All language subtitles for Her.Aim.Is.True.2013 (Jini Dellaccio)2

( guitar strings )

- WHEN YOU WERE
PUTTING THE HAT ON

AND YOU TURNED
AND LOOKED AT HIM,

IT WAS
A WONDERFUL POSITION.

THAT'S WHAT I'D LIKE TO SEE,
IF YOU CAN DO IT AGAIN.

- WITH MY HAND ON THE HAT
OR JUST THERE?

- WELL, I DON'T KNOW.

IF SOMEONE
COULD SIT ON THAT.

- YEAH, I JUST,
RIGHT OVER THERE KIND OF.

NOW, DO YOU WANT ME
LAYING DOWN OR KIND OF LYING...

- HOLD THAT, BEAUTIFUL.

- PERFECT, THERE YOU GO.

( guitar playing )

( singing )
* SOME FOLKS LIKE WATER

* SOME FOLKS LIKE WINE

* BUT I LIKE THE TASTE
OF STRAIGHT STRYCHNINE *

* YOU MAY THINK IT'S FUNNY

* THAT I LIKE THIS STUFF

* BUT ONCE YOU'VE TRIED IT

* YOU CAN'T GET ENOUGH

* WHAAAA

* WINE IS RED

* POISON IS BLUE

* STRYCHNINE IS GOOD

* FOR WHAT'S AILIN' YOU

* WHAAAA

( music playing )

* WHAAAA

* WINE IS RED

- SHE'S THE FIRST ARTIST
THAT I WAS AWARE OF

THAT WAS DOCUMENTING
EARLY ROCK AND ROLL.

* FOR WHAT'S AILIN' YOU

- SHE WAS ONE OF THE PIONEERS
OF ROCK AND ROLL PHOTOGRAPHY.

IT'S ALSO SAFE TO SAY
THAT SHE ADDRESSED IT

IN A BRAND NEW WAY,

DIFFERENT THAN LIEBOWITZ,
DIFFERENT THAN ANYONE ELSE.

- TURNED OUT, SHE WAS THIS VERY
KATHARINE HEPBURN-ISH TYPE GAL,

WAY AHEAD OF HER TIME.

* MAKE YOU SHOUT

* IT'LL EVEN KNOCK YOU OUT

- FROM AN AUDIENCE PERSPECTIVE,

YOU GET TO SEE THE BAND
AS THEY'RE MEANT TO BE SEEN.

- THE TWO NAMES
THAT KEPT COMING UP

ON NORTHWEST 45'S,
NORTHWEST ALBUMS WERE

JINI DELLACCIO
AND THEN KEARNEY BARTON.

AND I REMEMBER AS A KID
THINKING,

"WHY IS IT THAT COOL MUSIC

IS ASSOCIATED WITH
THESE TWO NAMES?"

* WOW STRYCHNINE HEY HEY

* STRYCHNINE

- I BOUGHT THIS RECORD,
"HERE ARE THE SONICS," IN 1965.

IT WAS THE FIRST ALBUM
THAT I'D EVER BOUGHT.

THIS WAS ALL HITS, AND IT WAS
TWO DOLLARS AT THE TIME.

THERE WAS SOMETHING REALLY DARK
AND SORT OF FRIGHTENING

ABOUT THE MUSIC
OF THE GARAGE ROCK

IN THE PACIFIC NORTHWEST
IN THE 60S.

I MEAN, IT'S ALMOST LIKE
"THE WITCH," AND "PSYCHO,"

AND "OUT OF OUR TREES,"
AND "SMOKESTACK LIGHTNING"

SORT OF INVOKE THIS SORT OF
HORRIFIC SENSIBILITY.

I JUST FIND IT EXTRAORDINARY
THAT A SOPHISTICATED,

WHAT WAS THEN CONSIDERED
A MIDDLE-AGED WOMAN,

WAS AN INTEGRAL PART
OF THIS SOCIAL MILIEU

THAT WAS FAR FROM
SOPHISTICATED.

THIS MUSIC EMANATED
FROM INDUSTRIAL NEIGHBORHOODS

LIKE BREMERTON AND TACOMA.

( music playing )

- IT WAS A BLUE COLLAR,
HARD-WORKING,

OCCASIONALLY BRAWLING
COMMUNITY...

AND THIS ELEGANT,
GRACIOUS WOMAN

SHOOTING THESE RAUCOUS,
HARD-EDGED ROCK AND ROLLERS.

Larry: SHE MUST'VE BEEN
COMPLETELY OUT OF PLACE,

BUT YOU CERTAINLY CAN'T TELL
FROM THE PICTURES.

( loud rock music )

* WOW *

* HEY BABY

( music playing )

* AND YOU KNOW

- I FORGOT THAT IT WAS
THIS SIZE,

AND THIS IS WHERE
THE BEGINNING OF TEENAGE DANCES

STARTED HERE IN TACOMA
ON THIS SCALE.

- ( male voice on microphone)
TOMORROW NIGHT AT THE CRESCENT

IN DOWNTOWN TACOMA,

THE WILD SUMMER SOUND OF
THE WAILERS AND GAIL HARRIS.

- DANCING WAS THE THING TO DO,

AND THERE WERE THESE BANDS
CALLED GARAGE BANDS

OR SMALL ROCK AND ROLL BANDS
THAT DESPERATELY WANTED WORK:

THE WAILERS,
LITTLE BILL AND THE BLUE NOTES,

THE SONICS,
TINY TONY AND THE STATICS,

MERRILEE RUSH
AND THE TURNABOUTS.

OF CREATIVE NORTHWEST ENERGY.

( singing )

THE WAILERS SET THE PACE.

THEY WERE
THE STANDARD BEARERS.

Buck: THE FIRST TIME
THAT JINI CAME TO SEE US

WAS THE END OF '63,
BEGINNING OF '64,

AND IT WAS THE FIRST TIME,
I THINK,

SHE HEARD THE BAND.

IT WAS KIND OF
AN EXCITING THING FOR HER.

- AND I WALKED IN,
AND THEY HIT THAT FIRST NOTE.

THAT JUST,
IT WAS LIKE AN EXPLOSION.

I'D NEVER HEARD MUSIC BEFORE
THAT I FELT IN MY CHEST.

YOU COULD FEEL IT.
IT WAS SO LOUD.

Buck: BEFORE THAT, WE HAD TO
PLAY OUTSIDE THE CITY LIMITS,

BECAUSE THEY THOUGHT
OUR MUSIC WAS DEVIL MUSIC.

Steve: ROCK IS IN PHASES,

THE FIRST WAVE
OF THIS BLACK MUSIC

WIELDING ITS WAY
INTO THE WHITE CULTURE.

- IN THE EARLY 60S
IT WAS, YOU KNOW,

I MEAN, THERE WASN'T ANY REAL
HARD CORE ROCK AND ROLL BANDS,

AND ESPECIALLY FROM HERE,

AND WE WERE THE FIRST BAND
THAT SHE MET.

SHE ASKED FOR OUR MUSIC,

BECAUSE SHE DIDN'T KNOW
WHAT IT WAS,

AND SHE WANTED TO KNOW
WHAT WE DID, EACH OF US,

WHAT WE PLAYED.

THEY WOULD SIT HERE
AND PLAY GUITARS AND SING,

AND JINI WOULD CAPTURE
THAT ON, YOU KNOW, ON FILM.

( music playing )

WE HAD COVER SONGS THAT WE DID,
THAT WE DID OUR OWN STYLE,

LIKE THE "LOUIE, LOUIE" SONG
OR LITTLE RICHARD SONGS.

"LOUIE, LOUIE,"
WHEN I FIRST HEARD IT,

IT WAS THE ORIGINAL RECORDING
BY RICHARD BERRY.

WE HAD A SINGER NAMED
ROCKIN' ROBIN ROBERTS,

AND I THINK ROBIN, AT THE TIME,
FOUND THE ORIGINAL VERSION

IN A TEN-CENT BIN
IN THE RECORD STORE,

AND ROBIN HEARD IT,

AND SO DID OUR GUITAR PLAYER,
RICHARD DANGEL,

AND RICHARD AND ROBIN
GOT TOGETHER

AND CREATED THE THREE-CHORD
RIFF FOR IT...

THE THREE NOTES, YOU KNOW.

* OH NO SAID WE GOTTA GO

THAT'S HOW WE STARTED
OUR FIRST LABEL,

ETIQUETTE RECORDS,
WITH THAT SONG,

AND NO YOUNG BAND'S
EVER DID THAT BEFORE.

* I SAID WE GOTTA GO NOW

* LET'S GIVE IT TO 'EM
RIGHT NOW *

WE WEREN'T ON A STAGE.
WE WERE IN A BACK ROOM.

WE STARTED PLAYING,

AND PEOPLE WERE WONDERING
WHERE THE MUSIC WAS COMING FROM,

AND JINI SHOT US, YOU KNOW,

PHOTOS OF US WALKING
ACROSS THE HALLWAY HERE;

AND IT WAS LIKE A NEW DEAL,
YOU KNOW,

BECAUSE MOST ABOUT
EVERY BAND'S PHOTOGRAPHS

WERE TAKEN
IN A STUDIO POSED.

SHE LIKED THE UNPOSED.

I LIKE THAT.

* I SAID LOUIE LOUIE OH WELL
I SAID WE GOTTA GO *

- PEOPLE THAT WOULD
TALK TO ME ABOUT IT,

EVERYONE THOUGHT,
THEY THOUGHT IT WAS STRANGE

THAT I WAS PHOTOGRAPHING
ROCK AND ROLL,

BECAUSE THEY SAID THEY'RE ALL
DRUGGIES AND VIOLENT PEOPLE,

AND THEY'RE AWFUL,

AND THEY WOULD TELL ME
ALL KINDS OF THINGS.

NO, THAT'S NOT TRUE.

THIS ONE OF THE SONICS
IS ONE THAT HAS BEEN USED A LOT.

- FOR SO MANY PEOPLE,
THERE'S A SINGULAR ICONIC IMAGE,

AND THAT'S THE ALBUM COVER,
THE SONICS BOOM.

- THOUGH THEY ALL LOOK
VERY SERIOUS IN THIS PICTURE,

I LIKED TO HAVE THAT KIND OF
AN EXPRESSION FROM THEM.

IT SEEMED TO BE RIGHT
FOR THEIR MUSIC.

* AND NOW I WISH I WAS DEAD

* PSYCHO

- I REMEMBER THE IMAGERY ON IT
WAS DARK, AND MOODY,

AND INTENSE, AND DIFFERENT
THAN THE BRITISH INVASION STUFF

AND THE OTHER,
JAY AND THE AMERICANS,

AND BEACH BOYS,
AND ALL THAT.

* NOW I WISH I WAS DEAD

Lance:
THE SONICS' RECORD COVER

WAS SOMETHING THAT MY DAD HAD;
AND WHEN I WAS A KID,

I REMEMBER FLIPPING
THROUGH ALL HIS RECORDS.

AND AS TIME WENT ON,
I STARTED KIND OF STUDYING

A LOT OF PHOTOGRAPHS
OF THE MUSIC I WAS LISTENING TO.

THE PHOTOS
FROM THAT TIME PERIOD

WERE NOT NECESSARILY PHOTOS

THAT REPRESENTED
THE MUSIC VERY WELL;

SO, FOR ME, THAT PHOTO,
LISTENING TO THAT RECORD,

IT WAS ON THE SAME LINES

AS LIKE THE CLASH
OR THE SEX PISTOLS.

THE PHOTOS DEFINITELY
FIT WITH THE MUSIC.

THERE'S A LOT OF CANDIDNESS
THAT'S GOING ON;

SO, FOR ME, THAT'S THE TYPE OF
WORK THAT I TRY AND DO.

IT'S NOT NECESSARILY
ABOUT MY EGO

AND TRYING TO GET
WHAT I WANT OUT OF IT.

IT'S MORE ABOUT
THE COLLABORATION

AND THE CONNECTION THAT I GET
TO HAVE WITH THE BANDS,

AND I SEE THAT THROUGHOUT
ALL HER WORK.

THERE WASN'T A LOT OF PEOPLE

DOING THAT STYLE OF WORK
BACK THEN.

Chuck: THERE'S A PHOTOGRAPH
TAKEN OF RON GARDNER,

WHO WAS THE LEAD SINGER
OF THE WAILERS,

AND THEY WERE BACKSTAGE;

BUT THIS PHOTOGRAPH
THAT SHE TOOK

IS CLEARLY A PHOTOGRAPH
OF A FRIEND.

IT'S A REAL MOMENT,
AND SHE GOT IT.

on tape: WE'D LIKE TO HAVE
ALL YOU GUYS AND GALS

DRIVING IN CARS AROUND
TO COME ON,

DROP IN FOR A REAL LIVE
RECORDING INSIDE,

FEATURING THE MUSIC
OF THE SONICS.

YEAH.

- THE CONCERT BUSINESS
WAS IN ITS INFANCY.

WE NEEDED SOMEBODY TAKING
PICTURES OF OUR SHOWS

BECAUSE, YOU KNOW,
WE'RE DOING SOME THINGS

THAT ARE JUST EXTRAORDINARY.

THE NEWSPAPERS
HAVE A FEW PICTURES,

BUT WERE NOT APPROPRIATELY
RECORDING THOSE MOMENTS.

( applause )

- AND PAT O'DAY CALLED ME
ONE DAY AND SAID,

"WOULD YOU LIKE TO COME
AND DO THE CONCERTS?"

I SAID, "OH, I WOULD
LOVE TO DO THAT!"

- JINI DELLACCIO
WAS THE LAST PERSON

YOU WOULD THINK
THAT WAS GOING TO BECOME

OUR FAVORITE
ROCK AND ROLL PHOTOGRAPHER:

A SMALL STATURE,
MIDDLE-AGE,

VERY MUCH APPEARED TO BE
A HOUSEWIFE.

- I WOULD HAVE
A FRONT ROW SEAT

AND ACCESS
TO THE DRESSING ROOMS.

( upbeat rock music )

* NOW YOU'VE GOT ME

* WHERE YOU WANT ME

* I AIN'T GOIN' WITH THIS

* I'M JUST THE BIGGEST BASS

* RIDING AROUND
PLAYING THE ROAD *

* WATCHING ALL THE GUYS

Jini:
THAT WAS SO INTERESTING TO ME

TO BE ABLE TO TAKE PICTURES
OF THE BANDS

WHILE THEY'RE PERFORMING,
AND HAVING THE FEELING OF

WHEN IT WAS GOING TO BE
THE TIME TO TAKE THE PICTURE.

THIS IS THE PICTURE
OF MITCH RYDER.

AND LET ME TELL YOU,

THOSE LITTLE GIRLS WERE
ALL IN BIG TROUBLE THAT DAY.

THEY WERE SO ENTRANCED
BY HIS SONGS

THAT HE WAS SINGING
RIGHT TO THEM.

IT WAS BEAUTIFUL.

NOT JUST THE IMAGE,

BUT WHEN IT WAS TAKEN.

I MUST'VE BEEN
FEET AWAY FROM HER.

OF COURSE, AT THAT TIME,

JINI WOULD'VE BEEN
30 YEARS OLDER THAN I WAS,

AND I'M SURE I JUST DIDN'T
PAY ANY ATTENTION

TO THIS OLD LADY
TAKING THESE PICTURES.

( music playing )

Jini:
THIS PICTURE OF MICK JAGGER,

THIS WAS THE END
OF HIS SONG,

AND HE WAS WALKING TOWARD ME.

I WAS IN THE FRONT,
IN FRONT OF THE STAGE,

AND HIS EYES MET MINE.

HE LOOKED SIMPLY WORN OUT,
NO SMILE, NO REAL EXPRESSION,

AND I SMILED AT HIM
AND TOOK HIS PICTURE.

I LOOK BACK ON NOW,

AND I KNOW HOW LUCKY I WAS
TO HAVE HAD THAT JOB,

BECAUSE NOW I DON'T KNOW
HOW PEOPLE GET THE OPPORTUNITY

TO GO IN AND DO THEM,

BECAUSE SO MANY OF THE GROUPS
YOU CAN'T PHOTOGRAPH AT ALL.

Larry:
I THINK YOU DO GET A SENSE

THAT SHE WAS ABLE TO BRING OUT

A MATURE PERSPECTIVE
TO THE WORK.

AT THE TIME,
I DON'T THINK

THERE WAS A GENRE
OF ROCK PHOTOGRAPHY.

- ALTHOUGH 'THE WHO' HAD BEEN
DOING THEIR ACT IN ENGLAND,

SHE SHOT THE FIRST
NORTH AMERICAN TOUR

OF THE WHO IN 1966, '67.

SHE WAS RIGHT THERE AT THE EDGE
OF THE STAGE, YOU KNOW,

SHOOTING THEM AS THEY WERE
DESTROYING THEIR INSTRUMENTS,

AS TOWNSEND WAS HURLING
HIS GUITAR INTO SPACE.

SHE WAS RIGHT THERE WITH THEM
AND DIDN'T BACK DOWN AT ALL.

( music playing )

- SHE WAS A MUSICIAN,
AND SHE KNEW

THAT THE CHORUS
WAS GOING TO COME AROUND;

AND WHEN THE CHORUS CAME AROUND,
THIS GUY WAS GOING TO DO THIS,

BECAUSE HE DID IT
THE LAST CHORUS;

SO, SHE WAS READY
THE NEXT TIME.

- THE PICTURES JUST HAPPENED,

AND I TRIED TO ALWAYS
BE THERE AND GRAB IT.

* I SAID I'M LOSING MY MIND

- WHEN I STARTED TO REALIZE
THAT SHE WAS IN HER 40S,

AND SHE HAD HER HOUSE ABROAD,

AND SHE WAS
AT THESE LOUD ROCK CONCERTS,

IT TAKES A LOT OF WORK,
YOU KNOW;

BUT BEING A WOMAN IN THIS
MAINLY MALE-DOMINATED WORLD

AND GETTING THE WORK
THAT SHE DID

IS PHENOMENAL IN ITSELF.

- WELL, I THINK
JINI WAS PROBABLY

THE FIRST WOMAN
TO EVER PHOTOGRAPH

LIVE ROCK AND ROLL CONCERTS,
JUST BASED ON THE DATES.

- LIKE EVERYONE AT THAT TIME,

I THOUGHT MEN DID EVERYTHING
BETTER THAN WOMEN, TOO.

IT ISN'T TRUE.

- I MEAN, THAT'S WHAT WAS
SO GREAT ABOUT THOSE PICTURES,

BESIDES THEY'RE JUST
GREAT PICTURES,

THE FACT THAT SHE JUST
HELD UP WITH EVERYBODY.

I MEAN, YOU DIDN'T SAY,
OH, HERE'S A WOMAN PHOTOGRAPHER.

IT WAS JUST
HERE'S A GREAT PHOTOGRAPHER.

- YOU KNOW, IT'S SOMETHING
YOU KNEW KIND OF IN YOUR HEART

THAT THAT'S WHAT
YOU WANT TO DO.

YOU DON'T THINK ABOUT
OH, WOMEN DON'T DO THAT.

IT WAS WHAT I WANTED TO DO.

- EVERY GIRL
THAT DOES THIS KIND OF STUFF,

WE TAKE A PAGE
FROM PEOPLE LIKE JINI,

YOU KNOW, WHO--
IT WAS A MAN'S GAME.

( band warming up )

( music playing )

Bon Von: EVEN WHEN
I STARTED OUT IN THE 80S,

THE GIRLS WEREN'T DOING THIS.

THEY WEREN'T DRUMMERS ANYWAY.

YOU KNOW, A SOUND PERSON
WOULD COME UP TO ME,

AND I'D BE SETTING UP DRUMS,
AND THEY'D SAY,

"WHEN'S THE DRUMMER
GETTING HERE?"

( music playing )

Jini: WHEN I STARTED
PHOTOGRAPHING

THE ROCK AND ROLL PEOPLE,

IT WAS LIKE I WAS BACK
IN THE MUSIC BUSINESS;

AND WHEN I WOULD
SHARE THE PLAY END,

IT WAS VERY EMOTIONAL
FOR ME.

( jazz music playing )

WHEN I WAS LISTENING
TO A BAND,

WHEN I WAS PHOTOGRAPHING THEM,

MY PICTURES WOULD FLOW
LIKE THIS,

LIKE THE MUSIC.

Anat:
OH, MY GOD!

- OH, I HEARD THE MOST BEAUTIFUL
SOUND COMING FROM THIS ROOM.

- OH, IT'S SO NICE TO MEET YOU.

- IT'S SO GOOD.

BLESS YOUR HEART, HONEY.

IT'S BRINGING IT BACK TO ME,
AND I'M FEELING VERY EMOTIONAL.

- HOW LONG WERE YOU
ON THE ROAD FOR?

- WELL, ABOUT 12 YEARS.

( music playing )

MY DREAM WAS TO GET
A JOB IN A BAND,

AND IT CAME TRUE.

MY MOTHER HAD A FEELING
ABOUT MUSIC AND ART,

AND I THINK SHE DEFINITELY
WANTED ALL OF US CHILDREN

TO BE EDUCATED IN THOSE AREAS.

MY MOTHER GOT A TICKET
TO A CONCERT BY FRITZ KREISLER,

AND I CAN REMEMBER SO WELL
HER TELLING ME,

"HE IS THE GREATEST VIOLINIST
IN THE WORLD."

I COULD HEAR EVERY TONE
OF THAT VIOLIN.

IT WAS BEAUTIFUL,

AND THAT HAD A BIG IMPRESSION
ON ME FOR MY CAREER.

( film projector running )

I WAS BORN IN INDIANA IN 1917,

AND THIS WAS DURING
THE BIG DEPRESSION.

SOME DAYS, THERE WASN'T
REALLY ENOUGH FOOD.

WE WOULD HAVE TO GO
TO THE PLACE

THEY WERE GIVING OUT
LITTLE SAMPLES OF FOOD.

IT FELT EMBARRASSING.

I WAS PROBABLY
12, 13 YEARS OLD

WHEN I STARTED
WITH THE SAXOPHONE.

( music playing )

LATER,
THE LITTLE FAMILY GROUP

PLAYED IN THE THEATER
IN OUR TOWN,

AND WE WOULD GO UP
ON THE STAGE,

AND IT WAS LIKE
IF THEY HAD VAUDEVILLE,

WE WERE THE LITTLE
VAUDEVILLE PEOPLE.

I GOT FIVE DOLLARS
FOR PLAYING IT.

I'M TELLING YOU,
I FELT LIKE BIG TIME,

AND THAT WAS THE BEGINNING.

THIS WAS AFTER HIGH SCHOOL,
AND I JOINED A FAMILY BAND.

IT WAS A MAN AND HIS WIFE,

AND THEY HAD THREE DAUGHTERS
IN THE BAND,

AND I STAYED WITH THEM
FOR TWO OR THREE YEARS,

AND WE TRAVELED ALL OVER.

AND THEN I WORKED
WITH BETTY BEGORRAH.

THERE WERE ABOUT
10 OR 12 GIRLS IN THAT ONE.

THAT WAS THE LARGEST GROUP
THAT I PLAYED WITH.

EVERYONE FELT ONLY MEN
WERE GOOD MUSICIANS.

WHEN PEOPLE WOULD COME
AND LISTEN TO US PLAY,

THEY SEEMED QUITE AMAZED

AND IT FELT REALLY GREAT
WHEN WE'D GET A BETTER JOB

THAN SOME MALE BANDS GOT.

WE ALL TALKED ABOUT IT
AND LAUGHED ABOUT IT.

THEY PUT US ON A TOUR
THAT WE FOLLOWED THE BIG BANDS.

HARRY JAMES AND THE OTHER
BIG BANDS WOULD COME,

SO WE WERE THE OFF BANDS.

YOU KNOW,
WE WERE NOT THE BIG BANDS,

BUT IT WAS A WONDERFUL TOUR
TO BE ON.

THE MINUTE YOU WERE
OUT OF WORK,

SOMEONE ELSE WAS THERE
WANTING YOU,

AND SO THAT WAS NICE
AND WONDERFUL AND UNUSUAL.

WE PLAYED A LOT
IN THE FLORIDA AREA.

WE WERE PLAYING
IN HOLLYWOOD, FLORIDA,

AND ONE OF THE GIRLS GOT SICK,
AND SHE NEEDED TO BE REPLACED,

CALL THE NAVY BASE?

THEY'VE GOT A LOT OF
GOOD, FINE MUSICIANS."

AT THE TIME, THEY HAD
THIS ONE BOY NAMED WILLY.

SO, WHEN THEY TOLD WILLY
HE HAD TO FINISH, HE SAID,

"I'M NOT GOING TO PLAY WITH
ANY GIRL BAND; NO, NO WAY."

SO, HE TURNED TO CARL.
THEY WERE GOOD FRIENDS.

AND HE SAID,
"OKAY, CARL, I'LL DO IT

IF YOU GO WITH ME EVERY NIGHT."
AND CARL CAME.

THERE'S A LOT OF TALK
ABOUT "THEIR EYES MET,

AND THEY FELL IN LOVE."

WELL, THAT'S KIND OF
WHAT HAPPENED WITH US.

I DON'T THINK I HAD
ANOTHER DATE WITH ANYONE

FROM THE NIGHT I MET HIM.

CARL AND I WERE MARRIED
IN 1946 IN CHICAGO.

I FELT LIKE I WAS
VERY AWKWARD AT THE HOUSE.

I DIDN'T COOK.

I DIDN'T KNOW
HOW TO DO GOOD WASHINGS,

AND I DIDN'T KNOW
HOW TO IRON VERY WELL,

NONE OF THOSE THINGS.

I HAD NOT DONE THEM.

I STARTED WORKING IN CLUBS
DOING MY SAXOPHONE PLAYING,

AND THEN ONE DAY
CARL CAME TO ME AND SAID,

"SURE WISHED I COULD GET
A DIFFERENT KIND OF A JOB",

BECAUSE HE WORRIED ABOUT ME
COMING HOME BY MYSELF

AT 2 O'CLOCK IN THE MORNING.

AND I KIND OF
TRIED TO THINK ABOUT IT,

AND I COULDN'T IMAGINE
WHAT KIND OF A JOB I COULD GET.

I WASN'T TRAINED
TO DO ANYTHING.

MY LIFE HAD BEEN
SO FULL OF TRAVEL,

AND MY MUSIC
MEANT A LOT TO ME.

AND I WAS WALKING AROUND
THE STREETS IN CHICAGO,

TRYING TO FIGURE OUT
WHAT TO DO,

AND I WALKED PAST TWO BIG
CEMENT SCULPTURES OF LIONS,

SO BEAUTIFUL TO ME.

I WALKED UP TO WALK AROUND THEM
AND LOOK AT THEM;

AND AS I DID THAT, I LOOKED
AT THE DOOR AND THE SIGN,

"THE ART INSTITUTE."

WHAT I DID WAS GO IN
AND SIGN UP.

WHEN I DISCOVERED ART,

IT QUICKLY REPLACED
THE MUSIC FOR ME,

BUT IT WAS ALMOST
NO TIME AT ALL

UNTIL THE UNIVERSITY OF CHICAGO
STARTED CALLING ME,

ASKING IF I WOULD DO
SOME PIECES FOR THEM.

AS MY CAREER PROGRESSED,

I WOULD LIKE TO BE ABLE
TO REMEMBER;

AND I THOUGHT,
"IF I HAD PICTURES,

IF I COULD TAKE PICTURES OF IT,
I WOULD REMEMBER BETTER."

announcer:
HE GETS THE RIGHT EXPOSURE

TIME AFTER TIME
AUTOMATICALLY.

THIS AMAZING CAMERA
MEASURES THE LIGHT

WITH ITS ELECTRIC EYE
LIGHT METER.

Jini:
AND AT THAT TIME,

EVERYONE THAT I KNEW
HAD A HAWKEYE CAMERA,

AND YOU COULD BUY
A HAWKEYE FOR 99 CENTS.

SO I SAID TO CARL, I SAID,

"I THINK
I'M GOING TO BUY A CAMERA."

THAT NIGHT,
WHEN HE WENT TO WORK,

HE SAID, "WELL, MY WIFE
IS GOING TOMORROW,

GOING TO BUY A CAMERA."

RIGHT AWAY, ONE OF THE MEN
PIPED UP AND SAID,

"WOULD SHE LIKE FOR ME TO GO
AND HELP HER PICK OUT ONE?"

HE TOOK ME TO THE BEST
CAMERA STORE IN CHICAGO.

WE DIDN'T KNOW
THERE WERE SPECIAL CAMERAS.

THE MAN THAT WORKED THERE
CAME OVER BRINGING ME A LEICA,

AND HE HANDED IT TO ME
LIKE THIS.

HE SAID, "I REALLY THINK
THIS IS WHAT YOU NEED."

I PICKED IT UP
AND HELD IT IN MY HAND,

AND IT FELT REALLY NICE.

I HAD $70,
AND THE CAMERA WAS $70.

I HANDED HIM MY $70,
AND HE HANDED ME THE CAMERA.

I SAID, "NOW,
NOW I HAVE THE CAMERA,

HOW AM I GOING TO LEARN
WHAT TO DO WITH IT?"

I DIDN'T EVEN KNOW
WHERE THE FILM WENT IN IT.

IT LOOKED
SO COMPLICATED TO ME.

SO, HE LAUGHED, AND HE SAID,
"THIS IS HOW YOU DO IT,"

AND HE HANDED ME A MANUAL
THAT THICK, A HARDBACK MANUAL.

HE SAYS,
"YOU TAKE THAT EVERY DAY.

YOU GO DOWN,
AND YOU SIT OUTSIDE.

SIT THERE WHERE
YOU CAN LOOK AT THE STREET

AND LOOK AT PEOPLE WALKING BY,
AND YOU TAKE THE CAMERA,

AS THEY WALK BY,
AND YOU TAKE A PICTURE OF THEM.

AND WHEN THE DAY COMES,
WHEN YOU FEEL LIKE

THE CAMERA IS JUST
AN EXTENSION OF YOUR ARM,

YOU'RE READY TO PUT FILM IN."

WELL, I DID
EXACTLY WHAT HE TOLD ME.

announcer: THAT WAY,
YOU'LL BE SURE TO GET

PICTURES YOU'LL ENJOY
OVER AND OVER AGAIN.

WE MOVED TO LONG BEACH,
CALIFORNIA.

CARL WAS ALWAYS STUDYING,
AND HE GOT A JOB TEACHING.

HE WAS A FOREIGN LANGUAGE
TEACHER,

AND HE WAS PASSIONATE,
TOTALLY, ABOUT HIS WORK.

LATER, WHEN I STARTED
PHOTOGRAPHY,

I WAS ALWAYS STUDYING.

WE FELT THAT IT WAS BETTER
THAT WE DIDN'T HAVE CHILDREN,

AND SO WE BOTH HAD CHILDREN
BY OUR WORK.

I SAW THIS GIRL
DOING FASHION WORK

IN ONE OF THE DEPARTMENT STORES,
AND SHE LOOKED SO WONDERFUL,

LIKE SUCH A NICE PERSON
AND SO BEAUTIFUL.

AND I SAID TO MY MOTHER,
WHO WAS WITH ME,

"I WOULD LOVE TO HAVE HER
COME FOR THE DAY

AND BRING SEVERAL THINGS
THAT SHE COULD CHANGE TO

AND JUST DO PICTURES
OF HER ALL DAY,

NOT DO ANYTHING,
JUST DO PICTURES."

SO, FINALLY, I GOT THE COURAGE
AND ASKED HER,

AND SHE SAID,
"OH, I WOULD LOVE TO.

THAT'S JUST WHAT I NEED
IS NEW PICTURES."

THAT REALLY BEGAN
MY CAREER IN FASHION,

AND THE PICTURES
WERE ABSOLUTELY WONDERFUL.

THEY WERE EVERYTHING
I WAS FEELING

WHEN I WAS DOING THE PICTURES.

I DID A LOT OF FASHION
AND SHOWS IN CALIFORNIA.

I DID A LOT OF WORK
FOR THE MUSEUM IN LONG BEACH.

- IT WAS UNUSUAL AT THE TIME

FOR A WOMAN TO BE INVOLVED
IN PROFESSIONAL PHOTOGRAPHY.

Jini:
THIS IS SUCH A BEAUTIFUL GIRL;

AND WHAT I WOULD OFTEN DO

WOULD BE TAKE A PICTURE
LIKE THIS AND CROP THE FIGURE

TO MAKE THE FIGURE
ONE LARGE, CLEAN PRINT.

I WOULD HAVE TO
UNROLL THE PAPER,

PUT IT ON THE FLOOR
IN THE DARK.

I WAS DOWN ON MY HANDS AND KNEES
WITH THE LOOP

LOOKING FOR ANY SPOTS OR PLACES
THAT WERE NOT IN SHARP FOCUS

OR WHATEVER MIGHT BE WRONG.

Chuck: WHEN I LOOK AT HER
FASHION PHOTOGRAPHY

OF THE LATE 1950S,

IT'S VERY SOPHISTICATED
ON A PAR OR BETTER THAN

MANY OF THE MEN WHO WERE TAKING
PHOTOGRAPHS AT THE TIME,

BUT SHE'S DOING IT
WITHOUT ART DIRECTORS

AND WITHOUT, YOU KNOW,
STYLISTS,

AND IT'S JUST JINI
AND A MODEL,

AND OFTEN IT'S JUST
OUT OF HER HOME.

- WHEN CARL GOT A JOB
UP IN WASHINGTON,

AND WE DECIDED WE WERE
GOING UP THERE, GOING TO MOVE.

THE MUSEUM TOLD ME, SAID,
"WHEN YOU GET UP THERE,

YOU GO TO THE MUSEUM
AND TELL THAT YOU'RE THERE

AND YOU'RE A PHOTOGRAPHER."

I WENT OVER,
AND IT WAS IMMEDIATELY DECIDED

THAT I WOULD DO A SHOW,

AND I DID ABOUT 100 LARGE PRINTS
THAT WERE 30--

MOST OF THEM WERE 30X40.

- I HAD SEEN AN EXHIBIT
AT THE TACOMA ART MUSEUM,

AND IT JUST ABSOLUTELY
BLEW ME OUT OF MY SHOES.

IT WAS LIKE LIFE MAGAZINE
CAME INTO TACOMA,

BUT IT WAS BIGGER
AND BETTER AND JUST,

IT JUST STOPPED EVERYBODY
THAT HAD SEEN IT.

- HER WORK WAS SO DISTINCTIVE,

IN TERMS OF NATURAL LIGHT
AND BLACK AND WHITE PHOTOGRAPHY,

AND IT WASN'T ANY STUDIO WORK.

IT WAS A FREE,
NATURAL KIND OF SHOOT,

AND THAT WAS IMPRESSIVE
TO SEE THAT IN TACOMA.

AT THAT TIME, MOST OF
THE PHOTOGRAPHERS IN TOWN

WERE STUDIO PHOTOGRAPHERS.

- DESIGNERS CAME BOTH FROM
SEATTLE AND TACOMA,

AND I HAD CALLS FROM EVERYONE
ABOUT IT.

- I HAD A PROJECT TO DO
TWO HOURS OF COVERAGE

FOR ETIQUETTE RECORDS;

AND WITH THAT OPPORTUNITY,
I THOUGHT CLEARLY

THAT I WANTED TO DO SOMETHING
A LITTLE DIFFERENT

THAN WHAT WAS
PERHAPS EXPECTED.

- SO, WHEN HE ASKED ME IF
I COULD DO AN ALBUM COVER,

I SAID, "OF COURSE,
I CAN DO AN ALBUM COVER.

I HAD NEVER DONE ONE;
AND, TRULY, TO BE HONEST,

I DIDN'T KNOW WHAT WAS REQUIRED
TO DO AN ALBUM COVER.

THE TREES ARE SO BIG NOW.

THIS IS A SPECIAL FEELING,

SEEING MY BEAUTIFUL HOME
IN DEEP HARBOR.

SO, IT'S GOING TO BE FUN
TO SEE THE HOUSE,

TO SEE IF IT STILL LOOKS
LIKE OUR HOUSE.

man:
DO YOU MISS IT?

- VERY MUCH, YEAH.

( wind chimes chiming )

Buck: WE DIDN'T KNOW JINI,
AND WE CAME UP TO THE DOOR

AND KNOCKED ON HER DOOR.

I GUESS SHE PEEKED THROUGH
THE LITTLE PEEPHOLE IN HER DOOR

TO SEE WHO IT WAS,

AND SHE SAW A BUNCH OF
SCRAGGLY YOUNG MUSICIANS.

- WELL, I LIVED IN GIG HARBOR,
WHICH IS--

AT THAT TIME,
IT WAS A FISHING VILLAGE.

AND WHEN THEY SAID "THE
WAILERS",
I HEARD WHALERS.

- AND SHE THOUGHT
THAT WE WERE FISHERMEN,

BUT WE WERE
A ROCK AND ROLL BAND.

Jini: AS THEY WERE COMING IN,
I LOOKED AT ALL OF THEM.

THEY WERE ALL VERY SERIOUS,
JUST LOOKING AROUND STRANGE.

I WAS PETRIFIED, NOT KNOWING
WHAT WE WERE GOING TO DO.

I DIDN'T KNOW
WHAT THEY WANTED.

NONE OF US KNEW KIND OF
WHAT TO SAY TO EACH OTHER.

I THOUGHT, WELL,
WE'D BETTER GO OUT.

I'LL TAKE THEM OUTSIDE,
AND WE'LL DO SOME PICTURES.

* WE ASKED WHY YOU BOYS
ARE SUCH CRAZY GUYS *

I WAS TOTALLY INSPIRED,

AND THE PICTURES
JUST STARTED HAPPENING.

I EVEN TOLD THEM,

"CLIMB, CLIMB UP IN THAT BRANCH
OF THE TREE."

WELL, THEY HADN'T EXPECTED
EVER TO DO ANYTHING LIKE THAT,

AND THEY LOVED IT.

- USUALLY, WHEN WE WERE
PHOTOGRAPHED BEFORE,

OUR BAND,
IT WAS IN A STUDIO INSIDE,

AND IT WAS USUALLY
A POSED SITUATION.

Larry: I THINK BY TAKING
THOSE MUSICIANS OFF THE STAGE

AND PUTTING THEM
INTO A NATURAL SETTING,

THE SONICS STANDING ON TREES
IN A LANDSCAPE,

FOCUSING ATTENTION MORE ON
THE ATMOSPHERE OF THE NORTHWEST

AND THE NATURAL ENVIRONMENT
HERE,

AS OPPOSED TO THE GLAMOR
OF THE ROCK STAGE.

Buck:
SHE WOULD SHOOT US

IN BASICALLY SPONTANEOUS
KIND OF POSITIONS.

WE FELT REAL COMFORTABLE
WITH HER RIGHT AWAY.

Ben:
WHAT I SEE IN JINI'S WORK,

SHE HAD COURAGE
TO SHOOT THESE PEOPLE

WHO WERE BARELY
HALF HER AGE.

SHE WASN'T TRYING TO BE
LIKE THE BIG KIDS IN L.A.,

WHO WERE DOING
THE BIG GLOSSY STUDIO ALBUMS.

SHE HAD THE COURAGE
TO STAND OUT HERE

AND CREATE SOMETHING NEW.

- WELL, WE KNEW
THAT WE HAD, YOU KNOW,

SOMEBODY THAT COULD
REALLY CAPTURE A NEW WAY

OF CAPTURING ROCK AND ROLL MUSIC
AND ROCK AND ROLL BANDS,

AND SOMEBODY THAT REALLY
DUG THE MUSIC,

EVEN THE SONICS' MUSIC,

WHICH WAS A LITTLE BIT
OVER THE EDGE AT THE TIME.

WE WOULD TELL OTHER BANDS
THAT WE MET TO GO AND,

YOU KNOW, SEE THIS LADY
TAKE THEIR PHOTOS.

Jini:
WITHIN A COUPLE OF WEEKS,

EVERY BAND IN THE AREA
WAS CALLING ME.

- AT THAT TIME,
BEING THE FIRST LONG-HAIRED,

HIPPY ROCK AND ROLL BAND
IN SEATTLE,

THERE WAS A LOT--

THERE WAS A GROWING
HOSTILITY TOWARDS US;

AND SHE WAS AN ADULT,
AND SHE SAID, "HI, COME IN;

LET'S HAVE SOMETHING TO EAT."

Steve: SHE NEVER PICKED UP A
CAMERA FOR FOUR HOURS.

IT WAS HEARING ABOUT OUR MUSIC,
WHAT IT WAS WE WERE ABOUT,

AND GETTING THAT, GETTING A FEEL
FOR WHAT WE WERE INTO.

SHE WAS READING OUR FACES,
READING OUR EXPRESSIONS.

SHE WAS DOING THIS STUFF
GREAT PHOTOGRAPHERS DO.

WE JUST THOUGHT
SHE WAS FEEDING US.

WE'RE ALL GOING UP THE STAIRS,

AND YOU LAGGED BACK AND SAID,
"RIGHT THERE."

Jini:
YEAH.

FOR THE ARCHITECTURE,

AND SO I FELT LIKE WE WERE PROPS
IN SOME ARCHITECTURE PICTURES.

- YES, YOU WERE.
( laughing )

YOU WERE-- LISTEN, YOU WERE
REALLY NICE PROPS.

- AND WHEN SHE FOUND
AN ARCHITECTURAL THING SHE DUG,

SHE JUST FROZE HER CAMERA,
FRAMED THE SHOT,

AND THEN SAID, "WALK INTO THIS."
( chuckling )

THIS WAS THE KIND OF LIGHT
WE WERE IN.

SUNBEAMS.

- YEAH.
- A FLASH.

SHE WAS ALWAYS THINKING FLASH.

- IT'S TRUE.

SO THEN WE LOOKED AT THE DOORS,
AND WHAT YOU DO IS OBVIOUS.

AND THEN JUST TELL YOU
EXACTLY WHAT TO DO.

WE WALKED IN LIKE
WE OWNED THE PLACE.

Steve:
YEAH, THAT DAY WE DID.

- MM-HM.

Steve: WE ARE SO COOL.
( chuckling )

- JINI TOOK THE BAND

UP TO THE UNIVERSITY
OF WASHINGTON CAMPUS,

AND THIS IS THE, ONE OF
THE ICONIC AREAS OF THE CAMPUS

WHERE THE COLUMNS WERE.

SO, IT WAS ALMOST A TRADITION

FOR BANDS TO BE
PHOTOGRAPHED THERE.

- THIS IS WHERE WE DID
THE SERIES ON THE PARK BENCH

AND THEN OVER TO THE COLUMNS
WHERE WE STOOD FOR A WHILE,

AND WE WALKED THROUGH THE FRAME
OF ALL THE COLUMNS

WITH JINI OFF THIS WAY
SHOOTING.

SHE WANTED TO SEE
WHAT EXPRESSIONS WE HAD,

WHAT MADE US EXCITED;

AND KNOWING THOSE THINGS,
THEN SHE COULD

FOSTER THAT BEHAVIOR
WHILE SHE WAS SHOOTING.

- WHEN THESE KIDS WOULD COME IN,
I JUST KIND OF LOVED THEM,

AND THEY WERE SO PRECIOUS TO ME
THAT WHATEVER WE DID TOGETHER

SEEMED TO TURN OUT TO BE
SOMETHING MARVELOUS.

- I SAID, "YEAH,
THAT'S THE WAY I LOOK,"

BECAUSE THERE'S JUST,
THERE'S A HAPPINESS.

THERE'S A--

YOU KNOW, OF THAT GROUP,
BECAUSE WE WERE--

WE PORTRAYED A HAPPY ENERGY.

I THINK THE BANDS,
JINI DREW SOMETHING OUT OF THEM

BESIDES JUST WHO THEY WERE,
AND SHE ALSO TOOK PICTURES OF--

YOU KNOW, THEY'RE KIND OF
NOT ALL HAPPY PICTURES.

THEY WEREN'T JUST LIKE,
OH, LOLLIPOPS AND MOONBEAMS.

* AS A PICTURE
COLORS ALL COMING CLEAR *

* RED IS WHY I'M SORRY

- AND WE WERE ABLE TO
TALK TO EACH OTHER, LAUGH,

AND I WOULD TELL THEM, "CLIMB UP
IN THAT BRANCH OF THAT TREE."

GOOD-LOOKING KIDS
CLIMBING TREES, YOUNG ADULTS,

YOU DON'T SEE THAT TOO OFTEN,

AND THESE TREES
WERE SO PERFECT FOR THAT.

WELL, THE MIST, WELL,
THAT IS SO BEAUTIFUL FOR LIGHT,

AND I WAS ALWAYS HAPPY

WHEN I'D HAVE A DAY
WITH A LITTLE MIST.

THIS IS MY DARK ROOM
FROM YEARS AGO,

AND IT'S A PLACE
I LOVE SO DEARLY.

I FEEL LIKE I SHOULD BE
GOING OVER AND DIPPING A PRINT.

OOH, I ALWAYS HAD
MUSIC PLAYING, BLASTING,

THE CLASSICAL MUSIC.

THAT'S WHAT WE HAD
ALWAYS PLAYED.

IT WAS KIND OF HARD FOR ME
TO MAKE THAT CHANGE AT FIRST;

BUT ONCE I DID,

I WAS VERY INFLUENCED
BY THE PEOPLE,

AS WELL AS THE MUSIC,
AND I LOVED THE MUSIC,

BUT I LOVED THE PEOPLE MORE,
AND I THINK THAT KIND OF

DESCRIBES THE WAY
I LISTENED TO IT.

WHEN I WAS IN HERE,
I WOULD BE DOING MY DEVELOPING,

AND THE PHONE WOULD RING,

AND I WOULD WRITE THE NUMBERS
ON THE WALL,

AND THAT WAS MY WAY OF KEEPING
MY PHONE NUMBERS.

THIS NUMBER UP HERE
MUST BE MITCH RYDER'S.

LOOK AT THAT.
OH, I LOVE IT.

LET ME HAVE YOU STAND UP
FOR ONE, MM-HM,

AND KIND OF LEAN BACK
AGAINST THE BENCH.

GET REAL--

OH, THAT'S IT!
THAT'S WHAT I WANT!

THAT'S BEAUTIFUL!

OH, MERRILEE, I LOVE IT.
THIS IS LIKE THE OLD DAYS.

( music playing )

* WELL IT'S ALL RIGHT
TO LOVE SOMEONE *

* AND IT'S ALL RIGHT
WHEN YOU HAVE YOUR FUN *

* AND IT'S OKAY...

- UP UNTIL THAT TIME,

I HAD NOT WORKED WITH A WOMAN
PHOTOGRAPHING ME;

AND IN THIS CASE,

IT WAS A TOTAL,
TOTALLY DIFFERENT EXPERIENCE,

BECAUSE IT WAS,
IT WAS FREE-FLOWING.

WE USED THE OUTDOOR BACKDROPS.

SHE DID THINGS THAT WERE
VERY CREATIVE AND INVENTIVE.

SHE WAS WAY AHEAD OF HER TIME.

- I GOT THESE BIG ROLLS
OF PAPER FILM ON THE FLOOR.

- YEAH.

- AND I WOULD TAPE IT
TO THE FLOOR, SO IT DIDN'T MOVE.

Merrilee:
UH-HUH.

- AND THEN I'D GET ON THE LADDER
AND GO UP TO CHECK THE ENLARGER

TO GET EVERYTHING PERFECT.

Merrilee:
YOU PIONEER WOMAN.

- I GUESS I WAS,
BUT I DIDN'T KNOW IT.

I THOUGHT I WAS JUST DOING
THE WAY YOU'RE SUPPOSED TO DO.

THEY WEREN'T EXCITED
ABOUT DOING THIS INSIDE;

BUT WHEN WE GOT STARTED--
AND I HAD THEM HELP ME.

"WHERE WOULD YOU LIKE TO BE?

LET'S DO SOMETHING
WITH THE GUITARS."

THEY JUST DID IT.

Andy: BUT, JINI, YOU KNOW,
SHE'D PUT US AT EASE AND SAID,

"AH, DON'T WORRY;
IT'LL BE GREAT,"

AND SO ON AND SO FORTH.

BY THE TIME WE WERE THROUGH,
WELL, YOU KNOW, I FELT LIKE,

YOU KNOW, I'D MADE A FRIEND,

AND ALL OF US DID,
YOU KNOW, AND--

Jini: AND I THINK HAVING THEM
SO NEAR AND SO FAR

MAKES THAT A REALLY
UNUSUAL PICTURE, BEAUTIFUL.

SO THERE, THEY'RE
ALL ABOUT THE SAME SIZE.

THE LIGHTING IS BEAUTIFUL
IN EACH ONE,

AND WHEN IT'S DONE,
THE INTERESTING--

THE COMPOSITION IS, TO ME,
QUITE INTERESTING.

IF IT'S REALLY BEAUTIFUL
AND ALL ALIGNED RIGHT

TO MAKE IT FEEL THAT WAY--

BECAUSE WHEN YOU THINK
ABOUT MUSIC,

ISN'T THAT WHAT YOU SEE
WHEN YOU'RE HEARING MUSIC?

YOU SEE BEAUTY,
AND YOU WANT ALIGNMENT

AND BEAUTIFUL SHADOWS
AND SO FORTH.

- I NEVER KNEW
JINI WAS A MUSICIAN

UNTIL YEARS AFTER
THESE SHOTS WERE TAKEN,

AND THEN IT OCCURRED TO ME,
OH, OF COURSE, SHE'S A MUSICIAN.

SHE UNDERSTANDS
THE ART OF MUSIC;

AND AS A RESULT,
SHE UNDERSTANDS THE EMOTION

THAT WELLS UP IN YOU
WHEN YOU TALK ABOUT ART,

TALK ABOUT MUSIC,
AS IF TO A MUSICIAN.

AND THAT WAS THE EXPERIENCE,
AS I REMEMBER IT.

SHE WOULD SEE THINGS HAPPENING,

AND SHE WOULD
HELP THEM TO HAPPEN.

Buck: I ALWAYS THOUGHT
THAT JINI'S PHOTOS

WERE AS IMPORTANT
AS THE MUSIC AND THE MUSICIANS

AND THE WAY SHE CAPTURED THEM.

JINI HAD A LOT OF INFLUENCE,
ALSO, YOU KNOW,

WITH HER PHOTOGRAPHY
ON OTHER PHOTOGRAPHERS,

SO THE SAME AS OUR MUSIC
OR THE SONICS' MUSIC

INSPIRED OTHER PEOPLE
WITH THEIR MUSIC.

ONE TIME WE WENT
TO SAN FRANCISCO,

AND THE WAILERS,

AND WE WERE SHOOTING
AN ALBUM COVER DOWN THERE

WITH THIS OTHER PHOTOGRAPHER.

HE MADE A COMMENT ABOUT JINI'S
PHOTOS BEING SHOT OUTSIDE.

HE WANTED TO GET
THAT SAME FEEL.

HE BECAME VERY FAMOUS, TOO.

I THINK HE DID A LOT OF SHOTS

FOR ROLLING STONE MAGAZINE
AND ALL THAT,

BUT HE WAS KIND OF A YOUNG
UNKNOWN AT THE TIME, TOO.

Steve: WHEN WE GOT TO L.A.,
IT WAS JUST AN INSANE SCENE.

THERE WERE LIKE--
EVERY THIRD PERSON YOU MET

WAS IN A BAND WHO WAS
TRYING TO GET DISCOVERED,

WHO WAS TRYING TO MAKE A RECORD
AND TRYING TO BE A STAR.

AND WHEN WE SHOWED PEOPLE
OUR JINI PICTURES

THAT SHE HAD TAKEN,
THEY WENT,

"OH, MY GOD, I'VE GOTTA
GO THERE RIGHT AWAY."

THESE WERE NOT NORMAL-LOOKING
PROMO SHOTS.

* SHE SAYS SHE IS BARBARA

* AND NOTHING IS ANYTHING
SOMETHING FROM NOTHING-- *

- IN THE MID '60S,

WHEN SHE WAS DOING
A LOT OF THIS WORK,

THE WORLD WAS PRETTY MUCH
IN CHAOS WITH THE VIETNAM WAR,

AND RIOTS,
AND ASSASSINATIONS.

THERE'S A SENSE OF INNOCENCE
ABOUT HER WORK,

AND SHE COULD CAPTURE INNOCENCE,
BECAUSE SHE IS INNOCENT.

SHE JUST HAS A SENSE
OF INNOCENCE ABOUT HER.

* SHE SAYS SHE IS BARBARA

* AND NOTHING IS ANYTHING

* SOMETHING FROM NOTHING
IS NO PRICE TO PAY *

( music playing )

- WELL, AN ENORMOUS CHANGE
TOOK PLACE.

DRUGS WERE NOT A PART
OF THE NORTHWEST

ROCK AND ROLL DANCE BAND
AND ROCK AND ROLL BAND SCENE

UNTIL THE LATE 60S

WHEN ALL THE CHAOS
IN SAN FRANCISCO

JUST BLOSSOMED EVERYWHERE.

YOU KNOW, UNIVERSITY OF
WASHINGTON STUDENTS

ARE SITTING ON THE FREEWAY
BLOCKING TRAFFIC,

AND TIMOTHY LEARY
IS PROMISING EVERYBODY

THAT DROPPING ACID
IS THE SECRET TO HAPPINESS,

AND EVERYTHING
JUST CAME UNGLUED!

- WE JUST COULDN'T BELIEVE
THEY WERE GOING TO DO DRUGS.

I DIDN'T KNOW HOW I COULD
INFLUENCE THEM IN ANY WAY,

IF IT WOULD BE RIGHT
FOR ME TO DO, AND I DIDN'T.

- THINGS CHANGED.

THINGS GOT DIFFERENT,

AND MCALISTER
WAS A TREMENDOUS SINGER,

AND HE SANG LIKE AN ANGEL,

BUT HE WAS HOPELESSLY
ADDICTED TO HEROIN;

AND IN 1969,
HE JUST MADE A MISTAKE

AND SHOT THE WRONG AMOUNT UP
AND OVERDOSED.

- IT BROKE MY HEART WHEN
THIS BOY DIED IN CALIFORNIA.

IT SIMPLY BROKE MY HEART.

WHEN CARL WAS SICK,

THE LAST THING IN MY MIND
WAS MY PHOTOGRAPHY.

I PUT MY CAMERAS
IN A CABINET,

AND I NEVER TOUCHED THEM
FOR 15 YEARS.

WHEN CARL WAS DYING,

I JUST TOLD HIM
HOW MUCH I CARED FOR HIM,

HOW GOOD HE HAD BEEN TO ME,
WHAT A WONDERFUL LIFE WE'D HAD.

I SAID, "AND I DON'T WANT YOU
TO WORRY ABOUT ME,

BECAUSE I WILL BE ALL RIGHT;

I'M GOING TO START
TAKING PICTURES AGAIN."

AND I LEANED BACK
TO LOOK AT HIM,

AND I COULD SEE
THIS TINY SMILE

COMING ON THE ONE SIDE
OF HIS FACE.

HE COULDN'T DO A FULL SMILE.
IT WAS JUST TO HIS ONE SIDE.

AND I SAID, "OH, MY GOODNESS,
HE IS HEARING ME."

THAT REALLY CHANGED MY LIFE

AND PUT ME ON THE DIRECTION
THAT I WAS DOING THE RIGHT THING

TO GO BACK INTO PHOTOGRAPHY.

LOOK AT THAT.
OH, I LOVE IT.

THE FIRST TIME
I GOT TO LOOK

THROUGH THE VIEWER
OF A HASSELBLAD,

I NEVER WANTED TO DO
ANYMORE 35 MM.

WHEN YOU LOOK IN THERE,

YOU SEE A DIFFERENCE,
DIFFERENT FROM YOUR VISION

AND DIFFERENT FROM
ANY OTHER CAMERA;

AND AT THE TOP OF MY CAREER,

THAT'S WHAT I WAS USING
ALMOST 100%.

* YOU'LL FIND YOUR RIDE

THIS IS JUST LIKE
AN OLD LOVE AFFAIR

FOR ME TO GO TO HASSELBLAD.

- HI.
- HOW'S IT GOING?

GOOD TO SEE YOU.

- IT'S GOOD TO SEE YOU, TOO.
- HOW ARE YOU?

- WONDERFUL.
- GOOD.

- IT'S EXCITING TO BE HERE.
- I KNOW, IT'S GREAT.

- AND I'M-- OH.

Anders: I KNOW YOU'VE BEEN
SHOOTING WITH HASSELBLAD

FOR ALL THESE YEARS AND--

- YES, WITH A LONG SPACE
AT THE END.

- YEAH.
- WHERE I HAVEN'T BEEN.

Anders:
THIS IS A BRAND NEW CAMERA.

- OH.

Lance:
IS IT ON?

- I HAVEN'T TURNED IT ON.

- OH, IT FEELS,
IT FEELS WONDERFUL.

- SHE DOESN'T
WANT TO GIVE IT BACK.

- I DON'T, NO.
( laughing )

IT WAS A VERY TOUGH SWITCH,
BUT AFTER MY HUSBAND DIED,

I HAD DECIDED TO GO BACK
TO DOING PICTURES,

AND I BOUGHT
A LITTLE DIGITAL.

AND I'M EMBARRASSED
TO TELL YOU

I DIDN'T DO A PICTURE
FOR A FULL YEAR.

I TOLD MYSELF, "GO AND SHOOT
A PICTURE JUST OF ANYTHING."

AND I HAD A LOT OF FUN
LEARNING TO USE IT.

AND ABOUT THAT TIME,

THE MUSEUM IN ARIZONA
CONTACTED ME

AND ASKED ME
IF I WOULD DO A SHOW.

AND I SAID, "WELL, IF YOU WOULD
ALLOW ME TO DO IT DIGITAL

AND ALLOW ME TO SHOW PEOPLE
WHAT A 92-YEAR-OLD WOMAN

WOULD DO CHANGING FROM
FILM TO DIGITAL.

* FLY MAMA FLY

FLY MAMA FLY *

* YOU'LL FIND NO ANSWERS HERE

- K-E-X-P, SEATTLE.

IN THE LIVE ROOM DOWN HERE,

WE HAVE A GROUP OF
VERY YOUNG GENTLEMEN

ALL THE WAY FROM
TACOMA, WASHINGTON,

THAT JUST GOT DONE
WITH THEIR EUROPEAN TOUR,

BUT THEY'VE BEEN THE SPARK OF
MANY, MANY ROCK AND ROLL BAND,

MANY PUNK BAND.

PEOPLE ALL OVER THE WORLD
KNOW WHO THESE GUYS ARE.

THIS IS A HISTORICAL EVENT
TO HAVE 'EM HERE,

AND I'D LIKE TO WELCOME
AND INTRODUCE,

LADIES AND GENTLEMEN,
THE SONICS.

- WE'RE GOING TO DO
ONE OF OUR EARLY ONES.

- HOW ABOUT YOU GUYS
PLAYING A SONG, HUH?

( music playing )

* SOME FOLKS LIKE WATER
SOME FOLKS LIKE WINE *

* BUT I LIKE THE TASTE
OF STRAIGHT STRYCHNINE *

* HEY HEY YOU MAY THINK
IT'S FUNNY *

* THAT I LIKE THIS STUFF

* BUT ONCE YOU'VE TRIED IT

* YOU CAN'T GET ENOUGH

- THE SONICS HAVE BECOME
KIND OF LEGENDARY.

IT TOOK A WHILE BEFORE WORD
KIND OF GOT AROUND, YOU KNOW.

JINI WAS, YOU KNOW, WAS
KIND OF OUT OF THE CIRCLES,

BUT THEN, SHE REEMERGED,
YOU KNOW.

( music playing )

* WINE IS RED

* POISON IS BLUE

* STRYCHNINE
IS GOOD NOW BABE *

* FOR WHAT'S AILIN' YOU

( music playing )

- THANK YOU.

- OH, I MISS PERFORMANCES
LIKE THIS SO MUCH.

- I DIDN'T THINK
YOU'D REMEMBER ME.

- OH, REMEMBER YOU.

YOU GUYS ARE LIKE MY FAMILY.

- THANK YOU.

- YEAH, HEY, FREDDY AND RICKY,

THEY WANT A PHOTO WITH JINI.

- YEAH, IF I CAN GET EVERYBODY
JUST RIGHT AROUND BY FREDDY.

- POTENTIALLY, MY NOSE
COULD CAUSE A SHADOW.

- OKAY.
- GET IN THERE.

- THE TALLER ONES
KIND OF IN BACK.

I JUST THOUGHT
IT WOULD BE INTERESTING

TO SEE THE SAME PEOPLE
THIS MANY YEARS LATER

IN THE SAME KIND OF A POSE;

AND I DON'T KNOW
HOW CLOSE I CAN COME,

BECAUSE IT WAS
A LITTLE CROWDED,

AND I COULDN'T
CONTROL THE LIGHT.

NOW, CAN YOU SQUEEZE TOGETHER
A LITTLE BIT CLOSER?

- OH, DO WE HAVE TO?
- YES, YOU HAVE TO.

- THEY DON'T LIKE EACH OTHER.

- SHE'S STILL PUSHING US AROUND
LIKE SHE DID WHEN WE WERE 19.

- YEAH, THAT'S TRUE.

I BELIEVE THIS EVENING IS

ONE OF THE HIGHLIGHTS
OF OUR LIFE,

AND I'M ANXIOUS TO GO HOME

AND SEE IF I GOT
ANY NICE PICTURES.

ROSLIE, IF YOU COULD MOVE
BACK IN CLOSER TO THE GROUP--

- WE APPRECIATE IT.

- OH, YOU'RE SO WELCOME.

- THANKS FOR YOUR MUSIC,
AND ALL THE GOOD TIMES WE HAD.

- OH, YEAH.

- AND WE'RE STILL HAVING THEM.
- WE'RE STILL HAVING THEM.

- THAT'S WHAT'S REALLY GOOD.

LET'S DO THIS AGAIN SOME DAY.

- YEAH.
- BEFORE TOO LONG.

- YEAH, AMEN.

YEAH, REMEMBER, '94,
YOU DID THE BRONX.

- '84.
- '94, RIGHT.

I JUST HATE TO QUIT IT.

IT GOES BY SO FAST,
BUT IT'S ALL STAYED WITH ME.

* WOW PSYCHO WOW

Steve: THIS IS WEEK DAY.
I'M STEVE SHARER.

WE'RE TALKING ABOUT
ROCK AND ROLL PHOTOGRAPHERS.

GRAHAM NASH,
MUSICIAN-PHOTOGRAPHER,

THE MP EXHIBIT
OF MUSIC PHOTOGRAPHY

THROUGHOUT THE HISTORY
OF ROCK AND ROLL.

CHARLES PETERSON'S PHOTOGRAPHS
ARE IN IT,

BEST KNOWN FOR CAPTURING
THE GRUNGE ERA.

HIS PHOTOS HAVE APPEARED

ON HUNDREDS OF RECORD COVERS
AND MAGAZINES.

SO ARE ALICE WHEELER'S.

PHOTOGRAPHING SUCH ARTISTS

AS KURT COBAIN, NIRVANA,
RIOT GIRLS--

ALL TAKING A LOOK
AT THE ICONOGRAPHY

THAT IS ROCK AND ROLL.

THANK YOU VERY MUCH.

( applause )

* MAYBE WHEN YOU'RE OLDER
YOU'LL FIND YOUR RIDE *

* MAYBE WHEN YOU'RE OLDER
YOU'LL FIND YOUR RIDE *

* MAYBE WHEN YOU'RE OLDER

( applause )

- TELL ME ABOUT THIS.
WHAT WAS GOING ON HERE?

- THIS IS NIKO KEYS
AND HER BOYFRIEND,

AND SO BASICALLY WE'RE JUST
DRIVING DOWN THE STREET

IN THE FREEZING COLD
IN THE WINTER.

- THIS IS NIRVANA.
THIS IS FEBRUARY OF 1990.

THEY WERE REALLY
ON THE RISE THEN.

THE PLACE WAS PACKED OUT.

- WE'RE LOOKING TO
A CERTAIN AMOUNT OF ASSETS,

AND WE'RE VERY LUCKY
TO HAVE THEM.

( applause )

- AND I WAS AT THE OFFICE
OF CHARLIE GREEN.

HE REALLY LIKED MY PICTURES.

HE SAID, "I DON'T KNOW HOW
YOU GET SUCH BEAUTIFUL COLOR,

BUT I LIKE THE COLOR YOU USE.

AND WOULD YOU BE ABLE
TO DO NEIL?"

AND I SAID, "YES, I WOULD."

WELL, I DIDN'T KNOW
WHO NEIL WAS.

( laughter )

HE CAME UP THERE, QUIET,
VERY QUIET.

AND HE WAS VERY DARK
AND KIND OF GLOOMY LOOKING.

I HAD, AT THAT POINT,

NEVER HEARD ROCK AND ROLL
TO KNOW NEIL,

TO KNOW WHAT KIND OF SINGING
OR MUSIC HE DID.

SO, I GOT REALLY
EXCITED AND NERVOUS

AND WONDERING HOW I WAS
GOING TO FIND WHERE HE LIVED.

AND I SAID, "AND WHAT IS
YOUR LAST NAME, NEIL?"

( laughter )

"JUST NEIL."
( laughter )

I SAID, "OH, OKAY."

( laughter )

ANYWAY, I WENT TO DO
HIS PICTURES AT HIS HOUSE,

AND IT WAS A LITTLE BIT--

IT WAS VERY DIFFERENT
FROM ANY I HAD DONE.

I TOOK PICTURES OF HIM
IN THE HOUSE.

THIS IS ONE OF
MY FASHION SHOTS.

AND COMING FROM FASHION
INTO ROCK AND ROLL,

I THINK I USED
SOME OF THE TECHNIQUES

THAT I HAD USED IN FASHION
WITH THE ROCK AND ROLL PEOPLE.

- DID YOU ASK HIM TO DO
THIS UNIQUE LIKE THIS.

- YES, IF I COULD GET YOU
ON THE MOVE,

I COULD GET
A REALLY GOOD SHOT.

( laughter )

AND HE SAYS,
"HOW ARE WE GOING TO DO IT?"

I SAID, "IF WE HAD A LADDER,
WE COULD DO IT."

HE SAYS, "OH, OKAY."
HE WENT AND GOT A LADDER.

HE LOOKED AT ME AND SAID, "NOW,
WHAT DO YOU WANT ME TO DO?"

I SAID, "FLY LIKE A BIRD."

- REALLY?

- YES,
THAT'S HOW I GOT THAT SHOT,

AND THAT WAS MY EXPERIENCE
WITH NEIL YOUNG.

( applause )

- IT IS A WONDERFUL
AND UNIQUE SHOT.

( cheering/applause )

- LET'S SEE,
HOW DOES HE SPELL IT?

- N-E-I-L.

- WE PRODUCED A COUPLE OF
SPRINGFIELD BOX SETS,

WHICH I GOT TO SEE,
WHAT I THOUGHT

WERE ALL THE IMPORTANT
BUFFALO SPRINGFIELD PICTURES.

WE SPENT YEARS
IN RESEARCHING IT,

AND I HAD NEVER HEARD OF JINI.

I DIDN'T KNOW OF HER WORK.

RIGHT AFTER WE HAD FINISHED
IS WHEN I GOT MY FIRST IMAGE

AND SAID, "OH, MY GOD,
THIS IS SO GREAT."

WE MADE A COVER.

THIS IS ONLY ONE OF TWO
PHOTOGRAPHERS I CAN THINK OF

WHO PHOTOGRAPHED NEIL DURING
THE BUFFALO SPRINGFIELD PERIOD

THAT WAS NOT INFORMED
BY A TEEN MAGAZINE MENTALITY.

Charles: WELL, I THINK
FIRST AND FOREMOST

JINI IS NOT A ROCK AND ROLL
PHOTOGRAPHER,

AND THAT'S WHAT MAKES
HER WORK SO SPECIAL.

SHE WAS A FASHION PHOTOGRAPHER,
AND YOU SEE THAT IN THE IMAGES.

IT'S VERY SIMPLE.

THAT SIMPLICITY MAKES IT
REALLY COMPLEX,

BECAUSE THERE'S SOMETHING

- HOW ARE YOU DOING?

HE TELLS ME
YOU'RE 90 YEARS OLD.

ARE THEY KIDDING ME?

Jini: TO HAVE THIS HAPPEN
THE WAY IT IS,

IS BEYOND MY WILDEST DREAMS;

AND THEN TO COME SOMEPLACE
THAT I MEET

ALL THESE WONDERFUL PEOPLE
THAT I THINK ABOUT

AND WOULD LIKE TO MEET,
AND I'M ACTUALLY MEETING THEM

IS JUST SO AMAZING TO ME.

Alice:
I REALLY WANTED TO MEET YOU.

I LOVE YOUR PHOTOGRAPHS.

- THANK YOU.

- WHEN I FIRST SAW THAT PHOTO,
I WAS REALLY BLOWN AWAY,

BECAUSE NEIL YOUNG SEEMS
VERY DIFFICULT TO PHOTOGRAPH,

AND I HAD THOUGHT
THAT WAS THE MOST IMAGINATIVE,

INVENTIVE PHOTOGRAPH.

I THINK A LOT OF PHOTOGRAPHY,
ESPECIALLY FOR WOMEN,

IS LIKE YOU JUST
HAVE TO DO WHAT YOU DO.

MAYBE WE WERE WAY AHEAD
OF OUR TIMES WITH OUR VISION,

YOU KNOW,
AS WOMEN SEE THINGS

FROM A LITTLE BIT DIFFERENT
POINT OF VIEW THAN MEN DO.

- THANK YOU SO MUCH.

THAT'S ACTUALLY
ONE OF MY FAVORITES.

ARE YOU STILL
DOING PHOTOGRAPHY?

- YES.
- ALL RIGHT.

Jini: I NEVER HAVE HAD
BIG THOUGHTS OF,

"I HOPE THIS IS
GOING TO MAKE ME FAMOUS."

I'VE NEVER HAD
THAT KIND OF A THOUGHT.

- CAN YOU STAND THERE
JUST FOR A MINUTE?

Jini:
LOOK AT A PHOTOGRAPH

KIND OF THE SAME WAY
YOU LISTEN TO MUSIC.

AND IF IT'S OFF A LITTLE BIT,
YOU FIX IT;

AND IF YOU DON'T FIX IT,
IT'S GOING TO BE ROCK AND ROLL.

( laughter )

- WOW.

- YOU WANT TO DO THAT ONE?

- LET'S GIVE IT A GO,
FIRST PRACTICE.

THIS IS INFORMAL.

- THOSE ARE THE SONICS.

FRESH FACE, YOUNG.

- YEAH, YOUNG TALENT.

- JINI, LET ME INTRODUCE YOU.

OKAY, THESE ARE
THE MOONDOGGIES.

THIS IS KEVIN.

- KEVIN, HI.
YOU ARE A CUTIE.

I CAN FEEL IT.

- I'M CARL.
- CARL.

OH, BOY,
THAT'S MY HUSBAND'S NAME.

- OH, REALLY?

- YEAH, I LOVED HIM SO DEARLY,
SO I'LL LOVE YOU A LITTLE BIT.

( laughter )
HIS NAME WAS CARL.

WELL, ARE YOU
GOING TO SING FOR ME?

- SURE.

- GREAT,
I'M SO EXCITED ABOUT THAT,

BECAUSE THEY TELL ME YOU REALLY
ARE BEAUTIFUL SINGERS.

- I HOPE SO.
- YEAH, I HOPE SO, TOO.

( laughter )

( music playing )

( singing )

- I NEVER HEARD ROCK AND ROLL,
TO KNOW IT,

WHEN I DID
THE FIRST ROUND OF PICTURES.

I WAS UNAWARE THAT THEY HAD TO
HAVE LONG HAIR.

* I KNOW THAT LATELY
I NEED TO ( indistinct ) *

* JUST DON'T RELY
ON THIS DOUBTFUL MIND *

- MY FIRST JOB
WAS WITH A BAND.

I PLAYED SAXOPHONE,

AND SO I JUST THOUGHT
EVERYBODY THAT PLAYED,

IT WAS ALWAYS TO DANCING.

SO I HEARD TODAY
THAT ISN'T AS COMMON.

- IT'S USUALLY
SOMETHING SPECIAL.

- YEAH.

- WHEN EVERYBODY STARTS DANCING
AND YOU'RE PLAYING,

YOU'RE LIKE,
"WOW, PEOPLE ARE DANCING."

- THAT'S WHAT EVERYONE DID.

WE HAD JUST REGULAR DANCES
THAT, YOU KNOW--

NOT THIS KIND.

* DON'T LET IT BOTHER YOU

* DON'T LET IT BOTHER YOU

* DON'T LET IT BOTHER YOU

* YOU DON'T LET IT BOTHER YOU

- YEAH, DO YOU HAVE
ANYTHING IN MIND

FOR THE PHOTOGRAPHY TOMORROW?

- WELL, I DON'T, AS FAR AS
SEEING A PICTURE IN MY MIND

OF WHAT IT'S GOING TO BE.

ONE OF YOU
WITH THE GUITAR,

WHETHER YOU WERE STRUMMING IT
OR HOLDING IT.

IT MAKES A VERY BEAUTIFUL
SPOT IN THE PICTURE,

AND YOU IMMEDIATELY KNOW
YOU'RE LOOKING AT MUSICIANS.

I THINK THE MAIN THING I WOULD
WANT TO KNOW FROM THE GROUP

IS IF YOU WOULD WANT
THE PICTURES

TO BE ONSTAGE OR OFFSTAGE
AND BE VERY CASUAL.

- WE DO THE SAME THING,
WHERE WE DON'T DO WELL POSING,

AND IT'S ALL
MY FAVORITE PICTURES

HAVE BEEN PEOPLE
JUST HANGING OUT WITH US.

- YEAH, YOU'RE
VERY ARTISTIC PEOPLE,

AND YOU KIND OF KNOW
WHAT TO DO.

AND WHEN I LOOK AT YOU,
YOU'RE EACH ONE SO BEAUTIFUL.

I'D LOVE TO DO PICTURES
OF YOU INDIVIDUALLY,

AS WELL AS TOGETHER.

I KIND OF WAIT
FOR THE PICTURES TO HAPPEN,

AND I HAVE IN MY MIND
WHAT I HOPE WILL HAPPEN.

- THIS MIGHT BE NICE.

- OH, THAT'S BEAUTIFUL.

- TRAIN, AND YOU HAVE
THAT YELLOW BUILDING

IN THE BACKGROUND.

- YEAH, THAT'S BEAUTIFUL!

- YEAH.

Lance:
BEING ABLE TO SEE JINI'S WORK

AND GETTING TO TALK TO HER,

YEAH, IN THE LAST COUPLE OF DAYS
I'VE BEEN HUGELY INSPIRED,

AND IT REMINDS ME OF
WHY I DO WHAT I DO.

SO, I DON'T THINK I'M GOING TO
GIVE IT UP ANY TIME SOON.

I'VE GOT A LONG WAYS TO GO.

* IT'S A LONG WAY DOWN
( indistinct ) *

* IT'S A DARK COLD GROUND
THAT'LL FINALLY COME AROUND *

* LEAD ON
IT'S THE PRICE YOU PAY *

* ( indistinct )
AND THE THINGS WE SAY *

* THERE'S A LIGHT COMING FROM
THERE'S A LIGHT COMING THROUGH *

* IT'S A LONG WAY DOWN
DON'T GET TANGLED IN THE CROWD *

* IT'S A DARK COLD GROUND
THAT'LL FINALLY COME AROUND *

Jini:

I DON'T FEEL OLD.

AND WHEN I WAS 40,
MY GOODNESS,

I WAS LIKE A TEENAGER,

AND I THINK THAT WAS THE LOSS
OF THE SUCCESS OF MY WORK.

I NEVER FELT OLD.

LOOK DOWN.

I DON'T LIKE THE SUN
ON YOUR FACE.

- SHE COULD BRING OUT THE BEAUTY
IN ANYTHING ON THE PLANET,

I THOUGHT, AND THAT'S
THE THREAD OF HER LEGACY.

IT RUNS THROUGH PEOPLE.

IT RUNS THROUGH THINGS.

IT RUNS THROUGH ALL HER WORK.

Doug: SUDDENLY,
I SEE HER AS A PERSON

IN A WAY
I DIDN'T SEE HER THEN,

BECAUSE I WAS, FRANKLY,
JUST A KID,

AND JINI SAW THAT ENERGY
IN ROCK AND ROLL

AND PARTICIPATED IN IT,

WHEN ALMOST EVERYBODY ELSE
WAS AFRAID OF IT, I THINK.

- RIGHT HERE FOR YOU.

LET ME JUST CHECK.

- CATALDO, BE AWARE
THAT I CAN'T ALWAYS SEE YOU,

AND I WANT TO SEE YOU.

YOU'RE IMPORTANT.

* YOU SEE WHAT I SEE

* PEOPLE DANCING
AROUND THE STREET *

* ( indistinct )

Chuck: I DON'T KNOW
THAT JINI WOULD SAY

THAT SHE EVER HAD
A SPECIFIC STYLE.

HER OWN OR OTHERS.

SHE WAS JUST ABOUT THE JOY
OF PHOTOGRAPHY, REALLY.

Jini:
FOR ME TO SAY WHO I AM

AND WITH ALL THE WONDERFUL
THINGS

THAT HAVE BEEN WRITTEN
ABOUT ME NOW,

I NEVER HAVE RECOGNIZED
THOSE THINGS IN MYSELF.

THE THING THAT I LOVE
THE MOST ABOUT MY LIFE

IS IT'S ALWAYS FULL OF MUSIC
COMING FROM EVERYWHERE.

* STRANGE IS NOT THE WORD
I'D USE *

* BECAUSE YOU BROUGHT ME
PLENTY OF LOVE *

* BUT I'M TAKING YOU DOWN
OFF MY SHELF *

* BECAUSE IT JUST
MAKES SENSE TO ME *

* BABY IT JUST
MAKES SENSE TO ME *

* BABY, IT JUST MAKES SENSE
TO ME *

* BABY, IT JUST MAKES SENSE TO
ME *

( music playing )

* OUT RUNNING AROUND
( indistinct )

* A LADY ( indistinct )

* MADE FROM A PAPER KITE

* WE ASK HER WHY
( indistinct ) *

* SAID IF YOU WANT TO FLY

* YOU'VE GOT TO GET
OFF THE GROUND *

* DON'T KNOW REALITY

* HEY, WE'VE GOT *

( indistinct ) *

( music playing )

* ( indistinct )

* WE ASKED HIM WHY

* HE DID
SUCH A CRAZY THING *

* SAID IT WAS ONE

* ( indistinct )

( music playing )