macon Georgia this was

outside when a place that they were

going to be playing and Macon and they

had all of the you know cases stacked up

and Jim was like this I think this could

be a really cool shot but something was

missing because it was gonna be live at

Fillmore East so he stenciled that onto

the road cases and then he sat the guys

down the Allman Brothers are notorious

for not smiling either never liked to

smile so Jim was getting really really

frustrated so finally at one point he

said to them you guys I'm the one with

the coke if you want some coke

have to smile and they just cracked up

and click this that was the cover yeah

you know it's interesting two years ago

I was down in Macon Georgia and I went

to the Allman Brothers Museum at the big

house and this amp case were extensive

the Allman Brothers Band at the Fillmore

East is actually in that museum and Kirk

West who you know originally kind of put

the big house together bought the big

house where the band lived back in the

day and donated it to build the museum

told me the story that you know somebody

stole that case somewhere along the way

and the guy had it in his living room

and then and his wife wanted to get him

out so he put it in the basement then he

moved it to the garage and eventually he

got taken out of the garage and was

thrown behind the garage and was just

like out in the elements you know

outside the rain the snow the sleet

whatever and it sat there for another

year or two until somebody discovered it

and was like this is one of the most

famous artifacts and Allman Brothers

history and it ended up I think Kirk was

the one who ended up not getting it and

giving it to the museum and then of

course you know most people haven't seen

the color version of excuse me the

Allman Brothers shot there and that's an

outtake then we get to the Beatles and

excuse me the Beatles play at

Candlestick Park in August of 1966 it's

the very last time the Beatles will ever

actually play in front of a paying

audience they did the let it be you know

rooftop concert at Abbey Road but this

was their last professional paid gig Jim

was there Jim met the band at the

airport

I loved the Pan Am flight attendant with

the pillbox hat he shot them coming off

the plane he was there with them

backstage he was on on the field with

them Joan Baez was hanging out backstage

Joan Baez was as big a rock star as the

Beatles were in 1964 she was actually a

bigger rock star than the Beatles were

before the Beatles became rock stars

because she was already playing arenas

of 20,000 people in 1962 and so tell us

about this particular day of Jim hanging

out with the Beatles at Candlestick Park

in San Francisco well it was crazy

because nobody actually nobody really

knew that

was going to be their last live concert

so nobody expected that but at

Candlestick Park it was it was a

disaster it was not a successful concert

because they were in the middle of the

field

caged in right and it was stadium

lighting and the acoustics were terrible

and everybody were sitting in this the

big stadium seats so people were miles

my thoughts so far away from them they

couldn't really hear them the Beatles

hair was blowing all over the place and

and Jim was there documenting this piece

of history but it was interesting too

because he not only didn't do it when

they were actually performing but he did

it backstage when they were in the

dressing room waiting around to go up

and as Jay said there was Joan Baez you

know just completely in awe of the

Beatles and what was happening but it

was a really it was a historic event

that we didn't know until after it

happened I loved the shots of the fans

trying to get on to the field and the

police just like tackling them yeah you

know here I'm just flipping through some

of the live shots here John and Paul

singing into the microphone

Jim shooting through the fencing you can

see the fence here in front now they

were caged in and yeah you have to

remember like they probably had some

sort of industrial PA sound system that

I mean if you were 20 feet away you

could probably hear it but the closest

the audience was to the stage was

hundreds and hundreds of feets they were

in the middle of the baseball diamonds

and everybody was out in the outfield I

mean by the time this you know and

everybody screaming the fans all the

girls screaming I'm sure you cannot hear

anything I think they played like 35

minutes that's how long the set was and

that was done and then a couple of years

ago a few years back Paul McCartney

played at Candlestick and that was the

very very very last concert ever at

Candlestick Park in San Francisco and

Paul McCartney closed it out another

plan in entertainment our local promote

independent promoters put that show on

and Paul McCartney invited a million

benita as their as his guests to the

show and they showed a bunch of these

photographs on the big you know IMAX

screens at that concert of of this shot

of this show and six

six I remember when we ran into Paul

McCartney having dinner after we were

down at that like store event away a

couple years ago you walked up to Paul

and introduced yourself so that was that

was pretty fun yeah Bob Dylan

Jim's relationship with Bob went back

really to the beginning I mean here's

Bob you know smoking a cigarette you

know this is this is 1963 I believe he

was 62 63 with peeps Village Gate right

and so Jim was there at the birth of

this this folk movement with Bob Dylan

here's the shot with Jim I mean Bob and

Susie wrote a low who was Susie and then

there all these photographs of accidents

let me get to mine you talking about

Susie and then we get to these

photographs at Newport Folk and here's

this one that I love of Bob playing on a

4x8 sheet of plywood and here's Bob

Dylan playing on a stage at Newport Folk

in 62 or 63 this is 63 on a little 4 by

8 stage at Newport Folk and then we get

to the shops in Greenwich Village with

Bob Dave Van ronk who is sort of the

mayor of MacDougal Street a folk singer

and Susan wrote a loud tell us the story

about this shoot why they were walking

around Greenwich Village who they were

what they were doing what's the story

with the tire and what ended up

happening with these photos well this

actually is we said Jim met Bob Dylan

when he was in New York and actually

interesting a side note Bob Dylan was

the one that introduced Jim to Johnny

Cash so that's how that whole

relationship started but Bob Dylan was

just walking down the street it was one

afternoon

Susie was his girlfriend at the time

after that Bob then got involved with

John Baez because Joan Baez was the one

that really introduced him to the world

at the folk festivals but Jim was there

hanging out they were walking down the

street and he was just taking these

photographs and literally there was a

tire on the side of the road and Bob

Dylan just picked it up and started

rolling it and there boom Jim took it

again just capturing

that moment that split-second always

being ready for whatever happened

Columbia Records then wanted to use some

of these images for their album cover

but they didn't want to pay Jim what he

wanted so what they did was actually use

Jim's photographs to recreate that with

their own photographer Don hunt Stein

who was actually shooting for them at

the time so they recreated Jim's

photographs for the album cover because

they didn't want to pay Jim what Jim

wanted so that it's an interesting story

but again this is just all access that

Jim had with Bob Dylan at the very

beginning of his you know career when he

was just still such a baby

and of course Suze Rotolo is the woman

that's on the cover of the freewheelin

Bob Dylan record I remember but I

believe that technically she was Bob's

girlfriend from 61 64 according to what

ya overlap with Joan Baez yes in this

photo that we're looking at right here

in 1963 at Newport Folk and of course

Joan and Bob singing together at Newport

Folk and then here's Bob and Joan with a

little baby and this baby was just a

random baby because everyone was saying

are you guys getting married are you

getting married and what they were

joking around said heroes oh yeah this

is our baby it was just some random baby

but we get to Joan Baez and so here's a

solo shot of Joan on stage and I think

this is c1 or 62 yeah

Joan you know Jim was shooting jazz in

San Francisco just before he moved to

New York he meets Joan Baez he

photographs her you know here she is

solo acoustic playing in front of 20,000

people like in the Oakland Coliseum or

the Cow Palace or you know something

like that like that's how big Joan Baez

was back then and Jim starts this

relationship and he goes to Newport Folk

and hears Joan walking down the streets

with a crowd of people this is sort of

the beginning of that protesting in that

trip that got him to Mississippi tell me

a little bit about Joan and and Newport

Folk and then we'll go to Joan and and

her husband David Harris the anti-war

activist draft-dodger yeah but he was

really an activist and some of the other

stuff that Joan did that Jim also was

able to float oh yeah well this and this

is a really important photograph of Joan

walking down the street in Newport

because what they were doing is actually

doing it a trial run for the march on

Washington which was going to be a

couple months later after this so they

wanted to do a trial run in a very small

contained space so they did it at the

Newport Folk Festival and next to Joan

is James Forman who was one of Martin

Luther King Junior's right-hand man and

that the whole movement and civil rights

movement and she was joined by the

freedom singers so they marched down

through the street to to a place where

they then actually practiced all of

their speeches and talked about them so

we didn't really know about this since

till we started it was in the archive

Jim never told me about this engine

never you know published these

photographs so for us it was just such

an amazing experience to come across

them in Jim's you know archive and find

them and see that Jim had documented all

of these pieces of history that will

never ever happen again and that we're

really fortunate that Jim did so that we

can look back at these and I think it's

so relevant especially today with what

is going on right now that we have these

pieces of history to look back on and

really reflect you know how far we have

not come actually you know even today so

here's Joan in the recording studio with

her sister Mimi Farina

this is them in Nashville with Stephen

Stills who they became friends with Joan

backstage - sort of relaxing taking a

nap

Joan giving the peace sign that's at

Woodstock in 69 this is a shot here of

Joan with her family it's her sister

Mimi her other sister and her mother and

father when Joan wanted a family photo

taken of her and her family she called

Jim Marshall like that was there

relationship and then we get to David

Harris and here's a protest that

happened at the Presidio

so here's joan baez it's the late 60s at

this point and she's still one of the

biggest celebrity musicians in our

country and she's here at this anti-war

demonstration standing on top of the

back of a pickup truck with a board on

top of it for 200 people because this is

what her and her husband believed in so

talk to me a little about that

relationship with David Harris and and

Joan and the whole anti-war thing yeah I

mean the anti issue she was one of the

biggest peace activists and anti-war

anti-nuclear war and that's what she

basically you know she devoted a lot of

her still does to that cause and David

Harris was a conscious objector so

because of that he dodged you know he

didn't he refused to go and be in the

war and he was jailed so they were

married and here he was being thrown

into jail and she was pregnant at the

time actually with their son Gabriel and

so you'll see some photos that come up

where Jim was on assignment from Look

magazine and he went with Joan on the

plane to go get David Harris when he was

released from jail and by this time she

had had her son and so it was really the

first time that David Harris got to see

his little baby and his son and Jim was

there to report it all so and there's

the press conference is what I'm looking

at right now and here's another shot of

Joan and David this is Joan up on a hill

down near where she lives south of San

Francisco in the 70s

I mean Jim's relationship with Joan

lasted until the and so until Jim died

and like I said earlier I believe Joan

sang at Jim's memorial service that we

all put together Amelia and Benita were

sort of spearheading it and they put a

little little committee together that I

was part of and we organized Jim's

memorial and Joan came and sang a half a

dozen songs at that the last shot we

have of Joan here is a very famous photo

because it's a picture of Joan and her

two sisters and it was made into this

circle girls say yes to boys who say no

and this poster was in every dorm room

everywhere in every girl's dorm room and

of course this was a draft it was it had

nothing to do with sex it was it was all

about boys who say no to the draft you

know it was it was a legendary

counterculture poster that's shown up in

lots of documentaries and whatnot Joan

was a big part of the big super Folk

Festival started in 1964 went to 1971

Joan was there I believe every year I

don't think Jim shot it every year but

he shot several of them some of the

photos that we're gonna look at here or

specifically from 1969 and this was sort

of the power of Joan Baez and her

stature in the community so this first

shot here it's Joan Mimi Farina and

that's Judy Collins

here's Joan there's a full camera crew

for surrounding her you can go on

YouTube and you can actually see a lot

of clips from this documentary movie

that was made but here she is sort of

holding court and talking to Joni

Mitchell Graham Nash Stephen Stills and

John Sebastian here she is dancing with

some of the saint gospel singers dancing

again with her sister with the crew and

and in between it was weird where this

was a nestled on there was a giant

swimming pool in the middle where the

stage was so the band was playing and

there was a swimming pool in front of

them so there was nobody right in front

of the band when they were playing and

then all the fans were on the other side

of the swimming pool and of course this

is the year that we had Crosby Stills

and Nash and young come and play and CSN

also did a set Joni Mitchell was dating

Graham Nash at the time you know just

such you know here's this great shot of

Graham Joni John Sebastian Stephen

Stills and Joan Baez all up there on

stage singing and you can see it's a

truce you know Bay Area San Francisco

West Coast thing because it's completely

fogged in freezing-cold

you know esalaam big circle so actually

the and the Big Sur Folk Festival was

started and Joan actually by another

woman and Jenn was there to teach music

and

was developed as was because this was in

the summer after all of the musicians

had gone on tour and were kind of did

all of their summer touring this was a

place for them to come and kind of chill

out and get together and you know hang

out again and so that's why it became

kind of like this family of musicians

who came to this every single year after

they were done with their tour and they

could just hang out with each other and

relax and it's just it was such an

interesting unique kind of festival that

went on and that that doesn't go on

today you know it didn't you never see

something like that again I mean Joni

Mitchell was just there because she was

living with Grand Nash and here's this

photo that I have up here of Graham and

Joni you could just see the intensity of

their love affair in their eyes and the

way they look at each other on this

close-up of David Crosby and that brings

us to the series of photographs that

David Crosby and it's held this story

here so while we were editing photos

looking for whatever we were looking for

I came across a one and a half rolls of

film one may have proof sheets of these

photographs of David Crosby in the

studio and I knew right away that this

was them recording a record called if

only I could remember my name which is

this legendary solo David Crosby record

and this source also was sort of the

birth of what that later became the

Paris sessions planet Earth rock and

roll orchestra and so in this particular

photograph period Garcia Crosby me Leon

Phil Lesh on bass Michael Shrieve from

Santana's band is on on drums and and I

took this photograph and I sent it to I

called Paul Haggard who was the art

director Guitar Player magazine good

friend of Jim's

Jim was a good friend of guitar player

they always did a lot of stuff together

they use Jim's photos all the time and I

said I found this photo that nobody's

ever seen and nobody even know existed

and I and they published it in

guitar-player as a two-page spread and a

guy named Steve Silberman who's David

Crosby's biographer he saw the photo

freaked out called me up I'm friends

with Steve also called Crosby Crosby's

like I didn't know that anybody was even

there I didn't know anybody ever even

took any pictures during these sessions

right there's only one and a half rolls

of film from this whole session and and

a year or two later crosby Stills and

Nash played at the Fillmore in San

Francisco and I took a bunch of these

photos from the session and I put them

on my phone to show the Graham and David

right so Graham Nash's it was a dear

friend of Jim Marshalls right they

really did a lot of stuff together you

know Graham is a big fan of photography

was a big collector he was a

photographer himself and so over the

last 10 years if I have a hard time

IDing somebody or in a photo I would

email it to Graham and Graham would be

like oh yeah that sound so shown so at

this date on this place at this time

during this show like Graham knows

everything he's amazing so I break out

this photo and I show it to Graham and

Graham looks at it he goes oh yeah it's

the UH if only I could remember my name

sessions and oh yeah that day they were

recording the song cowboy movie and oh

yeah David's wearing a red t-shirt I'm

like it's a black-and-white photo he's

like I know but I remember and then of

course he goes over and shows him -

Crosby who's freaking out right about

these photos he's like oh my god I've

only seen the one I can't believe this

is so amazing he's like he's like he's

looking at me he's like I Love You Man I

love you for showing me these photos and

cross he's freaking out and and then at

that moment Graham looks at he goes do

you have any photos like really things

that people haven't seen them Stephen

Stills I'm editing the photos for the

Stephen Stills box set so I go back I

call Amelia she brings over the Stephen

Stills stuff I scan a bunch of but I

send it to Graham and it ends up the

cover of the Stephen Stills box set five

years ago six years ago whenever that

came out so it's just a full circle how

this stuff happens you know show

somebody a picture on your phone of them

from 40 years ago and you get the album

cover of the box set 40 years later it's

just amazing so and on top of that when

Graham told me he was doing this box

senton and Jimmy ends up with the cover

of the stills box set I go hey can I

send you a few photos that I took of CSN

when I was in high school when I was 17

years old and he says sure and and

Graham use one of my shots of CSN from

September of 79 taken at Madison Square

Garden during the no nukes concert so

everybody everybody want on that

is amazing and that brings us to the

Grateful Dead again you know Jim had a

love-hate relationship with the skies

and that was only because the Grateful

Dead were very very difficult I can

speak first-hand experience from this

they are very difficult people to

photograph because they don't like to be

photographed because they've been doing

it for so long and even back then you

know Marshall would be climbing on amps

and the roadies be like [ __ ]

Marshall and Marshall would look at

these roadies that were twice the size

of me be like who the [ __ ] are you

talking to [ __ ] like he wouldn't

back down

you know Jim was a tough little you know

three foot six inch [ __ ] right I

mean how tall was Jim Amelia was he five

foot three of something he was yeah he

was he he would lean on me I was taller

than five four okay there you got but

Jim was a mean ass dude and you did not

want to [ __ ] with Jim Marshall right and

we can all tell you legendary stories I

mean I was lucky that Jim only pulled a

gun on me once right and that's being

lucky but again it makes her a great

story because you know Jim Jim can

always have to bring him some money for

some prints and he needed some coke

money and and and he called me late in

the afternoon the banks were closed I

went to the ATM you can only take $200

out like brought in $200 and he looked

at me and he's coked up and [ __ ] buzz

this [ __ ] you know this I'm not telling

any things that nobody knows who doesn't

know about Jim and and he said where's

my money and I said I got 200 like [ __ ]

you Blake's burg and he pulls a gun out

and slaps it on the table and he goes I

need that [ __ ] money and he like I I

just ran I'm like I gotta go Jim I'm out

I left he called me three days later he

told me to never come back he said [ __ ]

that you're not getting the prints of

the Beatles that somebody was buying

that I was bringing in the cash four

calls me three days later he's like hey

lights burn come on over bring me a

check for the rest of the money on me

like he didn't even remember the whole

incident the gun anything but again that

was just a whole nother side of Jim but

he still had that heart of gold anyway

said with the Grateful Dead here's this

is an acid test in 66 this is one of the

first portraits that were severally done

of the Dead in 67 this is a legendary

shot taken in 66 we've all seen this

photo where Jim's lying on the ground

he's shooting up with these guys of

course they gave him the finger flipping

the bird which is a theme throughout

Jim's life because it wasn't a lot of

people did it's a load of people right

flipping the bird we'll see more of that

and then I found this color slide here

of Jim must have handed his camera to

somebody that he was with and when I saw

this photograph of Jim lying on the

ground I knew exactly where it was the

Fillmore is directly across the street

and this dirt lot that he's

photographing him on is actually the

boom-boom room one time it was called

the John Lee hookers boom-boom room and

it's a little blues bar that's on the

corner right across street from the

Fillmore and so it's like things like

this that revealed the history of where

Jim took these photos and when we took

these photos because there's another

series of photos like this with the

airplane where he's looking up at them

and I always thought they were taking

the same day because the dead in the

airplane were in the same spot but I

found out later that these were taken of

the dead by themselves and from the

Fillmore in the airplane ones were taken

in Golden Gate Park Miglia tell us a

little bit about I'm gonna flip through

these just talk about the Grateful Dead

you know here's Jerry and in the park in

in Golden Gate Park with the Panhandle

free concert in 66 lip-synching at KQED

Monterey Pop

oh here's the shot that we were talking

about earlier I'm sorry I'll give it to

you in a second Amelia this is a shot of

Bob we're in this I make up at the

tripper freak show which was a Halloween

show in 1966 with Janis Joplin and this

shot here was on a roll of film that was

just Janis Joplin and there were five

frames of Bob we are taken in the mirror

backstage like this and so it was never

labeled on a Grateful Dead card and when

we were editing Janis Joplin photos I

came across this it's like oh my god

here's five pictures of Bob Weir and

makeup that nobody has ever seen and

that's how we would discover things Jim

of course did one of the first photos

with Mickey Hart when he joined the band

this is a portrait that we actually used

on a book that I published a couple

years ago called eyes of the world we

use Jim's photo because we wanted a

photo that had Mickey and Pigpen in it

and there's not a lot of portraits of

the band Jim's one of the few people

that have a portrait of just this lineup

right here

and then there's the press conference

tell us about this press conference that

happened at 7:10 well they were they

were basically they were set up by the

police for you know selling and

distributing marijuana and so it was a

complete set up it was unfair and Jim

was there basically when they decided to

do a press conference and notify

basically shared with people what had

happened and that it was wrong so Jim

Jim was there photographing all of this

that had been taking place but he also

with the Grateful Dead as much as he

loved them he also hated the Grateful

Dead because they did a lot of acid and

acid was not Jim's drug of choice

cocaine was and so they were constantly

they were known for dosing people and

putting it in as a joke and that people

wouldn't know and which bugged the [ __ ]

out of Jim because he did not want to be

hallucinating and later on I don't if we

have that photo from Woodstock but

there's a big orange photograph that was

in the album from Woodstock where it's

Jim is in the rafters looking down and

Carlos Santana is actually playing on

stage with the crowd in the background

and the the only reason Jim was up there

was because Jim was terrified of heights

terrified well the dead had dosed him

and he thought he was a monkey so he

climbed up the rafters took this picture

and then couldn't really figure out how

to get down so finally figured out but

he when he realized he had done that

after the acid trip news like those

mother [ __ ] I would have never done

that if I hadn't been toast so and of

course later on in life and in the

Grateful Dead's career by the late 70s

they were a cocaine so Jim probably had

he probably had some good times with

them and we will show that orange photo

later I don't know if it's know where

Santana's on stage or not I know it's

just wanted that where he's up there

before they went on or what but anyway

but also we have these very very famous

photos that Jim took the Grateful Dead

on Haight Street on March 3rd 1968 now

this photo that's up here now you can

see the stage was all the way down the

end of H Street closest to Stan

and closest to Golden Gate Park and so

you can see that this crowd goes all the

way down you know four five six seven

blocks again we're talking an industrial

PA system where you're lucky if the

sound traveled cleanly for the first

hundred feet so it just showed the power

of of the Grateful Dead of the Haight

Ashbury and and by March of 68 the

Haight Ashbury was dying you know it was

becoming drug infested the media had

ingested it chewed it up spit it out you

know the Grateful Dead were leaving

everybody was leaving but still you know

30 40 50 thousand people come to the

Haight and of course Jim gets these

legendary photos here's Mickey Hart and

then there's this one here a Phil

kreutzman and and Jerry which is just a

classic legendary photo and it's inside

the live dead record this shot here of

Jerry was taken at Woodstock and this

all leads up to the gatefold in the live

dead record which we're looking at here

and you can see one of the Mickey shots

there the big crowd shot there's Jerry

at Woodstock and there's other photos in

here by her Green and Rosie McGee and

and and whatnot but again for me as a

teenager you know getting this record

and looking at this and reading the

credits and saying oh my god Haight

Street you know they did the Haight

Street Fair for many many years I think

they still do the Haight Street Fair not

this year obviously in June and I

remember being on stage with the

Jefferson Starship one year and me being

behind the band and all I could think

about was how do I get the shot like Jim

Marshall got the shot you know like

that's what's running through my mind is

you know Here I am 30 years later 20

years later whatever it was how do I get

that shot to look like it and I have

something but it's not the Jim shot you

know and then of course this is the band

was on stage at Woodstock and you can

see there's cameramen everywhere I'm

leaning down in front of the band

there's one in front of Jerry one in

front of Kreutzmann there's another guy

you could see his foot on the right you

know and the Grateful Dead had always

said how Woodstock was one of their

worst performances ever you know the the

band the stage wasn't grounded it was

there

wet every time they put their lips up to

the microphone they would get a shock

there's camera crews in their face and

that's why the Grateful Dead are not in

the Grateful Dead movie a few more

Grateful Dead shows with the shots here

and then we'll move on Bob we're in 1972

this is Garcia in the back of a van in

1975 when the Grateful Dead did the big

free concert in Golden Gate Park in

Lindley meadow here's a shot from that

show there was this Jefferson Starship

and the Grateful Dead and then Jim did a

portrait of them you know one of the few

portraits them mid-career Donna and

Keith were fairly new members of the

band I think this is either I think this

is a 75 or 76 and then of course you get

to Jerry up at Front Street in 78 with

the series of portraits he did with the

guitar and of course the wine glass

which became another legendary

photograph just because it's Jerry

toasting the world you know pictures of

Jerry toasting the world and it became

the cover of a bootleg record farewelled

of winter lab which was the closing of

winter labs anything else on the

grateful day that you want to say or

sweet without the Bob Dylan and Johnny

Cash

let's move on to Bob Dylan Johnny Cash

so here are a couple of shots of Bob and

and John on the Johnny Cash show and

like Amelia said it was Bob who

introduced Jim to Johnny that one of

those photos from that session was on a

record called the Dylan cash session

again a bootleg record but look you can

see they've got Jim's credit right on

the on the cover of the record you know

bootleg records were a common thing when

I was growing up all the time they were

split leg records that would come out

they'd be made in Europe or wherever and

you know it was a thing which is why the

Grateful Dead allowing their fans to

tape them became so controversial at

first she would tell you about the

relationship with Johnny and Jen yeah

well what's interesting about this one

with Bob Dylan and Johnny Cash Johnny

Cash really really was good friends with

Bob Dylan Bob Dylan had been in a really

bad motor motorcycle accident in 1967 he

became kind of a hermit and

and he would not go out or allow anybody

to photograph him so Johnny Cash had a

TV show from 1969 to 1971 it didn't last

that long but he had all these great

guests on it and Jim was you know the

photographer for the show he was there

and this was his very this was Johnny

Cash's very first show and he wanted Bob

Dylan to be his first guest so it was

because of the friendship that they had

that Bob Dylan came out of basically

hiding and started to perform again but

it was on the Johnny Cash show so that's

what led to that and then as a lot of

people know that Jim was the

photographer for Johnny Cash for the

Folsom in San Quentin prison concerts

and I think are we gonna be getting to

those go back a little bit of talk about

Thanksgiving at the cash house with June

and then with shel silverstein yeah well

they would have in Hendersonville

Tennessee they would have Thanksgiving

you know parties and Jim was always

invited and what was really beautiful

this is such an iconic shot of Johnny

Cash and June Carter because they had

this love for each other and respect and

Jim was again it's just the power of Jim

being able to capture that moment in

time where and again this is so intimate

but you don't feel like you're invading

their space at all you feel like you're

sitting right next to them with this

very intimate moment and they were

actually listening to shel silverstein

play because shel silverstein was there

as well and a lot of people don't

realize he what he wrote the getting

tree but he also wrote the lyrics for a

boy named Sue so he was a songwriter as

well and so Jim captured captured that

too and then we get to Folsom Prison and

then they're there in the bus so go

ahead and tell me about Folsom and how

that went down and Jim's involvement and

while you're doing that I'll flip

through photos and and so Johnny Cash

really really believed in shining a

light on prisoner reform because he he

believed

that you know prisoners were not treated

like human beings they were shoved in

these dirty jails and he was thinking he

was just thinking what can I do to shine

a light on it and so he wanted to do two

live recordings one year after another

the first one was Folsom the second one

was San Quentin and he said I want Jim

Marshall to be my photographer so Jim

went with Johnny Cash when he did these

live recordings and was really the only

photographer there and he got these

amazing photographs of this historic

event that was happening and again true

to Jim Marshall form all natural light

decisive moment taking it as it's coming

there's a on the shot of Glenn Shirley

Telles who surely was when Shirley wrote

Greystone Chapel and he had showed it to

Johnny Cash and Johnny Cash loved it so

much but he didn't tell Glen Shirley

that he was going to be performing it

when they actually were there recording

and so Glen Shirley was surprised and

and just completely shocked and blown

away when Johnny Cash sang Greystone

Chapel and you can see him going and

shaking his hand and I'm talking to Glen

Shirley but that was just you know the

way Johnny Cash was recognizing somebody

who had done this important song for

this really you know historic event that

was going on

of course there's June in the background

looking over from the side of the stage

there and then I guess before or after

the performance they did all these

portraits of Johnny around the prison

outside the front gates and what June

and Johnny and what's really interesting

that a lot of people don't know about

Jim is he always had like five cameras

around his neck and he always had one

camera filled with color so you know

most people don't know a lot of Jim's

color photography but he always had one

camera filled with Kodachrome so that he

could just go in go pick one up put it

down pick the other one up put it down

so he was always prepared and ready to

capture whatever he wanted and that was

kind of one of Jim's little secrets is

that he always had these cameras around

his neck so he would never miss

you know a moment that happens of course

this is showing the cover Johnny Cash at

Folsom Prison there's the close-up of

Johnny we all know this cover inside and

now because it's iconic and then right

after that this is at Newport Folk right

where he's signing the autographs is

that what you said yes yeah and then so

signing autographs and then we get to

what is perhaps the most iconic

photograph in the history of music

photography as we were saying earlier

Jim always you know giving the

one-finger salute

what this is and most people think this

is Folsom Prison but this is actually

the next year how did this photo go

about and I'm going to say that this is

the iconic photo but there are actually

three frames that Jim shot three

pictures and jintan out of a motor drive

so that's not like that's

click-click-click but it's still you can

see on the proof sheet this sort of

motion of Johnny moving while it's

happening and you know there's no

autofocus this is Jim manually focusing

with a Leica which is not very easy and

click-click-click three in a row but

this is the one that we're all

accustomed to seeing and this was this

was at soundcheck

and so Jim there's many different

stories but I will tell you the story

that was told to me by Jim himself which

was he said to Johnny let's do one for

the warden and that was Johnny's

response to that again because he was

disgusted by the quality of life that

these prisoners were they had and that

they were not being treated like human

beings and so this was his way of you

know saying [ __ ] you to the warden but

it's interesting because he's seen in

the background and John Carter Cash

Johnny's son said he loves this

photograph not only for the defiance but

because his grandmother Mother Maybelle

Carter it's walking in the background

there and so he said you know here I

have my dad and my my grandma in one of

the most famous rebellious photographs

ever taken of Johnny Cash and of course

this photo student to be on that t-shirt

everywhere in the world for decades and

every Jordan walleye poster and

it really is you know one of those

photographs that is such a statement and

has been used in so many ways and it

kind of took on a life of its own like a

lot of you know Jim's photographs a lot

of iconic Jim photographs just take on a

life because they're timeless I mean

this can stand for so many different

things so that role so the Rolling

Stones come to San Francisco it's 1964

they're playing at the Cow Palace are

they playing at the Bill Graham Civic

which at the time at the San Francisco

Civic and here are some backstage shots

that'll be young Mick and Keith and

Brian Jones this picture of Keith

Richards I love this picture because we

all know what keeps Richards excited

today and you know and all the jokes

that come along with it but this is a

young Keith Richard with Richards with

not one wrinkle on his face and this

shot here is the is the Civic Center

rights the Sanford Center and and but

you can see the police sort of coming on

but look at this next photo here this is

the Civic Center where I've been to a

million shows we see bands like fish and

Phil Lesh and Bob Weir look at the

balcony the this venue holds about 8,000

people the balcony is empty the police

are on stage it's 1964 I believe and the

Rolling Stones can't even sell three or

four thousand tickets in the United

States in San Francisco and of course

they come back to conquer the world

here's Brian Jones and Jimi Hendrix at

Monterey Pop which is a very new iconic

legendary photograph mom I love this

photograph here of Brian Jones and

Dennis Hopper you know and it's been

said that Dennis Hopper modeled his

character as the photographer in the

movie Apocalypse Now after Jim Marshall

is that true and is June yes he did and

you know Dennis Hopper was a really good

photographer himself so he was actually

at the Monterey Pop Festival as you can

see you can't see his his little tag but

it says that he's a photographer

yes so he was there as a photographer

but yeah again he would see Jim with

these five six Leica's hanging around

his neck you know running up to people

taking photographs and that's if you

watch Apocalypse

you can really see Jim in that character

and that portrayal you can you know hey

man hey man let me take your photograph

wait wait wait let me get this and it's

funny because after I heard that I

rented Apocalypse Now and I'm like God

that is Jim that really is Jim so he got

him down yeah this is the stones I

believe in 69 and then we get to the 72

tour Jim shot I think just of one show

in 69 right 1672

oh that's 72 officially Kim so Jim goes

on the road with the band on the west

coast and so Amelia talked to me about

who we was shooting for who was on tour

who one of the photographers were there

and while you're doing that I'll flip

through some of these photos and it

starts with the shot of Mick with the

bare chest on stage point out when we

get to some of these shots you know some

of these backstage shots like nowadays

you know at a stadium show with the

Rolling Stones you know Mick has his own

his own wing of the arena that's his

dressing room and every band number has

that and back then there was you know

all everybody just hanging out in one

spot so go ahead Amelia yeah Jim Jim

actually was hired by Life magazine he

submitted ten photographs and got picked

as the photographer for life to cover

the West Coast leg of the stone 72 tour

and so he did that and the the other

photographers that were on tour as well

with them were Ethan Russell and Annie

Leibovitz was there and Ken Regan so but

Jim was actually the official

photographer for that West Coast leg

part of it and he wondered the the shot

of Steve he was he the opening act just

on the West Coast you know or yeah see I

think so he was just the West Coast a

Stevie Wonder you know the shot of him

and that was at Winterland he was

opening up for the stones which is so

interesting I never you know you'd never

think that those two groups together but

they did he played and this was at the

height of the stones basically the

height of their careers I mean the 72

tour really set the mark for huge

stadium multi-million dollar tours

that was because of this big huge tour

that this successful tour that they did

and I don't know if you if you're

showing some of the shots on the plane

in the recording studio in LA that's was

Exile on Main Street and they went back

during that tour Mick and Keith to

rerecord some of the vocals and so Jim

was actually the only photographer there

and so he got these really iconic

beautiful photographs of Keith and Mick

re-recording the vocals for something

and those portraits that we saw Mick a

little bit earlier were from this same

day when they were down in LA for the

session and then so here's the plane

with Mick walking by with the tongue and

now they're on the plane and with Robert

Frank Robert Frank cuz Robert Robert

Frank was on tour Windham who's filming

[ __ ] blues so no so so Robert

Frank first of all as a legendary

American Street photographer he did a

groundbreaking book called the Americans

very very very very famous actually he's

a Canadian photographer and but he was

making a documentary film called

[ __ ] blues which was a gritty

dirty nasty film that was never properly

released because it was so so kind of

intense that I believe he had a deal but

he could show it once a year at a film

festival and that was it and but he was

with the band backstage on the plane

everywhere it showed he had to be

present so he think you know he had to

be present at wherever this shone since

that was one of the things as well but

you know of course you can always get it

off the internet because it went viral

and people did the bootleg thanks for it

Keith backstage with the with the Jack

Daniel's bottle and then Nick of course

also these are both legendary iconic

photographs of these guys right and

what's interesting too is again what you

can see is here Jim was not only doing

these performance shots but also

backstage these quiet moments when

they're you know just waiting around

doing nothing and again he photographs

them as these gods but then he makes

them human beings and real when he goes

backstage and starts photographing them

and

Mick Jagger looks like a little kid I

mean really innocent but that was June

he's doing a stretching exercises and

you know Robert Frank's over in the

corner having a conversation with some

people and these guys on the couch who

knows who they even are you know they're

not in the band they're crew guys are

hanging around they're drug dealers who

knows now and then of course you get the

famous shot of Mick on stage which

became the cover of Life magazine that

was actually shot on the west coast a

lot of people this but this was when

they were at medic Madison Square Garden

where they ended their tour and a lot of

people thought that this was Madison

Square Garden but it wasn't because they

didn't have enough time by the time they

were playing at Madison Square Garden

the cover had come out so they had to

use gyms that he photographed on the

West Coast to put on the cover of that

magazine and when we get to Altamont and

you know Jim went to Altamont which of

course you know we all know the story

and the Hells Angels and the death and

the stabbing and the beating of the pool

cues I'm gonna flip through a couple of

quick photos but because there's not a

lot of photos that Jim has for a really

you know strange reason so here's the

stones on stage and then and oddly

enough the only photographs that we have

that Jim took from Altamont are in color

we have no black-and-white shots which

is really odd this is Crosby Stills Nash

and young on stage this is the Flying

Burrito Brothers you can see the Hells

Angels over there this is Carlos Santana

on stage at Altamont tell me why we

don't have a big collection of

photographs from GM at Altamont well it

was really just it was poorly

thought-out really I mean this was at

the speedway it was in the middle of

these mountains again they plot this

stage right in the middle there was it

was hard to get in and it was hard to

get out and they had the Hells Angels as

the security and so they you know of

course we're doing on bad acid trips

they were drinking it was just a

disaster during the day the day was

better than the night time because the

day was you could see things when night

rolled around it

got really really ugly and bad and as

you know somebody a young black man got

stabbed and he died because there was no

way to get him out of there and so and

that all happened as you know mcdaggett

was singing sympathy for the devil which

was just frightening and he even tried

to calm people down and they just

wouldn't calm down so the helicopter

flew in to take out the stones and Bill

Graham and Jim was so frightened for his

life that he grabbed everything and he

got on the helicopter with them and in

the process of that he lost 17 rolls of

film because he was scrambling so much

just to get the [ __ ] out of there he

said it was just he was he was he

thought he would die it was so bad so

because of that we do not have many

rolls of film of aunt Altamont because

Jim lost them just want to remind

everybody you know ask your questions

put them in the comments on anywhere

that you're watching we're watching all

the feeds we have the the intern team of

Harris and Joe Sam and Quinn so please

put some questions until we get to him

probably in about 20 minutes or so

here's Bill Graham again with the one

finger salute this is an interesting

story this photograph used to hang

backstage at the Warfield theater in San

Francisco and Bruce Weber came and did

an ad campaign for I think he said Ralph

Lauren maybe ended up in an ad in the

background and of course Jim was mad as

hell that his photo was in an ad

campaign so he sued Ralph Lauren and

Bruce Weber and whoever else he could

and and they believe he ended up with a

brand new Mercedes or a BMW or something

like that a Mercedes Kris Kristofferson

and Jim had a really strong relationship

here's Waylon Jennings

Merle Haggard so Jim was shooting this

outlaw country you know Johnny Cash was

the introduction but I mean again you

know this is not this picture of Merle

Haggard just says so much right and it's

not just saying hey Merle look at the

camera it was all about Jim being

invisible being a fly on the wall and

capturing these authentic moments of

these people in these real life

situations because you have to remember

that you know Merle

and Johnny cat-like it was not glitz and

glam and and and the way it is that the

entertainment industry was just

different than it was now and of course

that shot ended up you know as another

record you know Merle Haggard my

farewell to Elvis record and that brings

us to a thing called Dripping Springs

reunion

so the Dripping Springs reunion will

have Amelia tell us a little bit more

about it but basically some guys down in

Austin said hey let's do a big festival

that will be the introduction of outlaw

country to the world and we're going to

do the awesome they also wanted it to be

the country Woodstock so that's that was

their intention Woodstock and 20,000

people are going to come per day and

it's going to be this incredible thing

and it's gonna introduce all the

old-school artists you know like Hank

Snow and Dottie West and you know to the

new-school hippies in Austin and and

blah blah blah and so they do the

Dripping Springs reunion and and there's

all these incredible musicians that are

there to play and nobody shows up right

but tell us about so so I'll flick

through photos talk to me a little bit

about Dripping Springs and I'll hit some

of these photos you know here's Willie

Nelson and Leon Russell and and Kris

Kristofferson with Willie and Waylon and

Willie and the report in a radio station

and Weiland lighting up a cigarette tell

me what you know about Dripping Springs

Dripping Springs like you said the first

one was in 71 and it was supposed to be

the country Woodstock but the promoters

they had to go out and find a space

where they could set this up for this

huge outdoor concert they thought they

were gonna be doing and so it was on

this farm and it was literally just dirt

so they set up a stage and a sound

system and lighting but it ended up

costing so much because there were a lot

of restrictions that the police put on

these people you say said we don't want

this to be like what happened at

Woodstock we want to be able to control

it we have to have a police there we

wanted to be civil so the promoters

ended up spending so much money on doing

that they ran out of money to promote it

so by the time it came

around that's why they thought they were

going to be having like 20,000 people

show up only 7,000 people showed up and

here that they were literally with their

lawn chairs on dirt and the Rolling

Stone critics said it looked like a

natural disaster it happened and they

just set up their lawn chairs on this

whole bombed out piece of earth so it

didn't do well they didn't make any

money but Willie Nelson enjoyed it so

much and that he loved doing it because

he had never really done live outdoor

concerts before that that he said let's

do it again and so the following year in

1972 when they did it it was successful

and that really then became they changed

the name from Dripping Springs to Willie

Nelson's 4th of July party and then the

rest is history and that's what happened

but what's interesting in these photos

is you see Willie Nelson with short hair

and clean-shaven and you also can see

you know without you know without his

beard or mustache you see them

transforming into this outlaw country

kind of vibe that they were doing that's

young Annie Leibowitz below the stage

with Waylon Jennings up on up on the

stage and the shot before that's John

crying of course we just lost sadly but

and here's Annie again and then I'm

gonna flip through so you know we've

been showing you these blocks of artists

right and you know the stones the dead

you know Joan Baez Bob Dylan Johnny Cash

Jim shots such a diverse amount of

artists genres he worked with everybody

in so many different places so I'm gonna

quickly because it's already you know

getting laid it's 3:30 we've been doing

this for 90 minutes and we want to want

to save your afternoon a little bit here

so I'm gonna flip through some of these

quickly so this is country Joe McDonald

at Woodstock muddy waters at Newport

Folk Festival Muddy Waters backstage in

San Francisco Albert King backstage at

Winterland Sonny and Cher Sammy Davis

jr. Duke Ellington and Quincy

Jones buddy guy at the Ann Arbor Blues

Festival

Simon and Garfunkel at Monterey Pop in

67 Brian Wilson from the Beach Boys at

his house and Buffalo Springfield and

here in the Bay Area in San Francisco

the bird shot down in Los Angeles that's

with you know roger McGuinn on the left

and david crosby on the right this is

cream on one of the most legendary

portraits of them taken in Sausalito

Eric Clapton here playing with cream

everybody this has been a bootleg photo

for ever that I've seen everywhere of

Clapton and Jerry Garcia hanging out

together The Charlatans one of the first

psychedelic bands in San Francisco

during the Haight Ashbury times The

Charlatans playing a free concert in

Golden Gate Park can handle you know

announcing the Summer of Love to the

masses Quicksilver Messenger Service

Otis Redding at Monterey Pop Joni

Mitchell in her house and Graham Nash is

house where Graham wrote our house back

in 70 legendary iconic photo of Jim

Marsh of Jim Morrison of the doors taken

by Jim Marshall wasn't a story about

this one Amelia well you know Jim

Morrison was kind of a weird guy kind of

not very out there and Jim even didn't

you know he didn't really get to know

him very well but Jim wanted to

photograph Jim Morrison so this was at

the pop rock folk festival in 1968 and

Jim was following Jim Morrison around

and finally Jim Morrison turned him and

he said Jim you want your [ __ ]

picture well here's your [ __ ] picture

and just put a cigarette there and Jim

clicked it and the rest is history there

you go

Aretha Franklin and isn't her story

about Jim working with Aretha this is

the portrait of her he photographed

their live their live album with King

Curtis and Ray Charles we thought the

film were West or the film or one of

those right and spinach and then Ray

Charles again and this a New York City

shot the Ray Charles shot now

this is San Francisco this is 1960 at

the Longshoremen's Hall I realize Jin

had a long friendship with Ray Charles

as well and so this is a really early

picture of Ray Charles and then we have

Peter Frampton and the Oakland stadium

that one ago a day on the greens and of

course this is the cover of the show me

the picture book Carole King on a park

bench in New York City you know back in

the Brill Building days this is a very

young Jackson Browne in a recording

studio making demo demo tapes for

Elektra Records and then we get to the

Haight Ashbury classic shot of the

Haight Ashbury sign right on the corner

of course this is where the Ben and

Jerry's is today on H Street and so a

number of years ago Emilien bonita

realized that there really was a book on

just the Haight Ashbury the band's the

fans the people the media and so Amelia

and Benita brought over 3,000 rolls of

film proof sheets to my studio and I did

a first edit and I marked up proof

sheets with post-it notes and then they

came back over to my house and we sat

here for I think a couple of days and we

went back through the proof sheets and

narrowed it down and then we took

hundreds and hundreds of images and we

scanned them and they turned it into

this book called the hey and and it's

really a beautiful book I'm pretty sure

it's still in print and you considered

it but just you know Jim really

documented what was going on on the

streets I love this color shot of this

hippie dude and his girlfriend Jim would

do these long exposures with the strobe

lights if the acid test or the film war

and that's he got these multiple frames

he has a very famous shot of Rosie McGee

like this she was film s his girlfriend

that's not who this is I don't think

that's in the show and of course this is

the cover of the book the hate love rock

and revolution with the shot of the

flatbed truck that the Grateful Dead

were playing on on that March 68 day and

that previous to the Jefferson Airplane

this is a photograph taken at the

Monterey Jazz Festival the year before

Monterey Pop Festival and this is the

original singer for the airplane

signe Anderson who then left the band of

course because yeah she got pregnant and

want to have a kid moved to or

again and bracelet of course took her

place came over from her band the Great

Society and here's an interesting fun

fact

signe Anderson the original airplane

vocalist died the exact same day Paul

Kantner from the airplane died whenever

that was three four or five years ago

and this is the Jefferson Airplane in

the matrix right the matrix was a little

tiny nightclub on Fillmore Street that

was owned by Marty ballons father marty

was the singer other one of the singers

in the airplane but you can see here's

the airplane playing to a seated

audience that has I don't know 60 people

in there maybe so this is really the

birth of the haight-ashbury Jim was out

there was there at the beginning before

it became a media circus and most people

will say that you know the media will

tell you the Summer of Love was in 1967

but really the true Summer of Love was

in 1966 before it got overrun by

Runaways from everywhere in the country

and and and 2020 and Harry Reasoner and

and Life magazine and everything else

that was going on but Jim had a

long-standing love affair with his

camera with Joan Baez Joan I'm sorry

with Grace Slick and the airplane and

and I think out of all the rock bands in

San Francisco Jim photographed the

airplane the most yeah I think he did

Joan and the airplane were really the

artists that he did as the most rolls of

film on Amelia any any comments on the

airplane

well the airplane is yeah like he said

he was very close friends with them and

and Grace Slick was almost like a female

version of Jim you know she was like

this tough tough cookie and I think

that's why they got along there were two

peas in a pod but he also just really I

think connected with them and so that's

why we have such a diverse huge archive

of the Jefferson Airplane

and what's really getting back to when

you're talking about the haight-ashbury

it actually started in 65 right at

that's the birth of it and then it ended

at 68 so people don't realize it was a

very very short period of time that all

of this happened which influenced the

rest of the world also the

counterculture the fashion the music

everything that was going on that Jim

captured really just then resonated out

out to other parts of the world and

that's how you know you look back at the

fashion they just went to thrift stores

and that's they were getting their

clothes from thrift stores they weren't

trying to make a fashion statement I

mean they didn't have a lot of money

they couldn't afford to go and get stuff

but you know it just resonated and made

this mark in time so by the time you see

the Grateful Dead's concert in 68 that

one where you see them and the sea of

people that was there basically goodbye

to San Francisco because it was already

it was just crazy it was filled it was

drug-induced and they had enough and

they said we're leaving we're moving to

Marin so it's just interesting that

people I don't think realize that so

much happen in such a short period of

time know that I've never shown to

anybody because I don't think it's

appropriate but there's a picture of

Grace Slick with a canister of cocaine

and a coke spoon and getting ready to

put it up to her nose and like you said

her and Jim you know I'm sure that they

indulge in that situation over and over

again right now I'm on this very famous

shot taken in Golden Gate Park of the

Bands

which became the cover of volunteers and

they were filming some sort of

promotional video I had a hard time

finding it on YouTube I found it years

ago and then I didn't but they were all

these crazy masks and these costumes and

they were rowing around in these row

boats and stow Lake in Golden Gate Park

and there's and Jim's got you know 5 10

15 20 rolls of film from this particular

day of them hanging out and their

manager was Bill Graham and Ron and Bill

Thompson and there's all this great

images from that but that's how they

ended up with the volunteers cover you

know you're a moon jack and then of

course you get to Woodstock and here's

the airplane on stage when grace came

out and introduced I think there's such

to go on at night but came on in the

morning and good morning and welcome to

morning maniac music this is a famous

shot of Bill Graham on stage with Grace

and there's Jack Cassidy and

Sally man over on the left who was

married to the drummer in the airplane

and also would be considered a very

famous Haight Ashbury hippie Sally man

Romano and then some of Jim's color

stuff of the airplane I love this

portrait in the park with the light

coming from behind the trees and then

Jack hiding behind these beautiful red

flowers with that hat and those glasses

and then of course there's this

beautiful portrait of grace which the

with which amelia was kind enough to let

me use in a book that I published a mine

called hippie chick where a Grace Slick

wrote the the foreword for it and we

used this photo the only photo in that

book that's not mine is this one here of

grace and it's just you know such a

telling intense photo and you can really

see that love affair that she had with

Jim and Jim's camera loved this shot of

Yerma getting into a limousine in that

Belva shirt and you know your mother

used to live your mètode' me the story

few years ago we all went to South by

Southwest and did a panel on Jim and

Amelia was on the panel I was on the

panel and Yerma was on the panel and I

told your room where I live in San

Francisco he said oh I used to live a

block away from there and yoruba told me

a funny story about how one day Jim came

over about 4:00 in the morning and

started yelling you are ma you're ma I

need some coke I need some coke and you

know and he's like pulls out a gun he's

like I'll trade you my god I need some

blow you know and I was like shut the

[ __ ] up dude this is a [ __ ]

neighborhood you know like what are you

doing you know and that was like Jim's

relationship with you Irma anyway your

man Jim had a long long history together

Marty ballad with a bunch of psychedelic

posters in his flat again the Emil he

was talking about the fashion like just

this photograph that jacket Jack is

wearing and what grace is wearing and

I'm standing in the tree in Golden Gate

Park and here is the airplane at

Altamont I if I miss putting this into

the Altamonte section but of course the

airplane was there as well and that's a

famous story where the Hells Angels were

beating people in the audience and you

can sort of see a little bit of activity

going down front and Marty bell and jump

down into the audience and the Hells

Angels beat him up they beat Marty Balin

up and if you watched the film Gimme

Shelter you can see that whole part of

it where you know they're talking about

angel

you know hitting bandmembers and beating

up marty balance alright that brings us

to the who amelia tell me about this

portrait which is a iconic iconic and

again one of the rare moments were Jack

Jim said I need a posed photo of you

guys nervous was taken when was this

taken and why was this taken

and these that were Jim worked for at

the time yeah this was for team set

magazine Jim which is funny I mean you

forget about these kind of magazines

that were around them but that's how you

know people were introduced to the to

the bands and that's how they saw them

were in teen set teen beat as well as

album covers that's really how people

found out what they look like so this

was the who's first for first US tour

and this was 67 and this is before they

went down to Monterey for Monterey Pop

Festival and it was outside of this

motel do you and I don't know if people

know where the Phoenix is in the

Tenderloin in San Francisco but this was

right there outside of what is now the

Phoenix motel but they look like

complete babies I mean they just if you

look at the color 1/2 it's a totally

different vibe again Jim had you know

these cameras one with black and some

with black and white and some with color

people don't realize is that that who

really did not play in the United States

that much so Jim really hit almost every

time they came to the Bay Area starting

with this one in 67 and and going

through the you know of course Woodstock

which we'll see next year and you know

it's funny I look at this roll of film

right so this is a roll of film and I

don't know the back story behind and

except for that it's a half a roll of

film the rest of the roll of film was

blank and so I look at this roll of film

like holy [ __ ] [ __ ] Jim's on stage

with the [ __ ] who at Woodstock and he

shoots 18 frames and puts his camera

away like who knows like you know he

could have been off doing something else

he could have been he could have been

like exhausted it could have been the

end of the set I don't really know but

like it boggles my mind when I see that

proof sheet that's only a

Rolla film of the who on stage at

Woodstock well you know any fell asleep

at Woodstock he was so tired he miss

Jimi Hendrix Jim up for three days

straight three days straight he was so

tired that he just couldn't stand it

anymore

right and Hendrix was you know and of

course everything at Woodstock was so

delayed by the time they got there so

I'm going to move a little bit faster

here I love the shot of this backlit

shot of the fringe and the shadow of

Daltrey on stage at Woodstock

this is Townsend here back in San

Francisco doing a big big leap I believe

that this is the Bill Graham Civic

Auditorium yeah and I love this shot

because look there's no there's no photo

print there's no separation between

audience and bad right the band is the

audience is on the stage which is also

why Jim shot from on stage for so many

artists because back then there were no

photo kissed there were no Barrett

barriers barricades right so Jim was you

know if he was backstage hanging out

with a band like this shot here of Keith

Moon or this portrait of Pete Townsend

or Pete warming up in a dressing room by

the time he came out front there were so

many people from the stage he couldn't

get in front of the stage he was forced

to shoot from on stage and of course he

had all access so that's what he did

it's my father Santana here Jim had a

long long relationship with Carlos still

goes on to this day Carlos loves Jim

Carlos contacts us frequently about

things that he would like to use you

know obviously was the 50th anniversary

of Woodstock last year and so Amelia

gave Carlos some photos to use in his

slideshow on stage and things like that

and of course Carlos is inspired by

Miles and Coltrane and so he owned some

artwork that he got from Jim when he was

alive Carlos and Jim had a really tight

relationship but this is them in the

recording studio when Kirtland Santana

is making their first record when nobody

gonna heard of Santana yet and this is a

very legendary series of photographs

here the sequence of Carlos recording

and making these incredible faces and

then of course you get to Woodstock and

the cameras are in front of his face

did Jim ever tell you his side of the

story about shooting Carlos at Woodstock

because I've heard from I've heard

Carlos talk about I'm just curious if

there's a Jim story

well from my understanding I mean Carlos

wasn't really on some big acid trip and

so he thought that his guitar was a

snake so he thought that he was

wrestling this snake and Jim was there

photographing that's he was on stage and

if you watch Woodstock the movie that

from that time you can see Jim popping

in and out yeah with the cameras around

his neck photographing everything that's

a true story about the snake I have had

the pleasure to photograph Carlos a

number of times and I shot his big

supernatural record and we were having

lunch he told me the whole story about

taking the big dose I think goes

mescaline actually not acid and that you

know he was super high as guitar was

like a rubber you know rubber and felt

like a snake in his hands and and then

here's that photograph that you were

talking about earlier and yes Santana is

on stage it's the RN shot I can see Greg

Rowley on keyboards there I know there's

another version where they're warming up

it's just before they go on but this is

the one where Jim climbed up on the

scaffolding because the Grateful Dead

had dosed him and he was completely

[ __ ] out of his mind and and it's

just such a weird thing cuz it's got the

turntable stage there that's getting

ready to spin and there's all these

people it's just so hard to sound like

is there a band on stage or is it just a

bunch of people that is the famous photo

and Carlos does have a big giant print

of it hanging up in his in his office

I've seen it there and then Hendrix tell

me about James Marshall Hendrix James

Marshall Jim Marshall Marshall Marshall

tell me the Marshall Marshall thrill of

trilogy trilogy well Jim photographed

when I don't know which one you're going

through now are you this is the one from

backstage at Winterland but let's get to

and then this is all Winterland and then

now we're at Monterey pop on the drops

but yeah well the one the next one after

the drums at Monterey Pop Jimi was

rehearsing this was actually soundcheck

and what happened was all the

photographers were gonna go have dinner

and so they left and Jim stayed back and

they said hey Jim you want to cut any

goes no no I think I'll stay back I just

you know want to be here

he had a feeling something was gonna

happen and then he started you know

Jimmy started [ __ ] around on the

drums and then he picked up his guitar

and he just hit this note that he loved

and just boom and Jim captured dad and

everybody really looks like it's a live

performance but it's not this was just

soundcheck at Monterey Pop and when Jim

talked to Jay Jimmy to introduce himself

he said hi I'm Jim Marshall and he goes

hey man this is this must be just

supposed to happen

and she goes what do you mean and he

goes you know it was supposed to happen

Jim goes no and he said well there's

three Jimmy's on stage right now

he said there's Jim Marshall Jim Hendrix

and Marshall and Jim Marshall ass so he

goes it must be it was just meant to be

this Hendrix his middle name is Marshall

Santino Marshall Hendrix Jimmy Jim

Marshall and then Marshall amps yeah

they're very very cool and and yeah and

like you were saying this is soundcheck

because you know Hendrix is actual set

was at night because he burned the

guitar which of course is right here

which is a very very famous shot and and

when he first started burning the guitar

Marshall was on stage because there's a

few pictures of him from the side of the

stage and he must have ran like a

[ __ ] to get in front of that

stage because you know he saw that thing

go up and he knew that the shot was in

front of the stage and you also have to

remember that the stage at Monterey Pop

was like 12 feet high or nine feet high

and so he had something that he climbed

up on there was no [ __ ] stopping Jim

Marshall from getting this photograph

and he climbed up and of course you know

this is one of the most iconic so Jimi

Hendrix had warning me said I hope you

have a lot of film in your cameras Jim

and Jim Busey I do

that's because Jimi Hendrix knew is

going to light his guitar on fire and

then the next couple days later Jimi

Hendrix did a free concert in the

Panhandle and Golden Gate Park yeah and

there's a whole story about the

equipment that the Grateful Dead crew

stole from the Mamas and Papas to do

this free concert but we don't have time

to tell it here is Led Zeppelin I'm just

going to zip through some of this stuff

because we're getting pretty late here

getting close to the two-hour mark and I

want to get some questions and we got

Harrison who's leading the interns and

getting questions so Jimmy Page

this portrait I have this hanging on my

office wall you just don't see Jimmy

Page with this beard that much and of

course Robert Plant these guys are

babies I mean look at them and and and

then of course you know there's this

band portrait and he's hanging out in

the limousine this is Jim Mar so in the

limousine with the golden gods of rock

and roll Led Zeppelin you know cruising

around LA and then you know Janis Joplin

Jim another another artist that Jim had

a really really special relationship

with he did a lot of stuff with Janis

and Big Brother you know you go

backstage and you get Janice laughing

and happy and a second later you know

her mood changes and then she's frowning

and of course you you know here's Janice

doing a free concert in the Panhandle in

Golden Gate Park and it's looking right

at Jim they had this special connection

they that you know she was not afraid of

Jim she knew Jim was you know there it

was really really special this is down

at that Newport at the San Jose Folk

Festival where he did a shot at Jim

Morris and that's where this shot of

Janice is from and then of course he did

these portraits were he had like a

seamless red backdrop and it's just a

skylight there's no lighting it's just a

skylight coming in and then of course

there's the legendary photograph of

Janice and grace together the only

photographer to do this photograph and

this was emilio 14 set magazine no team

15 beat think about that for a second

Janice and grace in team Beat Magazine

like these were the cool magazines in

1967 this is what the kids were

listening to a reading rather the

Grateful Dead were being written about

all these bands and these are the

assignments that Jim was getting right

I'm a working photo journalist and I did

a million assignments for all these

different magazines as well taou

repulsive requests and Rolling Stone the

musician but Jim was shooting 14

magazines and these were the artists

this picture of Grace and Janice

together is so iconic and so beautiful

I mean it's mind blowing with grace

wearing the Girl Scout shirt and you

know he shot it in two and a quarter

which is rare for Jim which is a larger

format you know the negative is two and

a quarter inches square which is this

shot versus the previous one which is 35

millimeter which is what Jim was known

for shooting with his Laika's and then

of

course here's Janice for the Southern

Comfort bottle this is an iconic

photograph one of the most well known

photographs of Janis Joplin backstage at

Winterland and then here's the vertical

version and then Jim said this is a we'd

always say this is the unhappy version

yeah

and then Janice on the tours down at the

Palace of Fine Arts here in San

Francisco this photograph here is a very

very famous photograph and it's called

the five bands and Jim put this whole

thing together

it all started up on the front steps of

710 - Barry you can go on YouTube and

see a little video or Jim's walking

across the street and all these artists

are following him and so from left to

right you have Quicksilver Messenger

Service the Grateful Dead and then you

have the airplane and big brother with

Janis kind of mixed together and then

you have the Charlatans over on the

right it's called the five baths take it

in the Panhandle right down the street

from 7-10 to Ashbury and it's just a

beautiful incredible photograph and

there's Jack Cassidy from the airplane

holding the red white and blue striped

hat that was actually Garcia's but Jack

is holding it and it's just one of those

super iconic photos that Jim Marshall

took here's a portrait that I took of

Jim with the Bob Dylan photo and a

gallery opening in San Francisco this is

Jim with ramblin Jack Elliott that I

took with Jim's portrait of ramblin Jack

behind him Neil Young came to the show

that's Neil's daughter right behind them

amber and of course this is Jim giving

me the finger this is a portrait that I

did I mean I was a fan he was a mentor I

asked if he would come to my studio one

day if I could do a portrait of him and

he came down in my studio in San

Francisco South of Market and I and I

did this portrait of Jim and so that is

the presentation Harrison again it's

it's 10:00 to 10:00 to 4:00 on the East

Coast

ten to one here we've been going for

just about two hours let's get some

questions but before we do questions

Emilia anything you want to wrap up with

about Jim because I kind of hijacked it

there at the end a little bit to get

through this that's okay no it's just

what I what I hope people will take away

from this is Jim you know people either

loved him or hated him he was not an

easy person to get along with but what

he was was a genius of a photographer

and I want people to come away with this

with a new understanding of how Jim

photographed and it wasn't just music

because he got stuck in this kind of

stereotype of just a music photographer

he was a photojournalist who documented

pieces of the history that will never

happen again

and I just think we're really fortunate

to have this body of work that he's left

you know left for the world and

especially today with what we're

experiencing right now with what's going

on

Jim photographed a lot of that 50 years

ago so I think it's very important to

look back at it from today's point of

view but also learn from it and carry it

into the future of what we do in the

future from now so you know show me the

picture book really encompasses all of

this so I encourage you if you really

enjoyed you know the slideshow and you

enjoy and you want to learn more about

Jim Orr you already know Jim is please

get the book because it really is a

history of Jim Marshall and who he was

and how he developed and how important

of a photographer he is in today's time

and age and I also want to say that

we're really fortunate that we have you

to Shepherd this all out into the world

because a lot of big archives like this

end up in university archives and they

end up in file cabinets and nobody ever

sees it and and Amelia and Benita her

partner in this endeavor have done

everything they can to learn about the

history and connect the dots and and

connect the dots of that history that is

so important to our lives pop culture

American history and all through the

lens of Jim Marshall and and not be

afraid to show all the sides of Jim you

know as Amelia when he first started

today you know she came right out said

Jim was a drug addict Jim was a coke

fiend and we know that and that's part

of who his personality was you know

we're not she's not glossing over who he

was but what she's doing is making the

world aware of how brilliant Jim was and

that and that she's not afraid to tell

the truth about that but also dig dig

dig deep and not just do this as a

passing hobby but make this her whole

time mission to Phi

this work and to find these hidden gems

that people have never seen and bring

them to the world so that we can all see

them yeah thank you and and Jim well so

you know Jim was my friend and so I made

a promise to Jim I knew that he was

gonna leave me his archive and I made a

promise to him that I would care for his

children when he was gone and that's

that's what I'm doing I'm treating these

as if they're my children that I need to

nurture and keep going for another

generation so when I'm gone they're

still around that people can you know

look at and and learn from so thank you

Jay that means a lot what you said

absolutely it's so important and I mean

it I we work together we talk to each

other all the time and I know what

you're doing

all right Harrison you got some

questions for Amelia absolutely so the

first question comes from Danny clinch

and Danny would like to know he says Jim

was obviously a major player when it

comes to social justice photography do

you think Jim would be out and about

shooting now with what's going on today

I think I think Jim it's interesting

because he was older and you know he's

would be 82 now so he does he loved

social justice he loved shining a light

on the underdog but I'm just not sure if

he would have gone out today I think he

would have loved to have seen what was

going on but I'm not so sure that he

would be up to going out but I know he

would have supported everything that's

happening and because it's important

what like we said this is something that

it happened in the past that were

looking back at 50 years now and seeing

what transformed and photography is such

an important vehicle to show that and

just you know to show something without

even talking about it it can speak a

photograph can speak so I think Jim

would have definitely been very into

what was going on encouraging younger

photographers to go out and do that and

use you know the camera as a tool I'm

just not so sure if he physically would

have gone out there because of his 8

being 82

and I also don't think you know Jim died

10 years ago

digital cameras were very prevalent ten

years ago and Jim didn't shoot anything

digital you know Jim's Jim's archive is

a hundred percent film and it's not so

easy to shoot film these days you know

there aren't the labs that there were to

develop your film it's it's not as easy

I mean there are film labs but you know

Jim Jim Jim didn't shoot a lot even

later in his life he'd shoot here and

there and brings camera you take a

picture of you if you're hanging out but

Jim really wasn't out shooting a lot at

the end of his life well the reason and

the reason for that as well as because

music photography in particular had

really changed and you know the managers

and the handlers had put a lot of

restrictions on people and he just

didn't want to deal with that when he

went to photograph he wanted all access

and he wanted to be able to do what he

did without anybody telling him how to

do it so you know later in life he was

not photographing as much he was really

just going through his archive and and

you know kind of seeing what he had had

basically documented another question

for us yep so Laurie B would like to

know if you can speculate on what may

have happened to those seventeen rolls

of lost film from Altamont

have any of those photos resurfaced no

no no and that's interesting no they've

never resurfaced

so they truly are lost who knows what

happened maybe they you know got thrown

in the trash in there in the landfill

but they have never resurfaced

so they're gone interesting so the next

question comes from Matthew and he wants

to know how did you make the transition

from taking pictures of normal everyday

people so taking pictures of you know

some of the greatest musicians of the

last 100 years that's an interesting

question again because Jim loved

documenting history and what was

happening around the rat in his

environment when he was doing it so when

he came back to San Francisco from New

York

sixty-five he was really there at the

epicenter of the counterculture movement

and rock-and-roll and what was happening

so because he was there he and he became

friends with a lot of these musicians

and he gained their trust and then he

became known as the photographer if you

wanted to get a really great photograph

of yourself you wanted Jim Marshall so

it really came out of him befriending

these people hanging out with them

gaining their trust and taking just

amazing photographs that were not set up

that really showed the person and who

they were but again they still look like

his photojournalism because they're not

set up they're not in a studio and so I

think that's what sets Jim's photography

apart as well is because it's very real

and it's in that moment and it reflects

what was happening as well so he took

all of that and brought it into his

music photography but if you look at the

music photography if you look at the

proof sheets you'll see them performing

let's say Jimi Hendrix is performing at

a live concert in the Panhandle well a

lot of the photographers when the music

stopped would put their cameras away and

walk away but Jim didn't he then took

the camera and photograph the crowds and

in the neighborhood and the people and

the peace signs and everything else that

was going on so I kind of really think

that all of this was very natural for

Jim he was a photojournalist that uses

camera to tell stories and show what was

happening at that moment so I think we

have time for a couple more right Jay

great so what have been some of the most

surprising finds among Jim's unreleased

photo archive and approximately how many

photos exist in the entire archive Doug

that's a you know we're still

discovering more I mean it's really

what's what's been interesting for us as

it is like an archeological dig in a

sense that we are going and finding

these treasures that we never knew

existed

so we get to

every day actually when we find things

tons of stuff

there are over a million photographs

just in black and white 35 millimeter

all alone because Jim this was his life

and he shot you know for 50 years

straight and his that his true love was

his photography and so he has such a

vast massive archive that we are still

going through now so we discover things

but tomorrow we may discover something

else that we never knew existed so I

can't really you know say one particular

image is a favorite one or something

that we because we're just it's ongoing

it's happening all the time also his

black and white is fairly organized he

keep me he kept track of everything in

sequence by roll number unfortunately

Jim did not keep track of specific dates

not a lot of stuff almost everything

almost anything and so we would do a lot

of sleuthing so we would say okay rolls

number four thousand three hundred three

four thousand three hundred fifty is the

Monterey Pop Festival we knew that with

Jim at 67 so we could look at something

that was 10 rolls after that and we knew

that it was the next week or we know

Woodstock was roll number 5000 whatever

so we can interpolate a lot of things

and of course the internet helps you

find stuff so you you know we know if

it's Albert Albert King and Jimi Hendrix

playing we know it was winter land on

this date right so you know we can find

specific dates and because he numbered

all of his rolls of film in sequence it

is in chronological order with the

exception of a handful of things he do a

job send it off to New York get it back

three months later and numbered into the

system then and it would be off by a

little bit but we could figure it out

right so and then with Jim's color it

was a little bit more disorganized so

with his color photographs it never he

left a lot of stuff in boxes he never

took it out and put it in slide pages

that's how I do my archive and so

there's we still discover color stuff on

a regular basis one of my favorite

discoveries was that photograph of Bob

Weir that we showed earlier with the

with the face makeup on because I'm a

big deadhead and I have a lot of

interest in that and so when I

discovered that and there was another

photo I found a Janis Joplin

she was just hanging out on Haight

Street sitting on a curb talking to some

people and there was just one frame of

her Jim was literally walking by she was

hanging out with people he took one

picture and kept going and you know it

wasn't marked on a John shouting hi it

was when we were doing the eighth book

because it was the eighth Ashbury and I

was looking through all this proof sheet

so I think they're like Amelia said

there's still things to be discovered

because there's what 20,000 proof sheets

or something like that yeah there's so

much but but one of the things that has

surprised me that I do love seeing is

Jim loved photographing children and you

would never think that if you knew Jim

but in a lot of his early street

photography from 1960s early 60s in San

Francisco and New York you see these

little black children playing in the

street and Jim photographed them so

again he just was gravitate he

gravitated towards innocence and you

know humanity and these things that took

place in and so for me it's kind of

refreshing to find these little kids

playing very much like Helen Levitt

would have documented in the streets of

New York because it shows that softer

side of Jim all right few more questions

so this question is coming from Janet

and Janet says you mentioned Jim's

feelings on shooting and hanging out

with the Grateful Dead did Jim have a

favorite artist to shoot overall well

you you had mentioned he didn't

particularly love hanging out and

shooting the Grateful Dead favorites to

work with well one of his job is I mean

you look at we have a stack of

appreciate status and if you can see

like this much and he loved

photographing Joan because she was human

but she also had a great sense of humor

and so she loved to just talk the [ __ ]

with Jim and pull practical jokes on Jim

and and get him but that was interesting

because when we did the piece book Joan

Baez

right the afterword for the peace book

and for her she said it was so

interesting because here was this guy

who she knew as this gun-toting you know

conservative kind of person who found a

fascination with the peace sign and the

peace symbol and what it stood for and

so she really loved that part of Jim

being able to connect to that part of

Jim so I think a lot of the women

musicians Jim gravitated towards he

loved Janis Joplin because she was so

real

and she let Jim take her in whatever

studio she's a baby this is just me go

ahead take whatever you want so I think

those were kind of the closest ones that

I know was Joan Baez and Janis Joplin he

had a very very good relationship with

both of those women I think there's over

400 rolls of film of Joan Baez you know

it's funny a couple of weeks ago we had

Herbie green on the program and Herbie

was only about a fashion shoot that he

did down at Monterey Jazz with Marty

Balin from the airplane and I found a

photograph than Jim to be photographing

that scene and Herbie's got this hippie

headband on and he's dressed in hippie

clothes when Jim was at Monterey Pop in

1967 the height of the Summer of Love

and everybody was dressed in full-on

psyckadeli uh Jim wore a brown corduroy

jacket khaki pants a button-down shirt

and looked like a [ __ ] nerd night

like said jim was like emilia saying

like had this sort of conservative side

to em right but was this like

drug-fueled you know like old school

Dean Moriarity Neal Cassady kind of guy

right amongst all of these hippies is

that correct Amelia yeah yeah and

actually some of those photographs are

in jazz festival - we have those of her

be photographing all right one more

question we'll wrap it up all right so

the last question is from Morgan and

this one is more of a personal question

for you what has it felt like for you to

take over the estate and become

responsible for a continuing to propel

Jim's story and messages through his

photography I know you mentioned

how Jim would refer to his photographs

in the archive as his children and how

has that impacted your life and your

story profoundly it really has impacted

me profoundly because I like I said I

just I made a promise to my friend that

I would care for his children and so

basically that is my life is Jim

Marshall and it's Jim Marshall 24/7 and

for me it's extremely rewarding because

we will find he just did it amazes me

and going through the archive finding

all of these different kinds of

photographs and subjects that Jim

documented and it's so important

especially today I mean I've we've been

posting on Instagram with the the

protests that have been happening black

lives matter well in 1919 6 1968 68

there was a protest against police

violence so Jim documented that in 1968

and it's just going through and finding

that history does repeat itself and Jim

has and finding that Jim has documented

all of that and it's it can be very

overwhelming but at the same time it's

extremely important to share with the

world and and to encourage and cultivate

younger photographers and to let them

know that this is something that's very

important and that you can do it because

I know a lot of younger photographers

get frustrated with what's happening and

feel helpless and for me it's being able

to share Jim's work and what Jim

photographed historically share it with

these younger photographers so they can

maybe be inspired and and be inspired to

go out there and document history and

show it as it's happening so that future

generations can see it so for me it's

really rewarding it's overwhelming but I

love doing it and it's and Jim is with

me every day so when Jim was alive I

think I saw a handful of photos

that were not music of Jim's I saw the

clown smoking the cigarette like you

know maybe three four or five images and

since Amelia has taken over in the

estate now we've seen hundreds and

hundreds of these photographs from

Mississippi and New York City and the

streets and all these things and so you

know like she's saying she's having

these profound experiences bringing the

stuff into the world and we're all

benefiting from it all right so Amelia

thank you thank you thank you so much

for joining me today and sharing your

stories and this work it's so important

to our history of our country and pop

culture history my program here it's

called photos with stories

July 12th is our next one we're gonna be

talking about the photography of Mele

Casal just check the fans comm check my

Instagram my Facebook etc etc we will

keep you posted and thank you for

watching I know these are long programs

but I think there are a lot of great

information like I wouldn't want to give

Emilia 30 minutes to talk about Jim's

work because we could talk about this

probably for another four hours and

really tried you're all crazy and and

there's that that much photography out

there in this archive I mean I think

we've scanned close to 10,000 images of

his archive since I've been working at

it which is an enormous amount of images

to have scanned of one person's work and

there's probably 10,000 to go you know

and that just scratches the surface but

that lets us see a lot of what Jim would

do

Thank You Amelia Thank You Bonita I know

you're not on the screen Bonita a

partner and who I talk to the three of

us all the time about all the things

going on that we do with Jim Marshalls

estate so I want to thank Bonita for

helping out on the program today and in

the background and thanks Amelia and we

will talk soon there's a new Bob Dylan

box set that just came out that Jim has

I think 10 or 15 photos in or something

like that there's a new job monk CD

coming out vinyl record I think in the

next month or two it's been getting some

press here in NPR whatnot and I believe

we have three photos on that package

that Jim took a monk at the Monterey

Jazz Festival so Jim's photographs are

continually being used to

share with what happened 5060 years ago

thanks everybody for watching photos

with stories we'll see you in a couple

weeks on July 12th Thank You Amelia I

really appreciate your time thanks

Harrison and will for checking this out

and the rest of Harrisons crew under him

we'll see y'all later have a good have a

good Sunday and peace be with you

alright Cheers goodbye

you