New Janis Joplin Biography Reveals The Hard Work Behind The Heart
Jorma Kaukonen on Janis Joplin and Recording the 1964 'Typewriter Tape'
Combination of the Two: How San Francisco Helped Make Janis Joplin a Legend
PHOTOS: The 1960s San Francisco Bay Area, Seen Though Family Albums
A Midnight Call from Janis Joplin: Ben Fong-Torres Tells All
Bonus Video Clips and Excerpts from 'Janis: Little Girl Blue'
Janis Joplin: A San Francisco Legend
"A Tremendous Ride": Sam Andrew on Playing with Janis Joplin [Q&A 1998]
Growing Up with Sister Janis: 1998 Q&A with Laura Joplin
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It all seemed so effortless, but George-Warren describes Joplin as a bookworm who worked hard to create her “blues feelin’ mama” musical persona.\u003c/p>\n\u003cp>“She was a real scholar of music. … She didn’t want people to know how hard she worked,” George-Warren says. “She wanted people to think she was just this vessel, or this megaphone, or something that was just up there on stage, and the music and emotions were just coming out of her.”\u003c/p>\n\u003cp>George-Warren says she decided to write about Joplin after listening to tapes from the Columbia Records vault of the singer’s recording session with producer Paul Rothchild for the album \u003cem>Pearl. \u003c/em>(The album was released posthumously in 1971, following Joplin’s fatal overdose in 1970.)\u003c/p>\n\u003cp>“Rothchild [is] known for being this very authoritarian producer, but … Janis was just coming up with idea after idea,” George-Warren says. “She was basically co-producing this record with him. And that turned my head around. … I realized that that part of her story had not been told.”\u003c/p>\n\u003cp>George-Warren’s new biography is \u003cem>Janis\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On Janis Joplin as a live performer \u003c/strong>\u003c/p>\n\u003cp>What made Janis really different as a live performer is that she connected with her audiences by tapping into her deepest feelings. And there was this authenticity that came across. She wasn’t just standing up there singing — she was basically emptying out her guts through that amazing voice of hers, and touching her audience members like they had never been touched before. I’ve talked to people who saw her back in 1966, ’67 and they talk about it as if it was yesterday — especially women, I think, because she was able to express deep-down emotions, shame, disappointments, hurts that I think a lot of women in her audience couldn’t express themselves. And Janis was not only just singing to them; she was singing for them. And I think that kind of deep connection was very, very unique at that time.\u003c/p>\n\u003cp>\u003cstrong>On the sexual energy she exuded onstage \u003c/strong>\u003c/p>\n\u003cp>You can look to two major influences that Janis had that I think affected her sexuality and the way she expressed it onstage. One was, of course, the great \u003ca href=\"https://www.npr.org/artists/15404953/bessie-smith\">Bessie Smith,\u003c/a> whose lyrics Janis knew by heart. … She started performing Bessie Smith songs around 1963, and those kind of lyrics of sexuality, of sexual longing, sexual betrayal: Those very much informed Janis’ own songwriting and the songs that she chose to sing.\u003c/p>\n\u003cp>The other major influence was \u003ca href=\"https://www.npr.org/artists/15802310/otis-redding\">Otis Redding\u003c/a>. She was a huge Otis fan until the day she died, and she got to see him perform live three nights in a row at the Fillmore back in 1966, and it transformed her. He was a very sexual performer and he was able to emit this heat on stage that Janis herself was able to do through her own way of manifesting these feelings that she had while singing these songs. Janis … compared singing on stage to having an orgasm. She blew some journalists’ minds when she used that expression, but it was a very sexual experience for her.\u003c/p>\n\u003cp>\u003cstrong>On the black artists that influenced her sound \u003c/strong>\u003c/p>\n\u003cp>Janis took her own vocals for granted until she discovered \u003ca href=\"https://www.npr.org/2015/02/21/387566023/that-blew-my-mind-raiding-the-lead-belly-vault\">Lead Belly\u003c/a>. She just thought: Oh, anybody can sing soprano. She sang in the church choir and the glee club. But when she heard Lead Belly’s voice, she wanted to experiment with roughing up her sound and making it more raw and she was a mimic. She discovered \u003ca href=\"https://www.npr.org/artists/97739742/odetta\">Odetta, \u003c/a>who had kind of the round tones, and she started trying to sing like Odetta on her records. But she was mostly inspired by Lead Belly, until she discovered, of course, Bessie Smith, and then that was all she wrote.\u003c/p>\n\u003cp>\u003cstrong>On the sexism she faced in the music industry \u003c/strong>\u003c/p>\n\u003cp>Once she was a public figure, the press would, of course, be amazed by her vocals, and critics would be talking about what a great singer she was. But they were often singling out her body parts and talking about her physical appearance in a way that, of course, male singers, rock singers, were really not getting that kind of attention from the press.\u003c/p>\n\u003cp>Also, she really had to bust down barriers to be able to have control, to do what she wanted to do, because she loved being in Big Brother and the Holding Company, for example — the band with whom she catapulted to fame — but she was such a restless spirit as far as a musician goes. She wanted to keep exploring different sounds, different kinds of music, and when she did that, it was really awful in that the boys’ club of music critics just kind of raked over the coals for dropping her band and going off on her own, and they tried to say she was selling out and going showbiz.\u003c/p>\n\u003cp>\u003cstrong>On how Joplin’s experience with the “kozmic blues” connected with her alcohol use\u003c/strong>\u003c/p>\n\u003cp>She was an introspective person deep down, and she didn’t like her thoughts. She was a fatalist. She had learned this kind of existential, dark philosophy from her father, who called it the “Saturday night swindle,” which was basically the idea that no matter how hard you work, how much you try to achieve your goals, you’re never really going to be happy. There’s always going to be a let-down. There’s always going to be disappointments — which was [a] pretty dark attitude when you think about that whole ’50s positivism etc., post-World War II America. Janis called this idea the “kozmic blues,” and it really did dog her.\u003c/p>\n\u003cp>I think between that philosophy and all the pressures of leading a band, being in the spotlight, being a star, having to always live up to her image night after night on stage and, of course, in the recording studio, she wanted something that was going to numb those kind of feelings of anxiety and fear. … She started drinking when she was a teenager. So early on, she realized that if something can kind of take you away from yourself, take you out of your head, it could be a good thing.\u003c/p>\n\u003cp>\u003cstrong>On Joplin’s addiction to heroin \u003c/strong>\u003c/p>\n\u003cp>Janis started turning to heroin as a way to just kind of numb herself from all the pressures and the fear of what it was like being a solo artist at that point [in] time in her career. Again, she was still very much a focal point of media. There was articles about her all the time and she had developed this whole hard-drinking blues mama image that she had. So this was a secret vice of hers that she picked up. Unfortunately, heroin was pretty prevalent. No one really realized at the time, and so she gradually got addicted to heroin in 1969. …\u003c/p>\n\u003cp>She tried to kick heroin a few times. She finally did almost for good in 1970, right about the time she had put together a new band which became called Full Tilt Boogie Band. And she got off heroin for a while actually by going to Brazil for Carnival, and I mean — it’s so hard to believe that she was a massive rock star, but she was hitchhiking around in Brazil for a while, totally cleaned up, really loved the feeling of being clean and back to her old self again.\u003c/p>\n\u003cp>Sadly, she relapsed when she got back to California, and then finally she quit in the spring of 1970 and she stayed off of it for about four or five months, until tragically she relapsed again while recording \u003cem>Pearl \u003c/em>in Los Angeles, got a very strong dose. … It was much more pure than she had ever used before, and her tolerance was down. She was by herself, overdosed and died on Oct. 4, 1970. … A lot of musicians were using that drug and people didn’t realize it. But when Janis overdosed on heroin, I think it was a wake-up call — but soon sadly forgotten.\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Janis+Joplin+Biography+Reveals+The+Hard+Work+Behind+The+Heart+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Onstage, Joplin oozed confidence, sexuality and exuberance, but biographer Holly George-Warren describes the singer as a bookworm who worked hard to create her \"blues feelin' mama\" musical persona. ","status":"publish","parent":0,"modified":1705021947,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1529},"headData":{"title":"New Janis Joplin Biography Reveals The Hard Work Behind The Heart | KQED","description":"Onstage, Joplin oozed confidence, sexuality and exuberance, but biographer Holly George-Warren describes the singer as a bookworm who worked hard to create her "blues feelin' mama" musical persona. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Evening Standard","nprByline":"Terry Gross","nprImageAgency":"Getty Images","nprStoryId":"771859088","nprApiLink":"http://api.npr.org/query?id=771859088&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/10/21/771859088/new-janis-joplin-biography-reveals-the-hard-work-behind-the-heart?ft=nprml&f=771859088","nprRetrievedStory":"1","nprPubDate":"Mon, 21 Oct 2019 13:58:00 -0400","nprStoryDate":"Mon, 21 Oct 2019 13:48:08 -0400","nprLastModifiedDate":"Mon, 21 Oct 2019 13:48:35 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/10/20191021_fa_01.mp3?orgId=427869011&topicId=1033&d=2374&p=13&story=771859088&ft=nprml&f=771859088","nprAudioM3u":"http://api.npr.org/m3u/1771979884-45d896.m3u?orgId=427869011&topicId=1033&d=2374&p=13&story=771859088&ft=nprml&f=771859088","audioTrackLength":2374,"path":"/arts/13868517/new-janis-joplin-biography-reveals-the-hard-work-behind-the-heart","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/10/20191021_fa_01.mp3?orgId=427869011&topicId=1033&d=2374&p=13&story=771859088&ft=nprml&f=771859088","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1960s, Janis Joplin was an icon of the counterculture, a female rock star at a time when rock was an all-boys’ club.\u003c/p>\n\u003cp>“At that point in time there weren’t too many women taking center stage,” biographer Holly George-Warren says. “Janis created this incredible image that went along with her amazing vocal ability. … [She] was very, very different than most of the women that came before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"summer-of-love","label":"More Stories For You "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On stage, Joplin oozed confidence, sexuality and exuberance. It all seemed so effortless, but George-Warren describes Joplin as a bookworm who worked hard to create her “blues feelin’ mama” musical persona.\u003c/p>\n\u003cp>“She was a real scholar of music. … She didn’t want people to know how hard she worked,” George-Warren says. “She wanted people to think she was just this vessel, or this megaphone, or something that was just up there on stage, and the music and emotions were just coming out of her.”\u003c/p>\n\u003cp>George-Warren says she decided to write about Joplin after listening to tapes from the Columbia Records vault of the singer’s recording session with producer Paul Rothchild for the album \u003cem>Pearl. \u003c/em>(The album was released posthumously in 1971, following Joplin’s fatal overdose in 1970.)\u003c/p>\n\u003cp>“Rothchild [is] known for being this very authoritarian producer, but … Janis was just coming up with idea after idea,” George-Warren says. “She was basically co-producing this record with him. And that turned my head around. … I realized that that part of her story had not been told.”\u003c/p>\n\u003cp>George-Warren’s new biography is \u003cem>Janis\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On Janis Joplin as a live performer \u003c/strong>\u003c/p>\n\u003cp>What made Janis really different as a live performer is that she connected with her audiences by tapping into her deepest feelings. And there was this authenticity that came across. She wasn’t just standing up there singing — she was basically emptying out her guts through that amazing voice of hers, and touching her audience members like they had never been touched before. I’ve talked to people who saw her back in 1966, ’67 and they talk about it as if it was yesterday — especially women, I think, because she was able to express deep-down emotions, shame, disappointments, hurts that I think a lot of women in her audience couldn’t express themselves. And Janis was not only just singing to them; she was singing for them. And I think that kind of deep connection was very, very unique at that time.\u003c/p>\n\u003cp>\u003cstrong>On the sexual energy she exuded onstage \u003c/strong>\u003c/p>\n\u003cp>You can look to two major influences that Janis had that I think affected her sexuality and the way she expressed it onstage. One was, of course, the great \u003ca href=\"https://www.npr.org/artists/15404953/bessie-smith\">Bessie Smith,\u003c/a> whose lyrics Janis knew by heart. … She started performing Bessie Smith songs around 1963, and those kind of lyrics of sexuality, of sexual longing, sexual betrayal: Those very much informed Janis’ own songwriting and the songs that she chose to sing.\u003c/p>\n\u003cp>The other major influence was \u003ca href=\"https://www.npr.org/artists/15802310/otis-redding\">Otis Redding\u003c/a>. She was a huge Otis fan until the day she died, and she got to see him perform live three nights in a row at the Fillmore back in 1966, and it transformed her. He was a very sexual performer and he was able to emit this heat on stage that Janis herself was able to do through her own way of manifesting these feelings that she had while singing these songs. Janis … compared singing on stage to having an orgasm. She blew some journalists’ minds when she used that expression, but it was a very sexual experience for her.\u003c/p>\n\u003cp>\u003cstrong>On the black artists that influenced her sound \u003c/strong>\u003c/p>\n\u003cp>Janis took her own vocals for granted until she discovered \u003ca href=\"https://www.npr.org/2015/02/21/387566023/that-blew-my-mind-raiding-the-lead-belly-vault\">Lead Belly\u003c/a>. She just thought: Oh, anybody can sing soprano. She sang in the church choir and the glee club. But when she heard Lead Belly’s voice, she wanted to experiment with roughing up her sound and making it more raw and she was a mimic. She discovered \u003ca href=\"https://www.npr.org/artists/97739742/odetta\">Odetta, \u003c/a>who had kind of the round tones, and she started trying to sing like Odetta on her records. But she was mostly inspired by Lead Belly, until she discovered, of course, Bessie Smith, and then that was all she wrote.\u003c/p>\n\u003cp>\u003cstrong>On the sexism she faced in the music industry \u003c/strong>\u003c/p>\n\u003cp>Once she was a public figure, the press would, of course, be amazed by her vocals, and critics would be talking about what a great singer she was. But they were often singling out her body parts and talking about her physical appearance in a way that, of course, male singers, rock singers, were really not getting that kind of attention from the press.\u003c/p>\n\u003cp>Also, she really had to bust down barriers to be able to have control, to do what she wanted to do, because she loved being in Big Brother and the Holding Company, for example — the band with whom she catapulted to fame — but she was such a restless spirit as far as a musician goes. She wanted to keep exploring different sounds, different kinds of music, and when she did that, it was really awful in that the boys’ club of music critics just kind of raked over the coals for dropping her band and going off on her own, and they tried to say she was selling out and going showbiz.\u003c/p>\n\u003cp>\u003cstrong>On how Joplin’s experience with the “kozmic blues” connected with her alcohol use\u003c/strong>\u003c/p>\n\u003cp>She was an introspective person deep down, and she didn’t like her thoughts. She was a fatalist. She had learned this kind of existential, dark philosophy from her father, who called it the “Saturday night swindle,” which was basically the idea that no matter how hard you work, how much you try to achieve your goals, you’re never really going to be happy. There’s always going to be a let-down. There’s always going to be disappointments — which was [a] pretty dark attitude when you think about that whole ’50s positivism etc., post-World War II America. Janis called this idea the “kozmic blues,” and it really did dog her.\u003c/p>\n\u003cp>I think between that philosophy and all the pressures of leading a band, being in the spotlight, being a star, having to always live up to her image night after night on stage and, of course, in the recording studio, she wanted something that was going to numb those kind of feelings of anxiety and fear. … She started drinking when she was a teenager. So early on, she realized that if something can kind of take you away from yourself, take you out of your head, it could be a good thing.\u003c/p>\n\u003cp>\u003cstrong>On Joplin’s addiction to heroin \u003c/strong>\u003c/p>\n\u003cp>Janis started turning to heroin as a way to just kind of numb herself from all the pressures and the fear of what it was like being a solo artist at that point [in] time in her career. Again, she was still very much a focal point of media. There was articles about her all the time and she had developed this whole hard-drinking blues mama image that she had. So this was a secret vice of hers that she picked up. Unfortunately, heroin was pretty prevalent. No one really realized at the time, and so she gradually got addicted to heroin in 1969. …\u003c/p>\n\u003cp>She tried to kick heroin a few times. She finally did almost for good in 1970, right about the time she had put together a new band which became called Full Tilt Boogie Band. And she got off heroin for a while actually by going to Brazil for Carnival, and I mean — it’s so hard to believe that she was a massive rock star, but she was hitchhiking around in Brazil for a while, totally cleaned up, really loved the feeling of being clean and back to her old self again.\u003c/p>\n\u003cp>Sadly, she relapsed when she got back to California, and then finally she quit in the spring of 1970 and she stayed off of it for about four or five months, until tragically she relapsed again while recording \u003cem>Pearl \u003c/em>in Los Angeles, got a very strong dose. … It was much more pure than she had ever used before, and her tolerance was down. She was by herself, overdosed and died on Oct. 4, 1970. … A lot of musicians were using that drug and people didn’t realize it. But when Janis overdosed on heroin, I think it was a wake-up call — but soon sadly forgotten.\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Janis+Joplin+Biography+Reveals+The+Hard+Work+Behind+The+Heart+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868517/new-janis-joplin-biography-reveals-the-hard-work-behind-the-heart","authors":["byline_arts_13868517"],"categories":["arts_71"],"tags":["arts_1425","arts_1846","arts_12987","arts_1864"],"featImg":"arts_13868518","label":"arts"},"arts_11548325":{"type":"posts","id":"arts_11548325","meta":{"index":"posts_1591205157","site":"arts","id":"11548325","score":null,"sort":[1462316719000]},"guestAuthors":[],"slug":"jorma-kaukonen-on-janis-joplin-and-recording-the-1964-typewriter-tape","title":"Jorma Kaukonen on Janis Joplin and Recording the 1964 'Typewriter Tape'","publishDate":1462316719,"format":"image","headTitle":"Jorma Kaukonen on Janis Joplin and Recording the 1964 ‘Typewriter Tape’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Of the many Janis Joplin bootlegs out there in the wild, there’s one that holds a special importance for diehard fans. \u003cem>The Typewriter Tape\u003c/em>, recorded in 1964 with guitarist Jorma Kaukonen (Jefferson Airplane, Hot Tuna), captures an early Joplin at a pivotal moment, just after her folk-autoharp phase and just before joining Big Brother & the Holding Company.\u003c/p>\n\u003cp>\u003cem>The Typewriter Tape\u003c/em> would go on to attain mythic status, and, as is the norm for bootlegs, the details of its existence have been distorted over the years. In advance of PBS’ broadcast of the documentary \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">Janis: Little Girl Blue\u003c/a>\u003c/em>, I decided to go to the source: Jorma Kaukonen himself, who spoke to me from his ranch in Ohio about that day in 1964, when his wife was typing a letter in the background and he casually recorded some favorite folk-blues songs with an unknown girl from Texas.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11548712\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548712\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-600x600.jpg\" alt=\"One of many bootleg covers of 'The Typewriter Tape.'\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">One of many bootleg covers of ‘The Typewriter Tape.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Typewriter Tape\u003c/em> was recorded in 1964. Tell me a little bit about where you were at in life.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was a senior in college, at the University of Santa Clara. I was recently married to Margareta, may she rest in peace, and we were renting a house on Fremont Street in Santa Clara, where the tape was recorded.\u003c/p>\n\u003cp>\u003cstrong>And where was Janis at in life, in 1964?\u003c/strong>\u003c/p>\n\u003cp>That’s a good question. My intersection with Janis was fortuitous for me on many levels. She was one of the great blues voices of my time, without question — I knew that the first time I heard her. To be able to play with her was such an honor. Now, people often say, “You played with Janis,” as if we were a duo or touring band or something. It really wasn’t like that. When Janis would come down the peninsula and she needed somebody to play with her, then I would play with her. We did a benefit together at the Coffee Gallery in San Francisco. But most of the time, I played with her down the peninsula, whether it was the Tangent in Palo Alto, or the Offstage in San Jose.\u003c/p>\n\u003cp>https://youtu.be/EO2mWTpcb48\u003c/p>\n\u003cp>\u003cstrong>Do you remember how you two originally came together?\u003c/strong>\u003c/p>\n\u003cp>It was in 1962. I’d just flown out to California, and was going to the University of Santa Clara. I’d been overseas for a while with my parents and I had lived on my own in New York, so when I came back to Santa Clara, back in a dorm again, it was sort of a social regression for me on some levels. I remember I took the Greyhound Bus down from San Francisco, got to Santa Clara and I got into my dorm room. I’m walking around the campus and there’s a mimeograph sign about a hootenanny in the upcoming weekend at a place called the Folk Theater.\u003c/p>\n\u003cp>[contextly_sidebar id=”qpieBaNvgZf4nJ7ObHMo6UdPw474xZvE”]\u003c/p>\n\u003cp>I went, “Wow. It’ll be like I’m back in New York or in Washington, DC.” I grabbed my guitar and somehow I got a ride over to San Jose to First Avenue, near First and Edwards. And in that first weekend that I was there, I met Janis, and a guy named Richmond Talbot, who’s passed away since, and Jerry Garcia and Pigpen. I think Herb Pedersen might have been there with the Dry Creek Ramblers. A whole host of people that became known later on were there at this little hole-in-the-wall coffeehouse that first weekend.\u003c/p>\n\u003cp>Being backstage with all these people in this little room the size of a closet, I met Janis and we got to talking. I’d just flown up from the East Coast. We realized that we had some music in common. She asked if I wanted to back her up. The songs that she wanted to do, if I didn’t already know them, were sort of intuitive anyway. So that’s what we did.\u003c/p>\n\u003cp>https://youtu.be/PEzhRyEQ7-c\u003c/p>\n\u003cp>\u003cstrong>These songs on \u003cem>the Typewriter Tape\u003c/em> are mostly all classic blues songs — “Trouble in Mind,” “Nobody Knows You When You’re Down and Out.” Did you share a love of these songs with Janis? \u003c/strong>\u003c/p>\n\u003cp>I’ve sort of gotten to know Janis’ sister Laura a little bit, and what Laura’s told me is that Janis was always reinventing herself. The Janis that I knew was that Bessie Smith, bluesy Janis — and to be honest with you, that’s my favorite Janis. When we found that that was the center at that moment of our universe, we just fit together. With me and Janis, like I said, I didn’t know her well personally, but we loved the music. Janis was always great any time I was around her, because it was always about the music and we both loved it so much.\u003c/p>\n\u003cp>\u003cstrong>On this \u003cem>Typewriter Tape\u003c/em>, there’s something very different, almost innocent about this Janis than people are used to in her later recordings. How would you describe that difference?\u003c/strong>\u003c/p>\n\u003cp>Keep in mind, this is ’64. I was barely 23 years old. We were much more innocent I think than a lot of young people today at that age, on many levels. This was pre-hippie, so Janis was sort of a beatnik demimonde. By the time we recorded the Typewriter Tapes, I was married and living in a house.\u003c/p>\n\u003cp>It was before hard drugs. I didn’t even smoke pot until I was 21 years old. All that stuff that everybody takes for granted, the excesses of everything that came later on, they didn’t happen then. I wouldn’t have known where to get any of that stuff. I wouldn’t have had the money if I did know. So on some level, it really was an innocent time. Janis coming down to visit Margareta and myself, and to rehearse with me, was a burst of pure artistic innocence.\u003c/p>\n\u003cp>https://youtu.be/cMSe0luP_JA\u003c/p>\n\u003cp>\u003cstrong>How would you describe her singing then? In your own words, what’s different about it than the later Janis, when she pushed her vocal chords really hard on \u003cem>Cheap Thrills\u003c/em> and \u003cem>Pearl\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>She pushed them pretty hard back then too, but not in the same way. I think that her voice … Once again, listen: nobody cares about Jorma’s opinion about what Janis should or shouldn’t have been doing. But \u003cem>that’s\u003c/em> my favorite Janis. Her voice as a blues singer to me was so pure and elegant. She was a great rock singer too, don’t get me wrong. I’m not critical of the artistic Janis. We do what we have to do, or what we’re called upon to do. But she was just so good at that stuff. Again, it was so pure. Of course we weren’t that loud, so it didn’t need to be that forceful.\u003c/p>\n\u003cp>\u003cstrong>You were a hell of a guitar player for your age, too. What do you hear when you listen to yourself on that tape?\u003c/strong>\u003c/p>\n\u003cp>That’s good stuff. I’d done only finger picking for maybe three and a half years at that time. What I hear is that I didn’t know a lot of left hand. I didn’t know a lot of chords or stuff, but what I got from Ian [Buchanan] and the guys that I looked up to was a strong right hand. My groove is really solid. One of the things when I hear myself back then, I go, “Wow. I was pretty good.” The pretty-goodness that I hear is in my groove, my right hand.\u003c/p>\n\u003cp>\u003cstrong>Technical questions here: the tape, you said, was recorded in Santa Clara at your house on Fremont Street?\u003c/strong>\u003c/p>\n\u003cp>That is correct. If you want to know about the tape recorder, it was a Sony TC-100 tape recorder, mono. My first tape recorder. I get people saying, “I can’t believe that somebody was playing the typewriter.”\u003c/p>\n\u003cp>\u003cstrong>And that’s your wife at the time, Margareta, typing in the background?\u003c/strong>\u003c/p>\n\u003cp>That’s her. I met her in Russia the year before, because my grandparents took us back to Russia. She was a Swede. People ask, “Was that a rhythm track?” She was just writing a letter home. Janis and I were rehearsing and Margareta was writing a letter home.\u003c/p>\n\u003cfigure id=\"attachment_11548713\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-750x600.jpg\" alt=\"A back cover and tracklist from a 'Typewriter Tape' bootleg.\" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover.jpg 885w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A back cover and tracklist from a ‘Typewriter Tape’ bootleg.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>These weren’t demos for a record company, or anything?\u003c/strong>\u003c/p>\n\u003cp>They were not. Oh, gosh. We were so far away from record companies back then. Janis had come down to rehearse for a gig we had coming up… I think it might’ve been the Tangent, but I can’t really remember what it was.\u003c/p>\n\u003cp>\u003cstrong>Fast-forward six years. Do you remember where you were when you learned that Janis had died?\u003c/strong>\u003c/p>\n\u003cp>I was at Winterland. That’s my best recollection, that we were doing a Winterland show. Carlos Santana was there that night, and I remember he said to me, “Jorma, don’t let this happen to you.”\u003c/p>\n\u003cp>\u003cstrong>How did it affect you? Did you vow to not let it happen to you, or did you reassess your life path?\u003c/strong>\u003c/p>\n\u003cp>I can only speak for myself, but it was hard to imagine, up to that point in my life, that anything might kill me. We were in our 20s back then. We were sort of all like Superman. The Janis thing, it was almost unthinkable. How could this happen to somebody who’s younger than I am? I didn’t know much about hard drugs back then. That didn’t have the same relevance to me that it does today. I understand that these things can kill you. I didn’t know that back then.\u003c/p>\n\u003cp>\u003cstrong>My last question: are you surprised that we’re still talking about Janis all these decades later?\u003c/strong>\u003c/p>\n\u003cp>No. Absolutely not. I think that she’s… I was talking to my wife about it today. It’s just so sad that we’ll never know what she could’ve become. I was just at the Grammys earlier this year; we got a lifetime achievement award and I had the chance to talk to Grace Slick and tell her what an honor it was to be able to play music with her. She is one of the great voices of my time, even though she doesn’t sing anymore. The same would’ve been true of Janis. Who knows who she could’ve become, what she would’ve become?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She is one of the great ones. You can’t take that away from her. But her career was so short. We’re starved of some of the richness we’ll never get.\u003c/p>\n\n","blocks":[],"excerpt":"Janis Joplin was just an unknown girl from Texas when Jorma Kaukonen accompanied her in 1964, recording a set of songs that would eventually attain mythic status.","status":"publish","parent":0,"modified":1705044382,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1895},"headData":{"title":"Jorma Kaukonen on Janis Joplin and Recording the 1964 'Typewriter Tape' | KQED","description":"Janis Joplin was just an unknown girl from Texas when Jorma Kaukonen accompanied her in 1964, recording a set of songs that would eventually attain mythic status.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11548325/jorma-kaukonen-on-janis-joplin-and-recording-the-1964-typewriter-tape","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the many Janis Joplin bootlegs out there in the wild, there’s one that holds a special importance for diehard fans. \u003cem>The Typewriter Tape\u003c/em>, recorded in 1964 with guitarist Jorma Kaukonen (Jefferson Airplane, Hot Tuna), captures an early Joplin at a pivotal moment, just after her folk-autoharp phase and just before joining Big Brother & the Holding Company.\u003c/p>\n\u003cp>\u003cem>The Typewriter Tape\u003c/em> would go on to attain mythic status, and, as is the norm for bootlegs, the details of its existence have been distorted over the years. In advance of PBS’ broadcast of the documentary \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">Janis: Little Girl Blue\u003c/a>\u003c/em>, I decided to go to the source: Jorma Kaukonen himself, who spoke to me from his ranch in Ohio about that day in 1964, when his wife was typing a letter in the background and he casually recorded some favorite folk-blues songs with an unknown girl from Texas.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11548712\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548712\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-600x600.jpg\" alt=\"One of many bootleg covers of 'The Typewriter Tape.'\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.inlinetape.1.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">One of many bootleg covers of ‘The Typewriter Tape.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Typewriter Tape\u003c/em> was recorded in 1964. Tell me a little bit about where you were at in life.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was a senior in college, at the University of Santa Clara. I was recently married to Margareta, may she rest in peace, and we were renting a house on Fremont Street in Santa Clara, where the tape was recorded.\u003c/p>\n\u003cp>\u003cstrong>And where was Janis at in life, in 1964?\u003c/strong>\u003c/p>\n\u003cp>That’s a good question. My intersection with Janis was fortuitous for me on many levels. She was one of the great blues voices of my time, without question — I knew that the first time I heard her. To be able to play with her was such an honor. Now, people often say, “You played with Janis,” as if we were a duo or touring band or something. It really wasn’t like that. When Janis would come down the peninsula and she needed somebody to play with her, then I would play with her. We did a benefit together at the Coffee Gallery in San Francisco. But most of the time, I played with her down the peninsula, whether it was the Tangent in Palo Alto, or the Offstage in San Jose.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EO2mWTpcb48'\n title='//www.youtube.com/embed/EO2mWTpcb48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do you remember how you two originally came together?\u003c/strong>\u003c/p>\n\u003cp>It was in 1962. I’d just flown out to California, and was going to the University of Santa Clara. I’d been overseas for a while with my parents and I had lived on my own in New York, so when I came back to Santa Clara, back in a dorm again, it was sort of a social regression for me on some levels. I remember I took the Greyhound Bus down from San Francisco, got to Santa Clara and I got into my dorm room. I’m walking around the campus and there’s a mimeograph sign about a hootenanny in the upcoming weekend at a place called the Folk Theater.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I went, “Wow. It’ll be like I’m back in New York or in Washington, DC.” I grabbed my guitar and somehow I got a ride over to San Jose to First Avenue, near First and Edwards. And in that first weekend that I was there, I met Janis, and a guy named Richmond Talbot, who’s passed away since, and Jerry Garcia and Pigpen. I think Herb Pedersen might have been there with the Dry Creek Ramblers. A whole host of people that became known later on were there at this little hole-in-the-wall coffeehouse that first weekend.\u003c/p>\n\u003cp>Being backstage with all these people in this little room the size of a closet, I met Janis and we got to talking. I’d just flown up from the East Coast. We realized that we had some music in common. She asked if I wanted to back her up. The songs that she wanted to do, if I didn’t already know them, were sort of intuitive anyway. So that’s what we did.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PEzhRyEQ7-c'\n title='//www.youtube.com/embed/PEzhRyEQ7-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>These songs on \u003cem>the Typewriter Tape\u003c/em> are mostly all classic blues songs — “Trouble in Mind,” “Nobody Knows You When You’re Down and Out.” Did you share a love of these songs with Janis? \u003c/strong>\u003c/p>\n\u003cp>I’ve sort of gotten to know Janis’ sister Laura a little bit, and what Laura’s told me is that Janis was always reinventing herself. The Janis that I knew was that Bessie Smith, bluesy Janis — and to be honest with you, that’s my favorite Janis. When we found that that was the center at that moment of our universe, we just fit together. With me and Janis, like I said, I didn’t know her well personally, but we loved the music. Janis was always great any time I was around her, because it was always about the music and we both loved it so much.\u003c/p>\n\u003cp>\u003cstrong>On this \u003cem>Typewriter Tape\u003c/em>, there’s something very different, almost innocent about this Janis than people are used to in her later recordings. How would you describe that difference?\u003c/strong>\u003c/p>\n\u003cp>Keep in mind, this is ’64. I was barely 23 years old. We were much more innocent I think than a lot of young people today at that age, on many levels. This was pre-hippie, so Janis was sort of a beatnik demimonde. By the time we recorded the Typewriter Tapes, I was married and living in a house.\u003c/p>\n\u003cp>It was before hard drugs. I didn’t even smoke pot until I was 21 years old. All that stuff that everybody takes for granted, the excesses of everything that came later on, they didn’t happen then. I wouldn’t have known where to get any of that stuff. I wouldn’t have had the money if I did know. So on some level, it really was an innocent time. Janis coming down to visit Margareta and myself, and to rehearse with me, was a burst of pure artistic innocence.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cMSe0luP_JA'\n title='//www.youtube.com/embed/cMSe0luP_JA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How would you describe her singing then? In your own words, what’s different about it than the later Janis, when she pushed her vocal chords really hard on \u003cem>Cheap Thrills\u003c/em> and \u003cem>Pearl\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>She pushed them pretty hard back then too, but not in the same way. I think that her voice … Once again, listen: nobody cares about Jorma’s opinion about what Janis should or shouldn’t have been doing. But \u003cem>that’s\u003c/em> my favorite Janis. Her voice as a blues singer to me was so pure and elegant. She was a great rock singer too, don’t get me wrong. I’m not critical of the artistic Janis. We do what we have to do, or what we’re called upon to do. But she was just so good at that stuff. Again, it was so pure. Of course we weren’t that loud, so it didn’t need to be that forceful.\u003c/p>\n\u003cp>\u003cstrong>You were a hell of a guitar player for your age, too. What do you hear when you listen to yourself on that tape?\u003c/strong>\u003c/p>\n\u003cp>That’s good stuff. I’d done only finger picking for maybe three and a half years at that time. What I hear is that I didn’t know a lot of left hand. I didn’t know a lot of chords or stuff, but what I got from Ian [Buchanan] and the guys that I looked up to was a strong right hand. My groove is really solid. One of the things when I hear myself back then, I go, “Wow. I was pretty good.” The pretty-goodness that I hear is in my groove, my right hand.\u003c/p>\n\u003cp>\u003cstrong>Technical questions here: the tape, you said, was recorded in Santa Clara at your house on Fremont Street?\u003c/strong>\u003c/p>\n\u003cp>That is correct. If you want to know about the tape recorder, it was a Sony TC-100 tape recorder, mono. My first tape recorder. I get people saying, “I can’t believe that somebody was playing the typewriter.”\u003c/p>\n\u003cp>\u003cstrong>And that’s your wife at the time, Margareta, typing in the background?\u003c/strong>\u003c/p>\n\u003cp>That’s her. I met her in Russia the year before, because my grandparents took us back to Russia. She was a Swede. People ask, “Was that a rhythm track?” She was just writing a letter home. Janis and I were rehearsing and Margareta was writing a letter home.\u003c/p>\n\u003cfigure id=\"attachment_11548713\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-750x600.jpg\" alt=\"A back cover and tracklist from a 'Typewriter Tape' bootleg.\" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/jorma.tape_.backcover.jpg 885w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A back cover and tracklist from a ‘Typewriter Tape’ bootleg.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>These weren’t demos for a record company, or anything?\u003c/strong>\u003c/p>\n\u003cp>They were not. Oh, gosh. We were so far away from record companies back then. Janis had come down to rehearse for a gig we had coming up… I think it might’ve been the Tangent, but I can’t really remember what it was.\u003c/p>\n\u003cp>\u003cstrong>Fast-forward six years. Do you remember where you were when you learned that Janis had died?\u003c/strong>\u003c/p>\n\u003cp>I was at Winterland. That’s my best recollection, that we were doing a Winterland show. Carlos Santana was there that night, and I remember he said to me, “Jorma, don’t let this happen to you.”\u003c/p>\n\u003cp>\u003cstrong>How did it affect you? Did you vow to not let it happen to you, or did you reassess your life path?\u003c/strong>\u003c/p>\n\u003cp>I can only speak for myself, but it was hard to imagine, up to that point in my life, that anything might kill me. We were in our 20s back then. We were sort of all like Superman. The Janis thing, it was almost unthinkable. How could this happen to somebody who’s younger than I am? I didn’t know much about hard drugs back then. That didn’t have the same relevance to me that it does today. I understand that these things can kill you. I didn’t know that back then.\u003c/p>\n\u003cp>\u003cstrong>My last question: are you surprised that we’re still talking about Janis all these decades later?\u003c/strong>\u003c/p>\n\u003cp>No. Absolutely not. I think that she’s… I was talking to my wife about it today. It’s just so sad that we’ll never know what she could’ve become. I was just at the Grammys earlier this year; we got a lifetime achievement award and I had the chance to talk to Grace Slick and tell her what an honor it was to be able to play music with her. She is one of the great voices of my time, even though she doesn’t sing anymore. The same would’ve been true of Janis. Who knows who she could’ve become, what she would’ve become?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She is one of the great ones. You can’t take that away from her. But her career was so short. We’re starved of some of the richness we’ll never get.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11548325/jorma-kaukonen-on-janis-joplin-and-recording-the-1964-typewriter-tape","authors":["185"],"categories":["arts_69"],"tags":["arts_1425","arts_596","arts_989"],"featImg":"arts_11548593","label":"arts"},"arts_11546020":{"type":"posts","id":"arts_11546020","meta":{"index":"posts_1591205157","site":"arts","id":"11546020","score":null,"sort":[1462316447000]},"guestAuthors":[],"slug":"combination-of-the-two-how-san-francisco-helped-make-janis-a-legend","title":"Combination of the Two: How San Francisco Helped Make Janis Joplin a Legend","publishDate":1462316447,"format":"standard","headTitle":"Combination of the Two: How San Francisco Helped Make Janis Joplin a Legend | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/262299822″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>When Chet Helms first saw Janis Joplin sing while on a trip to Texas in the early ’60s, she apparently had to get drunk to even stand on stage.\u003c/p>\n\u003cp>“She just wouldn’t sing unless she had a few belts in her. Then, she would stand very rigidly,” Helms said in an 1998 interview.\u003c/p>\n\u003cfigure id=\"attachment_11548579\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548579\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP-395x600.jpg\" alt=\"Polaroid photo of Janis Joplin backstage\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP.jpg 640w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">Polaroid photo of Janis Joplin backstage \u003ccite>(Photo: Courtesy of © Fantality Corp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She might not have had her legendary stage presence yet, but she certainly had that legendary voice.\u003c/p>\n\u003cp>“It made the hair stand on the back of my neck,” Helms said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Texas was cruel to Joplin. Growing up in Port Arthur, she never fit in. Later, in Austin, her college newspaper declared her the “Ugliest Man on Campus.” So Helms — who at the time was just a freewheelin’ intellectual, but would later co-found the influential concert promotion company the Family Dog — ended up taking Joplin with him to San Francisco.\u003c/p>\n\u003cp>“I thought that if she came to California, she would knock people in San Francisco on their ass because this is something they had imagined but not experienced,” he said.\u003c/p>\n\u003cp>The first time she performed in San Francisco, at a small cafe called Coffee and Confusion, she received a standing ovation. A hat was passed around and she ended up making about $60 — over $400 in today’s money.\u003c/p>\n\u003cp>After months of trying to kick off a music career, she headed back to Texas to kick a speed habit. But Helms came back for her in ’65 so she could join a band he was managing called Big Brother and the Holding Company. The band had started in the basement of 1090 Page Street, coming together during weekly jam sessions that featured residents of the 22-room boarding house. It wasn’t long before they were playing small gigs all over the city. And though they were good, they needed a real singer, and they wanted a female singer because that what was happening in San Francisco: Bands like Great Society and Jefferson Airplane were taking off in under a year.\u003c/p>\n\u003cp>By the time Helms recruited Joplin, the San Francisco music scene was becoming legitimate. It was no longer small clubs, birthday parties and basements; bands were playing large halls like the Fillmore and the Longshoreman’s Hall. And though the members of Big Brother were initially reticent to hire a singer as unique as Joplin, they were willing to give her talent a chance.\u003c/p>\n\u003cp>Big Brother guitarist Sam Andrew, who died in February of 2015, would say later Joplin stood in the band’s shadow when she first joined — but it wouldn’t be long before the band was looking up to her.\u003c/p>\n\u003cp>“She was this Texas girl, she dressed the way mother dressed — very dowdy and not with it. That lasted for about six months,” Andrews said in 1998. “She just became larger than life.”\u003c/p>\n\u003cp>Months later, with her star on the rise, Joplin’s family came out to San Francisco to visit her. To Janis’s sister Laura’s surprise, Joplin was recognized everywhere she went.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yxdTnLL2fec\u003c/p>\n\u003cp>“All kinds of people running up and saying, ‘Give me your autograph Janis,'” Laura Joplin said to Ben Manilla Productions in 1998.\u003c/p>\n\u003cp>Joplin’s career would only last a few years before she would die of an overdose in 1970. But Laura, who lives in Chico now, says that after Janis moved to California, she became a poster child for self-empowerment.\u003c/p>\n\u003cp>“I think what Janis has become is a symbol of someone breaking down doors. She isn’t used as ‘This is the person to copy.’ She’s more someone who said, ‘Look, you can do what you want to do, you don’t have to do what people expect or think you should do,'” Laura said.\u003c/p>\n\u003cp>And San Francisco was the city that let her bloom. When she played with Big Brother, she lived in the Haight, which had been practically abandoned a decade before when a freeway project threatened to tear the whole thing down. It wasn’t hard to find a room for rent for around $20-a-month – just over a $100 in today’s money.\u003c/p>\n\u003cp>Now, blessed with the musical legacy left by Joplin and her counterparts, apartments in the Haight go \u003ca href=\"http://www.zillow.com/haight-ashbury-san-francisco-ca/apartments/\" target=\"_blank\" rel=\"noopener\">for thousands of dollars a month\u003c/a>. Which makes you wonder, if Joplin was starting her career today, would she still move to the San Francisco?\u003c/p>\n\u003cp>\u003ci>On May 3, KQED 9 will be premiering two documentaries on \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">Janis Joplin\u003c/a>: \u003cb>Janis: Little Girl Blue\u003c/b> and \u003cb>San Francisco’s Pearl.\u003c/b> For more information on these films, visit the KQED Arts website, \u003cb>\u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">American Masters: Janis Joplin\u003c/a>.\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those interested in learning more about the Haight Ashbury neighborhood, check out the \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">Detour app\u003c/a>, which was created in partnership with KQED. Our music editor Gabe Meline reviewed the \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener\">app’s walking tour of the famous neighborhood\u003c/a> earlier this year.\u003c/p>\n\n","blocks":[],"excerpt":"Though she was a Texan, Janis Joplin’s legacy will forever be tied to San Francisco’s Haight Ashbury scene of the ‘60s.","status":"publish","parent":0,"modified":1705044383,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":918},"headData":{"title":"Combination of the Two: How San Francisco Helped Make Janis Joplin a Legend | KQED","description":"Though she was a Texan, Janis Joplin’s legacy will forever be tied to San Francisco’s Haight Ashbury scene of the ‘60s.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11546020/combination-of-the-two-how-san-francisco-helped-make-janis-a-legend","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/262299822″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/262299822″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When Chet Helms first saw Janis Joplin sing while on a trip to Texas in the early ’60s, she apparently had to get drunk to even stand on stage.\u003c/p>\n\u003cp>“She just wouldn’t sing unless she had a few belts in her. Then, she would stand very rigidly,” Helms said in an 1998 interview.\u003c/p>\n\u003cfigure id=\"attachment_11548579\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548579\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP-395x600.jpg\" alt=\"Polaroid photo of Janis Joplin backstage\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/backstage-polaroid1-c-Fantality-CorpCROP.jpg 640w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">Polaroid photo of Janis Joplin backstage \u003ccite>(Photo: Courtesy of © Fantality Corp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She might not have had her legendary stage presence yet, but she certainly had that legendary voice.\u003c/p>\n\u003cp>“It made the hair stand on the back of my neck,” Helms said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Texas was cruel to Joplin. Growing up in Port Arthur, she never fit in. Later, in Austin, her college newspaper declared her the “Ugliest Man on Campus.” So Helms — who at the time was just a freewheelin’ intellectual, but would later co-found the influential concert promotion company the Family Dog — ended up taking Joplin with him to San Francisco.\u003c/p>\n\u003cp>“I thought that if she came to California, she would knock people in San Francisco on their ass because this is something they had imagined but not experienced,” he said.\u003c/p>\n\u003cp>The first time she performed in San Francisco, at a small cafe called Coffee and Confusion, she received a standing ovation. A hat was passed around and she ended up making about $60 — over $400 in today’s money.\u003c/p>\n\u003cp>After months of trying to kick off a music career, she headed back to Texas to kick a speed habit. But Helms came back for her in ’65 so she could join a band he was managing called Big Brother and the Holding Company. The band had started in the basement of 1090 Page Street, coming together during weekly jam sessions that featured residents of the 22-room boarding house. It wasn’t long before they were playing small gigs all over the city. And though they were good, they needed a real singer, and they wanted a female singer because that what was happening in San Francisco: Bands like Great Society and Jefferson Airplane were taking off in under a year.\u003c/p>\n\u003cp>By the time Helms recruited Joplin, the San Francisco music scene was becoming legitimate. It was no longer small clubs, birthday parties and basements; bands were playing large halls like the Fillmore and the Longshoreman’s Hall. And though the members of Big Brother were initially reticent to hire a singer as unique as Joplin, they were willing to give her talent a chance.\u003c/p>\n\u003cp>Big Brother guitarist Sam Andrew, who died in February of 2015, would say later Joplin stood in the band’s shadow when she first joined — but it wouldn’t be long before the band was looking up to her.\u003c/p>\n\u003cp>“She was this Texas girl, she dressed the way mother dressed — very dowdy and not with it. That lasted for about six months,” Andrews said in 1998. “She just became larger than life.”\u003c/p>\n\u003cp>Months later, with her star on the rise, Joplin’s family came out to San Francisco to visit her. To Janis’s sister Laura’s surprise, Joplin was recognized everywhere she went.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yxdTnLL2fec'\n title='//www.youtube.com/embed/yxdTnLL2fec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“All kinds of people running up and saying, ‘Give me your autograph Janis,'” Laura Joplin said to Ben Manilla Productions in 1998.\u003c/p>\n\u003cp>Joplin’s career would only last a few years before she would die of an overdose in 1970. But Laura, who lives in Chico now, says that after Janis moved to California, she became a poster child for self-empowerment.\u003c/p>\n\u003cp>“I think what Janis has become is a symbol of someone breaking down doors. She isn’t used as ‘This is the person to copy.’ She’s more someone who said, ‘Look, you can do what you want to do, you don’t have to do what people expect or think you should do,'” Laura said.\u003c/p>\n\u003cp>And San Francisco was the city that let her bloom. When she played with Big Brother, she lived in the Haight, which had been practically abandoned a decade before when a freeway project threatened to tear the whole thing down. It wasn’t hard to find a room for rent for around $20-a-month – just over a $100 in today’s money.\u003c/p>\n\u003cp>Now, blessed with the musical legacy left by Joplin and her counterparts, apartments in the Haight go \u003ca href=\"http://www.zillow.com/haight-ashbury-san-francisco-ca/apartments/\" target=\"_blank\" rel=\"noopener\">for thousands of dollars a month\u003c/a>. Which makes you wonder, if Joplin was starting her career today, would she still move to the San Francisco?\u003c/p>\n\u003cp>\u003ci>On May 3, KQED 9 will be premiering two documentaries on \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">Janis Joplin\u003c/a>: \u003cb>Janis: Little Girl Blue\u003c/b> and \u003cb>San Francisco’s Pearl.\u003c/b> For more information on these films, visit the KQED Arts website, \u003cb>\u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">American Masters: Janis Joplin\u003c/a>.\u003c/b>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those interested in learning more about the Haight Ashbury neighborhood, check out the \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">Detour app\u003c/a>, which was created in partnership with KQED. Our music editor Gabe Meline reviewed the \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener\">app’s walking tour of the famous neighborhood\u003c/a> earlier this year.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11546020/combination-of-the-two-how-san-francisco-helped-make-janis-a-legend","authors":["93"],"categories":["arts_69","arts_235"],"tags":["arts_1119","arts_1425","arts_596"],"featImg":"arts_11548453","label":"arts"},"arts_11545475":{"type":"posts","id":"arts_11545475","meta":{"index":"posts_1591205157","site":"arts","id":"11545475","score":null,"sort":[1462252419000]},"guestAuthors":[],"slug":"photos-the-1960s-san-francisco-bay-area-seen-though-family-albums","title":"PHOTOS: The 1960s San Francisco Bay Area, Seen Though Family Albums","publishDate":1462252419,"format":"image","headTitle":"PHOTOS: The 1960s San Francisco Bay Area, Seen Though Family Albums | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>To celebrate the broadcast premiere of \u003ca href=\"arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">\u003cem>Janis Joplin: Little Girl Blue\u003c/em>\u003c/a> on Tuesday, May 3 on KQED 9, \u003ca href=\"https://ww2.kqed.org/about/2016/04/28/baybackwhen-we-want-your-vintage-family-photographs-from-the-1960s/\">we asked our social media fans\u003c/a> to delve into their family albums and show us their snapshots taken during the Sixties in the San Francisco Bay Area: a place Joplin called home until her untimely death age 27 in 1970. And they did \u003cem>not\u003c/em> disappoint.\u003c/p>\n\u003cp>Scroll down to enjoy just some of the many, many evocative photographs we received via the #BayBackWhen hashtag. Many thanks to all those who contributed to this collective picture of the style, attitude and atmosphere of an unforgettable period of Bay Area history!\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>(Click \u003ca href=\"arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for more information on \u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\" rel=\"noopener\">Janis Joplin: Little Girl Blue\u003c/a>, \u003c/em>including interviews, \u003ca href=\"http://ww2.kqed.org/arts/2016/04/29/bonus-video-clips-and-excerpts-from-janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">bonus video clips\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">more\u003c/a>.)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11545718\" class=\"wp-caption aligncenter\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545718\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish.jpg\" alt='Joan Rudloff, via Facebook: Pictured at San Francisco General Hospital \"in 1970 or so\"' width=\"742\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish-464x600.jpg 464w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Joan Rudloff, via Facebook: Pictured at San Francisco General Hospital “in 1970 or so”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551586\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz.jpg\" alt=\"Loriz Gomez, via Facebook: "'61, 62? Santa Cruz. Sis in law Sharon, my brothers, my niece the baby and sis Robina and I. Crazy family!"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz-450x600.jpg 450w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Loriz Gomez, via Facebook: “’61, 62? Santa Cruz. Sis in law Sharon, my brothers, my niece the baby and sis Robina and I. Crazy family!”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545612\" class=\"wp-caption aligncenter\" style=\"max-width: 536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545612\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley.jpg\" alt=\"Molly Robinson Couto, via Facebook: "Me holding my older sister's hand during a protest march in downtown Berkeley in around 1968. My mom is just behind my sister, and her best friend is behind her next to another family friend."\" width=\"536\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley-400x454.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley-529x600.jpg 529w\" sizes=\"(max-width: 536px) 100vw, 536px\">\u003cfigcaption class=\"wp-caption-text\">Molly Robinson Couto, via Facebook: “Me holding my older sister’s hand during a protest march in downtown Berkeley in around 1968. My mom is just behind my sister, and her best friend is behind her next to another family friend.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551585\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965.jpg\" alt='Xochitl Selena Martinez, via Facebook: \"The Sinaloa nightclub in North Beach, S.F. me as a child, my mom, aunts and extended family 1965.\"' width=\"960\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965-768x502.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl Selena Martinez, via Facebook: “The Sinaloa nightclub in North Beach, S.F. me as a child, my mom, aunts and extended family 1965.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545734\" class=\"wp-caption aligncenter\" style=\"max-width: 734px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545734\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002.jpg\" alt='From Mary Elizabeth Ferla-Brown, via Facebook: \"My dad , Jim Ferla [exact date unknown.] He passed away in 2002 and I always keep it in my wallet.\"' width=\"734\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002.jpg 734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002-400x523.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002-459x600.jpg 459w\" sizes=\"(max-width: 734px) 100vw, 734px\">\u003cfigcaption class=\"wp-caption-text\">From Mary Elizabeth Ferla-Brown, via Facebook: “My dad , Jim Ferla [exact date unknown.] He passed away in 2002 and I always keep it in my wallet.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548842\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11548842 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans.jpg\" alt='\"This picture was taken in 1969, Monterey. The Dovan clan had been one of the first Vietnamese families to emigrate to the US. The patriarch, Hien Dovan was offered a teaching post at the Language Institute on the West Coast and came over during the Eisenhower administration in 1957; his family soon followed. At school the young Dovans were thought to be either Koreans (because of the recent Korean War), Chinese or Japanese because at that time very few people had ever heard of Vietnam.”' width=\"1334\" height=\"910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-960x655.jpg 960w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Minh Steven Dovan: “This picture was taken in 1969, Monterey. The Dovan clan had been one of the first Vietnamese families to emigrate to the US. The patriarch, Hien Dovan was offered a teaching post at the Language Institute on the West Coast and came over during the Eisenhower administration in 1957; his family soon followed. At school the young Dovans were thought to be either Koreans (because of the recent Korean War), Chinese or Japanese because at that time very few people had ever heard of Vietnam.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545750\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968.jpg\" alt='Jacqueline Haber, via Facebook: \"Miss Martinez & Miss McNulty, San Franciscans picnicking on Mt. Tam, 1968!\"' width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Haber, via Facebook: “Miss Martinez & Miss McNulty, San Franciscans picnicking on Mt. Tam, 1968!”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551587\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9.jpg\" alt='Stephanie Byrne Fiedler, via Facebook: \"Peace March in San Francisco - probably 1968 or 1969.\"' width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Byrne Fiedler, via Facebook: “Peace March in San Francisco – probably 1968 or 1969.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548061\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11548061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-68-Avalon.jpg\" alt=\"Gary Lucas, via Facebook: "I was there the night Janis and the Angels closed down the Avalon. It was the best party in town. This is a photo of three Haight Street Freaks back in about '68. I'm the one in the middle. We were driven by a psychological compulsion to search for an order of complexity greater than what had been previously experienced. Believing it was my duty to advance Humanitarian Values and to protect the earth, I brought my ability to transcend with me and San Francisco validated it."\" width=\"700\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-68-Avalon.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-68-Avalon-400x279.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Gary Lucas, via Facebook: “I was there the night Janis and the Angels closed down the Avalon. It was the best party in town. This is a photo of three Haight Street Freaks back in about ’68. I’m the one in the middle. We were driven by a psychological compulsion to search for an order of complexity greater than what had been previously experienced. Believing it was my duty to advance Humanitarian Values and to protect the earth, I brought my ability to transcend with me and San Francisco validated it.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548064\" class=\"wp-caption aligncenter\" style=\"max-width: 964px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11548064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB.jpg\" alt=\"Theresa Anderson Glisson, via Facebook: "Here's my family photo from my hippie days......cousins, aunts, uncles, parents, grandparents, brother and sisters. I'm the cool one in front with the dog."\" width=\"964\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-400x336.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-714x600.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-768x645.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-960x807.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Anderson Glisson, via Facebook: “Here’s my family photo from my hippie days……cousins, aunts, uncles, parents, grandparents, brother and sisters. I’m the cool one in front with the dog.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551583\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11551583 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Julieta-Zambrano-Villa-12.jpg\" alt=\"Julieta Zambrano Villa, via Facebook\" width=\"591\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Julieta-Zambrano-Villa-12.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Julieta-Zambrano-Villa-12-400x357.jpg 400w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">Julieta Zambrano Villa, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551584\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Maureen-Hurley.jpg\" alt=\"Maureen Hurley, via Facebook: "Mo Hurley & Bob Hamilton, with my brother Guy Franklin and cousin David Dinsmore, partying like rockstars in San Rafael. I'm fairly certain the punch was spiked. Look at the little kid's expression."\" width=\"720\" height=\"713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-606x600.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-150x150.jpg 150w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Maureen Hurley, via Facebook: “Mo Hurley & Bob Hamilton, with my brother Guy Franklin and cousin David Dinsmore, partying like rockstars in San Rafael. I’m fairly certain the punch was spiked. Look at the little kid’s expression.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545757\" class=\"wp-caption aligncenter\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11545757 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1.jpg\" alt='Cheri Mendieta, via Facebook: \"1967 free concert Golden Gate park, sisterly love with brother Bill Rook.\"' width=\"641\" height=\"707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1-400x441.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1-544x600.jpg 544w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">Cheri Mendieta, via Facebook: “1967 free concert Golden Gate park, sisterly love with brother Bill Rook.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545611\" class=\"wp-caption aligncenter\" style=\"max-width: 603px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545611\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul.jpg\" alt='Molly Robinson Couto, via Facebook: \"This is my dad (far right), my Uncle Al, middle, and their friend Paul Nord, hanging out at Strawberry Canyon pool, 1961\"' width=\"603\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-150x150.jpg 150w\" sizes=\"(max-width: 603px) 100vw, 603px\">\u003cfigcaption class=\"wp-caption-text\">From Molly Robinson Couto, via Facebook: “This is my dad (far right), my Uncle Al, middle, and their friend Paul Nord, hanging out at Strawberry Canyon pool [Berkeley], 1961”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545732\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11545732 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-HS-graduation-1967.jpg\" alt='Susan Sarra, via Facebook: \"My high school graduation, 1967\"' width=\"358\" height=\"395\">\u003cfigcaption class=\"wp-caption-text\">From Susan Sarra, via Facebook: “My high school graduation, 1967. Lovin’ the dress.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548063\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11548063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister.jpg\" alt=\"Gary Lucas, via Facebook: "One day I was at a stop sign with a Janis song blaring on the radio, when suddenly she crossed the street in front of me. Hearing my radio, she turned and gave me a big Janis Joplin wave.This is a photo of me with my littIe sister in about '67 somewhere in the Haight. "Hey Lana Jean," I hollered as I was pulling out of our small New Mexico farm town. "You wanna go to San Francisco?" We turned on, tuned in, and dropped out -- meaning we accepted the epistemological demand of adult learners to be self-authoring. Our intention was to transcend the captivity of socialization. Innately, Humans are makers of meaning. We shape our experiences. Reality just doesn't happen, up to us, pre-formed. We have the responsibility of making our own meaning."\" width=\"644\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister.jpg 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-400x391.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-613x600.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-64x64.jpg 64w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Gary Lucas, via Facebook: “One day I was at a stop sign with a Janis song blaring on the radio, when suddenly she crossed the street in front of me. Hearing my radio, she turned and gave me a big Janis Joplin wave.This is a photo of me with my littIe sister in about ’67 somewhere in the Haight. “Hey Lana Jean,” I hollered as I was pulling out of our small New Mexico farm town. “You wanna go to San Francisco?” We turned on, tuned in, and dropped out — meaning we accepted the epistemological demand of adult learners to be self-authoring. Our intention was to transcend the captivity of socialization. Innately, Humans are makers of meaning. We shape our experiences. Reality just doesn’t happen, up to us, pre-formed. We have the responsibility of making our own meaning.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545744\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545744\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Loretta-Norton-Billie-Jean-King-late-60s.jpg\" alt='Loretta Norton, via Facebook: \"Billy Jean King at party in the late 60s. I am at left playing guitar.\"' width=\"507\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Loretta-Norton-Billie-Jean-King-late-60s.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Loretta-Norton-Billie-Jean-King-late-60s-400x351.jpg 400w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Loretta Norton, via Facebook: “Billy Jean King at party in the late 60s. I am at left playing guitar.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545760\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat.jpg\" alt='Deborah Wall McGraw, via Facebook: \"San Francisco, 1968\"' width=\"851\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat-768x615.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Wall McGraw, via Facebook: “San Francisco, 1968”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545765\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545765\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield.jpg\" alt='Scott Klinepier, via Instagram: \"Me in 1969, Kentfield\"' width=\"635\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-150x150.jpg 150w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Scott Klinepier, via Instagram: “Me in 1969, Kentfield”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545885\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2.jpg\" alt='Shannon Barter, via Instagram: \"Me and the fam, Montara 1969.\"' width=\"640\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2-400x499.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2-481x600.jpg 481w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Barter, via Instagram: “Me and the fam, Montara 1969.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545751\" class=\"wp-caption aligncenter\" style=\"max-width: 938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965.jpg\" alt='Trish Grima, via Facebook: \"Oakland 1965 (in front of old Laurel School)\"' width=\"938\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965.jpg 938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-586x600.jpg 586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-768x786.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-32x32.jpg 32w\" sizes=\"(max-width: 938px) 100vw, 938px\">\u003cfigcaption class=\"wp-caption-text\">Trish Grima, via Facebook: “Oakland 1965 (in front of old Laurel School)”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545762\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545762\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969.jpg\" alt='Steve Quinlan, via Facebook: \"Robert & Tomiko Quinlan. Fairfield,1969.\"' width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Steve Quinlan, via Facebook: “Robert & Tomiko Quinlan. Fairfield,1969.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545736\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545736\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA.jpg\" alt='Melanie Hofmann, via Facebook: \"Graduation ceremony of students at Pinel School (Martinez, CA), Curry Creek, Clayton, CA\"' width=\"960\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA-768x510.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Hofmann, via Facebook: “Graduation ceremony of students at Pinel School (Martinez, CA), Curry Creek, Clayton, CA”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545763\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom.jpg\" alt=\"Susan Sarra Kelly, via Facebook: "Christmas '69. Me & my Mom"\" width=\"682\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom-426x600.jpg 426w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">Susan Sarra Kelly, via Facebook: “Christmas ’69. Me & my Mom”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545737\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968.jpg\" alt=\"Ivee Broussard, via Facebook: "Once upon a time in the Excelsior District of San Francisco, people got *very* dressed up to go to Sunday mass. I love my mother's (Anita) pillbox hat, wrist length gloves, and pointy shoes, and my father's (Ivan) Sinatra look. 1968, Church of the Epiphany."\" width=\"626\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968-400x422.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968-568x600.jpg 568w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Ivee Broussard, via Facebook: “Once upon a time in the Excelsior District of San Francisco, people got *very* dressed up to go to Sunday mass. I love my mother’s (Anita) pillbox hat, wrist length gloves, and pointy shoes, and my father’s (Ivan) Sinatra look. 1968, Church of the Epiphany.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545759\" class=\"wp-caption aligncenter\" style=\"max-width: 643px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Marisol-Colon-Santoni.jpg\" alt='Marisol Colon Santoni, via Facebook: \"17th Street [San Francisco] with Eureka Market in background, 1962. Pictured are my Mom and brother.\"' width=\"643\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Marisol-Colon-Santoni.jpg 643w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Marisol-Colon-Santoni-400x372.jpg 400w\" sizes=\"(max-width: 643px) 100vw, 643px\">\u003cfigcaption class=\"wp-caption-text\">Marisol Colon Santoni, via Facebook: “17th Street [San Francisco] with Eureka Market in background, 1962. Pictured are my Mom and brother.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545755\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545755\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969.jpg\" alt='Russ Dugoni, via Facebook: \"Groovy! 1969 family pic.\"' width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969-768x432.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Russ Dugoni, via Facebook: “Groovy! 1969 family pic.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545738\" class=\"wp-caption aligncenter\" style=\"max-width: 347px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545738\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ali-Madigan-FB-San-Pablo-1969.jpg\" alt=\"Ali Madigan, via Facebook: "San Pablo 1969. Me, riding the pony, with my 3 siblings & 2 neighbor kids. You can just see the tail end of mom's VW bus on the right. Now famous for being the quintessential "Hippie" van, for our family of 7 it was the "mini van" of the day."\" width=\"347\" height=\"448\">\u003cfigcaption class=\"wp-caption-text\">Ali Madigan, via Facebook: “San Pablo 1969. Me, riding the pony, with my three siblings and two neighbor kids. You can just see the tail end of Mom’s VW bus on the right. Now famous for being the quintessential “Hippie” van, for our family of seven it was the “minivan” of the day.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545752\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968.jpg\" alt='Deborah Wall McGraw, via Facebook: \"A concert in the Bay Area, 1968\"' width=\"621\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-400x408.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-588x600.jpg 588w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-64x64.jpg 64w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Wall McGraw, via Facebook: “A concert in the Bay Area, 1968”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545745\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jan-Rosen-FB-Saratoga-1962.jpg\" alt='Jan Rosen, via Facebook: \"Saratoga 1962\"' width=\"604\" height=\"386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jan-Rosen-FB-Saratoga-1962.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jan-Rosen-FB-Saratoga-1962-400x256.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Jan Rosen, via Facebook: “Saratoga 1962”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545746\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang.jpg\" alt='Katherine Murray, via Facebook: \"Half Moon Bay in our new 1965 Mustang.\"' width=\"960\" height=\"954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Katherine Murray, via Facebook: “Half Moon Bay in our new 1965 Mustang.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545748\" class=\"wp-caption aligncenter\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962.jpg\" alt='Christine Suppes, via Facebook: \"Dad coming home from work one summer evening down on the Peninsula in 1962, in front of an old California bay tree in our yard. We lived outdoors as little kids all summer long, and I almost never wore shoes!\"' width=\"554\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962-448x600.jpg 448w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">Christine Suppes, via Facebook: “Dad coming home from work one summer evening down on the Peninsula in 1962, in front of an old California bay tree in our yard. We lived outdoors as little kids all summer long, and I almost never wore shoes!”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545754\" class=\"wp-caption aligncenter\" style=\"max-width: 734px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964.jpg\" alt='Jacqueline Dever, via Facebook: \"Bolinas Beach, with Stinson in the background.\"' width=\"734\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964.jpg 734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964-400x523.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964-459x600.jpg 459w\" sizes=\"(max-width: 734px) 100vw, 734px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Dever, via Facebook: “Bolinas Beach, with Stinson in the background.”\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705044393,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":1163},"headData":{"title":"PHOTOS: The 1960s San Francisco Bay Area, Seen Though Family Albums | KQED","description":"To celebrate the broadcast premiere of Janis Joplin: Little Girl Blue on Tuesday, May 3 on KQED 9, we asked our social media fans to delve into their family albums and show us their snapshots taken during the Sixties in the San Francisco Bay Area: a place Joplin called home until her untimely death age 27 in 1970. And they did not","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11545475/photos-the-1960s-san-francisco-bay-area-seen-though-family-albums","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>To celebrate the broadcast premiere of \u003ca href=\"arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">\u003cem>Janis Joplin: Little Girl Blue\u003c/em>\u003c/a> on Tuesday, May 3 on KQED 9, \u003ca href=\"https://ww2.kqed.org/about/2016/04/28/baybackwhen-we-want-your-vintage-family-photographs-from-the-1960s/\">we asked our social media fans\u003c/a> to delve into their family albums and show us their snapshots taken during the Sixties in the San Francisco Bay Area: a place Joplin called home until her untimely death age 27 in 1970. And they did \u003cem>not\u003c/em> disappoint.\u003c/p>\n\u003cp>Scroll down to enjoy just some of the many, many evocative photographs we received via the #BayBackWhen hashtag. Many thanks to all those who contributed to this collective picture of the style, attitude and atmosphere of an unforgettable period of Bay Area history!\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>(Click \u003ca href=\"arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for more information on \u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\" rel=\"noopener\">Janis Joplin: Little Girl Blue\u003c/a>, \u003c/em>including interviews, \u003ca href=\"http://ww2.kqed.org/arts/2016/04/29/bonus-video-clips-and-excerpts-from-janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">bonus video clips\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">more\u003c/a>.)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11545718\" class=\"wp-caption aligncenter\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545718\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish.jpg\" alt='Joan Rudloff, via Facebook: Pictured at San Francisco General Hospital \"in 1970 or so\"' width=\"742\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Joan-Rudloff-FB-SF-General-1970-ish-464x600.jpg 464w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Joan Rudloff, via Facebook: Pictured at San Francisco General Hospital “in 1970 or so”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551586\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz.jpg\" alt=\"Loriz Gomez, via Facebook: "'61, 62? Santa Cruz. Sis in law Sharon, my brothers, my niece the baby and sis Robina and I. Crazy family!"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lori-Gomez-FB-post-1961-2-Santa-Cruz-450x600.jpg 450w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Loriz Gomez, via Facebook: “’61, 62? Santa Cruz. Sis in law Sharon, my brothers, my niece the baby and sis Robina and I. Crazy family!”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545612\" class=\"wp-caption aligncenter\" style=\"max-width: 536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545612\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley.jpg\" alt=\"Molly Robinson Couto, via Facebook: "Me holding my older sister's hand during a protest march in downtown Berkeley in around 1968. My mom is just behind my sister, and her best friend is behind her next to another family friend."\" width=\"536\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley-400x454.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1968-holding-older-sis-hand-protest-march-dt-Berkeley-529x600.jpg 529w\" sizes=\"(max-width: 536px) 100vw, 536px\">\u003cfigcaption class=\"wp-caption-text\">Molly Robinson Couto, via Facebook: “Me holding my older sister’s hand during a protest march in downtown Berkeley in around 1968. My mom is just behind my sister, and her best friend is behind her next to another family friend.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551585\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965.jpg\" alt='Xochitl Selena Martinez, via Facebook: \"The Sinaloa nightclub in North Beach, S.F. me as a child, my mom, aunts and extended family 1965.\"' width=\"960\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Xochitl-Selena-Martinez-FB-1965-768x502.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl Selena Martinez, via Facebook: “The Sinaloa nightclub in North Beach, S.F. me as a child, my mom, aunts and extended family 1965.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545734\" class=\"wp-caption aligncenter\" style=\"max-width: 734px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545734\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002.jpg\" alt='From Mary Elizabeth Ferla-Brown, via Facebook: \"My dad , Jim Ferla [exact date unknown.] He passed away in 2002 and I always keep it in my wallet.\"' width=\"734\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002.jpg 734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002-400x523.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/MaryElizabeth-Ferla-Brown-FB-dad-Jim-passed-away-2002-459x600.jpg 459w\" sizes=\"(max-width: 734px) 100vw, 734px\">\u003cfigcaption class=\"wp-caption-text\">From Mary Elizabeth Ferla-Brown, via Facebook: “My dad , Jim Ferla [exact date unknown.] He passed away in 2002 and I always keep it in my wallet.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548842\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11548842 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans.jpg\" alt='\"This picture was taken in 1969, Monterey. The Dovan clan had been one of the first Vietnamese families to emigrate to the US. The patriarch, Hien Dovan was offered a teaching post at the Language Institute on the West Coast and came over during the Eisenhower administration in 1957; his family soon followed. At school the young Dovans were thought to be either Koreans (because of the recent Korean War), Chinese or Japanese because at that time very few people had ever heard of Vietnam.”' width=\"1334\" height=\"910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jessica-Cruz-Dovans-960x655.jpg 960w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Minh Steven Dovan: “This picture was taken in 1969, Monterey. The Dovan clan had been one of the first Vietnamese families to emigrate to the US. The patriarch, Hien Dovan was offered a teaching post at the Language Institute on the West Coast and came over during the Eisenhower administration in 1957; his family soon followed. At school the young Dovans were thought to be either Koreans (because of the recent Korean War), Chinese or Japanese because at that time very few people had ever heard of Vietnam.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545750\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968.jpg\" alt='Jacqueline Haber, via Facebook: \"Miss Martinez & Miss McNulty, San Franciscans picnicking on Mt. Tam, 1968!\"' width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Haber-FB-1968-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Haber, via Facebook: “Miss Martinez & Miss McNulty, San Franciscans picnicking on Mt. Tam, 1968!”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551587\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9.jpg\" alt='Stephanie Byrne Fiedler, via Facebook: \"Peace March in San Francisco - probably 1968 or 1969.\"' width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Stephanie-Byrne-Fiedler-FB-post-1968-9-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Byrne Fiedler, via Facebook: “Peace March in San Francisco – probably 1968 or 1969.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548061\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11548061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-68-Avalon.jpg\" alt=\"Gary Lucas, via Facebook: "I was there the night Janis and the Angels closed down the Avalon. It was the best party in town. This is a photo of three Haight Street Freaks back in about '68. I'm the one in the middle. We were driven by a psychological compulsion to search for an order of complexity greater than what had been previously experienced. Believing it was my duty to advance Humanitarian Values and to protect the earth, I brought my ability to transcend with me and San Francisco validated it."\" width=\"700\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-68-Avalon.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-68-Avalon-400x279.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Gary Lucas, via Facebook: “I was there the night Janis and the Angels closed down the Avalon. It was the best party in town. This is a photo of three Haight Street Freaks back in about ’68. I’m the one in the middle. We were driven by a psychological compulsion to search for an order of complexity greater than what had been previously experienced. Believing it was my duty to advance Humanitarian Values and to protect the earth, I brought my ability to transcend with me and San Francisco validated it.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548064\" class=\"wp-caption aligncenter\" style=\"max-width: 964px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11548064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB.jpg\" alt=\"Theresa Anderson Glisson, via Facebook: "Here's my family photo from my hippie days......cousins, aunts, uncles, parents, grandparents, brother and sisters. I'm the cool one in front with the dog."\" width=\"964\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-400x336.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-714x600.jpg 714w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-768x645.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Theresa-Anderson-Glisson-FB-960x807.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Anderson Glisson, via Facebook: “Here’s my family photo from my hippie days……cousins, aunts, uncles, parents, grandparents, brother and sisters. I’m the cool one in front with the dog.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551583\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11551583 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Julieta-Zambrano-Villa-12.jpg\" alt=\"Julieta Zambrano Villa, via Facebook\" width=\"591\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Julieta-Zambrano-Villa-12.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Julieta-Zambrano-Villa-12-400x357.jpg 400w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">Julieta Zambrano Villa, via Facebook\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11551584\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11551584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Maureen-Hurley.jpg\" alt=\"Maureen Hurley, via Facebook: "Mo Hurley & Bob Hamilton, with my brother Guy Franklin and cousin David Dinsmore, partying like rockstars in San Rafael. I'm fairly certain the punch was spiked. Look at the little kid's expression."\" width=\"720\" height=\"713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-606x600.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maureen-Hurley-150x150.jpg 150w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Maureen Hurley, via Facebook: “Mo Hurley & Bob Hamilton, with my brother Guy Franklin and cousin David Dinsmore, partying like rockstars in San Rafael. I’m fairly certain the punch was spiked. Look at the little kid’s expression.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545757\" class=\"wp-caption aligncenter\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11545757 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1.jpg\" alt='Cheri Mendieta, via Facebook: \"1967 free concert Golden Gate park, sisterly love with brother Bill Rook.\"' width=\"641\" height=\"707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1-400x441.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Cheri-Mendieta-FB-1967-GG-Park-1-544x600.jpg 544w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">Cheri Mendieta, via Facebook: “1967 free concert Golden Gate park, sisterly love with brother Bill Rook.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545611\" class=\"wp-caption aligncenter\" style=\"max-width: 603px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545611\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul.jpg\" alt='Molly Robinson Couto, via Facebook: \"This is my dad (far right), my Uncle Al, middle, and their friend Paul Nord, hanging out at Strawberry Canyon pool, 1961\"' width=\"603\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Molly-Robinson-Couto-FB-1961-Strawberry-Canyon-Pool-Dad-far-right-Uncle-Al-and-friend-Paul-150x150.jpg 150w\" sizes=\"(max-width: 603px) 100vw, 603px\">\u003cfigcaption class=\"wp-caption-text\">From Molly Robinson Couto, via Facebook: “This is my dad (far right), my Uncle Al, middle, and their friend Paul Nord, hanging out at Strawberry Canyon pool [Berkeley], 1961”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545732\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11545732 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-HS-graduation-1967.jpg\" alt='Susan Sarra, via Facebook: \"My high school graduation, 1967\"' width=\"358\" height=\"395\">\u003cfigcaption class=\"wp-caption-text\">From Susan Sarra, via Facebook: “My high school graduation, 1967. Lovin’ the dress.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11548063\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11548063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister.jpg\" alt=\"Gary Lucas, via Facebook: "One day I was at a stop sign with a Janis song blaring on the radio, when suddenly she crossed the street in front of me. Hearing my radio, she turned and gave me a big Janis Joplin wave.This is a photo of me with my littIe sister in about '67 somewhere in the Haight. "Hey Lana Jean," I hollered as I was pulling out of our small New Mexico farm town. "You wanna go to San Francisco?" We turned on, tuned in, and dropped out -- meaning we accepted the epistemological demand of adult learners to be self-authoring. Our intention was to transcend the captivity of socialization. Innately, Humans are makers of meaning. We shape our experiences. Reality just doesn't happen, up to us, pre-formed. We have the responsibility of making our own meaning."\" width=\"644\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister.jpg 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-400x391.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-613x600.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Gary-Lucas-FB-67-Sister-64x64.jpg 64w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Gary Lucas, via Facebook: “One day I was at a stop sign with a Janis song blaring on the radio, when suddenly she crossed the street in front of me. Hearing my radio, she turned and gave me a big Janis Joplin wave.This is a photo of me with my littIe sister in about ’67 somewhere in the Haight. “Hey Lana Jean,” I hollered as I was pulling out of our small New Mexico farm town. “You wanna go to San Francisco?” We turned on, tuned in, and dropped out — meaning we accepted the epistemological demand of adult learners to be self-authoring. Our intention was to transcend the captivity of socialization. Innately, Humans are makers of meaning. We shape our experiences. Reality just doesn’t happen, up to us, pre-formed. We have the responsibility of making our own meaning.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545744\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545744\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Loretta-Norton-Billie-Jean-King-late-60s.jpg\" alt='Loretta Norton, via Facebook: \"Billy Jean King at party in the late 60s. I am at left playing guitar.\"' width=\"507\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Loretta-Norton-Billie-Jean-King-late-60s.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Loretta-Norton-Billie-Jean-King-late-60s-400x351.jpg 400w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Loretta Norton, via Facebook: “Billy Jean King at party in the late 60s. I am at left playing guitar.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545760\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat.jpg\" alt='Deborah Wall McGraw, via Facebook: \"San Francisco, 1968\"' width=\"851\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-hat-768x615.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Wall McGraw, via Facebook: “San Francisco, 1968”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545765\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545765\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield.jpg\" alt='Scott Klinepier, via Instagram: \"Me in 1969, Kentfield\"' width=\"635\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Scott-Klinepier-IG-1969-Kentfield-150x150.jpg 150w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Scott Klinepier, via Instagram: “Me in 1969, Kentfield”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545885\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2.jpg\" alt='Shannon Barter, via Instagram: \"Me and the fam, Montara 1969.\"' width=\"640\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2-400x499.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Shannon-Barter-IG-2-481x600.jpg 481w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Barter, via Instagram: “Me and the fam, Montara 1969.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545751\" class=\"wp-caption aligncenter\" style=\"max-width: 938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965.jpg\" alt='Trish Grima, via Facebook: \"Oakland 1965 (in front of old Laurel School)\"' width=\"938\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965.jpg 938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-586x600.jpg 586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-768x786.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Trish-Gima-FB-Oakland-1965-32x32.jpg 32w\" sizes=\"(max-width: 938px) 100vw, 938px\">\u003cfigcaption class=\"wp-caption-text\">Trish Grima, via Facebook: “Oakland 1965 (in front of old Laurel School)”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545762\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545762\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969.jpg\" alt='Steve Quinlan, via Facebook: \"Robert & Tomiko Quinlan. Fairfield,1969.\"' width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Steve-Quinlan-FB-Robert-Tomiko-Quinlan-Fairfield-1969-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Steve Quinlan, via Facebook: “Robert & Tomiko Quinlan. Fairfield,1969.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545736\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545736\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA.jpg\" alt='Melanie Hofmann, via Facebook: \"Graduation ceremony of students at Pinel School (Martinez, CA), Curry Creek, Clayton, CA\"' width=\"960\" height=\"637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Melanie-Hofmann-FB-Graduation-ceremony-of-students-at-Pinel-School-Martinez-CA-768x510.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Hofmann, via Facebook: “Graduation ceremony of students at Pinel School (Martinez, CA), Curry Creek, Clayton, CA”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545763\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom.jpg\" alt=\"Susan Sarra Kelly, via Facebook: "Christmas '69. Me & my Mom"\" width=\"682\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Susan-Sarra-Kelly-FB-Christmas-69-with-mom-426x600.jpg 426w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">Susan Sarra Kelly, via Facebook: “Christmas ’69. Me & my Mom”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545737\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968.jpg\" alt=\"Ivee Broussard, via Facebook: "Once upon a time in the Excelsior District of San Francisco, people got *very* dressed up to go to Sunday mass. I love my mother's (Anita) pillbox hat, wrist length gloves, and pointy shoes, and my father's (Ivan) Sinatra look. 1968, Church of the Epiphany."\" width=\"626\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968-400x422.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ivee-Broussard-FB-POST-Excelsior-1968-568x600.jpg 568w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Ivee Broussard, via Facebook: “Once upon a time in the Excelsior District of San Francisco, people got *very* dressed up to go to Sunday mass. I love my mother’s (Anita) pillbox hat, wrist length gloves, and pointy shoes, and my father’s (Ivan) Sinatra look. 1968, Church of the Epiphany.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545759\" class=\"wp-caption aligncenter\" style=\"max-width: 643px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Marisol-Colon-Santoni.jpg\" alt='Marisol Colon Santoni, via Facebook: \"17th Street [San Francisco] with Eureka Market in background, 1962. Pictured are my Mom and brother.\"' width=\"643\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Marisol-Colon-Santoni.jpg 643w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Marisol-Colon-Santoni-400x372.jpg 400w\" sizes=\"(max-width: 643px) 100vw, 643px\">\u003cfigcaption class=\"wp-caption-text\">Marisol Colon Santoni, via Facebook: “17th Street [San Francisco] with Eureka Market in background, 1962. Pictured are my Mom and brother.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545755\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545755\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969.jpg\" alt='Russ Dugoni, via Facebook: \"Groovy! 1969 family pic.\"' width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Russ-Dugoni-FB-1969-768x432.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Russ Dugoni, via Facebook: “Groovy! 1969 family pic.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545738\" class=\"wp-caption aligncenter\" style=\"max-width: 347px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545738\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ali-Madigan-FB-San-Pablo-1969.jpg\" alt=\"Ali Madigan, via Facebook: "San Pablo 1969. Me, riding the pony, with my 3 siblings & 2 neighbor kids. You can just see the tail end of mom's VW bus on the right. Now famous for being the quintessential "Hippie" van, for our family of 7 it was the "mini van" of the day."\" width=\"347\" height=\"448\">\u003cfigcaption class=\"wp-caption-text\">Ali Madigan, via Facebook: “San Pablo 1969. Me, riding the pony, with my three siblings and two neighbor kids. You can just see the tail end of Mom’s VW bus on the right. Now famous for being the quintessential “Hippie” van, for our family of seven it was the “minivan” of the day.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545752\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545752\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968.jpg\" alt='Deborah Wall McGraw, via Facebook: \"A concert in the Bay Area, 1968\"' width=\"621\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-400x408.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-588x600.jpg 588w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Deborash-Wall-McGraw-FB-1968-64x64.jpg 64w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Wall McGraw, via Facebook: “A concert in the Bay Area, 1968”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545745\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jan-Rosen-FB-Saratoga-1962.jpg\" alt='Jan Rosen, via Facebook: \"Saratoga 1962\"' width=\"604\" height=\"386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jan-Rosen-FB-Saratoga-1962.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jan-Rosen-FB-Saratoga-1962-400x256.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Jan Rosen, via Facebook: “Saratoga 1962”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545746\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang.jpg\" alt='Katherine Murray, via Facebook: \"Half Moon Bay in our new 1965 Mustang.\"' width=\"960\" height=\"954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-604x600.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-768x763.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Katherine-Murray-FB-Half-Moon-Bay-in-our-new-1965-Mustang-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Katherine Murray, via Facebook: “Half Moon Bay in our new 1965 Mustang.”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545748\" class=\"wp-caption aligncenter\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962.jpg\" alt='Christine Suppes, via Facebook: \"Dad coming home from work one summer evening down on the Peninsula in 1962, in front of an old California bay tree in our yard. We lived outdoors as little kids all summer long, and I almost never wore shoes!\"' width=\"554\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Christine-Suppes-FB-1962-448x600.jpg 448w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">Christine Suppes, via Facebook: “Dad coming home from work one summer evening down on the Peninsula in 1962, in front of an old California bay tree in our yard. We lived outdoors as little kids all summer long, and I almost never wore shoes!”\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11545754\" class=\"wp-caption aligncenter\" style=\"max-width: 734px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11545754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964.jpg\" alt='Jacqueline Dever, via Facebook: \"Bolinas Beach, with Stinson in the background.\"' width=\"734\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964.jpg 734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964-400x523.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Jacqueline-Dever-Bolinas-1964-459x600.jpg 459w\" sizes=\"(max-width: 734px) 100vw, 734px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Dever, via Facebook: “Bolinas Beach, with Stinson in the background.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11545475/photos-the-1960s-san-francisco-bay-area-seen-though-family-albums","authors":["3243"],"categories":["arts_835","arts_69","arts_75","arts_70"],"tags":["arts_1254","arts_1425","arts_596","arts_822"],"featImg":"arts_11545893","label":"arts"},"arts_11536572":{"type":"posts","id":"arts_11536572","meta":{"index":"posts_1591205157","site":"arts","id":"11536572","score":null,"sort":[1462028401000]},"guestAuthors":[],"slug":"a-midnight-call-from-janis-joplin-ben-fong-torres-tells-all","title":"A Midnight Call from Janis Joplin: Ben Fong-Torres Tells All","publishDate":1462028401,"format":"standard","headTitle":"A Midnight Call from Janis Joplin: Ben Fong-Torres Tells All | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It was the dead of night when the phone rang. Ben Fong-Torres, then a staffer at \u003cem>Rolling Stone\u003c/em>, wasn’t even at the magazine’s offices, but rather in Chinatown, filling in part-time at a newspaper.\u003c/p>\n\u003cp>He picked up, surprised to hear the voice on the other end of the line: Janis Joplin.\u003c/p>\n\u003cp>“When you’re working in a newspaper office in Chinatown after midnight, the last person you would expect to be calling you is Janis Joplin,” Fong-Torres recalls. “She just said ‘Hi, this is Janis here. Do you want to talk about some stuff?'”\u003c/p>\n\u003cp>[contextly_sidebar id=”iosDt8YePriWvKWgsB9yB87MoaxcFlrl”]\u003c/p>\n\u003cp>Joplin was in an interesting place in life. It was the spring of 1970. She’d left her well-known band Big Brother & the Holding Company, traveled through South America, and had just started rehearsing in Larkspur, north of San Francisco. \u003cem>Rolling Stone\u003c/em> wanted Fong-Torres to get the details on her new band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It marked a change of heart for the magazine that had treated its hometown hero somewhat dismissively. Joplin had made groundbreaking albums, but the magazine hadn’t bothered to ever give her a cover feature. Her performances were the stuff of legend, and yet \u003cem>Rolling Stone\u003c/em> ran a searing review by Paul Nelson of one of her New York shows titled ‘Janis: The Judy Garland of Rock?’\u003c/p>\n\u003cfigure id=\"attachment_11536945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP.jpg\" alt=\"David Getz and Janis Joplin playing live\" width=\"800\" height=\"533\" class=\"size-full wp-image-11536945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Getz and Janis Joplin playing live \u003ccite>(Photo: Courtesy of © Fantality Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had reached out to her a couple of times hoping for comment, understanding that none might be forthcoming, because Janis and \u003cem>Rolling Stone\u003c/em> had a pretty tough relationship,” Fong-Torres says.\u003c/p>\n\u003cp>Instead, Joplin began talking about her new band, her new musical direction, and her plans for the future. She talked about her trip south of the border, a tattoo she’d recently gotten of a flower around her wrist, some criticism of the police in Brazil, and nothing of Rolling Stone’s past treatment of her. “It was a very short chat — very pleasant, amiable,” Fong-Torres says. “I scratched out my notes there at the office in Chinatown, and then wrote it up the next day.”\u003c/p>\n\u003cp>The headline? ‘Hey, Janis is Feeling Great.’\u003c/p>\n\u003cp>Fong-Torres has talked about that midnight phone call over the years, and there’s one question that comes up periodically: as someone making a call in the middle of the night, did Joplin seem wasted? Fong-Torres says he couldn’t tell, and anyway, had no radar for such things back then.\u003c/p>\n\u003cp>“I wouldn’t want to say, ‘Hey, if she sounded that friendly, she must have been a little hammered,'” Fong-Torres explains. \u003c/p>\n\u003cfigure id=\"attachment_11536946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-800x534.jpg\" alt=\"Big Brother and the Holding Company drummer Dave Getz and Janis Joplin, circa 1967\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11536946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Brother and the Holding Company drummer Dave Getz and Janis Joplin, circa 1967. \u003ccite>(Photo: Courtesy of Bob Seidemann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 1970, Fong-Torres had seen Janis many times; the first, at San Francisco State, involved stumbling across one of her first rehearsals with Big Brother & the Holding Company in a small room off the campus quad. \u003c/p>\n\u003cp>But only months after calling Fong-Torres that night in Chinatown, Joplin would be found dead in a hotel room in Hollywood at the young age of 27. \u003c/p>\n\u003cp>At the \u003cem>Rolling Stone\u003c/em> offices, staffers didn’t have time to mourn, instead jumping into action for next week’s issue — reporting from the Haight-Ashbury, from Winterland, and, for Fong-Torres, from Larkspur, where Joplin had been rehearsing.\u003c/p>\n\u003cp>Once the issue was off to the printers, the weight set in.\u003c/p>\n\u003cp>“You feel a great sadness because, at that time, you yourself are only in your mid-twenties and you’re dealing with the death of someone in her mid-twenties,” says Fong-Torres. “You feel a connection from having known of her for a number of years in the scene, and admiring her and her band for what they did.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED will air the documentaries \u003cb>Janis: Little Girl Blue\u003c/b> and \u003cstrong>Janis Joplin: San Francisco’s Pearl\u003c/strong> on Tuesday, May 3, starting at 8pm. This story is part of a series of articles and exclusive content being featured on KQED Arts, more of which an be found at \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">American Masters: Janis Joplin.\u003c/a>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Just months before her death, Janis Joplin called a Chinatown newspaper in the middle of the night to talk -- and Ben Fong-Torres still remembers the call.","status":"publish","parent":0,"modified":1705044409,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":728},"headData":{"title":"A Midnight Call from Janis Joplin: Ben Fong-Torres Tells All | KQED","description":"Just months before her death, Janis Joplin called a Chinatown newspaper in the middle of the night to talk -- and Ben Fong-Torres still remembers the call.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11536572/a-midnight-call-from-janis-joplin-ben-fong-torres-tells-all","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the dead of night when the phone rang. Ben Fong-Torres, then a staffer at \u003cem>Rolling Stone\u003c/em>, wasn’t even at the magazine’s offices, but rather in Chinatown, filling in part-time at a newspaper.\u003c/p>\n\u003cp>He picked up, surprised to hear the voice on the other end of the line: Janis Joplin.\u003c/p>\n\u003cp>“When you’re working in a newspaper office in Chinatown after midnight, the last person you would expect to be calling you is Janis Joplin,” Fong-Torres recalls. “She just said ‘Hi, this is Janis here. Do you want to talk about some stuff?'”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Joplin was in an interesting place in life. It was the spring of 1970. She’d left her well-known band Big Brother & the Holding Company, traveled through South America, and had just started rehearsing in Larkspur, north of San Francisco. \u003cem>Rolling Stone\u003c/em> wanted Fong-Torres to get the details on her new band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It marked a change of heart for the magazine that had treated its hometown hero somewhat dismissively. Joplin had made groundbreaking albums, but the magazine hadn’t bothered to ever give her a cover feature. Her performances were the stuff of legend, and yet \u003cem>Rolling Stone\u003c/em> ran a searing review by Paul Nelson of one of her New York shows titled ‘Janis: The Judy Garland of Rock?’\u003c/p>\n\u003cfigure id=\"attachment_11536945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP.jpg\" alt=\"David Getz and Janis Joplin playing live\" width=\"800\" height=\"533\" class=\"size-full wp-image-11536945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/2RG-c-Fantality-CorpCROP-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Getz and Janis Joplin playing live \u003ccite>(Photo: Courtesy of © Fantality Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had reached out to her a couple of times hoping for comment, understanding that none might be forthcoming, because Janis and \u003cem>Rolling Stone\u003c/em> had a pretty tough relationship,” Fong-Torres says.\u003c/p>\n\u003cp>Instead, Joplin began talking about her new band, her new musical direction, and her plans for the future. She talked about her trip south of the border, a tattoo she’d recently gotten of a flower around her wrist, some criticism of the police in Brazil, and nothing of Rolling Stone’s past treatment of her. “It was a very short chat — very pleasant, amiable,” Fong-Torres says. “I scratched out my notes there at the office in Chinatown, and then wrote it up the next day.”\u003c/p>\n\u003cp>The headline? ‘Hey, Janis is Feeling Great.’\u003c/p>\n\u003cp>Fong-Torres has talked about that midnight phone call over the years, and there’s one question that comes up periodically: as someone making a call in the middle of the night, did Joplin seem wasted? Fong-Torres says he couldn’t tell, and anyway, had no radar for such things back then.\u003c/p>\n\u003cp>“I wouldn’t want to say, ‘Hey, if she sounded that friendly, she must have been a little hammered,'” Fong-Torres explains. \u003c/p>\n\u003cfigure id=\"attachment_11536946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-800x534.jpg\" alt=\"Big Brother and the Holding Company drummer Dave Getz and Janis Joplin, circa 1967\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11536946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dave-and-Janis-in-the-loft-1967.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Brother and the Holding Company drummer Dave Getz and Janis Joplin, circa 1967. \u003ccite>(Photo: Courtesy of Bob Seidemann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 1970, Fong-Torres had seen Janis many times; the first, at San Francisco State, involved stumbling across one of her first rehearsals with Big Brother & the Holding Company in a small room off the campus quad. \u003c/p>\n\u003cp>But only months after calling Fong-Torres that night in Chinatown, Joplin would be found dead in a hotel room in Hollywood at the young age of 27. \u003c/p>\n\u003cp>At the \u003cem>Rolling Stone\u003c/em> offices, staffers didn’t have time to mourn, instead jumping into action for next week’s issue — reporting from the Haight-Ashbury, from Winterland, and, for Fong-Torres, from Larkspur, where Joplin had been rehearsing.\u003c/p>\n\u003cp>Once the issue was off to the printers, the weight set in.\u003c/p>\n\u003cp>“You feel a great sadness because, at that time, you yourself are only in your mid-twenties and you’re dealing with the death of someone in her mid-twenties,” says Fong-Torres. “You feel a connection from having known of her for a number of years in the scene, and admiring her and her band for what they did.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED will air the documentaries \u003cb>Janis: Little Girl Blue\u003c/b> and \u003cstrong>Janis Joplin: San Francisco’s Pearl\u003c/strong> on Tuesday, May 3, starting at 8pm. This story is part of a series of articles and exclusive content being featured on KQED Arts, more of which an be found at \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\" rel=\"noopener\">American Masters: Janis Joplin.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11536572/a-midnight-call-from-janis-joplin-ben-fong-torres-tells-all","authors":["185"],"categories":["arts_69"],"tags":["arts_1119","arts_1118","arts_1425","arts_596"],"featImg":"arts_11536817","label":"arts"},"arts_11538022":{"type":"posts","id":"arts_11538022","meta":{"index":"posts_1591205157","site":"arts","id":"11538022","score":null,"sort":[1461998932000]},"guestAuthors":[],"slug":"bonus-video-clips-and-excerpts-from-janis-little-girl-blue","title":"Bonus Video Clips and Excerpts from 'Janis: Little Girl Blue'","publishDate":1461998932,"format":"standard","headTitle":"Bonus Video Clips and Excerpts from ‘Janis: Little Girl Blue’ | KQED","labelTerm":{"site":"arts"},"content":"\u003ch2>Why Janis Joplin left Big Brother & the Holding Company\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365715495\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In this excerpt from \u003cem>Janis: Little Girl Blue\u003c/em>, Janis’ letter home reveals a glimpse of the troubles she had with her band, Big Brother and the Holding Company.\u003c/p>\n\u003cp>Even though Janis and the band were widely popular, and had released a Gold-certified album, \u003cem>Cheap Thrills\u003c/em> — still considered one of the band’s best — Janis’ stardom soon overshadowed the band. She left within a year to form her own group, the Kozmic Blues Band, and launched a solo career.\u003c/p>\n\u003chr>\n\u003ch2>Letter Home Reveals Janis’ Greatest Ambition\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365711233\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In this film excerpt from \u003cem>Janis: Little Girl Blue\u003c/em>, Chan Marshall narrates Janis’ letter home to family shortly after her 27th (and final) birthday. The letter reveals a glimpse into her off-stage struggles, mostly rooted in her reckless lifestyle and strong desire to be loved. \u003c/p>\n\u003chr>\n\u003ch2>Janis Joplin’s former lover: “She set me free”\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365729425\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David Niehaus had no idea who Janis Joplin was when they met in 1970 on Ipanema Beach in Brazil, where both had traveled for Rio Carnival.\u003c/p>\n\u003cp>In this outtake clip from \u003cem>Janis Joplin: Little Girl Blue\u003c/em>, Niehaus remembers his relationship with Janis as a liberating, wild but delicate one, in which he witnessed her most vulnerable and tender moments. Even though the couple split when her relationship with heroin and alcohol intensified, Niehaus still remembers Janis at her best — the carefree girl who inspired him to be whoever he wanted to be.\u003c/p>\n\u003chr>\n\u003ch2>Chan Marshall Talks About Voicing Janis Joplin’s Letters\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365725473\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003cbr>\nIn this outtake from \u003cem>Janis Joplin: Little Girl Blue\u003c/em>, Chan “Cat Power” Marshall, who serves as the film’s narrator and provides the voice for Joplin-penned letters, discusses how she tapped into Joplin’s mindset for the documentary.\u003c/p>\n\u003cp>“In high school I had imitated Janis a few times, and when I did the letters, I knew it was going to be difficult because it’s a big responsibility because she’s passed, so it’s not like I could call her and say, ‘Yo, Janis, how were you feeling this day and what did you mean when you said that?’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Video clips and text provided by PBS.org\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"From why Joplin left Big Brother & the Holding Company to her impact on her boyfriend, these clips provide another story not told in 'Janis: Little Girl Blue.'","status":"publish","parent":0,"modified":1705044412,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":385},"headData":{"title":"Bonus Video Clips and Excerpts from 'Janis: Little Girl Blue' | KQED","description":"From why Joplin left Big Brother & the Holding Company to her impact on her boyfriend, these clips provide another story not told in 'Janis: Little Girl Blue.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11538022/bonus-video-clips-and-excerpts-from-janis-little-girl-blue","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Why Janis Joplin left Big Brother & the Holding Company\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365715495\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In this excerpt from \u003cem>Janis: Little Girl Blue\u003c/em>, Janis’ letter home reveals a glimpse of the troubles she had with her band, Big Brother and the Holding Company.\u003c/p>\n\u003cp>Even though Janis and the band were widely popular, and had released a Gold-certified album, \u003cem>Cheap Thrills\u003c/em> — still considered one of the band’s best — Janis’ stardom soon overshadowed the band. She left within a year to form her own group, the Kozmic Blues Band, and launched a solo career.\u003c/p>\n\u003chr>\n\u003ch2>Letter Home Reveals Janis’ Greatest Ambition\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365711233\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In this film excerpt from \u003cem>Janis: Little Girl Blue\u003c/em>, Chan Marshall narrates Janis’ letter home to family shortly after her 27th (and final) birthday. The letter reveals a glimpse into her off-stage struggles, mostly rooted in her reckless lifestyle and strong desire to be loved. \u003c/p>\n\u003chr>\n\u003ch2>Janis Joplin’s former lover: “She set me free”\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365729425\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David Niehaus had no idea who Janis Joplin was when they met in 1970 on Ipanema Beach in Brazil, where both had traveled for Rio Carnival.\u003c/p>\n\u003cp>In this outtake clip from \u003cem>Janis Joplin: Little Girl Blue\u003c/em>, Niehaus remembers his relationship with Janis as a liberating, wild but delicate one, in which he witnessed her most vulnerable and tender moments. Even though the couple split when her relationship with heroin and alcohol intensified, Niehaus still remembers Janis at her best — the carefree girl who inspired him to be whoever he wanted to be.\u003c/p>\n\u003chr>\n\u003ch2>Chan Marshall Talks About Voicing Janis Joplin’s Letters\u003c/h2>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"440\" src=\"http://player.pbs.org/viralplayer/2365725473\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless allowfullscreen>\u003c/iframe>\u003cbr>\nIn this outtake from \u003cem>Janis Joplin: Little Girl Blue\u003c/em>, Chan “Cat Power” Marshall, who serves as the film’s narrator and provides the voice for Joplin-penned letters, discusses how she tapped into Joplin’s mindset for the documentary.\u003c/p>\n\u003cp>“In high school I had imitated Janis a few times, and when I did the letters, I knew it was going to be difficult because it’s a big responsibility because she’s passed, so it’s not like I could call her and say, ‘Yo, Janis, how were you feeling this day and what did you mean when you said that?’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Video clips and text provided by PBS.org\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11538022/bonus-video-clips-and-excerpts-from-janis-little-girl-blue","authors":["93"],"categories":["arts_69"],"tags":["arts_1254","arts_1425","arts_1007"],"featImg":"arts_11536946","label":"arts"},"arts_11511957":{"type":"posts","id":"arts_11511957","meta":{"index":"posts_1591205157","site":"arts","id":"11511957","score":null,"sort":[1461888050000]},"guestAuthors":[],"slug":"american-masters-janis-joplin","title":"Janis Joplin: A San Francisco Legend","publishDate":1461888050,"format":"image","headTitle":"Janis Joplin: A San Francisco Legend | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>One of the most revered and influential rock ’n’ roll singers of all time, Janis Joplin (Jan. 19, 1943 – Oct. 4, 1970) thrilled audiences and blazed new creative trails before her death at age 27. Oscar-nominated director Amy Berg (\u003cem>Deliver Us From Evil\u003c/em>, \u003cem>West of Memphis\u003c/em>, \u003cem>Prophet’s Prey\u003c/em>) examines Joplin’s story in depth, for the first time on film, presenting an intimate portrait of a complicated and driven artist.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\" rel=\"noopener\">American Masters – Janis: Little Girl Blue\u003c/a>\u003c/em> premieres nationwide Tuesday, May 3, at 8pm on KQED as part of the 30th anniversary season of THIRTEEN’s American Masters series. The broadcast features a never-before-seen extended film cut with additional archival performance footage and new interviews with Joplin’s sister Laura Joplin and musicians influenced by Janis: Alecia Moore (a.k.a. Pink), Juliette Lewis, Melissa Etheridge and the film’s narrator, Chan Marshall, who is best known as indie rock star Cat Power. In tribute, she performs “A Woman Left Lonely” from Joplin’s final studio album \u003cem>Pearl\u003c/em>, released posthumously on Jan. 11, 1971. This year marks the album’s 45th anniversary.\u003c/p>\n\u003cp>Also, following at 10pm is the KQED production \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23456\" target=\"_blank\" rel=\"noopener\">\u003cem>Janis Joplin: San Francisco’s Pearl\u003c/em>\u003c/a>. Follow Janis Joplin’s career from her rise to fame at the 1967 Monterey Pop Festival to her untimely death in Los Angeles in 1970. Narrated by Jefferson Airplane’s Marty Balin, the documentary features interviews with Joplin’s former bandmates and Bay Area journalists and performers.\u003c/p>\n\u003cp>\u003ci>Watch the trailer for \u003cb>Janis: Little Girl Blue\u003c/b> below. Visit \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\" rel=\"noopener\">KQED.org/tv\u003c/a> to find upcoming broadcasts.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uO9Z5Kew9zs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Want more Janis? Check out the exclusive stories and interview transcripts below, and bonus content from the filmmakers.\u003c/i>\u003c/p>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-4 column\">\n\u003ch2>About Janis and the ’60s\u003c/h2>\n\u003cp>\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2RG-c-Fantality-CorpCROP2.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/05/03/combination-of-the-two-how-san-francisco-helped-make-janis-a-legend/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Combination of the Two: How San Francisco Helped Make Janis a Legend\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/05/02/photos-the-1960s-san-francisco-bay-area-seen-though-family-albums/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>PHOTOS: The 1960s San Francisco Bay Area, Seen Though Family Albums\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/30/a-midnight-call-from-janis-joplin-ben-fong-torres-tells-all/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>A Midnight Call from Janis Joplin: Ben Fong-Torres Tells All\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/janis-joplin-photo-gallery-career-timeline/5831/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3> Janis Joplin Career Timeline\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/love-janis-read-excerpts-janis-joplins-biography-written-younger-sister/7172/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Read Excerpts from \u003ci>Love, Janis\u003c/i>\u003c/h3>\n\u003cp>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"small-12 medium-4 column\">\n\u003ch2>Exclusive Interviews\u003c/h2>\n\u003cp>\u003cimg decoding=\"async\" src=\"/arts/wp-content/uploads/sites/2/2016/05/Jorma.ScottyHall-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/05/03/jorma-kaukonen-on-janis-joplin-and-recording-the-1964-typewriter-tape/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Jorma Kaukonen on Janis Joplin and Recording the 1964 ‘Typewriter Tape’\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/chet-helms-on-bringing-janis-to-s-f-starting-music-scene-1998-qa/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Chet Helms Discusses Bringing Janis to San Francisco, Start of Music Scene\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/growing-up-with-sister-janis-1998-qa-with-laura-joplin/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Laura Joplin Talks About What it Was Like Growing Up with Janis\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/a-tremendous-ride-sam-andrew-on-playing-with-janis-joplin-qa-1998/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Guitarist Sam Andrew on Playing with Janis, Start of Music Scene\u003c/h3>\n\u003cp>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"small-12 medium-4 column\">\n\u003ch2>About The Film\u003c/h2>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2016/05/02/JanisLGBStill3cropped.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"http://www.kqed.org/a/forum/R201605031000\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Janis Joplin’s Short, Bluesy Life Explored in New Documentary\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/27/amy-bergs-janis-documents-a-musician-who-was-all-or-nothing/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Amy Berg’s ‘Janis’ Documents a Musician Who Was All or Nothing\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2016/04/29/bonus-video-clips-and-excerpts-from-janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Bonus Video Clips and Excerpts from ‘Janis: Little Girl Blue’\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2015/12/04/janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>‘Janis: Little Girl Blue’ Goes Beyond Cliches Of A Sad Childhood\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/26/the-making-of-janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>The Making of ‘Janis: Little Girl Blue’\u003c/h3>\n\u003cp>\n\u003c/p>\u003c/div>\n\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\n\u003ch2>Related Content from the KQED Arts Archives\u003c/h2>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Graham.MAIN_-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>Bill Graham: The Personality No Museum Could Possibly Contain\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Art-Noveu-Graphic-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/03/02/sfo-exhibit-shows-how-artists-adapted-art-nouveau-to-rock-posters/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>SFO Exhibit Shows How Artists Adapted Art Nouveau to Rock Posters\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/TripsFestival.MAIN_-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/01/21/qa-stewart-brand-revisits-the-trips-festival-50-years-later/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>Q&A: Stewart Brand Revisits the Trips Festival, 50 Years Later\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/HaightAshbury2.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>(Almost) Everything You’ll See on Peter Coyote’s Haight-Ashbury Walking Tour\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JanisJoplinMAIN.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2015/12/04/janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>‘Janis: Little Girl Blue’ Goes Beyond Cliches Of A Sad Childhood\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchMAIN.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2015/11/14/from-the-garage-to-outer-space-talking-with-the-chocolate-watchbands-david-aguilar/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>From the Garage to Outer Space: Talking with the Chocolate Watchband’s David Aguilar\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mad-men-season-6_custom-a59ccdeddc5d2e702d357ed505ba4e041ff8e7f2-e1428441710174-1180x665.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2015/04/07/a-nearly-comprehensive-guide-to-the-music-of-mad-men/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>A (Nearly) Comprehensive Guide to the Music of ‘Mad Men’\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/08/Roky640360.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2013/08/19/roky_erickson_is_still_making_elevator_music/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>Roky Erickson Is Still Making Elevator Music\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\n","blocks":[],"excerpt":"Oscar-nominated director Amy Berg examines Joplin’s story in depth, for the first time on film, presenting an intimate portrait of a complicated and driven artist.","status":"publish","parent":0,"modified":1705044429,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":570},"headData":{"title":"Janis Joplin: A San Francisco Legend | KQED","description":"Oscar-nominated director Amy Berg examines Joplin’s story in depth, for the first time on film, presenting an intimate portrait of a complicated and driven artist.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11511957/american-masters-janis-joplin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most revered and influential rock ’n’ roll singers of all time, Janis Joplin (Jan. 19, 1943 – Oct. 4, 1970) thrilled audiences and blazed new creative trails before her death at age 27. Oscar-nominated director Amy Berg (\u003cem>Deliver Us From Evil\u003c/em>, \u003cem>West of Memphis\u003c/em>, \u003cem>Prophet’s Prey\u003c/em>) examines Joplin’s story in depth, for the first time on film, presenting an intimate portrait of a complicated and driven artist.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\" rel=\"noopener\">American Masters – Janis: Little Girl Blue\u003c/a>\u003c/em> premieres nationwide Tuesday, May 3, at 8pm on KQED as part of the 30th anniversary season of THIRTEEN’s American Masters series. The broadcast features a never-before-seen extended film cut with additional archival performance footage and new interviews with Joplin’s sister Laura Joplin and musicians influenced by Janis: Alecia Moore (a.k.a. Pink), Juliette Lewis, Melissa Etheridge and the film’s narrator, Chan Marshall, who is best known as indie rock star Cat Power. In tribute, she performs “A Woman Left Lonely” from Joplin’s final studio album \u003cem>Pearl\u003c/em>, released posthumously on Jan. 11, 1971. This year marks the album’s 45th anniversary.\u003c/p>\n\u003cp>Also, following at 10pm is the KQED production \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23456\" target=\"_blank\" rel=\"noopener\">\u003cem>Janis Joplin: San Francisco’s Pearl\u003c/em>\u003c/a>. Follow Janis Joplin’s career from her rise to fame at the 1967 Monterey Pop Festival to her untimely death in Los Angeles in 1970. Narrated by Jefferson Airplane’s Marty Balin, the documentary features interviews with Joplin’s former bandmates and Bay Area journalists and performers.\u003c/p>\n\u003cp>\u003ci>Watch the trailer for \u003cb>Janis: Little Girl Blue\u003c/b> below. Visit \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\" rel=\"noopener\">KQED.org/tv\u003c/a> to find upcoming broadcasts.\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uO9Z5Kew9zs'\n title='//www.youtube.com/embed/uO9Z5Kew9zs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Want more Janis? Check out the exclusive stories and interview transcripts below, and bonus content from the filmmakers.\u003c/i>\u003c/p>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-4 column\">\n\u003ch2>About Janis and the ’60s\u003c/h2>\n\u003cp>\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2RG-c-Fantality-CorpCROP2.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/05/03/combination-of-the-two-how-san-francisco-helped-make-janis-a-legend/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Combination of the Two: How San Francisco Helped Make Janis a Legend\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/05/02/photos-the-1960s-san-francisco-bay-area-seen-though-family-albums/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>PHOTOS: The 1960s San Francisco Bay Area, Seen Though Family Albums\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/30/a-midnight-call-from-janis-joplin-ben-fong-torres-tells-all/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>A Midnight Call from Janis Joplin: Ben Fong-Torres Tells All\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/janis-joplin-photo-gallery-career-timeline/5831/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3> Janis Joplin Career Timeline\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/love-janis-read-excerpts-janis-joplins-biography-written-younger-sister/7172/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Read Excerpts from \u003ci>Love, Janis\u003c/i>\u003c/h3>\n\u003cp>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"small-12 medium-4 column\">\n\u003ch2>Exclusive Interviews\u003c/h2>\n\u003cp>\u003cimg decoding=\"async\" src=\"/arts/wp-content/uploads/sites/2/2016/05/Jorma.ScottyHall-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/05/03/jorma-kaukonen-on-janis-joplin-and-recording-the-1964-typewriter-tape/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Jorma Kaukonen on Janis Joplin and Recording the 1964 ‘Typewriter Tape’\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/chet-helms-on-bringing-janis-to-s-f-starting-music-scene-1998-qa/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Chet Helms Discusses Bringing Janis to San Francisco, Start of Music Scene\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/growing-up-with-sister-janis-1998-qa-with-laura-joplin/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Laura Joplin Talks About What it Was Like Growing Up with Janis\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/a-tremendous-ride-sam-andrew-on-playing-with-janis-joplin-qa-1998/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Guitarist Sam Andrew on Playing with Janis, Start of Music Scene\u003c/h3>\n\u003cp>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"small-12 medium-4 column\">\n\u003ch2>About The Film\u003c/h2>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2016/05/02/JanisLGBStill3cropped.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"http://www.kqed.org/a/forum/R201605031000\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Janis Joplin’s Short, Bluesy Life Explored in New Documentary\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/27/amy-bergs-janis-documents-a-musician-who-was-all-or-nothing/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Amy Berg’s ‘Janis’ Documents a Musician Who Was All or Nothing\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2016/04/29/bonus-video-clips-and-excerpts-from-janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>Bonus Video Clips and Excerpts from ‘Janis: Little Girl Blue’\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2015/12/04/janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>‘Janis: Little Girl Blue’ Goes Beyond Cliches Of A Sad Childhood\u003c/h3>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/26/the-making-of-janis-little-girl-blue/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch3>The Making of ‘Janis: Little Girl Blue’\u003c/h3>\n\u003cp>\n\u003c/p>\u003c/div>\n\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\n\u003ch2>Related Content from the KQED Arts Archives\u003c/h2>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Graham.MAIN_-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>Bill Graham: The Personality No Museum Could Possibly Contain\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Art-Noveu-Graphic-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/03/02/sfo-exhibit-shows-how-artists-adapted-art-nouveau-to-rock-posters/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>SFO Exhibit Shows How Artists Adapted Art Nouveau to Rock Posters\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/TripsFestival.MAIN_-1920x1080.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/01/21/qa-stewart-brand-revisits-the-trips-festival-50-years-later/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>Q&A: Stewart Brand Revisits the Trips Festival, 50 Years Later\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/HaightAshbury2.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>(Almost) Everything You’ll See on Peter Coyote’s Haight-Ashbury Walking Tour\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JanisJoplinMAIN.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2015/12/04/janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>‘Janis: Little Girl Blue’ Goes Beyond Cliches Of A Sad Childhood\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchMAIN.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2015/11/14/from-the-garage-to-outer-space-talking-with-the-chocolate-watchbands-david-aguilar/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>From the Garage to Outer Space: Talking with the Chocolate Watchband’s David Aguilar\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\u003cdiv class=\"row\">\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/mad-men-season-6_custom-a59ccdeddc5d2e702d357ed505ba4e041ff8e7f2-e1428441710174-1180x665.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2015/04/07/a-nearly-comprehensive-guide-to-the-music-of-mad-men/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>A (Nearly) Comprehensive Guide to the Music of ‘Mad Men’\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003cdiv class=\"small-12 medium-6 column\">\n\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/08/Roky640360.jpg\" alt=\"\">\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2013/08/19/roky_erickson_is_still_making_elevator_music/\" target=\"_blank\" rel=\"noopener\">\n\u003ch3>Roky Erickson Is Still Making Elevator Music\u003c/h3>\n\u003cp>\u003c/p>\u003c/a>\n\u003c/div>\n\u003chr>\n\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11511957/american-masters-janis-joplin","authors":["93"],"categories":["arts_69"],"tags":["arts_1254","arts_1425"],"featImg":"arts_11534562","label":"arts"},"arts_11528362":{"type":"posts","id":"arts_11528362","meta":{"index":"posts_1591205157","site":"arts","id":"11528362","score":null,"sort":[1461887914000]},"guestAuthors":[],"slug":"a-tremendous-ride-sam-andrew-on-playing-with-janis-joplin-qa-1998","title":"\"A Tremendous Ride\": Sam Andrew on Playing with Janis Joplin [Q&A 1998]","publishDate":1461887914,"format":"standard","headTitle":"“A Tremendous Ride”: Sam Andrew on Playing with Janis Joplin [Q&A 1998] | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In retrospect, Sam Andrews is the perfect example of a musician who made a name for himself in the heyday of the San Francisco psychedelic music scene. As one of the guitarists and main songwriters in Big Brother and the Holding Company and later, Janis Joplin’s Kozmic Blues Band, Andrews went from being a passionate amateur to playing with one of the most popular singers in the nation to being fired and addicted to drugs. But for all his ups and downs, Andrews never gave up playing music, playing with reincarnations of Big Brother until his death in 2015.\u003c/p>\n\u003cp>In this interview transcript conducted by Ben Manilla Productions in 1998, Andrews opens up about how inexperienced the group was when it started, the changes in the San Francisco scene and his troubles with drugs.\u003c/p>\n\u003cp>\u003cstrong>What was life like for Big Brother and the Holding Company in 1968?\u003c/strong>\u003c/p>\n\u003cp>It was a tremendous ride, it was a lot of fun, it was very beautiful, exciting time full of a lot of possibility actually if you zero in right on ’68. If you would have said ’65 to ’67 it would have been a little different that’s when everything was unknown and there was a feeling of tremendous possibility by 1968 the entire scene had become a little professional and a little specialized. Some of the holiness and innocence was lost but we all knew what we were about.\u003c/p>\n\u003cp>We learned how to tune our guitars, Janis had learned what it was to sing with a band and to really step out. The entire thing become more professional but lost a little innocence a little sense of possibility by 1968.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Say more about that sense of possibility, what does that mean to you? What did it feel like? What was the energy behind that?\u003c/strong>\u003c/p>\n\u003cp>It was incredibly exciting, it was one of those times that come along, there was one in the 1920s and there was one in San Francisco when Mark Twain and Bret Harte were here. At that time when you really feel like there is a real chance that your generation and your time is going to make the world a better place, just for a spit second, it seems like if we were going to continue that way that things were really going to change for the better and all of the problems were going to be magically solved, it looked like there was going to be tolerance of gays, it looked like the whole racial civil rights movements that had begun earlier later in the ’50s and earlier in ’60s was going to take off.\u003c/p>\n\u003cp>These problems were going to be solved in two three years. The women’s movement begun in the ’60s just as a lot of the environmental movement started, andthere was just a real sense of, “This is it, we’ve got it made.” We thought that probably by 1975 it would be all over with, everything solved, and then hard drugs hit the scene.\u003c/p>\n\u003cp>\u003cstrong>Where did that possibility come from, that it could well up in the whole community and whole scene? There’s a mystery to it do you have a sense of what that is?\u003c/strong>\u003c/p>\n\u003cp>As I say it came up in Christianity, it came up in Buddhism, it probably comes up every several generations and there is probably one due any minute now that I would like to see. More specifically than that the Beatnik era had just happened in the late ’50s and the early ’60s and everyone wore solid black and there were poems of eve of destruction and hell. It was a very down … It felt like the entire world was in black and white and the Hippies who were too young to know any better … Hippies was diminutive term that the Beats called us because we were hanging around with them but we were too young to be contributing to their scene.\u003c/p>\n\u003cp>It was derogatory terms for which begun as hipsters and hippies as a diminutive of that. We were hanging around watching that cynicism and desperate and it seemed to go nowhere, there was a lot of use of alcohol, a lot of drugs. Just to have that lifted of that generation passed and it was our turn. There was this riot of color, they were all many colors even on television, it’s a trivial thing but the peacock for CBS or whatever.\u003c/p>\n\u003cp>All over sudden there were all these colors and it’s tails weren’t there before. It seemed like the whole world all over sudden this color knob had been pushed and it started. Why that happened, I don’t maybe it was reaction to the Beats or the whole Eisenhower ’50s thing was over with. Who knows? I don’t know. Even going to the moon was part of that, there was just a sense of hope and to really pinpoint why it begun though it’s hard to say.\u003c/p>\n\u003cp>\u003cstrong>You talked about what happened in the ’65 to ’67 and then, then the professionalism of the music industry came up, and you’ve mentioned drugs what about that? What’s your sense of how that changed the scene and what did you see, what was your personal experience of what went on around you?\u003c/strong>\u003c/p>\n\u003cp>When that scene begun here in San Francisco and New York, Los Angeles probably to put it on a drug level for a second, probably most people were doing things like taking Peyote or LSD or smoking pot. They’re psychotropic drugs — they open the mind or they can make you spaced out. As a negative way of looking at it, they can distract you.\u003c/p>\n\u003cp>It really opens your mind and that had been happening for a while and people started using harder drugs, harder drugs came in to the community and like heroin and cocaine and those drugs close your mind. If there is something ugly you would … That’s a drug that would alleviate the pain of that, whereas something like Peyote or marijuana will open you up to that. You don’t want to be opening up if something like that’s around.\u003c/p>\n\u003cp>That was what happened to that scene, that started happening in 1968, it happened to me personally I was a junkie for years and took a long time to get from under that, I had a good time I enjoyed it, it was really a fun time. Janis and I did a lot of that together and it wasn’t a tragedy, we didn’t feel victimized by it, we enjoyed every second of it. It was certainly nice when it got over when we worked our way through that on a personal level and when the whole scene did to.\u003c/p>\n\u003cp>Which took probably until 1975 or something and she didn’t make it, it was a historical accident she didn’t commit suicide or anything. It’s just a none regulated thing, you don’t know what dosage you’re getting.\u003c/p>\n\u003cp>\u003cstrong>What else did you do with Janis when you guys hang out, when you’re on the road, when you’re touring and when you guys were just hanging out in San Francisco, what was it like? What was the day in the life like for you guys?\u003c/strong>\u003c/p>\n\u003cp>What everyone who comes in here is going to say about Janis is that they were best friends with her and I’m going to say that to because she was a wonderful person, she was really generous she had really quick reflexes, she was very intelligent, really bright and it’s hard to quantify but maybe an IQ of somewhere in the 160s. Very well read. \u003c/p>\n\u003cp>Janis was really colorful she had a great sense of humor she was really funny, she was funnier than Joan Rivers but sometimes in the same ways. A lot of her life was a party and a typical day with her would be walking up and down Haight street, dropping into every shop. We knew everybody. \u003c/p>\n\u003cp>She and I personally wrote a whole lot of music together. It was just fun. Many times it came effortlessly; for example, there is a song called “I Need a Man to Love” that she did that we just came out with. We had a tuning amp backstage and I plugged in to it and I started playing and that song just came out.\u003c/p>\n\u003cp>For most of it, it’s a very simple song — it’s only one chord. There is a bridge part that’s very complicated and even revolutionary for the time and it all just came out and she sang the words and there it was great. We did a lot of song writing together, on the night Otis Redding died we got together at her apartment on Lyon street and held a little wake for him, talked about how much we loved him, played his records and that kind of thing. There wasn’t a typical day, though a lot of days were just spent cruising Haight Street.\u003c/p>\n\u003cp>\u003cstrong>When you guys are on the road, did you drive each other crazy? Did you love each other? What did you eat when you’re on the road? Where did you party?\u003c/strong>\u003c/p>\n\u003cp>Big Brother and Holding Company and of course including Janis, is odd in that, a lot of bands when they are together a whole lot it makes them quarrel. But this band gets along the best when it’s on the road and together all the time. That was true with Janis. I don’t know why that would be and when it’s worse for this band when it’s apart from each other and people start entertaining these unreal notions about each other.\u003c/p>\n\u003cp>We got along the best when we were on the road which was good because very often we played two or three dates in one day and worked together a lot. Her entire career was maybe four, four and a half years and she was with us three and a half, it was a very concentrated and intense period.\u003c/p>\n\u003cp>\u003cstrong>You talked about how it was an experiential time, and the sense I get about the Janis experience is that the magic of her was her presence and how she brought all of her to a performance. Did you see that and what was it like? \u003c/strong>\u003c/p>\n\u003cp>She brought all of her to everything, anything that she did there was a whole lot and it was real quick and there was an expression an impression of velocity, even when she moved it was almost like a quiver she was vibrating, it was really fast. That what it felt, that was the feeling, that she was moving really quick. I was listening to an introduction she did to a tune the other night, “Catch me Daddy,” and she was singing it and moving through the changes so fast, it was like a bee wing.\u003c/p>\n\u003cp>\u003cstrong>Where did you guys live? Did you all live together?\u003c/strong>\u003c/p>\n\u003cp>We lived in various places around the Haight and she lived on Lyon Street, right on the Panhandle of Golden Gate Park. We did that for a while and we all moved to Marin and lived in Lagunitas, a town in West Marin, which is hard to get to — you go over some hills and it’s over there in the woods. I lived in a little cabin out back with my girlfriend and they lived in the main house and we rehearsed eight hours a day.\u003c/p>\n\u003cp>That was another time, we were all together and it was really good, and we moved back in the city, communal living wasn’t the way to go for us.\u003c/p>\n\u003cp>\u003cstrong>You talked about living in the Haight. What was the scene like? What was San Francisco like as compared to the cities that you toured on the east coast?\u003c/strong>\u003c/p>\n\u003cp>New York and Los Angeles were always more professional just as they are today, it was more of a professional take. Going to New York especially the lower east side where we were that’s where we played our first day at the Anderson Theater and the film more. Those were all on the lower east side and there were a lot of Russians and Jews. It was snowing and this feeling like it was … All those colored Easter eggs and the coats they wore, that were woven in the spoken art. There was this impression of color and exoticism. There was very beautiful in New York and we stayed in the Chelsea hotel where Mark Twain had lived.\u003c/p>\n\u003cp>Everybody, Jean, O’Neal, everyone had gone through there at one time or another and that was very exciting and there was this sense of maybe we are adding a layer on this thing that all these people have created and Los Angeles was sunnier, they were all more professional, to tell you the truth they looked down on San Francisco at first, like we weren’t serious.\u003c/p>\n\u003cp>\u003cstrong>In hindsight, the San Francisco music scene transformed to what we knew as music in a lot of ways.\u003c/strong>\u003c/p>\n\u003cp>They transformed it and they followed it later but I think they though here’s the raw material these untutored people are coming up with and we’ll transmit this in to the gold of hit singles and so on and they did. To be fair that’s what happened a lot, and what does happen even today.\u003c/p>\n\u003cp>\u003cstrong>When I read the liner notes for the recording \u003cem>Live at Winterland\u003c/em>, it said it was a homecoming?\u003c/strong>\u003c/p>\n\u003cp>Very much so it was every time we came back that time was … We’d played eight nights in a row without a break or something when that happened, it was always fun to come back and see these crazy friends that we had, some of them were really crazy and they would come out in a body, there was a group of people from Detroit and a group from Austin and a group from new York.\u003c/p>\n\u003cp>They would come out and little families and see us, that’s was always fun to get together with them. For Janis naturally seeing all Austin people was a treat.\u003c/p>\n\u003cp>\u003cstrong>At Winterland, what was it like when you walked in the door? What did it smell like, what did it look like?\u003c/strong>\u003c/p>\n\u003cp>It was like a cave. Bill Graham’s place was the Fillmore and that was hung with velvet hangings and you get the impression of being inside this jewel box. Winterland was modern. It was colder, the walls were flat and it was indeed like many of the places we’d play all over the world shortly after that.\u003c/p>\n\u003cp>You got this feeling of great spaces and it was the first big place that the San Francisco scene had moved in to, certainly.\u003c/p>\n\u003cp>\u003cstrong>How did that compare because you started out just like a jam band, just because of hanging out at Chet’s house?\u003c/strong>\u003c/p>\n\u003cp>Winterland was part of the thing where the whole scene became more professional. At first it was like the audience and the musicians were in it together. It seemed like anyone could come up and take the mic and sing or start playing the guitar and the band member would go sit in the audience they were the same people we all live next door to each other, we all knew each other and that was a very organic thing.\u003c/p>\n\u003cp>It became now it’s us and all the lights are on us and you guys are out there be quite, just watch this because we’re going to really lay it on you, here it is … This is the truth right now. That was lamentable in a way, there was a separation between a the performer in the audience.\u003c/p>\n\u003cp>\u003cstrong>There was a loss because it went from the communal experience to the …?\u003c/strong>\u003c/p>\n\u003cp>The stage is high, we are looking down on them and they’re down there looking up and it just changed it but it was okay everyone went a long with it was all right because it meant the bands got better, they had to better it was more interesting. It’s something you watch as opposed to something you’re participating in with this sort of electric current running through everyone in a big circle.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat was it like being in a band that was always tagged to Janis Joplin? Did it feel like you were in her shadow or was it a good thing for you?\u003c/strong>\u003c/p>\n\u003cp>We had a long time to adjust to that because at first she was in our shadow. She came from Austin, Texas and she was this Texas girl, she dressed the way mother dressed — very dowdy and not with it. That lasted for about six months and she grew and grew. It was a real incremental change we were used to it by the time that it happened and really her talent was so huge it was … You say shadow but it was more like being in the face of a title wave, it was just like blowing you over.\u003c/p>\n\u003cp>Her voice had tremendous range, she exhausted it and she distorted it but she had an incredible range the tragedy of her not living was that she could have gone on and made an album, with Jazz standards that would have totally amazing. What she did with “Little Girl Blue” was this really beautiful thing and “Summer Time” is where she started on that journey. She could have made a whole album of Jazz standards with us and a lot of people would have sat up and taken notice that, who to this day, probably didn’t realize how talented Janis was.\u003c/p>\n\u003cp>There was some resentment in the band but really not much from me because I was participating, we were writing songs together, I was just like, “I’m so privileged. This is really great I have this person to write songs for and she’s’ this great singer.” I was participating more and when we left big brother which I think was a mistake we both went together in to cosmic blues, I was right there with her it wasn’t so much over shadowed, you could look at it that way but I didn’t.\u003c/p>\n\u003cp>\u003cstrong>Did I hear regret for leaving the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah it was a mistake just business-wise. She was insane to leave the band and I wish I had a little more power with her, I wish I could have talked the way feel … I know what it is today but even then I said, “Can you wait six month or a year? We’ve got a number one hit record and you’re going to have to start over again and train a band and come back up. Don’t you want to see how this is going to happen?”\u003c/p>\n\u003cp>There were parts of the band that didn’t want to add any horn and didn’t want any keyboards. It was a very conservative element in the band and that was hard to take at time. As I said we were playing two or three times a day but …\u003c/p>\n\u003cp>\u003cstrong>What do you think motivated her to leave? Wanting to grow musically?\u003c/strong>\u003c/p>\n\u003cp>Yeah that’s number one. She admired Tina Turner and Aretha Franklin and she wanted a band like they had. The second one is I don’t know how much of a child of the ’60s you were but she was a Capricorn and she kept her bank book balanced and money was important to her. Although I don’t think she could admit that to herself at the time — that was very uncool thing to admit.\u003c/p>\n\u003cp>If she went out on her own she would split the money one way and we were splitting it five in Big Brother. It just has to be faced as part of life. Those two things mainly. A lot of people come in here will tell you that it was Albert Grossman but I don’t think he had much to do with that. It came from Janis; it was a real thing.\u003c/p>\n\u003cp>\u003cstrong>She was pretty smart she could think for herself. It sounds like that you were witness to a transformation or to her coming in to her own in that brief period of time as you guys were developing this?\u003c/strong>\u003c/p>\n\u003cp>Yeah we saw here come in to her own very vividly we made a record with main streams records, that sound folk rock, it sounds like the Mamas and the Papas from the time, from then to the record we made called \u003cem>Cheap Thrills\u003c/em> that’s when she was transformed as a person she became larger than. She started out with little freely blouses and the little cotton things and blue jeans, and these things that hung down at her wait.\u003c/p>\n\u003cp>She grew in to this person who was dressing like no one else did by the time, really well and originally. She just became larger than life, that was quite a transformation she knew where she was going it was real clear.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat do you think it was like being a woman in 1968 and what impact do you think that she’s had for women since then?\u003c/strong>\u003c/p>\n\u003cp>What I think it was like being a woman in 1968 is hard to say because I wasn’t one but I watched her real close and many other women. Men said, “Baby.” To women a lot in 1968, it’s hard to believe now, when you see an older movie, someone who’s perfectly intelligent person says to a woman says, “Come on baby lets go do.” You wince, “Did I say that then?” Yeah probably.\u003c/p>\n\u003cp>With Janis — because her music was accepted by a lot of people and because she was so strong, she didn’t have any choice. She wasn’t trying to be like this spokesman for this courageous cadre of women who were going to change things in the ’70s but that’s who she was. It wasn’t a political thing; she didn’t set out with this agenda of making things better for women. Indeed maybe in some ways she made it worse temporarily because she succumbed to drugs.\u003c/p>\n\u003cp>\u003cstrong>Why do you think she succumbed to drugs and what impact did it have on you when you guys lost her?\u003c/strong>\u003c/p>\n\u003cp>I did it. It’s probably a predisposition also it was what was happening historically. If she would have lived in the 80s and came of age, she wouldn’t have use heroin, she would have been in the gym, working on fitness or something, it’s that tragedy of being in the wrong decade. It was terrible when she died of course, there was a combination of thinking that she would, not being surprised because of what she was doing, what we were doing indeed.\u003c/p>\n\u003cp>Not believing anyone that we knew was going to die from that, she used to tell me, “This isn’t going to kill me, I come from pioneer stock, my genes are good, I’m strong, I’m a survivor.” That was all true and stuff but it would always make a chill go up my back because it’s like being two … It’s like challenging God if you will, or challenging reality. I just want to say, “Don’t say that, that’s … Come on now take it easy.”\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of Janis and of Big Brother?\u003c/strong>\u003c/p>\n\u003cp>The legacy of Janis it is more present today. The generation that followed us retrenched; they were frightened by the excesses of that era and they became certified public accountants and Republicans. That took a while for that to get over with. Now this generation is back and I’m afraid for them, sometimes I see them in the street and I can see what they’re doing. I want to go up and shake them and say, “Listen, there are chapters that follow this, take it easy don’t get to carried away on this particular chapter because there are many more to live and they all beautiful. Take it easy.”\u003c/p>\n\u003cp>Her legacy was … It had a lot to do with making women feel strong and happy and victimized and not led around because that’s one things that Janis was not was a victim ever, she was a strong person. Whatever it was that … Bad that had happened to her came out of her own character it wasn’t something that was put on her from the outside.\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of the band, of you guys?\u003c/strong>\u003c/p>\n\u003cp>We broke a lot of rules musically and played a lot of cords that shouldn’t follow each other they tell you in harmony one don’t put that chord after that chord and don’t use parallel fists and all of that and we did that because we didn’t know any better. It codified in to a new set of rules that people have to break today, that’s what it was we set up a lot of rules for people to break today.\u003c/p>\n\u003cp>\u003cstrong>What did you guys say and what do you still say to the … There was a faction there was a wrath that the band wasn’t tight enough and wasn’t professional enough, what do you say to that?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I say that’s absolutely right but what we had was a sense of directness and spirit and soul that you can’t buy because young people will always have that. Also I’ll say in time we learned in tune and do of that thing and this album represents us learning how to play these tunes more in tune. Perhaps more professionally. That you can go and train, you can go and get that part in school, you can’t have the other part and that’s what we … We had that in spades.\u003c/p>\n\n","blocks":[],"excerpt":"The former Big Brother guitarist details the early days of the band and reflects on Janis's legacy","status":"publish","parent":0,"modified":1705044432,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":74,"wordCount":4529},"headData":{"title":"\"A Tremendous Ride\": Sam Andrew on Playing with Janis Joplin [Q&A 1998] | KQED","description":"The former Big Brother guitarist details the early days of the band and reflects on Janis's legacy","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11528362/a-tremendous-ride-sam-andrew-on-playing-with-janis-joplin-qa-1998","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In retrospect, Sam Andrews is the perfect example of a musician who made a name for himself in the heyday of the San Francisco psychedelic music scene. As one of the guitarists and main songwriters in Big Brother and the Holding Company and later, Janis Joplin’s Kozmic Blues Band, Andrews went from being a passionate amateur to playing with one of the most popular singers in the nation to being fired and addicted to drugs. But for all his ups and downs, Andrews never gave up playing music, playing with reincarnations of Big Brother until his death in 2015.\u003c/p>\n\u003cp>In this interview transcript conducted by Ben Manilla Productions in 1998, Andrews opens up about how inexperienced the group was when it started, the changes in the San Francisco scene and his troubles with drugs.\u003c/p>\n\u003cp>\u003cstrong>What was life like for Big Brother and the Holding Company in 1968?\u003c/strong>\u003c/p>\n\u003cp>It was a tremendous ride, it was a lot of fun, it was very beautiful, exciting time full of a lot of possibility actually if you zero in right on ’68. If you would have said ’65 to ’67 it would have been a little different that’s when everything was unknown and there was a feeling of tremendous possibility by 1968 the entire scene had become a little professional and a little specialized. Some of the holiness and innocence was lost but we all knew what we were about.\u003c/p>\n\u003cp>We learned how to tune our guitars, Janis had learned what it was to sing with a band and to really step out. The entire thing become more professional but lost a little innocence a little sense of possibility by 1968.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Say more about that sense of possibility, what does that mean to you? What did it feel like? What was the energy behind that?\u003c/strong>\u003c/p>\n\u003cp>It was incredibly exciting, it was one of those times that come along, there was one in the 1920s and there was one in San Francisco when Mark Twain and Bret Harte were here. At that time when you really feel like there is a real chance that your generation and your time is going to make the world a better place, just for a spit second, it seems like if we were going to continue that way that things were really going to change for the better and all of the problems were going to be magically solved, it looked like there was going to be tolerance of gays, it looked like the whole racial civil rights movements that had begun earlier later in the ’50s and earlier in ’60s was going to take off.\u003c/p>\n\u003cp>These problems were going to be solved in two three years. The women’s movement begun in the ’60s just as a lot of the environmental movement started, andthere was just a real sense of, “This is it, we’ve got it made.” We thought that probably by 1975 it would be all over with, everything solved, and then hard drugs hit the scene.\u003c/p>\n\u003cp>\u003cstrong>Where did that possibility come from, that it could well up in the whole community and whole scene? There’s a mystery to it do you have a sense of what that is?\u003c/strong>\u003c/p>\n\u003cp>As I say it came up in Christianity, it came up in Buddhism, it probably comes up every several generations and there is probably one due any minute now that I would like to see. More specifically than that the Beatnik era had just happened in the late ’50s and the early ’60s and everyone wore solid black and there were poems of eve of destruction and hell. It was a very down … It felt like the entire world was in black and white and the Hippies who were too young to know any better … Hippies was diminutive term that the Beats called us because we were hanging around with them but we were too young to be contributing to their scene.\u003c/p>\n\u003cp>It was derogatory terms for which begun as hipsters and hippies as a diminutive of that. We were hanging around watching that cynicism and desperate and it seemed to go nowhere, there was a lot of use of alcohol, a lot of drugs. Just to have that lifted of that generation passed and it was our turn. There was this riot of color, they were all many colors even on television, it’s a trivial thing but the peacock for CBS or whatever.\u003c/p>\n\u003cp>All over sudden there were all these colors and it’s tails weren’t there before. It seemed like the whole world all over sudden this color knob had been pushed and it started. Why that happened, I don’t maybe it was reaction to the Beats or the whole Eisenhower ’50s thing was over with. Who knows? I don’t know. Even going to the moon was part of that, there was just a sense of hope and to really pinpoint why it begun though it’s hard to say.\u003c/p>\n\u003cp>\u003cstrong>You talked about what happened in the ’65 to ’67 and then, then the professionalism of the music industry came up, and you’ve mentioned drugs what about that? What’s your sense of how that changed the scene and what did you see, what was your personal experience of what went on around you?\u003c/strong>\u003c/p>\n\u003cp>When that scene begun here in San Francisco and New York, Los Angeles probably to put it on a drug level for a second, probably most people were doing things like taking Peyote or LSD or smoking pot. They’re psychotropic drugs — they open the mind or they can make you spaced out. As a negative way of looking at it, they can distract you.\u003c/p>\n\u003cp>It really opens your mind and that had been happening for a while and people started using harder drugs, harder drugs came in to the community and like heroin and cocaine and those drugs close your mind. If there is something ugly you would … That’s a drug that would alleviate the pain of that, whereas something like Peyote or marijuana will open you up to that. You don’t want to be opening up if something like that’s around.\u003c/p>\n\u003cp>That was what happened to that scene, that started happening in 1968, it happened to me personally I was a junkie for years and took a long time to get from under that, I had a good time I enjoyed it, it was really a fun time. Janis and I did a lot of that together and it wasn’t a tragedy, we didn’t feel victimized by it, we enjoyed every second of it. It was certainly nice when it got over when we worked our way through that on a personal level and when the whole scene did to.\u003c/p>\n\u003cp>Which took probably until 1975 or something and she didn’t make it, it was a historical accident she didn’t commit suicide or anything. It’s just a none regulated thing, you don’t know what dosage you’re getting.\u003c/p>\n\u003cp>\u003cstrong>What else did you do with Janis when you guys hang out, when you’re on the road, when you’re touring and when you guys were just hanging out in San Francisco, what was it like? What was the day in the life like for you guys?\u003c/strong>\u003c/p>\n\u003cp>What everyone who comes in here is going to say about Janis is that they were best friends with her and I’m going to say that to because she was a wonderful person, she was really generous she had really quick reflexes, she was very intelligent, really bright and it’s hard to quantify but maybe an IQ of somewhere in the 160s. Very well read. \u003c/p>\n\u003cp>Janis was really colorful she had a great sense of humor she was really funny, she was funnier than Joan Rivers but sometimes in the same ways. A lot of her life was a party and a typical day with her would be walking up and down Haight street, dropping into every shop. We knew everybody. \u003c/p>\n\u003cp>She and I personally wrote a whole lot of music together. It was just fun. Many times it came effortlessly; for example, there is a song called “I Need a Man to Love” that she did that we just came out with. We had a tuning amp backstage and I plugged in to it and I started playing and that song just came out.\u003c/p>\n\u003cp>For most of it, it’s a very simple song — it’s only one chord. There is a bridge part that’s very complicated and even revolutionary for the time and it all just came out and she sang the words and there it was great. We did a lot of song writing together, on the night Otis Redding died we got together at her apartment on Lyon street and held a little wake for him, talked about how much we loved him, played his records and that kind of thing. There wasn’t a typical day, though a lot of days were just spent cruising Haight Street.\u003c/p>\n\u003cp>\u003cstrong>When you guys are on the road, did you drive each other crazy? Did you love each other? What did you eat when you’re on the road? Where did you party?\u003c/strong>\u003c/p>\n\u003cp>Big Brother and Holding Company and of course including Janis, is odd in that, a lot of bands when they are together a whole lot it makes them quarrel. But this band gets along the best when it’s on the road and together all the time. That was true with Janis. I don’t know why that would be and when it’s worse for this band when it’s apart from each other and people start entertaining these unreal notions about each other.\u003c/p>\n\u003cp>We got along the best when we were on the road which was good because very often we played two or three dates in one day and worked together a lot. Her entire career was maybe four, four and a half years and she was with us three and a half, it was a very concentrated and intense period.\u003c/p>\n\u003cp>\u003cstrong>You talked about how it was an experiential time, and the sense I get about the Janis experience is that the magic of her was her presence and how she brought all of her to a performance. Did you see that and what was it like? \u003c/strong>\u003c/p>\n\u003cp>She brought all of her to everything, anything that she did there was a whole lot and it was real quick and there was an expression an impression of velocity, even when she moved it was almost like a quiver she was vibrating, it was really fast. That what it felt, that was the feeling, that she was moving really quick. I was listening to an introduction she did to a tune the other night, “Catch me Daddy,” and she was singing it and moving through the changes so fast, it was like a bee wing.\u003c/p>\n\u003cp>\u003cstrong>Where did you guys live? Did you all live together?\u003c/strong>\u003c/p>\n\u003cp>We lived in various places around the Haight and she lived on Lyon Street, right on the Panhandle of Golden Gate Park. We did that for a while and we all moved to Marin and lived in Lagunitas, a town in West Marin, which is hard to get to — you go over some hills and it’s over there in the woods. I lived in a little cabin out back with my girlfriend and they lived in the main house and we rehearsed eight hours a day.\u003c/p>\n\u003cp>That was another time, we were all together and it was really good, and we moved back in the city, communal living wasn’t the way to go for us.\u003c/p>\n\u003cp>\u003cstrong>You talked about living in the Haight. What was the scene like? What was San Francisco like as compared to the cities that you toured on the east coast?\u003c/strong>\u003c/p>\n\u003cp>New York and Los Angeles were always more professional just as they are today, it was more of a professional take. Going to New York especially the lower east side where we were that’s where we played our first day at the Anderson Theater and the film more. Those were all on the lower east side and there were a lot of Russians and Jews. It was snowing and this feeling like it was … All those colored Easter eggs and the coats they wore, that were woven in the spoken art. There was this impression of color and exoticism. There was very beautiful in New York and we stayed in the Chelsea hotel where Mark Twain had lived.\u003c/p>\n\u003cp>Everybody, Jean, O’Neal, everyone had gone through there at one time or another and that was very exciting and there was this sense of maybe we are adding a layer on this thing that all these people have created and Los Angeles was sunnier, they were all more professional, to tell you the truth they looked down on San Francisco at first, like we weren’t serious.\u003c/p>\n\u003cp>\u003cstrong>In hindsight, the San Francisco music scene transformed to what we knew as music in a lot of ways.\u003c/strong>\u003c/p>\n\u003cp>They transformed it and they followed it later but I think they though here’s the raw material these untutored people are coming up with and we’ll transmit this in to the gold of hit singles and so on and they did. To be fair that’s what happened a lot, and what does happen even today.\u003c/p>\n\u003cp>\u003cstrong>When I read the liner notes for the recording \u003cem>Live at Winterland\u003c/em>, it said it was a homecoming?\u003c/strong>\u003c/p>\n\u003cp>Very much so it was every time we came back that time was … We’d played eight nights in a row without a break or something when that happened, it was always fun to come back and see these crazy friends that we had, some of them were really crazy and they would come out in a body, there was a group of people from Detroit and a group from Austin and a group from new York.\u003c/p>\n\u003cp>They would come out and little families and see us, that’s was always fun to get together with them. For Janis naturally seeing all Austin people was a treat.\u003c/p>\n\u003cp>\u003cstrong>At Winterland, what was it like when you walked in the door? What did it smell like, what did it look like?\u003c/strong>\u003c/p>\n\u003cp>It was like a cave. Bill Graham’s place was the Fillmore and that was hung with velvet hangings and you get the impression of being inside this jewel box. Winterland was modern. It was colder, the walls were flat and it was indeed like many of the places we’d play all over the world shortly after that.\u003c/p>\n\u003cp>You got this feeling of great spaces and it was the first big place that the San Francisco scene had moved in to, certainly.\u003c/p>\n\u003cp>\u003cstrong>How did that compare because you started out just like a jam band, just because of hanging out at Chet’s house?\u003c/strong>\u003c/p>\n\u003cp>Winterland was part of the thing where the whole scene became more professional. At first it was like the audience and the musicians were in it together. It seemed like anyone could come up and take the mic and sing or start playing the guitar and the band member would go sit in the audience they were the same people we all live next door to each other, we all knew each other and that was a very organic thing.\u003c/p>\n\u003cp>It became now it’s us and all the lights are on us and you guys are out there be quite, just watch this because we’re going to really lay it on you, here it is … This is the truth right now. That was lamentable in a way, there was a separation between a the performer in the audience.\u003c/p>\n\u003cp>\u003cstrong>There was a loss because it went from the communal experience to the …?\u003c/strong>\u003c/p>\n\u003cp>The stage is high, we are looking down on them and they’re down there looking up and it just changed it but it was okay everyone went a long with it was all right because it meant the bands got better, they had to better it was more interesting. It’s something you watch as opposed to something you’re participating in with this sort of electric current running through everyone in a big circle.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat was it like being in a band that was always tagged to Janis Joplin? Did it feel like you were in her shadow or was it a good thing for you?\u003c/strong>\u003c/p>\n\u003cp>We had a long time to adjust to that because at first she was in our shadow. She came from Austin, Texas and she was this Texas girl, she dressed the way mother dressed — very dowdy and not with it. That lasted for about six months and she grew and grew. It was a real incremental change we were used to it by the time that it happened and really her talent was so huge it was … You say shadow but it was more like being in the face of a title wave, it was just like blowing you over.\u003c/p>\n\u003cp>Her voice had tremendous range, she exhausted it and she distorted it but she had an incredible range the tragedy of her not living was that she could have gone on and made an album, with Jazz standards that would have totally amazing. What she did with “Little Girl Blue” was this really beautiful thing and “Summer Time” is where she started on that journey. She could have made a whole album of Jazz standards with us and a lot of people would have sat up and taken notice that, who to this day, probably didn’t realize how talented Janis was.\u003c/p>\n\u003cp>There was some resentment in the band but really not much from me because I was participating, we were writing songs together, I was just like, “I’m so privileged. This is really great I have this person to write songs for and she’s’ this great singer.” I was participating more and when we left big brother which I think was a mistake we both went together in to cosmic blues, I was right there with her it wasn’t so much over shadowed, you could look at it that way but I didn’t.\u003c/p>\n\u003cp>\u003cstrong>Did I hear regret for leaving the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah it was a mistake just business-wise. She was insane to leave the band and I wish I had a little more power with her, I wish I could have talked the way feel … I know what it is today but even then I said, “Can you wait six month or a year? We’ve got a number one hit record and you’re going to have to start over again and train a band and come back up. Don’t you want to see how this is going to happen?”\u003c/p>\n\u003cp>There were parts of the band that didn’t want to add any horn and didn’t want any keyboards. It was a very conservative element in the band and that was hard to take at time. As I said we were playing two or three times a day but …\u003c/p>\n\u003cp>\u003cstrong>What do you think motivated her to leave? Wanting to grow musically?\u003c/strong>\u003c/p>\n\u003cp>Yeah that’s number one. She admired Tina Turner and Aretha Franklin and she wanted a band like they had. The second one is I don’t know how much of a child of the ’60s you were but she was a Capricorn and she kept her bank book balanced and money was important to her. Although I don’t think she could admit that to herself at the time — that was very uncool thing to admit.\u003c/p>\n\u003cp>If she went out on her own she would split the money one way and we were splitting it five in Big Brother. It just has to be faced as part of life. Those two things mainly. A lot of people come in here will tell you that it was Albert Grossman but I don’t think he had much to do with that. It came from Janis; it was a real thing.\u003c/p>\n\u003cp>\u003cstrong>She was pretty smart she could think for herself. It sounds like that you were witness to a transformation or to her coming in to her own in that brief period of time as you guys were developing this?\u003c/strong>\u003c/p>\n\u003cp>Yeah we saw here come in to her own very vividly we made a record with main streams records, that sound folk rock, it sounds like the Mamas and the Papas from the time, from then to the record we made called \u003cem>Cheap Thrills\u003c/em> that’s when she was transformed as a person she became larger than. She started out with little freely blouses and the little cotton things and blue jeans, and these things that hung down at her wait.\u003c/p>\n\u003cp>She grew in to this person who was dressing like no one else did by the time, really well and originally. She just became larger than life, that was quite a transformation she knew where she was going it was real clear.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWhat do you think it was like being a woman in 1968 and what impact do you think that she’s had for women since then?\u003c/strong>\u003c/p>\n\u003cp>What I think it was like being a woman in 1968 is hard to say because I wasn’t one but I watched her real close and many other women. Men said, “Baby.” To women a lot in 1968, it’s hard to believe now, when you see an older movie, someone who’s perfectly intelligent person says to a woman says, “Come on baby lets go do.” You wince, “Did I say that then?” Yeah probably.\u003c/p>\n\u003cp>With Janis — because her music was accepted by a lot of people and because she was so strong, she didn’t have any choice. She wasn’t trying to be like this spokesman for this courageous cadre of women who were going to change things in the ’70s but that’s who she was. It wasn’t a political thing; she didn’t set out with this agenda of making things better for women. Indeed maybe in some ways she made it worse temporarily because she succumbed to drugs.\u003c/p>\n\u003cp>\u003cstrong>Why do you think she succumbed to drugs and what impact did it have on you when you guys lost her?\u003c/strong>\u003c/p>\n\u003cp>I did it. It’s probably a predisposition also it was what was happening historically. If she would have lived in the 80s and came of age, she wouldn’t have use heroin, she would have been in the gym, working on fitness or something, it’s that tragedy of being in the wrong decade. It was terrible when she died of course, there was a combination of thinking that she would, not being surprised because of what she was doing, what we were doing indeed.\u003c/p>\n\u003cp>Not believing anyone that we knew was going to die from that, she used to tell me, “This isn’t going to kill me, I come from pioneer stock, my genes are good, I’m strong, I’m a survivor.” That was all true and stuff but it would always make a chill go up my back because it’s like being two … It’s like challenging God if you will, or challenging reality. I just want to say, “Don’t say that, that’s … Come on now take it easy.”\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of Janis and of Big Brother?\u003c/strong>\u003c/p>\n\u003cp>The legacy of Janis it is more present today. The generation that followed us retrenched; they were frightened by the excesses of that era and they became certified public accountants and Republicans. That took a while for that to get over with. Now this generation is back and I’m afraid for them, sometimes I see them in the street and I can see what they’re doing. I want to go up and shake them and say, “Listen, there are chapters that follow this, take it easy don’t get to carried away on this particular chapter because there are many more to live and they all beautiful. Take it easy.”\u003c/p>\n\u003cp>Her legacy was … It had a lot to do with making women feel strong and happy and victimized and not led around because that’s one things that Janis was not was a victim ever, she was a strong person. Whatever it was that … Bad that had happened to her came out of her own character it wasn’t something that was put on her from the outside.\u003c/p>\n\u003cp>\u003cstrong>What do you think is the legacy of the band, of you guys?\u003c/strong>\u003c/p>\n\u003cp>We broke a lot of rules musically and played a lot of cords that shouldn’t follow each other they tell you in harmony one don’t put that chord after that chord and don’t use parallel fists and all of that and we did that because we didn’t know any better. It codified in to a new set of rules that people have to break today, that’s what it was we set up a lot of rules for people to break today.\u003c/p>\n\u003cp>\u003cstrong>What did you guys say and what do you still say to the … There was a faction there was a wrath that the band wasn’t tight enough and wasn’t professional enough, what do you say to that?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I say that’s absolutely right but what we had was a sense of directness and spirit and soul that you can’t buy because young people will always have that. Also I’ll say in time we learned in tune and do of that thing and this album represents us learning how to play these tunes more in tune. Perhaps more professionally. That you can go and train, you can go and get that part in school, you can’t have the other part and that’s what we … We had that in spades.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11528362/a-tremendous-ride-sam-andrew-on-playing-with-janis-joplin-qa-1998","authors":["93"],"categories":["arts_74","arts_69"],"tags":["arts_1254","arts_1425","arts_989"],"featImg":"arts_11528425","label":"arts"},"arts_11528235":{"type":"posts","id":"arts_11528235","meta":{"index":"posts_1591205157","site":"arts","id":"11528235","score":null,"sort":[1461884001000]},"guestAuthors":[],"slug":"growing-up-with-sister-janis-1998-qa-with-laura-joplin","title":"Growing Up with Sister Janis: 1998 Q&A with Laura Joplin","publishDate":1461884001,"format":"standard","headTitle":"Growing Up with Sister Janis: 1998 Q&A with Laura Joplin | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>While Janis Joplin was in San Francisco becoming one of the greatest singers of the ’60s, she was always writing to her family — especially her sister Laura, who was six years younger and completely idolized Janis.\u003c/p>\n\u003cp>Laura kept all those letters, which became not only the basis of her 2005 book \u003ci>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/love-janis-read-excerpts-janis-joplins-biography-written-younger-sister/7172/\" target=\"_blank\" rel=\"noopener\">Dear Janis\u003c/a>\u003c/i>, but the backbone of the documentary \u003ci>Janis: Little Girl Blue\u003c/i>, as voiced onscreen by indie rock maven \u003ca href=\"http://www.pbs.org/wnet/americanmasters/janis-joplin-chan-marshall-talks-voicing-janis-joplins-letters/7216/\" target=\"_blank\" rel=\"noopener\">Chan Marshall\u003c/a>, a.k.a. Cat Power. \u003c/p>\n\u003cp>This interview with Laura Joplin, from 1998, was conducted by Ben Manilla Productions.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Growing up with Janis, were you two close from an early age?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Janis was six years older than I was, and she was really into having a younger sister — and later, when Micheal was born, having a younger brother. Our neighborhood was full of kids running around, playing chase and hide-and-seek and stuff. Janis was a wonderful big sister; she brought us in, made us feel included even when we were really young, showed us how to participate and took care of us. She was a very nurturing, caring, fun older sister, really involved with us.\u003c/p>\n\u003cp>\u003cstrong>The three of you — you, Micheal, and Janis — were palling around pretty much around town?\u003c/strong>\u003c/p>\n\u003cp>Well, you have to understand that Janis was 10 years older than Micheal. That’s a huge age difference when you’re young. She was six years older than I, so when I was entering junior high school she was entering college. There’s only a certain amount of palling around you can do with that kind of an age difference but we certainly played around in the neighborhood when it comes to playing ball or things like that when we were kids and before she got too sophisticated as a teenager to play those kinds of things.\u003c/p>\n\u003cp>\u003cstrong>With you being six years younger than her, was she someone you looked up to?\u003c/strong>\u003c/p>\n\u003cp>Oh, I idolized Janis when I was young. I thought that she was perfect. I copied her in everything. She taught me how to draw, she taught me how to play guitar, she chose books. In that sense she really brought me up in a certain part of life, you know, how to be a kid and groovy and into things. She was always there until she left home after high school when she was going to college.\u003c/p>\n\u003cp>\u003cstrong>When Janis moved away, what did that do to you?\u003c/strong> \u003c/p>\n\u003cp>I think Janis’ leaving home and going off to college was something that really was both devastating and infuriating. I mean, who was she to think she could go off to college and check the world out while I was still stuck at home? But, you know, we grew and did different things. Here I was getting into the marching band and here she was going off to play blues music in Los Angeles, so there was a significant difference of life experience at that point in time. It’s just about the changes of life.\u003c/p>\n\u003cp>It was really nice when Janis came home in 1965 and was much more settled. She was much less the adolescent rebel that she had been, and was into studying and attending college and majoring in social work and living in the “middle road,” as she called it, because she had been strung out, had problems with speed and was coming home to kind of get her life together. She knew that she’d pushed it too far and wanted to see if she could find satisfaction in the kinds of activities that she saw most people living. Music at that point was something that she kind of played quietly here and there — sang a little bit, not much. It was something that she equated with drugs and that scared her.\u003c/p>\n\u003cp>\u003cstrong>Before she left for California she was singing a bit in Texas, right?\u003c/strong>\u003c/p>\n\u003cp>When Janis was in high school she ran around with a bunch of people who listened to anything and everything. One of the guys played jazz trombone so they’d go to his gigs and hang out. They listened to folk music, everything, a lot of the black music. We lived in a very segregated, racially segregated town, and the whole world of African Americans was a question. What is it? Was it different? All those kinds of things. Yet integration was being hotly debated, it was the era of Brown vs. the Board of Education, the 1954 school segregation case. [Janis and her friends] were clearly the intellectual liberals of the town and were interested in everything, trying to understand the African-American experience, so they would read beatnik literature and they’d listen to jazz music and they’d listen to folk blues. Janis really got interested in Leadbelly, she loved Billie Holiday, she loved Bessie Smith, Odetta was someone that she really adored. She was a painter at the time, and she was into Modigliani, which has wonderful African-inspired figures.\u003c/p>\n\u003cp>There was clearly a great deal of interest in trying to do integration internally, socially, emotionally — what is life about? In her own music she began singing blues music, partly out of chance. She discovered one night with some friends that she had the ability to sing Odetta and sound like Odetta. Finding that power within her was just a tremendous excitement. It’s awesome. You have to also remember that when someone plays a piano the music is created in the instrument, but as a singer the instrument is your body and so the vibration that a singer gets when they’re using that kind of power and the depth of tones, is just such an awesome personal experience. She was overwhelmed and taken with it. She sang locally, frittered around doing stuff, not really sure what she was doing. She accompanied herself on autoharp, sometimes on guitar, sometimes with other people here and there. Sang at a few clubs, and then when she went out to LA right after her first year of college, she sang some in coffeehouses. That was the ear of the hootenanny in the coffeehouse.\u003c/p>\n\u003cp>She ended up going to Austin, Texas where she sang at the hootenannies at the University of Texas student union. Kenneth Threadgill had a bar where there were a lot of local people that came out and sang, and she sang there. When she was back at home in ’65, again, she sang some. A good friend of hers, Jim Langdon, who actually had been the trombone player of her high school group, was at that time a music critic for the \u003cem>Austin Statesman\u003c/em>. He was well connected in the Texas music scene and got her a couple of gigs up in Austin and some in Beaumont. She played here and there but it wasn’t her primary focus, it was something that satisfied an inner yearning of hers but she hadn’t quite figured out how to put it into her life. She was figuring that perhaps it was a little dangerous.\u003c/p>\n\u003cp>She talked with Jim about the fact that drugs were a problem, in music and the lifestyle and stuff, and his comment was, “Well you know the two aren’t wedded, you don’t have to do drugs and do music.” I think that when she finally decided to go back to San Francisco in ’66 and check out the music scene and meet this new group she’d heard about and wanted a singer, Big Brother & the Holding Company, I think that was her decision. She had been free from drug use for a year, she felt really stable, her life was centered, and she felt she could handle the music world. So she headed out to California.\u003c/p>\n\u003cp>\u003cstrong>What were the feelings in the house about her leaving to become a musician?\u003c/strong>\u003c/p>\n\u003cp>Well, when Janis went out in 1966 to see if she wanted to stay, see if she wanted to be a singer, she was still thinking about coming back to college. This was just summer break, you know? She cleverly left from Austin while she was up there visiting and didn’t tell our parents until she wrote them a letter. I’m sure that was because they had a lot of discussions about the difficulties that she had had in California before. She was worried about it, they were worried about it. It’s hard to explain their feelings. They didn’t agree with Janis’ lifestyle, but that didn’t mean that they didn’t approve of their daughter. They essentially agreed to disagree. They worried for her safety, which, in hindsight, was accurate.\u003c/p>\n\u003cp>\u003cstrong>Sure. Well hindsight’s always 20/20. So, she’s off in San Francisco and you’re receiving letters home. How are you feeling when those letters are arriving at the house?\u003c/strong>\u003c/p>\n\u003cp>Janis was such a wonderful writer of letters. She was really gifted at presenting things with humor and intellect and great descriptions so it made you curious, you want to see stuff. She did invite us out, so as a family we went out the following summer, the “Summer of Love,” and checked it out. Toured Golden Gate Park and went to the Avalon and heard the band and walked around Haight Street with all kinds of people running up and saying, “Give me your autograph Janis.” It was real thrilling for her and it was real exciting for us. My brother and I liked to joke that we were part of the Summer of Love, but we’re probably the only two people who came out here with our parents. Everyone else left, so it was a little different.\u003c/p>\n\u003cp>\u003cstrong>You did get to see the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we saw them perform. They did a guest set so that we could hear them play and it was pretty awesome. It certainly wasn’t like anything that was part of my experience in the university parties that I went to, just not yet.\u003c/p>\n\u003cp>\u003cstrong>Can you describe the show and the feeling you got from seeing your sister up there?\u003c/strong> \u003c/p>\n\u003cp>What I remember about the show is a dark room with a bunch of people that, rather than dancing, were just kind of standing and swaying, sitting and listening, to this overwhelmingly loud, tremendously powerful music that was shaking the building. But the people were more in a trance than they were, say, jumping up and down and doing the jitterbug.\u003c/p>\n\u003cp>\u003cstrong>So much has been said about what she did for women, then and now. What did she stand for, for women back then? What did she enable ladies to do back then?\u003c/strong>\u003c/p>\n\u003cp>I think that Janis in the 1960s was more a challenge to females, the female identity, the roles that were held up to women that you’re supposed to aspire to, and for her it was defiant. It was a sense of obligation to be true to yourself. She said that a lot, that it’s important to be true to yourself because yourself is all you’ve got. But I think that what Janis has become, because she was prior to the feminist movement, is a symbol of someone breaking down doors. She said, “Look, you can do what you want to do, you don’t have to do what people expect or think you should do.” People see her as giving them opportunities to find their own place.\u003c/p>\n\u003cp>\u003cstrong>A lot of people were for it, but there must have been some people that weren’t all that happy with the way she was.\u003c/strong>\u003c/p>\n\u003cp>You have to remember that the 1960s was considered a social revolution, and Janis was a member of that, a leading exponent of it, someone who represented the challenge to traditional society. She did that by flaunting the way she lived, being outspoken about her sexual activity, her drug use. Even though she challenged people’s sense of morals at the time, she was exceedingly ethical in terms of her business relationships and how she dealt with people. It wasn’t a time of doing what you want selfishly against other people — it was the definition of a new ethic, a new way of living.\u003c/p>\n\u003cp>\u003cstrong>Okay, she’s away in San Francisco, you’re there in Texas. Did you lose any closeness with her? Did you guys still remain… Was she still Janis to you? You know, your big sister, still idolizing her a bit?\u003c/strong>\u003c/p>\n\u003cp>Some of that’s funny, in that here’s Janis on the cover of magazines, on the Ed Sullivan Show. We’re watching her on TV running around doing these incredible things and she’s still our sister, we talk to her on the telephone, get letters, Christmas presents, all that kind of stuff, she comes through town. What’s funny, I remember the last time she came in, walking up to the airplane and giving her a hug, you don’t realize it but you somehow think that, you know, she’s my older sister, she’s this famous person, she must be taller and bigger than me, you know? She wasn’t. She’s just an average person so there is some of that adjustment, you know, who is she? But anytime we were together it was just straight back into being able to talk about anything and everything and just really relive and know the closeness that was part of the family.\u003c/p>\n\u003cp>\u003cstrong>You’re in Texas while she’s here, what happened to you personally? Were friends showing up everywhere?\u003c/strong>\u003c/p>\n\u003cp>You know, Janis died when I was 21, and it was just the beginning of the ’60s in terms of its effect on Texas. Even though I was in college and we played \u003cem>Cheap Thrills\u003c/em> on the turntable in my dorm room and that kind of stuff, we were just beginning to wear blue jeans and take our bras off and stuff like that. It wasn’t as big an effect as you might have. I know that Janis did come with me once, I was going from the house to the dorm and when she walked in the dorm all the girls in the dorm were going, “Janis Joplin’s here! Ah!” Running down the hall and she’s going, “Uh, I think I’ll wait for you in the car.” \u003c/p>\n\u003cp>\u003cstrong>What did it mean to you when you found out that she died?\u003c/strong>\u003c/p>\n\u003cp>I was in graduate school in Dallas at the time, and my initial reaction was the sense of this incredible, personal experience of grief and having it be so public. It was very bizarre to walk around the campus and hear people talking about it, you know, something that for them was a tidbit. It was really awkward. On a bigger level, I think it was just overwhelming. There was no way to put it in perspective. I had no experience of it. Our parents went out to take care of the details around Janis’ death. My brother was at home in Port Arthur, I was up in Dallas and as a family I think it probably pointed out the weaknesses in our family’s structure. We just didn’t process it. We didn’t go through it together, we didn’t have a burial or a wake or a large get-together and discuss it. I think for each of us it was really stuffed in a closet, locked away in our hearts, in the recesses because we didn’t know how to deal with it and it took me years and years to open the door and let the grief out. When I did, it was a real liberation, and enabled me to appreciate Janis’ music and love her as she was — whereas before, whenever I thought about her, it was just grief and discomfort.\u003c/p>\n\u003cp>\u003cstrong>You talk about appreciating her music — is there anything that she recorded that’s a favorite?\u003c/strong>\u003c/p>\n\u003cp>I like a lot of Janis’ music. I think that the song “Mercedes Benz” is probably my favorite, because it shows her sense of humor and to be around Janis was really to be having fun. She was an upbeat person with an incredible sense of humor, so even though there were moments of despair and depression and she did sing the blues, actually being around her was a lot of fun. She was a funny person. I listen to a lot of her tapes and I find it kind of funny that I’ll be sitting down to listen as, “Is this a good thing to release?” Or “How’s the background?” Or “How’s her voice?” I start out that way, and after a couple of songs I totally forget I’m supposed to be analyzing it. Her music still really speaks to me, and it’s fun to just kick up your heels and jump in and belt out with your best voice whatever the lyrics are.\u003c/p>\n\u003cp>\u003cstrong>What is it about her music that speaks to you? What is it about just her that spoke to everybody and will continue to speak for generations to come?\u003c/strong>\u003c/p>\n\u003cp>You know, I’ve wondered what it is about Janis that still communicates to people. What is it they’re fascinated with about her? I read the fan letters, and I talk to people, and there’s one thing that keeps coming up. People say, “You know, I didn’t know Janis” or “I didn’t get to see Janis” or something, then they say, “But she knew me” and that’s what she had. It’s the ability to express how other people are feeling. She was really emphatic that music was about honest emotion, and I think that she continues to be able to express the depth and honesty that people feel and maybe don’t know how to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What would be the ripple effects, 50 years from now, of Janis being put here? What’s her legacy?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When she was alive, Janis was asked the question about how she wanted to be remembered, and her comment was that she wanted to be remembered by the music. And that the music wasn’t about black music or white music, it was about just good music; that she wanted to be all good things of all cultures. I think that the fact that her music communicates is testament to what she was saying. I think Janis is also remembered for her lifestyle and the way she brazenly stepped out on stage and broke rules. In that regard, I think she is someone who says, “Don’t accept the limits other people try to be put on you. Go for it. But,” and this is the favorite quote, “be true to yourself because yourself is all you got.”\u003c/p>\n\n","blocks":[],"excerpt":"While Janis was in California, becoming a star, she was constantly writing letters to her family, which her sister Laura kept.","status":"publish","parent":0,"modified":1705044433,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":44,"wordCount":3271},"headData":{"title":"Growing Up with Sister Janis: 1998 Q&A with Laura Joplin | KQED","description":"While Janis was in California, becoming a star, she was constantly writing letters to her family, which her sister Laura kept.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11528235/growing-up-with-sister-janis-1998-qa-with-laura-joplin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Janis Joplin was in San Francisco becoming one of the greatest singers of the ’60s, she was always writing to her family — especially her sister Laura, who was six years younger and completely idolized Janis.\u003c/p>\n\u003cp>Laura kept all those letters, which became not only the basis of her 2005 book \u003ci>\u003ca href=\"http://www.pbs.org/wnet/americanmasters/love-janis-read-excerpts-janis-joplins-biography-written-younger-sister/7172/\" target=\"_blank\" rel=\"noopener\">Dear Janis\u003c/a>\u003c/i>, but the backbone of the documentary \u003ci>Janis: Little Girl Blue\u003c/i>, as voiced onscreen by indie rock maven \u003ca href=\"http://www.pbs.org/wnet/americanmasters/janis-joplin-chan-marshall-talks-voicing-janis-joplins-letters/7216/\" target=\"_blank\" rel=\"noopener\">Chan Marshall\u003c/a>, a.k.a. Cat Power. \u003c/p>\n\u003cp>This interview with Laura Joplin, from 1998, was conducted by Ben Manilla Productions.\u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Growing up with Janis, were you two close from an early age?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Janis was six years older than I was, and she was really into having a younger sister — and later, when Micheal was born, having a younger brother. Our neighborhood was full of kids running around, playing chase and hide-and-seek and stuff. Janis was a wonderful big sister; she brought us in, made us feel included even when we were really young, showed us how to participate and took care of us. She was a very nurturing, caring, fun older sister, really involved with us.\u003c/p>\n\u003cp>\u003cstrong>The three of you — you, Micheal, and Janis — were palling around pretty much around town?\u003c/strong>\u003c/p>\n\u003cp>Well, you have to understand that Janis was 10 years older than Micheal. That’s a huge age difference when you’re young. She was six years older than I, so when I was entering junior high school she was entering college. There’s only a certain amount of palling around you can do with that kind of an age difference but we certainly played around in the neighborhood when it comes to playing ball or things like that when we were kids and before she got too sophisticated as a teenager to play those kinds of things.\u003c/p>\n\u003cp>\u003cstrong>With you being six years younger than her, was she someone you looked up to?\u003c/strong>\u003c/p>\n\u003cp>Oh, I idolized Janis when I was young. I thought that she was perfect. I copied her in everything. She taught me how to draw, she taught me how to play guitar, she chose books. In that sense she really brought me up in a certain part of life, you know, how to be a kid and groovy and into things. She was always there until she left home after high school when she was going to college.\u003c/p>\n\u003cp>\u003cstrong>When Janis moved away, what did that do to you?\u003c/strong> \u003c/p>\n\u003cp>I think Janis’ leaving home and going off to college was something that really was both devastating and infuriating. I mean, who was she to think she could go off to college and check the world out while I was still stuck at home? But, you know, we grew and did different things. Here I was getting into the marching band and here she was going off to play blues music in Los Angeles, so there was a significant difference of life experience at that point in time. It’s just about the changes of life.\u003c/p>\n\u003cp>It was really nice when Janis came home in 1965 and was much more settled. She was much less the adolescent rebel that she had been, and was into studying and attending college and majoring in social work and living in the “middle road,” as she called it, because she had been strung out, had problems with speed and was coming home to kind of get her life together. She knew that she’d pushed it too far and wanted to see if she could find satisfaction in the kinds of activities that she saw most people living. Music at that point was something that she kind of played quietly here and there — sang a little bit, not much. It was something that she equated with drugs and that scared her.\u003c/p>\n\u003cp>\u003cstrong>Before she left for California she was singing a bit in Texas, right?\u003c/strong>\u003c/p>\n\u003cp>When Janis was in high school she ran around with a bunch of people who listened to anything and everything. One of the guys played jazz trombone so they’d go to his gigs and hang out. They listened to folk music, everything, a lot of the black music. We lived in a very segregated, racially segregated town, and the whole world of African Americans was a question. What is it? Was it different? All those kinds of things. Yet integration was being hotly debated, it was the era of Brown vs. the Board of Education, the 1954 school segregation case. [Janis and her friends] were clearly the intellectual liberals of the town and were interested in everything, trying to understand the African-American experience, so they would read beatnik literature and they’d listen to jazz music and they’d listen to folk blues. Janis really got interested in Leadbelly, she loved Billie Holiday, she loved Bessie Smith, Odetta was someone that she really adored. She was a painter at the time, and she was into Modigliani, which has wonderful African-inspired figures.\u003c/p>\n\u003cp>There was clearly a great deal of interest in trying to do integration internally, socially, emotionally — what is life about? In her own music she began singing blues music, partly out of chance. She discovered one night with some friends that she had the ability to sing Odetta and sound like Odetta. Finding that power within her was just a tremendous excitement. It’s awesome. You have to also remember that when someone plays a piano the music is created in the instrument, but as a singer the instrument is your body and so the vibration that a singer gets when they’re using that kind of power and the depth of tones, is just such an awesome personal experience. She was overwhelmed and taken with it. She sang locally, frittered around doing stuff, not really sure what she was doing. She accompanied herself on autoharp, sometimes on guitar, sometimes with other people here and there. Sang at a few clubs, and then when she went out to LA right after her first year of college, she sang some in coffeehouses. That was the ear of the hootenanny in the coffeehouse.\u003c/p>\n\u003cp>She ended up going to Austin, Texas where she sang at the hootenannies at the University of Texas student union. Kenneth Threadgill had a bar where there were a lot of local people that came out and sang, and she sang there. When she was back at home in ’65, again, she sang some. A good friend of hers, Jim Langdon, who actually had been the trombone player of her high school group, was at that time a music critic for the \u003cem>Austin Statesman\u003c/em>. He was well connected in the Texas music scene and got her a couple of gigs up in Austin and some in Beaumont. She played here and there but it wasn’t her primary focus, it was something that satisfied an inner yearning of hers but she hadn’t quite figured out how to put it into her life. She was figuring that perhaps it was a little dangerous.\u003c/p>\n\u003cp>She talked with Jim about the fact that drugs were a problem, in music and the lifestyle and stuff, and his comment was, “Well you know the two aren’t wedded, you don’t have to do drugs and do music.” I think that when she finally decided to go back to San Francisco in ’66 and check out the music scene and meet this new group she’d heard about and wanted a singer, Big Brother & the Holding Company, I think that was her decision. She had been free from drug use for a year, she felt really stable, her life was centered, and she felt she could handle the music world. So she headed out to California.\u003c/p>\n\u003cp>\u003cstrong>What were the feelings in the house about her leaving to become a musician?\u003c/strong>\u003c/p>\n\u003cp>Well, when Janis went out in 1966 to see if she wanted to stay, see if she wanted to be a singer, she was still thinking about coming back to college. This was just summer break, you know? She cleverly left from Austin while she was up there visiting and didn’t tell our parents until she wrote them a letter. I’m sure that was because they had a lot of discussions about the difficulties that she had had in California before. She was worried about it, they were worried about it. It’s hard to explain their feelings. They didn’t agree with Janis’ lifestyle, but that didn’t mean that they didn’t approve of their daughter. They essentially agreed to disagree. They worried for her safety, which, in hindsight, was accurate.\u003c/p>\n\u003cp>\u003cstrong>Sure. Well hindsight’s always 20/20. So, she’s off in San Francisco and you’re receiving letters home. How are you feeling when those letters are arriving at the house?\u003c/strong>\u003c/p>\n\u003cp>Janis was such a wonderful writer of letters. She was really gifted at presenting things with humor and intellect and great descriptions so it made you curious, you want to see stuff. She did invite us out, so as a family we went out the following summer, the “Summer of Love,” and checked it out. Toured Golden Gate Park and went to the Avalon and heard the band and walked around Haight Street with all kinds of people running up and saying, “Give me your autograph Janis.” It was real thrilling for her and it was real exciting for us. My brother and I liked to joke that we were part of the Summer of Love, but we’re probably the only two people who came out here with our parents. Everyone else left, so it was a little different.\u003c/p>\n\u003cp>\u003cstrong>You did get to see the band?\u003c/strong>\u003c/p>\n\u003cp>Yeah, we saw them perform. They did a guest set so that we could hear them play and it was pretty awesome. It certainly wasn’t like anything that was part of my experience in the university parties that I went to, just not yet.\u003c/p>\n\u003cp>\u003cstrong>Can you describe the show and the feeling you got from seeing your sister up there?\u003c/strong> \u003c/p>\n\u003cp>What I remember about the show is a dark room with a bunch of people that, rather than dancing, were just kind of standing and swaying, sitting and listening, to this overwhelmingly loud, tremendously powerful music that was shaking the building. But the people were more in a trance than they were, say, jumping up and down and doing the jitterbug.\u003c/p>\n\u003cp>\u003cstrong>So much has been said about what she did for women, then and now. What did she stand for, for women back then? What did she enable ladies to do back then?\u003c/strong>\u003c/p>\n\u003cp>I think that Janis in the 1960s was more a challenge to females, the female identity, the roles that were held up to women that you’re supposed to aspire to, and for her it was defiant. It was a sense of obligation to be true to yourself. She said that a lot, that it’s important to be true to yourself because yourself is all you’ve got. But I think that what Janis has become, because she was prior to the feminist movement, is a symbol of someone breaking down doors. She said, “Look, you can do what you want to do, you don’t have to do what people expect or think you should do.” People see her as giving them opportunities to find their own place.\u003c/p>\n\u003cp>\u003cstrong>A lot of people were for it, but there must have been some people that weren’t all that happy with the way she was.\u003c/strong>\u003c/p>\n\u003cp>You have to remember that the 1960s was considered a social revolution, and Janis was a member of that, a leading exponent of it, someone who represented the challenge to traditional society. She did that by flaunting the way she lived, being outspoken about her sexual activity, her drug use. Even though she challenged people’s sense of morals at the time, she was exceedingly ethical in terms of her business relationships and how she dealt with people. It wasn’t a time of doing what you want selfishly against other people — it was the definition of a new ethic, a new way of living.\u003c/p>\n\u003cp>\u003cstrong>Okay, she’s away in San Francisco, you’re there in Texas. Did you lose any closeness with her? Did you guys still remain… Was she still Janis to you? You know, your big sister, still idolizing her a bit?\u003c/strong>\u003c/p>\n\u003cp>Some of that’s funny, in that here’s Janis on the cover of magazines, on the Ed Sullivan Show. We’re watching her on TV running around doing these incredible things and she’s still our sister, we talk to her on the telephone, get letters, Christmas presents, all that kind of stuff, she comes through town. What’s funny, I remember the last time she came in, walking up to the airplane and giving her a hug, you don’t realize it but you somehow think that, you know, she’s my older sister, she’s this famous person, she must be taller and bigger than me, you know? She wasn’t. She’s just an average person so there is some of that adjustment, you know, who is she? But anytime we were together it was just straight back into being able to talk about anything and everything and just really relive and know the closeness that was part of the family.\u003c/p>\n\u003cp>\u003cstrong>You’re in Texas while she’s here, what happened to you personally? Were friends showing up everywhere?\u003c/strong>\u003c/p>\n\u003cp>You know, Janis died when I was 21, and it was just the beginning of the ’60s in terms of its effect on Texas. Even though I was in college and we played \u003cem>Cheap Thrills\u003c/em> on the turntable in my dorm room and that kind of stuff, we were just beginning to wear blue jeans and take our bras off and stuff like that. It wasn’t as big an effect as you might have. I know that Janis did come with me once, I was going from the house to the dorm and when she walked in the dorm all the girls in the dorm were going, “Janis Joplin’s here! Ah!” Running down the hall and she’s going, “Uh, I think I’ll wait for you in the car.” \u003c/p>\n\u003cp>\u003cstrong>What did it mean to you when you found out that she died?\u003c/strong>\u003c/p>\n\u003cp>I was in graduate school in Dallas at the time, and my initial reaction was the sense of this incredible, personal experience of grief and having it be so public. It was very bizarre to walk around the campus and hear people talking about it, you know, something that for them was a tidbit. It was really awkward. On a bigger level, I think it was just overwhelming. There was no way to put it in perspective. I had no experience of it. Our parents went out to take care of the details around Janis’ death. My brother was at home in Port Arthur, I was up in Dallas and as a family I think it probably pointed out the weaknesses in our family’s structure. We just didn’t process it. We didn’t go through it together, we didn’t have a burial or a wake or a large get-together and discuss it. I think for each of us it was really stuffed in a closet, locked away in our hearts, in the recesses because we didn’t know how to deal with it and it took me years and years to open the door and let the grief out. When I did, it was a real liberation, and enabled me to appreciate Janis’ music and love her as she was — whereas before, whenever I thought about her, it was just grief and discomfort.\u003c/p>\n\u003cp>\u003cstrong>You talk about appreciating her music — is there anything that she recorded that’s a favorite?\u003c/strong>\u003c/p>\n\u003cp>I like a lot of Janis’ music. I think that the song “Mercedes Benz” is probably my favorite, because it shows her sense of humor and to be around Janis was really to be having fun. She was an upbeat person with an incredible sense of humor, so even though there were moments of despair and depression and she did sing the blues, actually being around her was a lot of fun. She was a funny person. I listen to a lot of her tapes and I find it kind of funny that I’ll be sitting down to listen as, “Is this a good thing to release?” Or “How’s the background?” Or “How’s her voice?” I start out that way, and after a couple of songs I totally forget I’m supposed to be analyzing it. Her music still really speaks to me, and it’s fun to just kick up your heels and jump in and belt out with your best voice whatever the lyrics are.\u003c/p>\n\u003cp>\u003cstrong>What is it about her music that speaks to you? What is it about just her that spoke to everybody and will continue to speak for generations to come?\u003c/strong>\u003c/p>\n\u003cp>You know, I’ve wondered what it is about Janis that still communicates to people. What is it they’re fascinated with about her? I read the fan letters, and I talk to people, and there’s one thing that keeps coming up. People say, “You know, I didn’t know Janis” or “I didn’t get to see Janis” or something, then they say, “But she knew me” and that’s what she had. It’s the ability to express how other people are feeling. She was really emphatic that music was about honest emotion, and I think that she continues to be able to express the depth and honesty that people feel and maybe don’t know how to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What would be the ripple effects, 50 years from now, of Janis being put here? What’s her legacy?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she was alive, Janis was asked the question about how she wanted to be remembered, and her comment was that she wanted to be remembered by the music. And that the music wasn’t about black music or white music, it was about just good music; that she wanted to be all good things of all cultures. I think that the fact that her music communicates is testament to what she was saying. I think Janis is also remembered for her lifestyle and the way she brazenly stepped out on stage and broke rules. In that regard, I think she is someone who says, “Don’t accept the limits other people try to be put on you. Go for it. But,” and this is the favorite quote, “be true to yourself because yourself is all you got.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11528235/growing-up-with-sister-janis-1998-qa-with-laura-joplin","authors":["93"],"categories":["arts_74","arts_69"],"tags":["arts_1254","arts_1425","arts_989"],"featImg":"arts_11528328","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/mindshift2021-tile-3000x3000-1-scaled-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/ME_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/01/OOW_Tile_Final.png","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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