1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.BZ 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.BZ 3 00:00:19,323 --> 00:00:21,847 [leaves rustle] 4 00:00:21,934 --> 00:00:23,675 [dial tone] 5 00:00:23,762 --> 00:00:27,810 [relaxed music playing] 6 00:00:27,897 --> 00:00:29,942 [dial tone] 7 00:00:32,336 --> 00:00:34,164 [voicemail] You have reached Jim Marshall. 8 00:00:34,251 --> 00:00:36,166 Please leave a message after the beep, 9 00:00:36,253 --> 00:00:39,343 and someone will get back to you shortly. Thank you. 10 00:00:41,302 --> 00:00:43,043 [voicemail beep] 11 00:00:46,002 --> 00:00:47,917 [Amelia Davis] I think when I first started working with Jim, 12 00:00:48,004 --> 00:00:50,050 he was really trying to kill himself. 13 00:00:51,225 --> 00:00:52,269 He was... 14 00:00:52,356 --> 00:00:54,315 struggling with a cocaine habit 15 00:00:54,402 --> 00:00:57,144 that started in the late 60s, early 70s 16 00:00:57,231 --> 00:00:59,581 which was really his downfall. 17 00:01:11,201 --> 00:01:13,986 He was starting to become very isolated 18 00:01:14,074 --> 00:01:15,771 and reflective 19 00:01:18,034 --> 00:01:20,167 because he recognized that he could hurt people. 20 00:01:20,254 --> 00:01:22,169 He literally locked himself in his apartment, 21 00:01:22,256 --> 00:01:25,650 so the only person he could hurt is himself. 22 00:01:27,609 --> 00:01:30,960 [music builds] [seagulls cry] 23 00:01:34,268 --> 00:01:37,053 [anchor] It's thanks to him that we have memories we have 24 00:01:37,140 --> 00:01:39,534 of certain icons of the rock and roll business. 25 00:01:39,621 --> 00:01:41,405 He shot them all: 26 00:01:41,492 --> 00:01:43,842 Coltrane, Cash, Dylan, Monk, Hendrix. 27 00:01:43,929 --> 00:01:46,367 He leaves them to all of us. 28 00:01:46,454 --> 00:01:48,760 Jim Marshall was 74. 29 00:01:50,153 --> 00:01:52,634 [Davis] I'm glad he died the way he did, 30 00:01:52,721 --> 00:01:54,549 because he always said to me, 31 00:01:54,984 --> 00:01:57,378 You probably are gonna be the person 32 00:01:57,465 --> 00:01:59,554 when I die that finds me. 33 00:01:59,641 --> 00:02:01,208 And he goes, "And I don't want that 34 00:02:01,295 --> 00:02:03,993 to be the last memory that you have of me." 35 00:02:05,386 --> 00:02:08,084 And he fulfilled that wish. [traffic noises] 36 00:02:08,171 --> 00:02:09,912 He was in New York. 37 00:02:09,999 --> 00:02:12,915 He died in his sleep at the W Hotel. 38 00:02:13,350 --> 00:02:16,440 He was reading a book, and the book was on his chest. 39 00:02:16,875 --> 00:02:20,618 The police put crime scene-- [laughs] 40 00:02:20,705 --> 00:02:22,403 around the W Hotel, 41 00:02:22,490 --> 00:02:24,405 and everybody was like, "Oh my God, what happened? 42 00:02:24,492 --> 00:02:26,363 There was some murder!" 43 00:02:26,450 --> 00:02:28,278 So Jim died the way he wanted to, 44 00:02:28,713 --> 00:02:31,934 and he died like a fucking rock star. 45 00:02:32,326 --> 00:02:34,241 [man] Looking great. 46 00:02:34,328 --> 00:02:35,677 [Jim Marshall] Yeah, for an old guy. 47 00:02:35,764 --> 00:02:37,983 [man] For an old man, no, no. 48 00:02:38,070 --> 00:02:39,202 You got a spirit of a 12 year old, you know that. 49 00:02:39,637 --> 00:02:41,204 [static] 50 00:02:41,291 --> 00:02:45,861 [driving rock guitar riff] 51 00:02:47,341 --> 00:02:49,560 [anchor] These are the images of Jim Marshall, 52 00:02:49,647 --> 00:02:51,780 a photographer who's been behind the front lines 53 00:02:51,867 --> 00:02:54,609 of just about every significant musical revolution 54 00:02:54,696 --> 00:02:56,872 during the last 20 years. 55 00:02:56,959 --> 00:02:59,048 And almost every significant musical trend since. 56 00:02:59,135 --> 00:03:01,529 In the early 60s, Marshall was in New York 57 00:03:01,616 --> 00:03:02,965 when Bob Dylan went electric 58 00:03:03,052 --> 00:03:04,793 and rock came of age. 59 00:03:04,880 --> 00:03:06,751 He later moved back to San Francisco 60 00:03:06,838 --> 00:03:08,275 and documented the psychedelic era 61 00:03:08,362 --> 00:03:10,755 and has strong feelings 62 00:03:10,842 --> 00:03:12,627 about people who take their pictures less than seriously. 63 00:03:13,628 --> 00:03:18,763 [static pops] I think a lot of photographers abuse 64 00:03:19,677 --> 00:03:21,766 the camera and abuse what they do. 65 00:03:21,853 --> 00:03:25,205 I think that an artist lets you into their life 66 00:03:25,292 --> 00:03:26,815 on a personal level. 67 00:03:26,902 --> 00:03:29,470 I'm not talking about some jive concert shots. 68 00:03:29,557 --> 00:03:32,081 I'm talking about personal, real photographs of people. 69 00:03:32,168 --> 00:03:34,997 I feel that these people have let you into their life 70 00:03:35,084 --> 00:03:38,218 as a trust, and I feel to violate that trust is criminal. 71 00:03:41,221 --> 00:03:42,700 You know, I'm not gonna just sit here 72 00:03:42,787 --> 00:03:44,354 and gush about Jim Marshall. 73 00:03:44,441 --> 00:03:46,095 The mother fucker could take a good picture. 74 00:03:46,182 --> 00:03:48,053 [pages rattle] 75 00:03:48,140 --> 00:03:49,229 I mean, shit, where do you start? 76 00:03:49,533 --> 00:03:51,622 Do you start with Jimi Hendrix? 77 00:03:51,709 --> 00:03:53,407 Do you start with Janis Joplin? 78 00:03:53,494 --> 00:03:55,713 Do you start with, oh here's Miles? 79 00:03:56,279 --> 00:03:58,238 Oh no, let's talk about Coltrane. 80 00:03:59,326 --> 00:04:01,806 When you look at the body of work, 81 00:04:01,893 --> 00:04:03,112 [pages rattle] 82 00:04:03,199 --> 00:04:05,984 Who-wee. You know? Come on now. 83 00:04:06,071 --> 00:04:07,638 And it was a commitment. 84 00:04:09,553 --> 00:04:09,640 It was a commitment to the work. 85 00:04:11,816 --> 00:04:12,991 The stuff that Jim got, you'll never see that again. 86 00:04:13,862 --> 00:04:15,385 I don't care what anybody says. 87 00:04:16,125 --> 00:04:19,215 You won't even see reasonable facsimilies, 88 00:04:19,302 --> 00:04:20,347 alright? 89 00:04:20,434 --> 00:04:22,262 [distant crowd] 90 00:04:22,349 --> 00:04:23,785 Let's talk about Haight. 91 00:04:24,786 --> 00:04:28,050 You had Jim there [flash snaps] 92 00:04:28,137 --> 00:04:29,617 right in the middle of that. 93 00:04:29,704 --> 00:04:31,358 Right in the middle of 94 00:04:31,445 --> 00:04:33,969 the whole Haight-Ashbury Summer of Love. 95 00:04:35,579 --> 00:04:38,278 [city traffic] [building music] 96 00:04:40,018 --> 00:04:43,413 [Jim Stern] Haight-Ashbury was a very wonderful neighborhood. 97 00:04:43,848 --> 00:04:45,633 It was a melting pot. 98 00:04:45,720 --> 00:04:49,245 Nobody saw color or race or any of it. 99 00:04:49,332 --> 00:04:50,464 It was all just-- 100 00:04:50,551 --> 00:04:51,769 everybody was everybody. 101 00:04:51,856 --> 00:04:53,205 And I grew up on Haight Street. 102 00:04:53,293 --> 00:04:54,816 I went to the Haight Theatre. 103 00:04:54,903 --> 00:04:56,296 Uh, that was our place. 104 00:05:01,692 --> 00:05:04,129 [Katherine Poppy] The first time I saw Jim Marshall 105 00:05:04,216 --> 00:05:05,914 was in the Haight-Ashbury. 106 00:05:06,393 --> 00:05:08,395 Our neighborhood bands, 107 00:05:08,482 --> 00:05:10,962 who we didn't know would ever be famous, 108 00:05:11,049 --> 00:05:12,921 were The Grateful Dead, 109 00:05:13,008 --> 00:05:14,575 Jefferson Airplane, 110 00:05:14,662 --> 00:05:17,142 Quicksilver Messenger Service, 111 00:05:17,229 --> 00:05:18,753 The Charlatans, 112 00:05:18,840 --> 00:05:20,189 among others. 113 00:05:20,276 --> 00:05:23,366 And Jim was part of the core, 114 00:05:23,453 --> 00:05:27,152 what I call family in the Haight-Ashbury. 115 00:05:27,239 --> 00:05:29,764 [music continues] 116 00:05:30,852 --> 00:05:33,724 [Joel Selvin] So he's there scooting around town 117 00:05:33,811 --> 00:05:35,944 from one hippy scene to another. 118 00:05:36,031 --> 00:05:38,381 He's one of the few professional photographers 119 00:05:38,468 --> 00:05:40,775 that's associated with this movement. 120 00:05:40,862 --> 00:05:42,516 There were other people shooting, 121 00:05:42,603 --> 00:05:45,649 but they weren't necessarily the professional quality 122 00:05:45,736 --> 00:05:46,824 that Marshall was. 123 00:05:46,911 --> 00:05:49,436 And so he walks in to this band 124 00:05:49,523 --> 00:05:52,439 of upstarts called The Grateful Dead, 125 00:05:52,526 --> 00:05:54,832 and he is elevated. 126 00:05:54,919 --> 00:05:57,879 They are the amateurs seeking status. 127 00:05:58,706 --> 00:06:01,143 [Jorma Kaukonen] Jim Marshall was one of the first guys 128 00:06:01,230 --> 00:06:03,624 that showed up with a camera 129 00:06:03,711 --> 00:06:04,973 and wanted to take pictures of us. 130 00:06:05,060 --> 00:06:06,409 Before that, I mean, who cared? 131 00:06:06,496 --> 00:06:07,889 Just a bunch of fogeys hanging out. 132 00:06:09,760 --> 00:06:11,632 Jim was there when stuff was going on 133 00:06:11,719 --> 00:06:14,286 that was unimaginable before then 134 00:06:14,548 --> 00:06:16,245 and is unimaginable today. 135 00:06:17,551 --> 00:06:19,596 [Talamon] He could roll out of bed 136 00:06:19,683 --> 00:06:21,468 and take his camera and start pointing it 137 00:06:21,555 --> 00:06:23,687 and come up with gold. 138 00:06:23,774 --> 00:06:25,820 You had, you know, Big Brother and the Holding Company. 139 00:06:25,907 --> 00:06:27,909 You had Jefferson Airplane. 140 00:06:27,996 --> 00:06:29,127 You know, Joan Baez was down the street. 141 00:06:29,214 --> 00:06:30,868 You know, Hendrix would show up. 142 00:06:30,955 --> 00:06:32,174 Everybody was right there. 143 00:06:34,089 --> 00:06:35,656 I mean, there was so much stuff going on, it wasn't even funny. 144 00:06:35,743 --> 00:06:38,920 [inspirational music] 145 00:06:44,055 --> 00:06:46,014 [Selvin] In a way, he became 146 00:06:46,101 --> 00:06:48,538 a part of our odd little family. 147 00:06:48,625 --> 00:06:49,757 And it was one of these things 148 00:06:49,844 --> 00:06:51,759 that once that he had appeared, 149 00:06:51,846 --> 00:06:53,108 it was like he had always been there. 150 00:06:55,023 --> 00:06:58,243 I think that brief moment in time 151 00:06:58,983 --> 00:07:02,465 when there really was that freedom 152 00:07:02,944 --> 00:07:04,641 to pretty much say and do 153 00:07:04,728 --> 00:07:06,382 and be whatever you wanted to be. 154 00:07:06,469 --> 00:07:08,689 [Sons of Champlain sing "Sing Me a Rainbow"] 155 00:07:08,776 --> 00:07:12,083 [crowd cheers] 156 00:07:12,606 --> 00:07:14,651 ♪ Mister Good Time ♪ 157 00:07:14,738 --> 00:07:19,047 ♪ I want so much to have a good time, yeah ♪ 158 00:07:20,048 --> 00:07:21,745 ♪ To try to forget ♪ 159 00:07:22,180 --> 00:07:23,878 ♪ That bad girl ♪ 160 00:07:23,965 --> 00:07:25,923 ♪ Who will never be mine ♪ 161 00:07:26,010 --> 00:07:28,926 ♪ Never be mine ♪ 162 00:07:29,405 --> 00:07:35,324 ♪ Sing me a rainbow, in the sky ♪ 163 00:07:35,629 --> 00:07:38,458 [Davis] When I first met Jim Marshall, it was-- 164 00:07:39,459 --> 00:07:41,461 quite an experience. 165 00:07:41,896 --> 00:07:45,508 My childhood friend was having her 30th birthday party 166 00:07:45,595 --> 00:07:46,857 and invited me to it. 167 00:07:46,944 --> 00:07:48,163 So I went. 168 00:07:49,817 --> 00:07:51,383 And all of the sudden, there was this little man 169 00:07:51,471 --> 00:07:54,082 with a Leica around his neck, shuffling around. 170 00:07:54,343 --> 00:07:56,127 He looked at me, and he was like, "Woo." 171 00:07:56,214 --> 00:07:58,086 And he boom, boom, boom, came over. 172 00:07:58,173 --> 00:08:01,002 And he goes, "Hi. I'm Jim Marshall." 173 00:08:01,089 --> 00:08:03,613 I said, "Hi, I'm Amelia Davis." 174 00:08:03,700 --> 00:08:05,572 He goes, "What do you do?" 175 00:08:05,659 --> 00:08:06,921 And I said, "I'm a photographer." 176 00:08:07,008 --> 00:08:08,923 I said, "What do you do?" 177 00:08:09,010 --> 00:08:10,141 I had no idea who Jim Marshall was. 178 00:08:10,228 --> 00:08:12,100 He just wasn't in my wheelhouse. 179 00:08:12,666 --> 00:08:14,798 And then he said, "Wait a minute. Wait a minute. 180 00:08:14,885 --> 00:08:16,191 Are you gay?" 181 00:08:16,278 --> 00:08:17,627 And I looked at him, and I said, 182 00:08:17,714 --> 00:08:18,802 "Yes I am." 183 00:08:18,889 --> 00:08:20,804 And he goes, "Oh! 184 00:08:20,891 --> 00:08:23,285 I'm always attracted to gay women or married women." 185 00:08:23,372 --> 00:08:25,940 And I looked at him and I said, "That's your problem, not mine." 186 00:08:26,027 --> 00:08:27,985 And he laughed, and he said, 187 00:08:28,072 --> 00:08:30,335 "I think we're gonna be really good friends." 188 00:08:31,554 --> 00:08:34,209 [laughs] Next 13 years of my life, 189 00:08:34,296 --> 00:08:36,516 it was filled with Jim Marshall. 190 00:08:36,864 --> 00:08:42,043 [music continues] 191 00:08:45,873 --> 00:08:47,265 [camera whirs] 192 00:08:48,702 --> 00:08:51,531 [typewriter clacks] 193 00:08:51,792 --> 00:08:54,055 [Michelle Margetts] Okay, well, the easiest thing to do 194 00:08:54,142 --> 00:08:57,493 is to talk about when Jim and I met. 195 00:08:57,580 --> 00:09:00,409 And I was a Journalism student at SF State. 196 00:09:00,496 --> 00:09:04,500 And when I got into a magazine writing class, 197 00:09:04,587 --> 00:09:06,894 they would do these typical assignments. 198 00:09:06,981 --> 00:09:10,680 And one was, uh, Where Are They Now? 199 00:09:11,115 --> 00:09:13,509 So one day, a magazine guy came in. 200 00:09:13,596 --> 00:09:15,598 I said, "Man, I gotta have a topic 201 00:09:15,685 --> 00:09:17,644 in an hour for my magazine writing class, 202 00:09:17,731 --> 00:09:20,342 and I need somebody who used to be famous 203 00:09:20,429 --> 00:09:21,952 but they don't have to be that famous, 204 00:09:22,039 --> 00:09:23,867 but it would be good if they were famous." 205 00:09:23,954 --> 00:09:26,391 And this guy looks at me and he goes, "Jim Marshall." 206 00:09:26,478 --> 00:09:28,655 And I was like, "Who the fuck is Jim Marshall?" Right? 207 00:09:28,742 --> 00:09:30,308 And he says, "Oh! 208 00:09:30,395 --> 00:09:33,224 He's this asshole, but he's really famous, 209 00:09:33,311 --> 00:09:36,184 and he's done like hundreds of album covers. 210 00:09:36,271 --> 00:09:38,447 And he just got released out of prison." 211 00:09:40,623 --> 00:09:44,192 The first moment I met him at a bar downtown, 212 00:09:44,279 --> 00:09:46,107 which I don't think is there anymore, 213 00:09:46,194 --> 00:09:49,850 he had a box of what turned out to be proof sheets in his hand. 214 00:09:49,937 --> 00:09:51,852 And this turns out to be 5 weeks 215 00:09:51,939 --> 00:09:55,116 after he's been released from Work Furlough. 216 00:09:55,203 --> 00:09:57,292 This is March 1984. 217 00:09:57,379 --> 00:09:59,555 I go in, and I'm about 15 or 20 minutes late. 218 00:09:59,642 --> 00:10:02,819 Meanwhile, Jim has been there probably for 3 hours. 219 00:10:02,906 --> 00:10:06,083 Sitting at the bar, drinking green margaritas 220 00:10:06,170 --> 00:10:08,695 because it's St. Patrick's Day. 221 00:10:08,782 --> 00:10:11,088 So I show up, and I look down, 222 00:10:11,175 --> 00:10:14,091 and I see this little malevolent gnome 223 00:10:14,178 --> 00:10:16,311 who looks really pissed off. 224 00:10:16,398 --> 00:10:18,879 So I walk up to him, and I'm like, 225 00:10:18,966 --> 00:10:21,708 "Hi, I'm Michelle. You probably figured that out already, right?" 226 00:10:21,795 --> 00:10:23,971 And he just kind of looked at me, right? 227 00:10:24,058 --> 00:10:25,842 And I looked at him. 228 00:10:25,929 --> 00:10:27,235 And he said, "Well you're late." And all this-- 229 00:10:27,322 --> 00:10:28,323 So anyway, we went and sat, 230 00:10:28,410 --> 00:10:30,455 and he had this box. 231 00:10:30,542 --> 00:10:32,240 I opened it up, 232 00:10:32,327 --> 00:10:36,461 and there were about this high a stack of proof sheets. 233 00:10:36,548 --> 00:10:39,726 And I looked down, and I said, "Well, what do you mean? 234 00:10:39,813 --> 00:10:41,945 It's a bunch of proof sheets." 235 00:10:42,032 --> 00:10:43,120 And he goes, "Well, no, you look at each one of these is a killer shot. 236 00:10:43,207 --> 00:10:45,732 This is gonna be my come back." 237 00:10:45,819 --> 00:10:47,690 And I said, "Ok..." 238 00:10:47,777 --> 00:10:49,170 He goes, "I'm gonna call it 'Jim Marshall shoots people'." 239 00:10:49,257 --> 00:10:50,650 [gunshot] [laughs] 240 00:10:52,042 --> 00:10:55,393 [distant traffic] 241 00:10:59,223 --> 00:11:03,010 [Marshall] What are you doing? Leave the fucking lights alone! 242 00:11:04,533 --> 00:11:06,927 When I was a kid, I'd won a track meet. 243 00:11:07,014 --> 00:11:08,624 And I had a baby Brownie. 244 00:11:08,711 --> 00:11:11,018 But the guy that took pictures for the school 245 00:11:11,105 --> 00:11:12,672 was using a Leica. 246 00:11:13,237 --> 00:11:16,937 So at nine or ten years old maybe, 247 00:11:17,024 --> 00:11:18,982 end of the World War II, 248 00:11:19,069 --> 00:11:20,810 I started cutting pictures of cameras 249 00:11:20,897 --> 00:11:23,770 out of magazines and pasting them in a scrapbook 250 00:11:23,857 --> 00:11:25,510 and writing the price in pencil. 251 00:11:25,946 --> 00:11:27,774 That's maybe what started it. 252 00:11:27,861 --> 00:11:30,298 My fascination with the camera. 253 00:11:30,385 --> 00:11:33,170 I've always liked cars, guns, and cameras. 254 00:11:33,649 --> 00:11:36,043 Cars and guns have got me in trouble. 255 00:11:36,304 --> 00:11:38,001 Cameras haven't. 256 00:11:38,872 --> 00:11:40,961 [clicks] [reel whirs] 257 00:11:41,048 --> 00:11:43,746 [traffic passes] 258 00:11:44,225 --> 00:11:46,575 [kids scream] 259 00:11:48,620 --> 00:11:50,666 I was about a year and a half old, 260 00:11:51,058 --> 00:11:52,973 and I came out here 261 00:11:53,060 --> 00:11:54,409 obviously with my mother and father. 262 00:11:56,367 --> 00:11:57,673 Grew up here. Went to school here. 263 00:11:57,760 --> 00:11:59,936 And lived here all my life. 264 00:12:00,023 --> 00:12:02,765 [students chatter] 265 00:12:02,852 --> 00:12:05,289 [Hon. Joanne Parrilli] I think, at times, Jimmy gave me 266 00:12:05,376 --> 00:12:08,075 the impression that he didn't have a lot of self-confidence 267 00:12:08,162 --> 00:12:10,207 or self-esteem or whatever. 268 00:12:10,294 --> 00:12:13,602 That he felt the son of immigrant parents. 269 00:12:14,168 --> 00:12:16,431 He was so close to his mom. 270 00:12:16,518 --> 00:12:18,563 And you could tell it was a mother-son relationship. 271 00:12:18,650 --> 00:12:21,828 She reminded me of Italian mothers in many ways. 272 00:12:22,437 --> 00:12:25,701 He would bristle when Margie told him to behave, 273 00:12:25,788 --> 00:12:29,705 or not do something, or eat more or whatever it was. 274 00:12:29,792 --> 00:12:32,577 But it was dear, and you could really tell he loved his mom. 275 00:12:33,927 --> 00:12:36,190 [Michael Zagaris] I only met his mother a couple of times, 276 00:12:36,277 --> 00:12:38,061 and this is just me, personally. 277 00:12:38,148 --> 00:12:39,759 I... I felt-- 278 00:12:40,411 --> 00:12:44,154 he loved her, but I felt there was real tension 279 00:12:44,459 --> 00:12:47,636 and I thought part of that was, you know, 280 00:12:47,723 --> 00:12:51,118 Jim was really raised by his mother and his aunts. 281 00:12:51,205 --> 00:12:53,642 And his father wasn't around. 282 00:12:54,469 --> 00:12:56,210 I think, like all of us, 283 00:12:56,297 --> 00:12:58,516 we're all shaped and formed by 284 00:12:58,995 --> 00:13:01,128 the things that happen to us 285 00:13:01,215 --> 00:13:03,739 in our real early years. 286 00:13:03,826 --> 00:13:06,307 And you know what? He had a tough time. 287 00:13:06,394 --> 00:13:09,876 He was basically like an immigrant kid, 288 00:13:09,963 --> 00:13:12,008 in white America. 289 00:13:12,443 --> 00:13:15,751 If Jim was nothing else, he was a fucking survivor. 290 00:13:15,838 --> 00:13:18,536 [plane whines] 291 00:13:18,623 --> 00:13:20,712 [Marshall] And I went in the Air Force when I was 18. 292 00:13:20,800 --> 00:13:23,411 18 and a half for a year and a half. 293 00:13:23,498 --> 00:13:25,892 And then I wrangled my way out of the Air Force 294 00:13:25,979 --> 00:13:28,068 because I didn't feel like being a clerk typist. 295 00:13:28,155 --> 00:13:32,072 [planes whir] 296 00:13:32,681 --> 00:13:34,204 Then I came back to San Francisco 297 00:13:34,291 --> 00:13:36,424 and then from... 298 00:13:36,511 --> 00:13:39,557 oh, Jesus Christ, that was in '56. 299 00:13:39,644 --> 00:13:41,429 1956. 300 00:13:41,516 --> 00:13:43,692 And I was very involved in automobiles 301 00:13:43,779 --> 00:13:45,433 and sports car racing and drag racing and stuff. 302 00:13:47,957 --> 00:13:49,654 [Zagaris] He used to go to Fremont to the drags. 303 00:13:49,741 --> 00:13:50,960 And he was a big car guy. [cars roar] 304 00:13:51,047 --> 00:13:54,137 I mean talk about Americana. 305 00:13:54,224 --> 00:13:55,747 That was Jim. 306 00:13:56,226 --> 00:13:58,881 [contented music playing] 307 00:13:59,839 --> 00:14:02,015 [Selvin] Marshall started out shooting stuff 308 00:14:02,102 --> 00:14:05,453 in North Beach at the height of the Beatnik era. 309 00:14:05,540 --> 00:14:07,890 And San Francisco 310 00:14:07,977 --> 00:14:10,632 Grand Avenue, that was ground zero for that whole thing. 311 00:14:10,719 --> 00:14:13,417 I mean, that's where Jack Kerouac ended up 312 00:14:13,504 --> 00:14:15,289 after On the Road. 313 00:14:16,159 --> 00:14:20,250 So whatever the zeitgeist of the '60s was, 314 00:14:20,337 --> 00:14:23,906 Marshall was in on it right from the very start. 315 00:14:25,690 --> 00:14:27,257 [Marshall] I've done, you know, maybe... 316 00:14:27,344 --> 00:14:30,260 50,000, 100,000 rolls of film. 317 00:14:30,347 --> 00:14:33,916 On roll number 40. 4-0, 318 00:14:34,003 --> 00:14:35,744 Dinah Washington. 319 00:14:36,179 --> 00:14:41,141 And on roll 57-- 567 to 579, 320 00:14:41,228 --> 00:14:42,403 John Coltrane. 321 00:14:44,535 --> 00:14:47,887 From 1960, I'd met him at the Jazz workshop 322 00:14:47,974 --> 00:14:49,932 and we're backstage, and he asked me, 323 00:14:50,019 --> 00:14:51,847 "How do you get to Berkeley?" And I go, "Why?" 324 00:14:51,934 --> 00:14:55,416 He goes, "Well I've gotta go to, um, Ralph Gleeson's house 325 00:14:55,503 --> 00:14:57,592 for an interview. 326 00:14:57,679 --> 00:15:00,682 Ralph was the Jazz critic for the Chronicle. 327 00:15:00,769 --> 00:15:02,336 So I said, "I'll drive you." And I shot pictures at the interview. 328 00:15:02,423 --> 00:15:04,512 And they're beautiful. 329 00:15:05,730 --> 00:15:06,993 [Selvin] I don't know what it is. 330 00:15:07,080 --> 00:15:08,777 He just, he saw Coltrane. 331 00:15:09,430 --> 00:15:11,388 He captured the serenity of the guy 332 00:15:11,475 --> 00:15:14,087 and the depth and the intensity. All at the same time. 333 00:15:14,783 --> 00:15:16,654 What time of day is that, that one 334 00:15:16,741 --> 00:15:18,265 out in the back yard taken? 335 00:15:18,352 --> 00:15:19,701 That's like sunset or something like that? 336 00:15:19,788 --> 00:15:21,877 The-- the light and the colors 337 00:15:21,964 --> 00:15:24,445 are just like out of a Renaissance painting 338 00:15:24,532 --> 00:15:26,751 or like a Turner or something. 339 00:15:26,838 --> 00:15:28,884 [Michael Douglas] His love for the blues. 340 00:15:28,971 --> 00:15:30,103 His love for Jazz. 341 00:15:31,800 --> 00:15:35,021 He photographed a lot of particularly Black artists 342 00:15:35,108 --> 00:15:37,806 who weren't necessarily getting a lot of attention. 343 00:15:37,893 --> 00:15:41,592 And he always had a strong defense for the underdog. 344 00:15:41,679 --> 00:15:45,335 He almost would look for an underdog to defend. 345 00:15:45,814 --> 00:15:50,471 He always was the ultimate outsider. 346 00:15:51,385 --> 00:15:53,169 And he fought 347 00:15:53,256 --> 00:15:55,171 and scrapped 348 00:15:55,258 --> 00:15:58,827 and used that as a motivating tool. 349 00:15:59,567 --> 00:16:03,092 You know, one of the reasons that John Coltrane exists 350 00:16:03,179 --> 00:16:06,617 aside from his musical genius, was the zeitgeist. 351 00:16:06,704 --> 00:16:09,533 I mean, the time that he was reacting to. 352 00:16:09,620 --> 00:16:11,361 Those songs like Alabama, 353 00:16:11,448 --> 00:16:13,276 responding to social things. 354 00:16:13,363 --> 00:16:15,931 And Marshall's part of that time. 355 00:16:16,018 --> 00:16:18,412 He's so important to kind of an era 356 00:16:18,499 --> 00:16:21,545 where a lot was changing socially, 357 00:16:21,632 --> 00:16:23,591 artistically, 358 00:16:23,678 --> 00:16:26,028 and Marshall's photographs of these men 359 00:16:26,115 --> 00:16:29,162 away from their instruments, not on stage, 360 00:16:29,249 --> 00:16:31,991 kind of reveals that more than anything else for me. 361 00:16:32,426 --> 00:16:35,081 [crowds cheer] [jazz music] 362 00:16:35,168 --> 00:16:37,692 [Talamon] Between Jim Marshall and Ralph Gleeson, 363 00:16:38,475 --> 00:16:41,087 Ralph Gleeson, of course, being the jazz critic 364 00:16:41,174 --> 00:16:43,393 for the San Francisco Chronicle 365 00:16:43,480 --> 00:16:47,267 and later co-founding the Monterey Jazz Festival. 366 00:16:47,354 --> 00:16:49,660 I mean, that was the big deal. 367 00:16:49,747 --> 00:16:51,358 You know, you gotta go to the Monterey Jazz Festival. 368 00:16:51,445 --> 00:16:54,143 And who documented the Monterey Jazz Festival? 369 00:16:54,230 --> 00:16:55,536 Fucking Jim Marshall. 370 00:16:57,538 --> 00:16:59,018 Jazz festivals were one of the first places 371 00:16:59,105 --> 00:17:02,282 where you really had integration. 372 00:17:02,717 --> 00:17:04,197 It was nice and loose. 373 00:17:04,284 --> 00:17:05,589 You know, and people would dance 374 00:17:05,676 --> 00:17:07,852 and people would associate. 375 00:17:07,939 --> 00:17:08,940 and people would get together and have a drink. 376 00:17:10,899 --> 00:17:12,988 [Kenyatta] And remember, 377 00:17:13,075 --> 00:17:15,469 this is like just after segregation, right? 378 00:17:15,556 --> 00:17:17,993 And so these people were together 379 00:17:18,080 --> 00:17:21,388 with the community in a way that doesn't exist anymore. 380 00:17:21,475 --> 00:17:24,695 [people cheer] [slow jazz continues] 381 00:17:27,611 --> 00:17:30,136 Musicians operate a lot on feeling. 382 00:17:30,223 --> 00:17:33,530 And so it's clear to me that someone like Marshall, 383 00:17:33,617 --> 00:17:35,706 who had access to Miles Davis, 384 00:17:35,793 --> 00:17:38,274 who had access to John Coltrane, 385 00:17:38,709 --> 00:17:41,234 they had to respect him to let him that close. 386 00:17:41,843 --> 00:17:44,280 Coltrane was known as a very gentle man, 387 00:17:44,367 --> 00:17:47,283 but Miles certainly didn't let people close to him 388 00:17:47,370 --> 00:17:48,763 that he didn't respect. 389 00:17:48,850 --> 00:17:50,895 They must have thought of him 390 00:17:50,982 --> 00:17:52,767 as an artist on their level, in some ways. 391 00:17:55,378 --> 00:17:57,163 [Marshall] I think the first time I met Miles in '59, 392 00:17:57,250 --> 00:18:00,079 I asked him why he had a green trumpet. 393 00:18:00,905 --> 00:18:02,603 I forget what he said, but he goes, uh, 394 00:18:02,690 --> 00:18:05,432 "I didn't ask you why you have a black camera." 395 00:18:05,519 --> 00:18:07,434 Scared the shit out of me. 396 00:18:07,521 --> 00:18:10,393 So in the next 6 years, I do two album covers on him. 397 00:18:10,480 --> 00:18:12,439 Live stuff. 398 00:18:12,526 --> 00:18:14,049 Then the first time he played for Bill Graham 399 00:18:14,136 --> 00:18:16,095 at the Winterland, 400 00:18:16,182 --> 00:18:20,186 I made a print for Miles of Coltrane backstage, 401 00:18:20,273 --> 00:18:21,970 the media all over the place. 402 00:18:22,057 --> 00:18:23,624 I go, "Hey Miles," he goes, "Ugh." 403 00:18:23,711 --> 00:18:25,974 "This is for you." "What is it?" 404 00:18:26,061 --> 00:18:28,585 I go, "It's for you." "I'm a busy man, what is it?" 405 00:18:28,672 --> 00:18:31,849 I start to walk away. He opens it. 406 00:18:31,936 --> 00:18:34,461 Everybody's going, Miles this, Miles that, da, da, da. 407 00:18:34,548 --> 00:18:35,897 And he goes, "Everybody, shut up! 408 00:18:35,984 --> 00:18:37,986 Hey, Jim. Come back here." 409 00:18:38,508 --> 00:18:41,207 He goes, "You knew John like this? 410 00:18:41,294 --> 00:18:42,730 And John trusted you like this?" 411 00:18:42,817 --> 00:18:44,862 And I go, "Yeah." 412 00:18:44,949 --> 00:18:46,734 "Why don't you ever take pictures of me like that?" 413 00:18:46,821 --> 00:18:48,823 I go, "Why don't you let me?" 414 00:18:50,172 --> 00:18:55,134 [somber piano] 415 00:18:56,222 --> 00:18:58,746 [Jeff L. Rosenheim] It's a diary of a life. 416 00:18:58,833 --> 00:19:00,704 This was the life. 417 00:19:00,791 --> 00:19:02,924 It was something that he thought 418 00:19:03,011 --> 00:19:05,056 that he must have been able to do better than the next person. 419 00:19:05,144 --> 00:19:07,537 Or something that fulfilled a desire. 420 00:19:07,624 --> 00:19:09,583 That had nothing to do with music. 421 00:19:09,670 --> 00:19:11,150 That had to do with living. 422 00:19:11,237 --> 00:19:13,195 Ok, life is short. 423 00:19:13,761 --> 00:19:16,024 And basically I wanna fill my life 424 00:19:16,111 --> 00:19:18,722 with as much poetry as I can. 425 00:19:18,809 --> 00:19:21,464 And the camera is a kind of memoir. 426 00:19:21,551 --> 00:19:23,640 It is a diaristic tool 427 00:19:23,727 --> 00:19:26,252 and that's what, I think, 428 00:19:26,339 --> 00:19:29,690 when you look at a whole, the collection of images, 429 00:19:29,777 --> 00:19:32,171 it is a diary of a life in music. 430 00:19:32,606 --> 00:19:34,956 And what a beautiful thing. 431 00:19:35,043 --> 00:19:37,437 [record whirs] 432 00:19:37,524 --> 00:19:40,657 [distant traffic] 433 00:19:43,530 --> 00:19:45,271 [Marshall] In 1962, 434 00:19:45,358 --> 00:19:46,881 I did a lot of stuff on Dick Gregory, 435 00:19:46,968 --> 00:19:49,100 and I was going to New York. 436 00:19:49,188 --> 00:19:51,973 And I drove Dick Gregory's car with a bunch of money and stuff 437 00:19:52,060 --> 00:19:53,888 to take to Chicago for him. 438 00:19:53,975 --> 00:19:55,977 And I got as far as Chicago 439 00:19:56,064 --> 00:19:58,197 and then took a bus on to New York City. 440 00:19:58,545 --> 00:20:00,286 Got there in June of '62. 441 00:20:00,373 --> 00:20:02,549 Lived there for 2 and a half years. 442 00:20:03,289 --> 00:20:06,161 [foreboding music] 443 00:20:06,248 --> 00:20:08,642 [Anton Corbijn] I think the '60s, 444 00:20:08,729 --> 00:20:10,687 there was a sense of a movement, 445 00:20:10,774 --> 00:20:12,820 that music was part of that movement. 446 00:20:12,907 --> 00:20:15,083 When I look at Jim's work, I see a documentary photographer 447 00:20:15,823 --> 00:20:18,260 And it's really hard if you're a documentary photographer 448 00:20:18,347 --> 00:20:20,480 to prepare these great compositions. 449 00:20:20,567 --> 00:20:22,830 As they say, you have to have an eye for it. 450 00:20:22,917 --> 00:20:25,267 And he definitely had. 451 00:20:25,354 --> 00:20:28,270 He was able to create in really weird circumstances a beautiful picture. 452 00:20:29,184 --> 00:20:30,925 [Davis] 'Cause it's not just music. 453 00:20:31,012 --> 00:20:32,535 He was shooting Woody Allen 454 00:20:32,622 --> 00:20:34,494 for the cover of Look Magazine. 455 00:20:34,581 --> 00:20:37,714 He was shooting Carol Channing, a lot of theater. 456 00:20:39,238 --> 00:20:40,587 Take a look. 457 00:20:42,458 --> 00:20:44,504 And those proof sheets tell the story. 458 00:20:44,591 --> 00:20:46,201 I mean, you see the Dylan walking down the street 459 00:20:46,288 --> 00:20:48,812 with Dave Van Ronk and his wife. 460 00:20:48,899 --> 00:20:51,554 And then, you know, they're just hanging out on the sidewalk. 461 00:20:51,641 --> 00:20:52,903 It's just Sixth Avenue on some like Saturday or Sunday morning. 462 00:20:52,990 --> 00:20:54,340 There's not much traffic. 463 00:20:54,427 --> 00:20:55,515 And then all the sudden, boom. 464 00:20:55,602 --> 00:20:56,951 There's the tire picture. 465 00:20:57,952 --> 00:20:59,214 Just out of nowhere. 466 00:21:01,608 --> 00:21:03,436 [Corbijn] I mean the Dylan moment's 467 00:21:03,523 --> 00:21:04,132 pretty close to perfection to me. 468 00:21:05,568 --> 00:21:07,527 It says so much, that picture. 469 00:21:07,614 --> 00:21:07,918 It makes you long for a different era. 470 00:21:09,920 --> 00:21:10,965 And what I learned from all these... 471 00:21:11,052 --> 00:21:12,923 pioneers of photography is that: 472 00:21:13,010 --> 00:21:14,403 No matter how good you are, if you don't have the access, 473 00:21:14,490 --> 00:21:15,622 you don't have the picture. 474 00:21:15,709 --> 00:21:18,407 [clunk] 475 00:21:18,494 --> 00:21:19,539 [Marshall] I don't know. I'd prefer just to hang out, 476 00:21:19,626 --> 00:21:21,367 and shoot as a photo journalist. 477 00:21:21,454 --> 00:21:23,586 I want total access. 478 00:21:23,673 --> 00:21:26,633 I don't want someone telling me I can't go here or there. 479 00:21:26,720 --> 00:21:28,678 If they want me there, 480 00:21:28,765 --> 00:21:30,985 then they should respect my judgment and taste 481 00:21:31,290 --> 00:21:33,466 and integrity, if you want to use that word. 482 00:21:34,467 --> 00:21:36,295 And just let me take the fucking picture. 483 00:21:36,382 --> 00:21:37,731 [easy guitar music] 484 00:21:37,818 --> 00:21:41,169 And let me capture what I see. 485 00:21:42,431 --> 00:21:44,999 [Graham Nash] Jim had an eye for the moment. 486 00:21:45,478 --> 00:21:48,872 For Bob Dylan to have opened himself up that much 487 00:21:48,959 --> 00:21:50,918 to a photographer was very interesting. 488 00:21:51,005 --> 00:21:53,094 And at times, he became invisible. 489 00:21:53,181 --> 00:21:54,748 [crowd chatters] 490 00:21:54,835 --> 00:21:57,011 I know when people are taking pictures of me. 491 00:21:57,098 --> 00:21:59,230 You always want to put your best side forward. 492 00:21:59,318 --> 00:22:02,756 You wanna look like James Dean and look cool and stuff. 493 00:22:03,539 --> 00:22:05,933 But people trusted Jim. 494 00:22:06,020 --> 00:22:07,935 And I think that was one of his main secrets. 495 00:22:08,022 --> 00:22:11,025 Once he had the trust of an artist, 496 00:22:11,112 --> 00:22:15,246 the artist trusted him to not screw up. 497 00:22:16,291 --> 00:22:18,424 [Talamon] You know, he could be frantic, 498 00:22:18,511 --> 00:22:20,556 but through all of that, people gravitated toward him, 499 00:22:20,643 --> 00:22:23,690 and they would allow him to come into their space. 500 00:22:24,430 --> 00:22:26,127 You can't teach that. 501 00:22:26,519 --> 00:22:27,911 You cannot teach that. 502 00:22:27,998 --> 00:22:29,435 I don't care how many cameras you have. 503 00:22:29,522 --> 00:22:34,744 [clicks] [driving beat] 504 00:22:37,268 --> 00:22:38,661 Um... 505 00:22:39,053 --> 00:22:41,751 so a photographer being present, 506 00:22:41,838 --> 00:22:43,884 it's the classic thing that 507 00:22:43,971 --> 00:22:46,843 the documentarian changes the subject. 508 00:22:46,930 --> 00:22:49,455 And often for the worse. 509 00:22:49,542 --> 00:22:51,674 When it is working well, 510 00:22:51,761 --> 00:22:54,677 the documentarian allows something that is always there 511 00:22:54,764 --> 00:22:56,244 to emerge again. 512 00:22:56,331 --> 00:22:58,812 And a little bit of introspection 513 00:22:58,899 --> 00:23:00,857 on the photographer's part 514 00:23:00,944 --> 00:23:02,206 the recorder's part, 515 00:23:02,293 --> 00:23:03,773 the documentarian's part, 516 00:23:03,860 --> 00:23:05,732 and a little bit of introspection 517 00:23:05,819 --> 00:23:07,995 on the performer's part 518 00:23:08,082 --> 00:23:11,520 allows another kind of composition to take place. 519 00:23:11,607 --> 00:23:14,523 [classical piano] 520 00:23:14,610 --> 00:23:18,005 [Davis] The way Jim truly expressed himself 521 00:23:18,092 --> 00:23:20,181 was through his photographs. 522 00:23:20,268 --> 00:23:22,444 And when you look at his photographs 523 00:23:22,531 --> 00:23:24,359 you can see what he was feeling, 524 00:23:24,446 --> 00:23:26,230 what he was trying to get across, 525 00:23:26,317 --> 00:23:28,450 and the history that he was documenting. 526 00:23:31,148 --> 00:23:32,672 [Marshall] As out there as I am, when I'm photographing, 527 00:23:32,759 --> 00:23:34,978 I kind of become a fly on the wall 528 00:23:35,065 --> 00:23:36,850 and just want to document it. 529 00:23:38,982 --> 00:23:40,984 [Davis] Out of habit, he would always 530 00:23:41,071 --> 00:23:43,770 always, whenever he left the house to go somewhere, 531 00:23:43,857 --> 00:23:45,162 pick up his Leica 532 00:23:45,249 --> 00:23:46,686 and put it on his shoulder. 533 00:23:46,773 --> 00:23:48,862 It was an extension of him. 534 00:23:48,949 --> 00:23:51,995 But he also, I think, he had a curious eye. 535 00:23:54,041 --> 00:23:56,522 And that's what really put Jim apart 536 00:23:56,609 --> 00:23:57,958 from other photographers 537 00:23:58,045 --> 00:23:59,525 because he was always looking, 538 00:23:59,612 --> 00:24:01,701 always wanting to document, 539 00:24:01,788 --> 00:24:05,226 no matter how insignificant you or I thought it was, 540 00:24:05,313 --> 00:24:07,402 It was significant for Jim. 541 00:24:07,489 --> 00:24:11,711 [smooth jazz] 542 00:24:11,798 --> 00:24:14,627 [Rosenheim] Every street corner is a circus. 543 00:24:14,714 --> 00:24:18,065 And when I teach, and my students arrive on the first day, 544 00:24:18,152 --> 00:24:19,893 and I have to pick who's gonna be in the class 545 00:24:19,980 --> 00:24:22,330 and who is not gonna be in the class, 546 00:24:22,417 --> 00:24:25,289 the kids who don't show up with their camera on day one, 547 00:24:26,334 --> 00:24:27,378 they're out. 548 00:24:29,293 --> 00:24:30,730 You're either that kind of person or you're not. 549 00:24:31,295 --> 00:24:33,472 You gotta be open to it. 550 00:24:33,559 --> 00:24:36,823 Being ready to have your life changed every day. 551 00:24:39,216 --> 00:24:40,653 [gunshot] 552 00:24:43,438 --> 00:24:44,483 [reporter] It appears as though something has happened 553 00:24:44,570 --> 00:24:45,135 in the motorcade group. 554 00:24:45,222 --> 00:24:45,962 [gunshot] 555 00:24:49,096 --> 00:24:49,836 There has been a shooting, a shooting in the motorcade in the downtown area. 556 00:24:49,923 --> 00:24:52,229 [somber music] 557 00:24:52,316 --> 00:24:55,581 [reporter 2] The President of the United States is dead. 558 00:24:56,886 --> 00:24:59,019 [Marshall] Now, if you know the shots that I did 559 00:24:59,106 --> 00:25:00,934 the day JFK was killed, 560 00:25:01,021 --> 00:25:02,588 I did right at this corner. 561 00:25:02,675 --> 00:25:04,067 Right here. 562 00:25:11,945 --> 00:25:15,470 [Davis] When I met Jim and started working for him, 563 00:25:15,557 --> 00:25:17,516 my mother had just died, 564 00:25:17,603 --> 00:25:19,387 and I had just been diagnosed with MS. 565 00:25:20,344 --> 00:25:23,130 For me, it was a difficult part of my life. 566 00:25:23,217 --> 00:25:25,001 I had this void. 567 00:25:25,088 --> 00:25:26,699 And then I, boom, met Jim. 568 00:25:27,134 --> 00:25:29,658 So he filled that void, in a way. 569 00:25:30,485 --> 00:25:34,358 He was this very charismatic person, intelligent, witty. 570 00:25:34,445 --> 00:25:36,665 He also needed somebody in his life that cared 571 00:25:36,752 --> 00:25:38,667 and that would be with him. 572 00:25:38,754 --> 00:25:40,364 So I think it was beneficial for both of us. 573 00:25:40,451 --> 00:25:42,018 Actually there's a cute one of you and me Jim. 574 00:25:42,105 --> 00:25:43,846 -Did you see this one? -Uh, yeah. 575 00:25:43,933 --> 00:25:45,239 Right there. 576 00:25:49,983 --> 00:25:51,245 Oh I look awful. 577 00:25:51,332 --> 00:25:52,768 [laughs] 578 00:25:52,855 --> 00:25:55,075 And art does not look good in pictures. 579 00:25:55,162 --> 00:25:56,467 Oh it doesn't. 580 00:25:57,730 --> 00:25:59,949 I'll do that one. 581 00:26:00,036 --> 00:26:02,473 [Davis] He was such an intense person. 582 00:26:02,561 --> 00:26:04,998 I mean, he could be the biggest asshole, 583 00:26:05,085 --> 00:26:06,434 and then the next minute, 584 00:26:06,521 --> 00:26:08,001 he could be the sweetest guy in the world. 585 00:26:08,088 --> 00:26:09,916 [reel whirs] 586 00:26:10,003 --> 00:26:11,613 [interviewer] I wanna know how 587 00:26:13,615 --> 00:26:17,793 in one body can be such an incredible range. 588 00:26:17,880 --> 00:26:19,969 I mean, you're such a sensitive photographer 589 00:26:20,056 --> 00:26:23,407 and have such a way with getting these things out of people. 590 00:26:23,494 --> 00:26:25,975 And you have so many dangerous ideas in there-- 591 00:26:26,062 --> 00:26:28,543 [Marshall] What dangerous ideas? For instance? 592 00:26:28,630 --> 00:26:31,372 [interviewer] Well, that's my opinion. 593 00:26:31,459 --> 00:26:33,243 [Marshall] Let's talk about 'em. What dangerous ideas? 594 00:26:33,330 --> 00:26:34,114 [interviewer] Well, you're, you're... 595 00:26:34,201 --> 00:26:36,682 very casual and cavalier about-- 596 00:26:36,769 --> 00:26:38,988 about guns and blowing people away. 597 00:26:39,075 --> 00:26:41,034 - [Marshall] They're a tool. - Threatening people. 598 00:26:41,121 --> 00:26:42,339 Hey, I don't threaten anybody, man, 599 00:26:42,426 --> 00:26:43,819 unless they fuck with me first. 600 00:26:44,298 --> 00:26:46,735 [Marshall] What? 601 00:26:46,822 --> 00:26:48,519 [interviewer] How can all, how can this-- 602 00:26:48,607 --> 00:26:50,217 [Marshall] It's a-- it's a paradox. 603 00:26:50,304 --> 00:26:52,349 -[interviewer] It is a paradox. - It is a great paradox 604 00:26:52,436 --> 00:26:54,047 that I'd probably have to spend every penny I make 605 00:26:54,134 --> 00:26:56,092 to a head shrinker to find out, 606 00:26:56,179 --> 00:26:58,529 and I don't believe in head shrinkers. 607 00:26:58,617 --> 00:27:00,923 -That's why I'm fucked up. - Just talk to me about that. 608 00:27:01,010 --> 00:27:03,099 [Marshall] I don't know how to talk about it. 609 00:27:03,186 --> 00:27:05,493 [interviewer] How can you be so sensitive-- 610 00:27:05,580 --> 00:27:06,842 [Marshall] My first wife said I'm not sensitive. 611 00:27:06,929 --> 00:27:07,016 I'm just technically good. 612 00:27:09,889 --> 00:27:11,673 [Douglas] I mean, there was a softness and a compassion 613 00:27:11,760 --> 00:27:13,675 about him and how he treated his friends. 614 00:27:13,762 --> 00:27:17,070 But you did not wanna be on the wrong side of Jim Marshall. 615 00:27:17,157 --> 00:27:18,506 [blows raspberry] 616 00:27:19,420 --> 00:27:21,683 And I know, was he a Syrian Jew? 617 00:27:21,770 --> 00:27:23,729 He was a Catholic, but he was Syrian. 618 00:27:23,816 --> 00:27:25,818 People kept thinking he was a Jew. 619 00:27:25,905 --> 00:27:28,081 because, you know, he did have a schnoz, 620 00:27:28,168 --> 00:27:29,778 bless his soul. 621 00:27:29,865 --> 00:27:32,215 Well, he was a Catholic. Well, that explains a lot. 622 00:27:33,042 --> 00:27:36,002 [Selvin] Everybody who knew Jim Marshall 623 00:27:36,089 --> 00:27:38,178 has Jim Marshall stories. 624 00:27:38,265 --> 00:27:41,442 They came with every encounter. 625 00:27:41,529 --> 00:27:47,491 The pose of this hard-ass, spiteful guy was simply that. 626 00:27:47,578 --> 00:27:49,755 A pose. 627 00:27:49,842 --> 00:27:52,061 And we know this by looking at his photographs. 628 00:27:52,148 --> 00:27:54,107 You can't see into people's 629 00:27:54,194 --> 00:27:57,632 hearts and souls through a camera lens 630 00:27:57,719 --> 00:28:01,331 unless you're an open connection to that. 631 00:28:02,202 --> 00:28:04,770 Somebody who's that open 632 00:28:04,857 --> 00:28:06,423 to these connections in life 633 00:28:06,859 --> 00:28:08,599 has to really guard himself. 634 00:28:08,687 --> 00:28:13,430 [moody music] 635 00:28:13,517 --> 00:28:15,432 [Margetts] Oh yeah, it's right here. 636 00:28:15,519 --> 00:28:18,044 It's right in this, right here in this bag. 637 00:28:21,830 --> 00:28:25,007 So apparently I have even the edited version. 638 00:28:25,747 --> 00:28:28,968 It was called: 'Jim Marshall's Last Shot'. 639 00:28:29,055 --> 00:28:32,101 And my journalism professor said, 640 00:28:32,188 --> 00:28:35,626 "Great stuff. Rough passages though." 641 00:28:35,714 --> 00:28:36,845 [laughs] Oh yeah? 642 00:28:36,932 --> 00:28:38,760 [tape whirs] 643 00:28:38,847 --> 00:28:43,852 At 5 foot, 6 inches, Marshall is a small man with a large talent. 644 00:28:43,939 --> 00:28:46,289 and an even bigger insecurity. 645 00:28:46,376 --> 00:28:48,683 200 years ago, he would have been jousting at windmills. 646 00:28:48,770 --> 00:28:51,599 100 gun fighting in the dusty streets. 647 00:28:51,686 --> 00:28:54,950 Now he just shoots pictures for the most part. 648 00:28:55,037 --> 00:28:59,041 [click] [steady beat] 649 00:29:03,742 --> 00:29:08,311 [The Chamber Brothers perform "Time Has Come Today" ] 650 00:29:19,192 --> 00:29:20,497 [crowds chatter] 651 00:29:20,584 --> 00:29:22,761 ♪ Time has come today ♪ 652 00:29:24,110 --> 00:29:27,591 [train whistle] ♪ Young hearts can go their way♪ 653 00:29:28,679 --> 00:29:32,074 ♪ Can't put it off another day ♪ 654 00:29:32,945 --> 00:29:35,948 ♪ I don't care what others say ♪ 655 00:29:36,644 --> 00:29:39,995 ♪ They say We don't listen anyway ♪ 656 00:29:40,082 --> 00:29:42,258 ♪ Time has come today ♪ 657 00:29:43,738 --> 00:29:44,913 ♪ Hey! ♪ 658 00:29:47,263 --> 00:29:48,308 [man] Sir, I don't need to leave! 659 00:29:48,395 --> 00:29:50,397 We've come to register to vote. 660 00:29:51,267 --> 00:29:52,965 You beat us, but refuse to register. 661 00:29:53,052 --> 00:29:54,314 What kind of people are you? 662 00:29:54,401 --> 00:29:55,837 [crowds shout] 663 00:29:55,924 --> 00:29:59,014 ♪ I have no place to stay ♪ 664 00:29:59,101 --> 00:30:00,711 ♪ Hey! ♪ 665 00:30:00,799 --> 00:30:02,844 ♪ I'm thinking about the subway♪ [dogs bark] 666 00:30:02,931 --> 00:30:04,324 ♪ Hey! ♪ 667 00:30:04,411 --> 00:30:06,282 ♪ My love has blown away ♪ 668 00:30:06,369 --> 00:30:07,544 ♪ Hey! ♪ 669 00:30:07,631 --> 00:30:10,286 ♪ My tears have come and gone ♪ 670 00:30:10,373 --> 00:30:11,853 ♪ Hey! ♪ 671 00:30:11,940 --> 00:30:14,247 ♪ Oh my Lord, I have to run ♪ 672 00:30:14,334 --> 00:30:15,596 ♪ Hey! ♪ 673 00:30:15,683 --> 00:30:18,120 ♪ I've got no home ♪ 674 00:30:18,207 --> 00:30:19,905 ♪ Hey! ♪ 675 00:30:19,992 --> 00:30:22,037 [train roars] ♪ I have no home ♪ 676 00:30:22,124 --> 00:30:23,517 ♪ Hey! ♪ 677 00:30:35,224 --> 00:30:37,270 ♪ Now the time has come ♪ 678 00:30:38,140 --> 00:30:41,752 ♪ Time! ♪ ♪ No place to run ♪ 679 00:30:42,275 --> 00:30:44,277 ♪ Time! ♪ 680 00:30:44,364 --> 00:30:46,322 ♪ Might get burned up By the sun ♪ 681 00:30:46,409 --> 00:30:48,411 ♪ Time! ♪ ♪ But I've had my fun ♪ 682 00:30:49,021 --> 00:30:50,849 ♪ Time! ♪ 683 00:30:50,936 --> 00:30:52,415 ♪ I've been loved, And put aside ♪ 684 00:30:52,502 --> 00:30:54,635 ♪ Time! ♪ 685 00:30:54,722 --> 00:30:56,463 ♪ I've been crushed By a tumbling tide ♪ 686 00:30:56,550 --> 00:30:58,682 ♪ Time! ♪ 687 00:30:58,769 --> 00:30:59,858 ♪ And my soul has Been psychedelicized ♪ 688 00:31:01,468 --> 00:31:03,470 [radio static] [song continues over radio] 689 00:31:03,557 --> 00:31:04,950 ♪ Time! ♪ 690 00:31:05,037 --> 00:31:06,299 ♪ Now the time has come ♪ 691 00:31:06,386 --> 00:31:11,478 [crowds scream] 692 00:31:13,784 --> 00:31:16,135 [Jon Savage] Jim Marshall's very well known 693 00:31:16,222 --> 00:31:18,833 for taking the last pictures of the Beatles playing live. 694 00:31:19,094 --> 00:31:21,357 And the Beatles knew it was going to be the last show. 695 00:31:21,923 --> 00:31:25,579 And they asked him to take pictures, you know, explicitly. 696 00:31:26,536 --> 00:31:28,582 [Marshall] August 29th, '66. 697 00:31:29,148 --> 00:31:32,238 The Beatles at Candlesticks had platinum print. 698 00:31:32,325 --> 00:31:33,935 I was the only guy allowed backstage. 699 00:31:36,372 --> 00:31:38,331 And they didn't want to play. They were too burned out. 700 00:31:38,418 --> 00:31:40,333 They were coming onto the stage from the dressing room 701 00:31:40,420 --> 00:31:42,726 and I was on the field with them. 702 00:31:43,423 --> 00:31:45,207 The sound was pretty primitive 703 00:31:45,294 --> 00:31:47,296 with just the amplifiers on the stage. 704 00:31:47,383 --> 00:31:48,994 The lights were just the stadium lights. 705 00:31:49,081 --> 00:31:53,650 [sharp music] [cheers] 706 00:31:53,737 --> 00:31:58,220 That day, August 29th, '66, was right out of Hard Day's Night. 707 00:31:58,307 --> 00:32:00,005 It was that crazy. 708 00:32:00,092 --> 00:32:02,746 [camera clicks] 709 00:32:02,833 --> 00:32:04,487 [reporter] The Beatles, they did what the Redcoats 710 00:32:04,574 --> 00:32:06,011 could not do in the American Revolution. 711 00:32:06,098 --> 00:32:08,317 They conquered the colonies. 712 00:32:08,970 --> 00:32:12,365 I think, they were at that stage in their lives anyway, 713 00:32:12,452 --> 00:32:14,280 where they'd just completely had enough. 714 00:32:14,367 --> 00:32:17,848 So the Candlestick pop concert, which was not a success, 715 00:32:17,936 --> 00:32:19,938 fans were miles away from the stage, 716 00:32:20,025 --> 00:32:22,984 terrible acoustics, a lot of high wind, 717 00:32:23,071 --> 00:32:25,334 not particularly pleasant weather. 718 00:32:25,421 --> 00:32:28,468 They were just glad to get the whole thing over with. 719 00:32:29,077 --> 00:32:30,905 I should think they were exhausted 720 00:32:30,992 --> 00:32:32,472 and pretty fed up, to be honest. 721 00:32:34,387 --> 00:32:36,084 [Marshall] I really believe this 722 00:32:36,171 --> 00:32:38,565 in the deepest part of my heart 723 00:32:38,652 --> 00:32:40,697 that no one knew that would be the last show they ever did. 724 00:32:43,135 --> 00:32:44,701 But uh, 725 00:32:44,788 --> 00:32:47,356 August 29th, '66 was their last public show. 726 00:32:48,009 --> 00:32:52,492 [somber music] 727 00:32:55,016 --> 00:32:57,976 [plane whines] 728 00:33:03,459 --> 00:33:05,287 [Nash] I'd left London to come to Los Angeles 729 00:33:05,374 --> 00:33:07,028 to spend some time with Joni. 730 00:33:07,115 --> 00:33:08,725 I got to the house. 731 00:33:08,812 --> 00:33:12,381 There were other voices there, and I went, ah. 732 00:33:12,468 --> 00:33:14,427 But it was David and Stephen. 733 00:33:14,862 --> 00:33:17,560 And uh, after dinner, we smoked a big one. 734 00:33:17,647 --> 00:33:19,954 David said to Stephen, uh, 735 00:33:20,041 --> 00:33:21,956 "Hey, play Willie that song that we were working on." 736 00:33:22,043 --> 00:33:24,089 It was a song called You Don't Have To Cry. 737 00:33:24,741 --> 00:33:26,874 And the third time we sang it, we had to stop 738 00:33:26,961 --> 00:33:28,658 in the middle of the song and start laughing. 739 00:33:28,745 --> 00:33:30,704 It sounded so insanely beautiful. 740 00:33:30,791 --> 00:33:33,576 And whatever sound Crosby, Stills, and Nash had 741 00:33:33,663 --> 00:33:35,578 was born immediately. 742 00:33:36,536 --> 00:33:38,233 In a half a song. 743 00:33:40,670 --> 00:33:42,585 As soon as I heard that sound, I knew I'd have to go back 744 00:33:42,672 --> 00:33:44,544 to England and leave The Hollies and leave my family 745 00:33:44,631 --> 00:33:46,241 and my friends and my equipment and my money. 746 00:33:46,502 --> 00:33:49,723 And go to America and follow that sound. 747 00:33:50,550 --> 00:33:53,683 [spirited violin] 748 00:33:54,684 --> 00:33:56,686 [Selvin] In San Francisco [traffic noises] 749 00:33:56,773 --> 00:33:58,906 at the height of the Fillmore era, 750 00:33:58,993 --> 00:34:02,866 this was the center of the pop music universe. 751 00:34:03,693 --> 00:34:07,132 And nobody from London could get their wings 752 00:34:07,436 --> 00:34:09,047 until they played the Fillmore. 753 00:34:11,005 --> 00:34:14,878 Groups like Cream, Jimi Hendrix, Traffick, 754 00:34:15,401 --> 00:34:18,143 Pink Floyd, Procul Harum. 755 00:34:18,230 --> 00:34:21,494 All came to San Francisco to play the Fillmore. 756 00:34:21,929 --> 00:34:25,063 Cream, it was the height of their entire career. 757 00:34:25,933 --> 00:34:27,543 Marshall took all these photos. 758 00:34:29,763 --> 00:34:33,593 The Who first showed up in San Francisco in June 1967. 759 00:34:33,680 --> 00:34:35,812 There's photos of Roger Daltrey 760 00:34:35,899 --> 00:34:37,727 that his mother probably doesn't even recognize him in. 761 00:34:38,250 --> 00:34:40,904 We were not only attracted to the music, 762 00:34:40,991 --> 00:34:44,038 but also, of course, to the clothes and culture. 763 00:34:44,125 --> 00:34:49,304 Jimi Hendrix came back to us from the UK transformed. 764 00:34:49,783 --> 00:34:51,567 The Stones providing a sort of 765 00:34:51,654 --> 00:34:55,441 a more raw counter point to the Beatles. 766 00:34:56,050 --> 00:34:59,401 John Mayall and Keith Richards 767 00:34:59,488 --> 00:35:03,188 and Eric Clapton and Steve Winwood 768 00:35:03,275 --> 00:35:05,668 all gave us back the blues. 769 00:35:06,887 --> 00:35:08,758 [Nash] It was a very fabulous 770 00:35:08,845 --> 00:35:12,153 sunshine filled, band filled, 771 00:35:12,240 --> 00:35:14,460 ladies filled moments. 772 00:35:14,764 --> 00:35:16,462 I went to Los Angeles, 773 00:35:16,549 --> 00:35:18,551 and I swore I would never go back and live in England. 774 00:35:18,638 --> 00:35:20,118 And I never did. 775 00:35:20,901 --> 00:35:25,471 [chaotic music] [traffic roars] 776 00:35:28,604 --> 00:35:31,825 [plane whines] 777 00:35:34,958 --> 00:35:36,743 - Haven't ever been to Levin? [man]- No . 778 00:35:37,309 --> 00:35:38,527 God. 779 00:35:40,442 --> 00:35:43,358 I think it's gonna be like Easter 780 00:35:43,445 --> 00:35:45,055 and Christmas and New Years and your birthday all together, you know? 781 00:35:45,143 --> 00:35:47,754 Hearing whole different bands, you know? 782 00:35:48,058 --> 00:35:50,365 Just like I've heard a lot of 'em, 783 00:35:50,452 --> 00:35:53,020 but all at the same time, it's just gonna be too much. 784 00:35:53,934 --> 00:35:55,544 [Selvin] I mean, once again, 785 00:35:55,631 --> 00:35:58,243 there he is at a seminal moment 786 00:35:58,330 --> 00:35:59,896 in rock and roll history. 787 00:36:00,506 --> 00:36:02,421 But rock and roll music 788 00:36:02,508 --> 00:36:04,771 had never actually been dignified yet 789 00:36:04,858 --> 00:36:06,729 with its own festival. 790 00:36:06,816 --> 00:36:08,992 And the Monterey Festival, it was magical. 791 00:36:09,079 --> 00:36:11,256 'Cause they had all these great international stars there, 792 00:36:11,343 --> 00:36:14,607 from Ravi Shankar to The Who to Hendrix. 793 00:36:15,869 --> 00:36:18,828 [Marshall] Well, Jimi started in England. 794 00:36:18,915 --> 00:36:20,613 You know, he's from here, but he started in England with a trio 795 00:36:20,700 --> 00:36:22,702 and Monterey was his first gig in the United States 796 00:36:22,789 --> 00:36:24,051 as Jimi Hendrix. 797 00:36:26,619 --> 00:36:28,751 [Selvin] The Hendrix pictures from the sound check, 798 00:36:28,838 --> 00:36:30,753 which start with Saturday Night with Otis Redding at the top. 799 00:36:31,319 --> 00:36:32,799 And then he put his camera away, 800 00:36:32,886 --> 00:36:34,757 and comes back to sound check, 801 00:36:34,844 --> 00:36:37,020 And there's Jimi Hendrix behind a drum set. 802 00:36:37,107 --> 00:36:39,022 And Jim is standing face to face with this guy, 803 00:36:39,109 --> 00:36:41,155 'cause it's not a show, it's sound check. 804 00:36:41,242 --> 00:36:44,245 [chill bass line] 805 00:36:44,593 --> 00:36:47,117 Those photos are indelible. 806 00:36:47,553 --> 00:36:50,077 [crowd chatters] 807 00:36:51,818 --> 00:36:53,776 [Zagaris] One of my favorite shots 808 00:36:53,863 --> 00:36:56,475 of his that not many people even see, 809 00:36:56,562 --> 00:37:02,872 was a shot of Nico, Judy Collins, Brian Jones on acid. 810 00:37:02,959 --> 00:37:05,875 and Dennis Hopper backstage at Monterey. 811 00:37:05,962 --> 00:37:09,662 And people don't even recognize Dennis Hopper in it. 812 00:37:09,749 --> 00:37:11,316 And he's in the middle of the picture. 813 00:37:11,403 --> 00:37:12,839 He's out of his fucking mind. 814 00:37:12,926 --> 00:37:14,232 And, you know, it's funny. 815 00:37:14,319 --> 00:37:15,885 I have heard from friends of mine 816 00:37:15,972 --> 00:37:18,192 that worked on Apocalypse Now, 817 00:37:18,279 --> 00:37:22,196 Dennis Hopper modeled his character in that movie 818 00:37:22,283 --> 00:37:24,198 after Jim. 819 00:37:24,285 --> 00:37:26,418 And it's probably how Dennis Hopper 820 00:37:26,505 --> 00:37:28,898 being on acid at Monterey 821 00:37:28,985 --> 00:37:31,640 [laughs] remembers Jim. 822 00:37:31,727 --> 00:37:34,295 [applause] 823 00:37:34,382 --> 00:37:36,602 [Marshall] Before he went on, Jimi looked at me, 824 00:37:36,689 --> 00:37:38,168 he goes, "You got a lot of film?" I go, "Yeah." 825 00:37:38,256 --> 00:37:39,344 He goes, "You got, you got motors?" 826 00:37:39,431 --> 00:37:40,606 I go, "Yeah." 827 00:37:40,693 --> 00:37:42,695 [energetic drumbeat] [screams] 828 00:37:42,782 --> 00:37:44,392 I think maybe one or two of his roadies 829 00:37:44,479 --> 00:37:46,264 knew what he was gonna do. 830 00:37:48,091 --> 00:37:50,398 And he comes out in the last number, 831 00:37:50,485 --> 00:37:52,792 and he had a can of Rosonol lighter fluid. 832 00:37:52,879 --> 00:37:54,837 You could see it in the picture. 833 00:37:54,924 --> 00:37:57,449 And he's, like, starts burning the guitar, man, 834 00:37:57,536 --> 00:38:01,191 and crashed it, and Oh Christ. [fire crackles] It was amazing. 835 00:38:01,627 --> 00:38:03,368 No one had ever seen anything like that. 836 00:38:03,455 --> 00:38:07,285 [intense rock music] 837 00:38:10,810 --> 00:38:16,076 [feedback whines] 838 00:38:16,163 --> 00:38:18,470 ♪ Whoa, whoa, oh honey ♪ 839 00:38:18,557 --> 00:38:20,472 ♪ This can't be ♪ 840 00:38:20,559 --> 00:38:25,215 ♪ Well, no, no This can't be a thing ♪ 841 00:38:25,303 --> 00:38:28,654 [Rosenheim] Music is about self-transformation 842 00:38:29,481 --> 00:38:32,397 The best of music is about transforming an individual 843 00:38:32,484 --> 00:38:35,704 that's listening to it to a place 844 00:38:35,791 --> 00:38:37,097 that they have not been before. 845 00:38:37,184 --> 00:38:39,534 It's like reading a great poem. 846 00:38:40,013 --> 00:38:42,885 Watching a performance of ballet. 847 00:38:43,495 --> 00:38:45,410 Music is transformative. 848 00:38:45,497 --> 00:38:46,628 And I believe 849 00:38:46,715 --> 00:38:48,978 that seeing is a creative act. 850 00:38:49,065 --> 00:38:51,198 And the best photographers 851 00:38:51,285 --> 00:38:54,114 allow us to believe that we see the world differently. 852 00:38:54,201 --> 00:38:55,898 That we see the world differently 853 00:38:55,985 --> 00:38:57,770 than our brothers and our sisters. 854 00:38:57,857 --> 00:38:59,467 From our parents and from our children, 855 00:38:59,467 --> 00:39:02,252 and that seeing is a creative act. 856 00:39:02,340 --> 00:39:04,124 And when the two things come together, 857 00:39:04,211 --> 00:39:06,605 when great music and great performance 858 00:39:06,692 --> 00:39:07,780 and great photography 859 00:39:07,867 --> 00:39:09,434 hey, it's art. 860 00:39:09,521 --> 00:39:16,310 [vocalizes] 861 00:39:17,006 --> 00:39:21,054 [crowd screams] 862 00:39:34,197 --> 00:39:37,070 [Davis] Jim didn't just photograph 863 00:39:37,157 --> 00:39:39,028 the event that was going on. 864 00:39:39,115 --> 00:39:41,030 He would keep his camera rolling, 865 00:39:41,117 --> 00:39:42,858 and he would just then shoot everything else 866 00:39:42,945 --> 00:39:45,731 that was going on around that as well. 867 00:39:46,558 --> 00:39:49,735 So something as meaningless as a peace sign, 868 00:39:50,605 --> 00:39:54,827 you know, on the concrete of a sidewalk, 869 00:39:54,914 --> 00:39:57,395 Jim saw it. And he photographed it. 870 00:39:58,787 --> 00:40:01,703 [Rosenheim] The peace symbol and its history 871 00:40:01,790 --> 00:40:03,879 is a really beautiful story. 872 00:40:03,966 --> 00:40:07,013 And the fact that Jim made a kind of study, 873 00:40:07,100 --> 00:40:09,015 one, it was in his face, ok? 874 00:40:09,102 --> 00:40:12,061 But two, he realized it was larger than that moment. 875 00:40:13,280 --> 00:40:16,283 [Davis] He really documented how this symbol 876 00:40:16,370 --> 00:40:19,242 changed over the '60s and became something 877 00:40:19,329 --> 00:40:21,506 to many different people. 878 00:40:21,593 --> 00:40:24,509 Not only was it anti-nuclear arms, 879 00:40:24,596 --> 00:40:26,685 it also meant freedom of speech. 880 00:40:26,772 --> 00:40:29,035 It also meant anti-war. 881 00:40:29,122 --> 00:40:31,124 It meant racial equality. 882 00:40:31,211 --> 00:40:34,736 It took one so many different meanings. 883 00:40:35,520 --> 00:40:38,479 And there was Jim Marshall documenting all of it. 884 00:40:38,914 --> 00:40:43,005 And I think that was his way of communicating with the world. 885 00:40:44,616 --> 00:40:47,575 LSD, electric rock, 886 00:40:47,662 --> 00:40:49,534 social protest, 887 00:40:49,621 --> 00:40:51,927 anti-war movement, 888 00:40:52,014 --> 00:40:55,670 boils up into this massive brew 889 00:40:55,757 --> 00:40:58,020 that's going to change the rest of the nation. 890 00:40:58,107 --> 00:41:00,632 [planes roar] 891 00:41:00,719 --> 00:41:02,982 [reporter] The news tonight, despite an official denial, 892 00:41:03,069 --> 00:41:04,418 is of a significant escalation of the war in Vietnam. 893 00:41:04,505 --> 00:41:06,507 [explosion] 894 00:41:06,594 --> 00:41:09,771 [Subterranean Homesick Blues by Bob Dylan] 895 00:41:10,119 --> 00:41:12,557 [protesters chant] 896 00:41:12,644 --> 00:41:15,298 ♪ Johnny's in the basement, Mixing up the medicine ♪ 897 00:41:15,385 --> 00:41:17,910 ♪ I'm on the pavement, Thinking about the government ♪ 898 00:41:17,997 --> 00:41:20,826 ♪ The man in the trench coat, Badge out, laid off ♪ 899 00:41:20,913 --> 00:41:23,655 ♪ Says he's got a bad cough, Wants to get it paid off ♪ 900 00:41:23,742 --> 00:41:25,961 ♪ Look out kid, It's something you did ♪ 901 00:41:26,048 --> 00:41:28,747 ♪ God knows when, But you're doing it again ♪ 902 00:41:28,834 --> 00:41:31,053 ♪ You better duck down The alley way ♪ [explosion] 903 00:41:31,140 --> 00:41:33,229 ♪ Lookin' for a new friend ♪ 904 00:41:33,316 --> 00:41:35,623 ♪ The man in the coonskin cap In the pig pen ♪ 905 00:41:35,710 --> 00:41:37,451 ♪ Wants eleven dollar bills, You only got ten ♪ 906 00:41:37,538 --> 00:41:40,976 [people shout] [harmonica continues] 907 00:41:42,848 --> 00:41:45,633 ♪ Maggie comes fleet foot, Face full of black soot ♪ 908 00:41:45,720 --> 00:41:48,636 ♪ Talkin' that the heat put Plants in the bed but ♪ 909 00:41:48,723 --> 00:41:53,380 [man] Looting, murder, and arson have nothing to do 910 00:41:53,467 --> 00:41:55,469 with civil rights. 911 00:41:55,556 --> 00:41:57,602 ♪ Look out kid, Don't matter what you did ♪ 912 00:41:57,689 --> 00:41:59,647 ♪ Walk on your tip toes, Don't tie no bows ♪ 913 00:41:59,734 --> 00:42:02,607 ♪ Better stay away from those That carry 'round a fire hose ♪ 914 00:42:02,694 --> 00:42:05,131 ♪ Keep a clean nose, Watch the plain clothes ♪ 915 00:42:05,218 --> 00:42:06,567 ♪ You don't need A weather man ♪ 916 00:42:06,654 --> 00:42:10,092 [man] I say violence is necessary. 917 00:42:10,179 --> 00:42:12,138 Violence is a part of America's culture. 918 00:42:12,225 --> 00:42:14,575 It is as American as cherry pie. 919 00:42:14,662 --> 00:42:17,056 ♪ Oh get sick, get well, Hang around an ink well ♪ 920 00:42:17,143 --> 00:42:19,232 ♪ Hang bail, hard to tell If anything is gonna sell ♪ 921 00:42:19,319 --> 00:42:21,713 ♪ Try hard, get barred, Get back, write braille ♪ 922 00:42:21,800 --> 00:42:24,324 ♪ Get jailed, jump bail, Join the army if you fail ♪ 923 00:42:24,411 --> 00:42:27,109 [man] They are trying to teach us political power 924 00:42:27,196 --> 00:42:29,459 rolled out of the barrel of a gun. 925 00:42:29,547 --> 00:42:31,505 ♪ Six time users, Hangin' round the theaters ♪ 926 00:42:31,592 --> 00:42:34,639 ♪ Girl by the whirlpool, Lookin' for a new fool ♪ 927 00:42:34,726 --> 00:42:38,164 [Margetts] His is a personality not split but fractured. 928 00:42:38,251 --> 00:42:40,340 The kind of man who, on first meeting, 929 00:42:40,427 --> 00:42:42,908 will more often repel than attract. 930 00:42:43,256 --> 00:42:46,476 He is ruthlessly, often offensively blunt. 931 00:42:46,564 --> 00:42:51,394 Talented, profane, compulsive, violent, sentimental. 932 00:42:51,481 --> 00:42:54,920 Capable of great love and great hate. 933 00:42:55,442 --> 00:42:59,968 [Zagaris] I first met Jim on May 18th, 1968. 934 00:43:00,055 --> 00:43:03,276 And I saw that there was gonna be this pop rock festival. 935 00:43:03,363 --> 00:43:05,365 And everybody was gonna be there. 936 00:43:05,452 --> 00:43:07,454 And I showed up to the gig, 937 00:43:07,541 --> 00:43:10,283 there was this guy in this corduroy coat, 938 00:43:10,370 --> 00:43:12,328 and he had a hat on. 939 00:43:12,415 --> 00:43:14,461 Pretty aggressive, giving people shit, 940 00:43:14,548 --> 00:43:17,420 and some fraternity guy had pissed him off. 941 00:43:17,507 --> 00:43:20,119 So this guy pulls a knife on him. 942 00:43:20,206 --> 00:43:22,556 The security guy almost shits his pants. 943 00:43:22,643 --> 00:43:23,731 And I said, 944 00:43:25,167 --> 00:43:27,605 "Hey man, is that knife real?" 945 00:43:27,692 --> 00:43:32,261 And Jim turns to me, and puts the knife up under my throat, 946 00:43:32,348 --> 00:43:34,394 And he goes, "Yeah, mother fucker, it's real." 947 00:43:34,481 --> 00:43:36,265 And then reaches back into his waistband 948 00:43:36,352 --> 00:43:38,964 and pulls out a gun and said, "And so is this!" 949 00:43:39,051 --> 00:43:43,577 "Hey man, who brings a gun and a knife to a rock concert?" 950 00:43:43,664 --> 00:43:45,057 He said, "I do!" 951 00:43:45,144 --> 00:43:46,711 And I said, "Who are you?" 952 00:43:46,798 --> 00:43:48,669 He said, "I'm Jim Marshall, mother fucker. 953 00:43:48,756 --> 00:43:50,105 Who the fuck are you?" 954 00:43:50,192 --> 00:43:55,458 [ominous drumbeat] [camera clicks] 955 00:43:55,545 --> 00:43:57,025 [Douglas] He had a lot of guns 956 00:43:57,112 --> 00:43:59,419 and guns were a big part of his 957 00:43:59,506 --> 00:44:00,899 his persona. 958 00:44:00,986 --> 00:44:03,466 Um, and... 959 00:44:03,815 --> 00:44:08,341 and you thought sometimes this guy could actually use one. 960 00:44:08,820 --> 00:44:11,997 [menacing strings] 961 00:44:18,656 --> 00:44:20,483 [gunshot] 962 00:44:20,570 --> 00:44:23,965 [sirens] 963 00:44:24,052 --> 00:44:26,533 [Margetts] Violence, in fact, has followed him closely throughout his life. 964 00:44:26,620 --> 00:44:29,405 Hugging his shoulder as tightly as a camera strap. 965 00:44:32,844 --> 00:44:34,584 He keeps charging at me with this knife, 966 00:44:34,672 --> 00:44:36,499 and I'm screaming at him to keep away. 967 00:44:36,586 --> 00:44:38,284 He wouldn't and I shot him. 968 00:44:38,371 --> 00:44:40,503 And now he's only got one kidney. 969 00:44:42,680 --> 00:44:44,159 [gunshot] 970 00:44:44,246 --> 00:44:46,205 Mr. Macho. Ok. 971 00:44:46,292 --> 00:44:48,120 I was foolish and stupid to have a gun with me 972 00:44:48,207 --> 00:44:50,252 in an irrational situation. 973 00:44:50,339 --> 00:44:53,386 But he was a hell of a lot more stupid than I was. 974 00:44:56,345 --> 00:44:59,566 [camera whirs] 975 00:45:02,134 --> 00:45:05,790 So Jim, you know, he definitely had, um... 976 00:45:06,268 --> 00:45:09,881 malleable ethics around people. 977 00:45:09,968 --> 00:45:12,492 But what he didn't have malleable ethics around 978 00:45:12,579 --> 00:45:13,972 was photography. 979 00:45:16,583 --> 00:45:19,020 [Davis] Johnny Cash was another really lifelong great friend 980 00:45:19,107 --> 00:45:20,587 of Jim Marshall's. 981 00:45:22,894 --> 00:45:24,069 They were so much alike it was crazy. [laughs] 982 00:45:26,027 --> 00:45:27,986 [John Carter Cash] My father, in some ways, 983 00:45:28,073 --> 00:45:30,031 had a, had a gruff, abrasive exterior. 984 00:45:30,118 --> 00:45:31,467 But had a great, big, warm heart underneath it. 985 00:45:31,554 --> 00:45:34,644 Jim Marshall was exactly the same way. 986 00:45:36,342 --> 00:45:38,561 [Davis] In 1968, 987 00:45:38,648 --> 00:45:43,044 when Johnny Cash wanted to do a live recording 988 00:45:43,131 --> 00:45:45,264 at Folsom State Prison, 989 00:45:45,351 --> 00:45:48,615 He said, "I want Jim Marshall to be my photographer." 990 00:45:50,138 --> 00:45:53,359 Turns out there were two one day shows. 991 00:45:54,099 --> 00:45:55,709 It paid rent a few months. 992 00:45:56,101 --> 00:45:58,712 The album at Folsom Prison, 993 00:45:58,799 --> 00:46:01,671 and then I did San Quentin a year later. 994 00:46:04,109 --> 00:46:05,937 [Cash] My father knew hardship. 995 00:46:06,459 --> 00:46:09,288 When he went to prisons, he saw the conditions 996 00:46:09,375 --> 00:46:11,594 there that the men were living in. 997 00:46:12,291 --> 00:46:15,033 He also knew that many, at the time, 998 00:46:15,120 --> 00:46:18,471 and still today, of course, pay far beyond their due. 999 00:46:19,254 --> 00:46:20,865 [prison guard] Who have you got there? 1000 00:46:20,952 --> 00:46:21,953 [man] I've got Johnny with me. 1001 00:46:22,040 --> 00:46:23,041 Alright, come right on in. 1002 00:46:23,128 --> 00:46:25,304 [keys and doors rattle] 1003 00:46:25,826 --> 00:46:28,655 [cheers] 1004 00:46:30,962 --> 00:46:33,312 [Cash] There are times in my life when... 1005 00:46:33,399 --> 00:46:35,705 when I thought, you know, I wish that there was a video 1006 00:46:36,141 --> 00:46:38,970 the day that my father recorded live at Folsom. 1007 00:46:39,666 --> 00:46:41,059 What happened was captured 1008 00:46:42,756 --> 00:46:46,151 as true as could be in any format by Jim Marshall. 1009 00:46:46,586 --> 00:46:50,764 The photographs that he took defined the experience. 1010 00:46:50,851 --> 00:46:52,722 It's all there. 1011 00:46:52,810 --> 00:46:54,115 You can see it in my father's eyes, 1012 00:46:54,202 --> 00:46:55,508 in my mother's eyes. 1013 00:46:57,815 --> 00:46:58,337 And you know the experience, if you know the album. 1014 00:47:00,774 --> 00:47:02,123 It's a unique connection with that moment and that time. 1015 00:47:02,210 --> 00:47:04,125 I'm grateful there isn't a film 1016 00:47:04,212 --> 00:47:06,127 because I believe he captured it better. 1017 00:47:06,214 --> 00:47:09,261 [inspirational music] 1018 00:47:23,231 --> 00:47:26,278 [crowd cheer] 1019 00:47:26,365 --> 00:47:28,323 [Davis] Next year was 1969, 1020 00:47:28,410 --> 00:47:30,717 which was San Quentin, and he... 1021 00:47:30,804 --> 00:47:32,806 had all access and he photographed 1022 00:47:32,893 --> 00:47:36,766 one of the most iconic images ever. 1023 00:47:37,202 --> 00:47:38,464 And that's the finger shot. 1024 00:47:38,551 --> 00:47:41,989 [crowd murmurs] 1025 00:47:42,729 --> 00:47:43,948 [Johnny Cash] Hello. 1026 00:47:44,035 --> 00:47:45,340 I'm Johnny Cash. 1027 00:47:45,427 --> 00:47:48,474 [cheers and applause] 1028 00:47:51,346 --> 00:47:53,566 [Marshall] At San Quentin, doing sound check 1029 00:47:53,653 --> 00:47:55,960 I said, "Johnny, let's do a shot for the warden." 1030 00:47:56,047 --> 00:47:58,571 And he goes, "Aghhh." [prison doors rattle] 1031 00:47:58,658 --> 00:48:02,140 It's become one of the most ripped off pictures. 1032 00:48:03,054 --> 00:48:05,099 [John Carter Cash] When I look at the famous picture 1033 00:48:05,186 --> 00:48:08,233 of my father with his middle finger raised, 1034 00:48:08,320 --> 00:48:10,235 I feel the energy of the moment. 1035 00:48:10,322 --> 00:48:12,367 I feel my father's sense of defiance. 1036 00:48:12,628 --> 00:48:14,674 You know, he'd written the song San Quentin 1037 00:48:14,761 --> 00:48:16,458 the day before on the airplane 1038 00:48:16,545 --> 00:48:18,460 as he descended into the Bay Area. 1039 00:48:18,547 --> 00:48:20,375 The energy that was there. 1040 00:48:20,462 --> 00:48:22,856 The laughter, the humor that was there. I feel that. 1041 00:48:22,943 --> 00:48:25,467 I also see my grandmother Maybelle in the background. 1042 00:48:25,859 --> 00:48:28,296 And so, what an interesting connection 1043 00:48:28,383 --> 00:48:30,081 that my two family members, 1044 00:48:30,168 --> 00:48:32,170 my grandmother and my father 1045 00:48:32,257 --> 00:48:33,606 both in the Country Music Hall of Fame, 1046 00:48:33,693 --> 00:48:35,042 are in one of the most famous, 1047 00:48:35,129 --> 00:48:36,565 rebellious photographs ever taken. 1048 00:48:37,305 --> 00:48:40,439 You better not bend over there on that camera like that. 1049 00:48:41,266 --> 00:48:44,573 Man, you're in the wrong place to bend over, don't you know it. 1050 00:48:44,922 --> 00:48:47,228 Get up from there on that camera. 1051 00:48:47,315 --> 00:48:50,275 [cheers] 1052 00:48:50,928 --> 00:48:53,931 [John Carter Cash] Jim was the music photographer. 1053 00:48:54,627 --> 00:48:56,716 Jim wasn't a politician's photographer. 1054 00:48:56,803 --> 00:48:58,239 He wasn't a nature photographer. 1055 00:48:58,326 --> 00:49:00,285 He was a musician's photographer. 1056 00:49:00,372 --> 00:49:02,722 He captured music. 1057 00:49:02,809 --> 00:49:05,464 And to capture that visually and to connect in the heart, 1058 00:49:05,551 --> 00:49:07,335 um, is a magical thing. 1059 00:49:11,818 --> 00:49:15,082 Growing up around my parents, there was always laughter. 1060 00:49:15,169 --> 00:49:17,302 There was always a good time. 1061 00:49:17,824 --> 00:49:21,219 The kinship that my parents had with the ones that they love 1062 00:49:21,306 --> 00:49:22,742 never faltered. 1063 00:49:22,829 --> 00:49:24,309 There were people they always held dear. 1064 00:49:24,396 --> 00:49:26,398 and Jim Marshall was one of those people. 1065 00:49:26,485 --> 00:49:29,531 [crowds cheer] 1066 00:49:31,838 --> 00:49:33,492 [Margetts] An only child born in Chicago, 1067 00:49:33,579 --> 00:49:35,059 his family moved to San Francisco 1068 00:49:35,146 --> 00:49:36,625 before he was one year old. 1069 00:49:38,584 --> 00:49:39,715 He remembers his father as a handsome man. 1070 00:49:39,802 --> 00:49:41,326 Frustrated, abusive. 1071 00:49:41,413 --> 00:49:42,849 A bit of a womanizer. 1072 00:49:43,154 --> 00:49:44,459 And a drunk. 1073 00:49:46,157 --> 00:49:47,985 [Zagaris] I remember one night 1074 00:49:48,072 --> 00:49:51,684 trying to find out more about his life as a kid. 1075 00:49:52,163 --> 00:49:56,863 And asked him how he felt his dad not being there 1076 00:49:56,950 --> 00:49:59,692 contributed to his, like, rage, sometimes. 1077 00:50:00,040 --> 00:50:01,694 And he went-- 1078 00:50:01,781 --> 00:50:03,217 He said, "What are you, a fucking psychiatrist? 1079 00:50:03,304 --> 00:50:05,263 Fuck, how-- how the fuck do I know?" 1080 00:50:05,350 --> 00:50:06,525 You know, and I thought Ok, yeah. 1081 00:50:09,310 --> 00:50:11,182 [Margetts] No matter what it was it was never enough. 1082 00:50:11,269 --> 00:50:11,704 You know, he had that, that hole-- 1083 00:50:13,445 --> 00:50:16,361 in him, that just seemed to be unfillable, you know? 1084 00:50:16,622 --> 00:50:19,842 [somber orchestral music] 1085 00:50:21,192 --> 00:50:23,150 [Margetts Archive] My father was a brilliant man. 1086 00:50:23,237 --> 00:50:25,587 Knew 13 languages and how to paint houses. 1087 00:50:25,674 --> 00:50:27,024 So he drank a lot. 1088 00:50:28,808 --> 00:50:30,462 My parents divorced when I was 10. 1089 00:50:30,549 --> 00:50:31,811 My mom slaved in laundry to bring me up. 1090 00:50:31,898 --> 00:50:33,987 When I was 15, my father died. 1091 00:50:34,074 --> 00:50:36,207 I didn't even know about it until my aunt came and told me. 1092 00:50:36,294 --> 00:50:38,209 All I said was, "Good." 1093 00:50:38,296 --> 00:50:41,038 [music continues] 1094 00:50:42,213 --> 00:50:44,650 [helicopter whirs] 1095 00:50:44,737 --> 00:50:46,956 [Margetts] "I only have two clear memories of him. 1096 00:50:47,044 --> 00:50:48,654 One time, I got up, and he made me pancakes 1097 00:50:48,741 --> 00:50:50,656 as big as a frying pan. 1098 00:50:50,743 --> 00:50:53,876 Another time I got up from the table 1099 00:50:53,963 --> 00:50:55,052 without permission, and he slammed my head against the side of the table. 1100 00:50:55,139 --> 00:50:56,270 Knocked two teeth out." 1101 00:50:58,316 --> 00:51:00,448 In the time it takes to tell the story, 1102 00:51:00,535 --> 00:51:01,928 Marshall's features moved from joy into rage. 1103 00:51:04,017 --> 00:51:06,411 Some years ago with the help of Rebecca, 1104 00:51:06,498 --> 00:51:08,195 he was finally able to visit his father's Colma grave site. 1105 00:51:08,587 --> 00:51:12,808 He sat for a few hours, talking and crying and made peace. 1106 00:51:15,072 --> 00:51:17,770 [man] We're all children of the 1960s. 1107 00:51:18,205 --> 00:51:19,772 Orphans of America. 1108 00:51:19,859 --> 00:51:21,861 Children of blood. [rocket roars] 1109 00:51:21,948 --> 00:51:24,211 Give it back! Give it back! 1110 00:51:24,298 --> 00:51:26,735 You don't like it here, why don't you leave? 1111 00:51:26,822 --> 00:51:28,128 We said, we left! 1112 00:51:30,043 --> 00:51:30,957 We're already gone mother fucker! 1113 00:51:31,044 --> 00:51:33,873 [inspirational music] 1114 00:51:35,004 --> 00:51:38,051 [police sirens] 1115 00:51:47,060 --> 00:51:49,497 [reporter] Do you have to re, re-shoot? 1116 00:51:49,584 --> 00:51:50,672 [Marshall] No, I mean sometimes you can't. 1117 00:51:52,413 --> 00:51:52,761 [reporter] What happens? 1118 00:51:54,633 --> 00:51:55,634 [Marshall] Uh, let's not go into that. 1119 00:51:55,721 --> 00:51:58,071 It's too painful to think about. 1120 00:51:58,158 --> 00:52:01,118 [somber music fades] 1121 00:52:02,423 --> 00:52:04,599 [Davis] Jim, what did you need the dog shot for? 1122 00:52:04,686 --> 00:52:06,079 - What? - Janis' dog, what did-- 1123 00:52:06,166 --> 00:52:07,559 Did we need to make one of those? 1124 00:52:07,646 --> 00:52:09,038 - No. - No, ok. 1125 00:52:09,126 --> 00:52:11,867 I don't think he realized what an influence 1126 00:52:12,172 --> 00:52:15,219 and a personality and a friend he was 1127 00:52:15,306 --> 00:52:17,003 to people. 1128 00:52:17,090 --> 00:52:18,570 And it's shame because that's why he felt so alone, 1129 00:52:18,657 --> 00:52:20,789 and he didn't really need to. 1130 00:52:20,876 --> 00:52:23,140 'Cause there were a lot of people who cared about him. 1131 00:52:23,227 --> 00:52:25,098 But when he was, uh, when he was doing his cocaine, 1132 00:52:25,185 --> 00:52:27,840 and just crazy, he would lock the inside door. 1133 00:52:27,927 --> 00:52:29,755 So I knew when that lock was on it, 1134 00:52:30,016 --> 00:52:32,279 it was, you know, I'm on a bender. 1135 00:52:32,366 --> 00:52:34,760 Don't come in. Just go home. 1136 00:52:34,847 --> 00:52:36,414 I'll call you when I'm done. 1137 00:52:36,501 --> 00:52:37,545 God bless him. 1138 00:52:37,632 --> 00:52:39,939 He started writing notes 1139 00:52:40,026 --> 00:52:42,855 that he would tape on the outside of the door. 1140 00:52:43,334 --> 00:52:48,600 And he didn't write the notes before he was fucked up. 1141 00:52:48,687 --> 00:52:49,862 He wrote them after. 1142 00:52:51,864 --> 00:52:52,908 Because in the back of his mind, he was like, uh-oh, 1143 00:52:52,995 --> 00:52:54,780 I better write a note to Davis. 1144 00:52:55,520 --> 00:52:57,348 No work today. 1145 00:52:57,435 --> 00:52:59,611 I'll pay tomorrow. 1146 00:52:59,698 --> 00:53:01,047 Come at 11. 1147 00:53:01,134 --> 00:53:03,267 Come at noon. 1148 00:53:03,354 --> 00:53:06,531 [somber guitar] 1149 00:53:11,753 --> 00:53:13,451 This is the best one. 1150 00:53:13,538 --> 00:53:17,585 He'd obviously just done a line of coke or cut it, 1151 00:53:18,369 --> 00:53:20,588 and it says, NDW. 1152 00:53:21,459 --> 00:53:23,025 Bis to day. 1153 00:53:24,418 --> 00:53:27,204 So every time he went on a binge 1154 00:53:27,682 --> 00:53:30,294 his shirt would be filled with blood, 1155 00:53:30,381 --> 00:53:32,644 you know, there was cocaine all over the place. 1156 00:53:32,731 --> 00:53:34,472 There was trash everywhere. 1157 00:53:34,820 --> 00:53:37,083 You know, it just, it was crazy. 1158 00:53:38,084 --> 00:53:40,521 For whatever reason, I stayed 1159 00:53:40,608 --> 00:53:42,915 and I would clean up his mess, and I would always come back. 1160 00:53:43,176 --> 00:53:45,483 And I think Jim realized that. 1161 00:53:45,570 --> 00:53:48,355 That I was really the only person that would come back. 1162 00:53:48,442 --> 00:53:50,357 and it comforted him, I think, 1163 00:53:50,444 --> 00:53:52,403 to know that somebody 1164 00:53:52,838 --> 00:53:54,622 loved him enough to stay. 1165 00:53:55,667 --> 00:53:58,887 [somber music] 1166 00:54:02,021 --> 00:54:05,416 [Adam Block] I think that Jim was lonely. 1167 00:54:05,503 --> 00:54:10,595 I think that he could be so irascible and so challenging 1168 00:54:10,682 --> 00:54:13,206 that, I think, you know, a lot of people didn't understand him. 1169 00:54:13,293 --> 00:54:16,557 And I think that when he found people who did, 1170 00:54:16,992 --> 00:54:20,692 He kind of grabbed hold. Tightly. 1171 00:54:21,649 --> 00:54:28,569 [gentle piano] 1172 00:54:37,274 --> 00:54:40,102 [reporter] What was she like? 1173 00:54:40,189 --> 00:54:42,104 [Marshall] A very human person. Very real, very vulnerable. 1174 00:54:42,409 --> 00:54:45,194 Uh, one night in North Carolina, 1175 00:54:45,282 --> 00:54:47,632 I was on the road with Baez and David, 1176 00:54:47,719 --> 00:54:49,851 and Janis was giving a concert. 1177 00:54:49,938 --> 00:54:52,811 And she said, you know, "Hey, uh, look at this, man." 1178 00:54:52,898 --> 00:54:56,554 She said, "I just made it with 20,000 people out there. 1179 00:54:56,945 --> 00:54:58,904 And I'm going home alone." 1180 00:54:58,991 --> 00:55:01,123 Now, she wasn't hitting on me, man. 1181 00:55:01,210 --> 00:55:02,473 It wasn't that kind of relationship, you know. 1182 00:55:02,560 --> 00:55:04,257 I gave her a ride to the motel. 1183 00:55:04,344 --> 00:55:05,606 'Cause she was a friend. 1184 00:55:05,693 --> 00:55:07,652 And she went home alone. 1185 00:55:11,656 --> 00:55:13,397 And these two photographs, man, 1186 00:55:13,484 --> 00:55:14,833 at one point, you know, a lot of people 1187 00:55:14,920 --> 00:55:17,052 didn't like the vertical shot. 1188 00:55:17,139 --> 00:55:19,011 They said, man, that makes your legs look fat and depressing. 1189 00:55:19,098 --> 00:55:21,143 And Janis said, "Hey man, that's part of it. 1190 00:55:21,230 --> 00:55:24,799 That's part of backstage, and I like it 'cause it's real." 1191 00:55:24,886 --> 00:55:26,801 Someone came in and said something, 1192 00:55:26,888 --> 00:55:28,629 and she got out of her little slump, 1193 00:55:28,716 --> 00:55:30,588 and she was the joyous, bubbly Janis 1194 00:55:30,675 --> 00:55:32,067 that most people saw. 1195 00:55:34,113 --> 00:55:34,983 She was a very special lady, you know. 1196 00:55:35,854 --> 00:55:38,639 [melancholic music] 1197 00:55:39,510 --> 00:55:42,469 What if there's a situation where people gather for one time 1198 00:55:42,556 --> 00:55:44,602 and one time only, and they're never together 1199 00:55:44,689 --> 00:55:46,038 in that situation again? 1200 00:55:46,125 --> 00:55:47,953 I can't recreate that picture. 1201 00:55:48,040 --> 00:55:51,435 I guard my pictures of Coltrane like they were gold themselves. 1202 00:55:51,522 --> 00:55:54,263 Not just for the money but because John was close to me, 1203 00:55:54,351 --> 00:55:56,701 and I can never photograph him again. 1204 00:55:56,962 --> 00:55:58,964 And I've been called a real martinet 1205 00:55:59,051 --> 00:56:01,836 about the, you know, controls of my work. 1206 00:56:01,923 --> 00:56:04,056 Especially on people that have passed away. Well hell yes. 1207 00:56:04,578 --> 00:56:09,017 Someone trusted me with the privacy of their life. 1208 00:56:09,453 --> 00:56:11,455 To come into their lives with a camera. 1209 00:56:11,542 --> 00:56:13,892 I can't violate that trust, and I won't. 1210 00:56:15,067 --> 00:56:16,808 I will not do it. 1211 00:56:19,114 --> 00:56:21,029 [Margetts] When he found out that 1212 00:56:21,116 --> 00:56:23,380 Duane had died in a motorcycle wreck 1213 00:56:23,467 --> 00:56:27,384 he walked the city for like, I think he said, 12 hours. 1214 00:56:28,646 --> 00:56:31,344 It was very troubling to him, you know. 1215 00:56:31,431 --> 00:56:34,782 And I think he, he would feel very... 1216 00:56:36,567 --> 00:56:38,264 just isolated. 1217 00:56:40,658 --> 00:56:42,921 [Marshall] Of all the people that I've met 1218 00:56:43,008 --> 00:56:44,575 in the music business, I loved Duane Allman the most. 1219 00:56:45,184 --> 00:56:47,404 I like to think of him as a brother. 1220 00:56:48,056 --> 00:56:50,232 I mean, I love him, man. 1221 00:56:50,319 --> 00:56:53,192 And when Duane died, a part of me went with him. 1222 00:56:54,106 --> 00:56:56,151 [Galadrielle Allman] Once he held my hand, 1223 00:56:56,238 --> 00:56:57,675 he pulled me across the table, and he said, 1224 00:56:57,762 --> 00:56:59,328 "Your daddy, your daddy loved cocaine." 1225 00:56:59,416 --> 00:57:01,200 You know, which was like the funniest thing. 1226 00:57:01,287 --> 00:57:03,115 And no one was telling me the truth like that. 1227 00:57:03,202 --> 00:57:06,248 And you know, and he told me his own struggles with drugs. 1228 00:57:06,335 --> 00:57:08,599 He had not artifice at all. 1229 00:57:08,686 --> 00:57:11,428 And he didn't like artifice in other people. 1230 00:57:11,515 --> 00:57:13,691 And in some ways, I think that that's really 1231 00:57:13,778 --> 00:57:16,650 what his connection with my father was. 1232 00:57:17,521 --> 00:57:20,262 [Selvin] His photos have the feeling 1233 00:57:20,349 --> 00:57:24,310 that nobody else is in the room but the subject. 1234 00:57:25,050 --> 00:57:26,573 There's a picture of Duane Allman 1235 00:57:26,660 --> 00:57:28,923 playing in a hotel bathroom. 1236 00:57:29,010 --> 00:57:30,925 I just can't believe there was another person there. 1237 00:57:31,448 --> 00:57:32,797 Not even Jim. 1238 00:57:34,581 --> 00:57:36,322 There's such a private, intimate, 1239 00:57:36,627 --> 00:57:40,413 extraordinarily deep life image. 1240 00:57:40,500 --> 00:57:43,024 These are real people boiled down to the nut. 1241 00:57:43,111 --> 00:57:46,854 [somber piano] 1242 00:57:50,815 --> 00:57:53,165 [bell rings] 1243 00:57:53,252 --> 00:57:54,296 [Marshall] Well, I did him in the same ring, 1244 00:57:54,383 --> 00:57:56,255 the horizontal one on the ropes. 1245 00:57:56,342 --> 00:57:58,562 I did the same ring a year before. 1246 00:57:58,649 --> 00:58:03,088 It was Newman's gym, down on Levenworth Street. 1247 00:58:03,175 --> 00:58:06,526 He used to work out, and he was very good. 1248 00:58:07,048 --> 00:58:08,354 And he'd box. And one guy said, 1249 00:58:10,356 --> 00:58:12,880 "Don't hit me in the mouth, man, I gotta play tonight." [laughs] 1250 00:58:15,535 --> 00:58:17,581 [Eileen Hirst] There's an expression on his face 1251 00:58:17,668 --> 00:58:21,367 you don't see in any other Miles Davis photograph. 1252 00:58:23,021 --> 00:58:25,589 His face is soft and open, 1253 00:58:25,676 --> 00:58:30,811 and that is what I find so striking about his photography. 1254 00:58:33,205 --> 00:58:35,773 [Corbijn] Miles Davis' pictures may be my favorite. 1255 00:58:35,860 --> 00:58:38,079 That's just a most stunning picture. 1256 00:58:39,516 --> 00:58:42,519 [cars rumble] 1257 00:58:44,695 --> 00:58:47,132 [Douglas] I mean I was up doing the Streets of San Francisco 1258 00:58:47,219 --> 00:58:50,396 from 1970 to '74. 1259 00:58:50,918 --> 00:58:52,180 He wasn't a set photographer, 1260 00:58:52,267 --> 00:58:54,792 but he came in on several occasions 1261 00:58:54,879 --> 00:58:57,142 for what we call special shoots. 1262 00:58:57,229 --> 00:58:59,710 So it was probably professionally 1263 00:58:59,971 --> 00:59:03,017 the first time I met him. 1264 00:59:04,105 --> 00:59:06,978 The contradiction with Jim is he was always trying to make 1265 00:59:07,065 --> 00:59:09,546 you, you know, as relaxed as possible. 1266 00:59:09,633 --> 00:59:11,765 And it's just hanging out and all that. 1267 00:59:11,852 --> 00:59:14,725 But meanwhile, he was the most uptight, strung out guy 1268 00:59:14,812 --> 00:59:16,422 you ever seen in your life. 1269 00:59:16,509 --> 00:59:19,120 You know, his fingers were chewed down to the bone. 1270 00:59:19,207 --> 00:59:20,992 He was just raw. 1271 00:59:21,079 --> 00:59:22,428 He was always picking on his fingers. 1272 00:59:22,515 --> 00:59:24,473 No, just relax! Just relax, relax! 1273 00:59:24,561 --> 00:59:25,953 [gunshot] 1274 00:59:26,040 --> 00:59:27,259 I said, "OK, I'll try Jim. I'll try." 1275 00:59:28,434 --> 00:59:30,697 But he was a very social cat. 1276 00:59:30,784 --> 00:59:33,265 So if you kind of hit it off, he liked to socialize. 1277 00:59:33,918 --> 00:59:36,834 It was a wonderful, free, liberal town. 1278 00:59:36,921 --> 00:59:38,923 It was a great time, man. 1279 00:59:39,010 --> 00:59:40,794 I didn't know a lot of people up there, 1280 00:59:40,881 --> 00:59:42,840 and he was, you know, a great guy to pal around with. 1281 00:59:42,927 --> 00:59:45,973 [police radio and sirens] 1282 00:59:46,583 --> 00:59:48,541 [Zagaris] Jim would be gone for a while, 1283 00:59:48,628 --> 00:59:50,674 then he'd be home, and you know, at that point in time, 1284 00:59:50,761 --> 00:59:55,679 in the-- from late '60s through, really, '73, '74, 1285 00:59:56,114 --> 00:59:57,289 Jim was gone a lot. 1286 00:59:57,376 --> 00:59:59,247 He was always working. 1287 00:59:59,683 --> 01:00:03,643 I mean, he was probably 1288 01:00:03,730 --> 01:00:07,473 one of the most, if not the most in demand photographers. 1289 01:00:07,908 --> 01:00:09,431 Jim was the man. 1290 01:00:11,433 --> 01:00:13,348 [Marshall] There was about 50 people 1291 01:00:13,435 --> 01:00:14,480 who had submitted portfolios to Life Magazine 1292 01:00:14,567 --> 01:00:16,090 to do the Stones tour for Life. 1293 01:00:16,177 --> 01:00:18,702 I got it. Based on 10 pictures. 1294 01:00:19,224 --> 01:00:21,095 And then I had the cover of Life. 1295 01:00:21,182 --> 01:00:22,706 Uh, it was great. 1296 01:00:22,793 --> 01:00:23,968 [camera clicks] 1297 01:00:25,578 --> 01:00:26,623 [Talamon] That's amazing. 1298 01:00:27,145 --> 01:00:29,016 And it's not some puff piece. 1299 01:00:29,103 --> 01:00:30,888 You know, let's stretch it. 1300 01:00:30,975 --> 01:00:34,239 No, this is like serious, serious work. 1301 01:00:34,326 --> 01:00:36,633 Serious stuff where you look at the proof sheets, 1302 01:00:36,720 --> 01:00:38,809 and you go, "Oh fuck, ok!" 1303 01:00:41,376 --> 01:00:43,509 [Selvin] When the Stones come back on the 1972 tour, 1304 01:00:43,596 --> 01:00:47,208 they played four shows at a 5,400 seat venue 1305 01:00:47,295 --> 01:00:49,602 called Winterland that Bill Graham ran. 1306 01:00:51,343 --> 01:00:55,129 To be in that close proximity of that band 1307 01:00:55,216 --> 01:00:56,565 at that point in their career, 1308 01:00:56,653 --> 01:01:00,657 it was just an explosive performance. 1309 01:01:02,180 --> 01:01:05,705 [Marshall] When I see something developing before me, 1310 01:01:06,706 --> 01:01:08,665 I instinctively-- 1311 01:01:08,752 --> 01:01:11,189 I think this just comes from experience, man, 1312 01:01:11,276 --> 01:01:13,104 and shooting a long time, you instinctively pick up the body 1313 01:01:13,191 --> 01:01:16,368 that I feel at that given moment is gonna give me the framing 1314 01:01:16,455 --> 01:01:18,631 and the image that I want. 1315 01:01:18,718 --> 01:01:20,198 In other words, I gotta 15, a 35 around my neck. 1316 01:01:20,285 --> 01:01:22,243 I've got a 28 or a 21 1317 01:01:22,330 --> 01:01:23,984 and a 90 or an 85 around one shoulder. 1318 01:01:24,071 --> 01:01:25,116 And a 180 on another. 1319 01:01:26,683 --> 01:01:28,249 How did that mother fucker get that shot? 1320 01:01:28,336 --> 01:01:31,383 You know, I mean, the whole idea of being close. 1321 01:01:32,036 --> 01:01:34,429 Being inside the photograph. 1322 01:01:34,516 --> 01:01:36,910 That was a characteristic of Jim Marshall's 1323 01:01:36,997 --> 01:01:38,607 that you don't see. 1324 01:01:38,695 --> 01:01:41,306 I don't see with a lot of other photographers. 1325 01:01:41,393 --> 01:01:45,310 They'll put a long lens on so that compresses everything. 1326 01:01:45,397 --> 01:01:48,661 But Jim would get close 1327 01:01:48,922 --> 01:01:50,968 and do it with a 28. 1328 01:01:51,055 --> 01:01:54,058 Get close and do it with a 35. 1329 01:01:54,536 --> 01:01:58,671 That 28, it's like as if you've stepped into the frame. 1330 01:01:59,890 --> 01:02:02,675 His attention to detail. His exposure. 1331 01:02:02,762 --> 01:02:05,199 His focus... he didn't miss. 1332 01:02:06,679 --> 01:02:10,814 I mean, look, that was the thing that I was always interested in. 1333 01:02:11,336 --> 01:02:12,816 Why am I a photographer? 1334 01:02:12,903 --> 01:02:15,775 I wanted some youngster 1335 01:02:15,862 --> 01:02:19,257 to walk around the corner in an exhibition 1336 01:02:19,910 --> 01:02:22,347 and get hit in the face with a huge print, 1337 01:02:22,434 --> 01:02:24,828 and say, "Who are those guys?" 1338 01:02:24,915 --> 01:02:28,353 And that's what Marshall's work did. 1339 01:02:28,440 --> 01:02:31,312 [inspirational music] [crowds cheer] 1340 01:02:34,011 --> 01:02:36,665 [plane roars] 1341 01:02:36,753 --> 01:02:37,928 [reporter] What was it like being around the Stones, 1342 01:02:38,015 --> 01:02:40,234 the bad boys of rock? 1343 01:02:40,321 --> 01:02:41,714 [Marshall] I probably did more coke than they did. 1344 01:02:41,801 --> 01:02:43,890 [laughs] The '72 Tour 1345 01:02:44,543 --> 01:02:46,066 was fueled by cocaine. 1346 01:02:48,199 --> 01:02:49,940 There was a lot of it. It was a good tour. 1347 01:02:50,027 --> 01:02:52,377 [guitar riffs] 1348 01:02:52,464 --> 01:02:54,553 [Zagaris] And you know, at the time, 1349 01:02:54,640 --> 01:02:57,295 I don't wanna say all of us indulged, 1350 01:02:57,382 --> 01:03:00,559 but to Jim, to me, 1351 01:03:00,646 --> 01:03:03,736 to a couple of other people, this was a participatory sport. 1352 01:03:03,823 --> 01:03:06,434 If you're with whoever you are shooting, 1353 01:03:06,521 --> 01:03:10,438 it was very much like being in a Stanislavski movie, 1354 01:03:10,525 --> 01:03:13,224 where you become what you're shooting. 1355 01:03:13,311 --> 01:03:16,053 And it meant, doing the drugs, 1356 01:03:16,140 --> 01:03:17,489 drinking the drinks, 1357 01:03:17,576 --> 01:03:19,230 and it wasn't to emulate 'em. 1358 01:03:19,317 --> 01:03:21,232 It's because that's who we were. 1359 01:03:21,319 --> 01:03:22,711 And you know what? We were curious. 1360 01:03:22,799 --> 01:03:26,106 [whining rock music] 1361 01:03:28,717 --> 01:03:32,286 [Marshall] This cocaine tour [laughs] 1362 01:03:32,373 --> 01:03:33,897 fueled by cocaine. 1363 01:03:33,984 --> 01:03:36,813 A lot of it. I was doing a half ounce a week. 1364 01:03:36,900 --> 01:03:41,295 [distorted] That's 14 grams, almost 2 grams a day. 1365 01:03:41,382 --> 01:03:44,516 [crowds cheer] 1366 01:03:46,866 --> 01:03:49,869 [music builds sharply] 1367 01:03:53,873 --> 01:03:55,875 [Douglas] I think as his career went on, 1368 01:03:55,962 --> 01:03:58,617 and as his drug habit got more serious, 1369 01:03:58,704 --> 01:04:02,012 then an anger evolved, more strongly, 1370 01:04:02,099 --> 01:04:05,102 and he felt more restricted. 1371 01:04:05,580 --> 01:04:07,582 And he fought, he fought against that. 1372 01:04:10,281 --> 01:04:12,152 [Marshall] I'm tired of shooting concerts and live stuff. 1373 01:04:12,239 --> 01:04:13,023 I'm really fucking bored to death with it. 1374 01:04:13,110 --> 01:04:15,025 Most places the light is so bad 1375 01:04:15,112 --> 01:04:17,810 that it's really frustrating to try to shoot 1376 01:04:17,897 --> 01:04:19,464 when you don't have access to all angles. 1377 01:04:19,551 --> 01:04:20,639 It's really awful. 1378 01:04:23,337 --> 01:04:24,643 [Douglas] What has happened as rock and roll got bigger 1379 01:04:24,730 --> 01:04:26,253 is all of a sudden everybody said, 1380 01:04:26,340 --> 01:04:27,820 "Oh I don't want you that close. 1381 01:04:27,907 --> 01:04:29,561 I'm sweating. 1382 01:04:29,648 --> 01:04:31,650 My manager wants me to have a good photograph." 1383 01:04:31,737 --> 01:04:36,002 And the whole thing got much more restricted and controlled. 1384 01:04:36,089 --> 01:04:38,135 It drove him nuts. 1385 01:04:38,613 --> 01:04:40,267 [Marshall] I mean, fuck all the words, man. 1386 01:04:40,354 --> 01:04:41,660 Let's, let's look at it, look at my work. 1387 01:04:41,747 --> 01:04:43,618 Look at my track record over 1388 01:04:43,705 --> 01:04:45,620 18 to 20 years of taking pictures. 1389 01:04:45,707 --> 01:04:47,666 You could dislike me or like me, I don't give a shit. 1390 01:04:47,753 --> 01:04:49,624 Look at my body of work over the last 20 years. 1391 01:04:49,711 --> 01:04:51,235 You think it works? 1392 01:04:53,280 --> 01:04:56,022 [Zagaris] 1977 [fireworks pop] 1393 01:04:56,109 --> 01:04:59,112 when Day on the Green were the biggest things ever, 1394 01:04:59,199 --> 01:05:01,288 they'd have 60,000 people. 1395 01:05:02,072 --> 01:05:03,551 Fleetwood Mac, 1396 01:05:03,987 --> 01:05:05,771 Peter Frampton are 1397 01:05:06,206 --> 01:05:08,513 headlining Day on the Green. 1398 01:05:08,600 --> 01:05:11,037 As the show's going on, 1399 01:05:11,124 --> 01:05:14,911 right behind the drum kit, he has a table set up. 1400 01:05:15,215 --> 01:05:17,391 [Peter Frampton] They'd have a little table 1401 01:05:17,478 --> 01:05:19,350 with the table cloth 1402 01:05:19,437 --> 01:05:21,526 and champagne that they were drinking. 1403 01:05:21,613 --> 01:05:25,095 You know, [laughs] as if to say, we made it. 1404 01:05:25,182 --> 01:05:27,010 [cheers] 1405 01:05:27,097 --> 01:05:28,925 Jim and Mike would be everywhere. 1406 01:05:29,012 --> 01:05:31,188 you know, they'd be down in the pit. 1407 01:05:31,275 --> 01:05:34,147 They'd be over in the left, behind me, whatever. 1408 01:05:34,626 --> 01:05:36,497 [Zagaris] I'd start shooting. 1409 01:05:36,584 --> 01:05:38,021 Well Jim's shooting that day too. 1410 01:05:38,456 --> 01:05:40,458 And Jim's doing lines. 1411 01:05:40,545 --> 01:05:42,503 I guess Jim and Dee Anthony 1412 01:05:42,590 --> 01:05:45,376 at some point somewhere, something hadn't gone right. 1413 01:05:46,072 --> 01:05:49,119 Now Bill sees how upset they are. 1414 01:05:49,206 --> 01:05:50,337 So he says, 1415 01:05:50,424 --> 01:05:51,948 "Tell Jim to get out of there." 1416 01:05:52,035 --> 01:05:54,341 "He's-- you know, I told him once, he's off." 1417 01:05:54,428 --> 01:05:57,301 So someone pulls Jim by the arm, and says, 1418 01:05:57,388 --> 01:05:59,868 "Hey, you've gotta quit shooting you've gotta leave the stage." 1419 01:05:59,956 --> 01:06:03,220 So as Jim's walking away, he says, 1420 01:06:03,524 --> 01:06:04,612 "Hey Anthony! 1421 01:06:06,484 --> 01:06:08,703 I'm not afraid of you. You know I got a fucking gun too." 1422 01:06:08,790 --> 01:06:12,664 And I thought, oh shit. 1423 01:06:13,143 --> 01:06:19,236 That was the last time Jim ever shot on Bill's stage. 1424 01:06:19,584 --> 01:06:22,848 [crowd cheer] [somber music] 1425 01:06:23,892 --> 01:06:25,851 [Marshall] It's not fun anymore. I think that-- 1426 01:06:26,504 --> 01:06:28,941 the people that run it, most of 'em, 1427 01:06:29,028 --> 01:06:30,812 and this isn't just the concert promoters. 1428 01:06:30,899 --> 01:06:32,684 I feel it with the PR people, 1429 01:06:32,771 --> 01:06:36,079 the record company people, the managers. 1430 01:06:36,166 --> 01:06:38,211 In the beginning, I think it was more for music. 1431 01:06:38,298 --> 01:06:39,778 It was fun. It wasn't just fun-- 1432 01:06:39,865 --> 01:06:41,475 I mean, let's face it, it was a business. 1433 01:06:41,562 --> 01:06:43,521 But it was fun. 1434 01:06:43,608 --> 01:06:45,349 And I think the bottom line now the bloody thing is being run 1435 01:06:45,436 --> 01:06:46,785 by accountants and business men. 1436 01:06:46,872 --> 01:06:49,614 Let's go folks, let's go. Whoa! Whoa! 1437 01:06:49,701 --> 01:06:51,703 [Zagaris] You know Kevin Mazur, who does a lot of it. 1438 01:06:51,790 --> 01:06:53,487 And he shoots for the Stones, they own everything. 1439 01:06:53,574 --> 01:06:56,012 Everything's become corporatized, 1440 01:06:56,099 --> 01:07:00,538 and corporate not only wants to own all the images 1441 01:07:00,799 --> 01:07:03,541 but they also want to control the message. 1442 01:07:03,889 --> 01:07:09,199 That really hit about 1975, '76, '77. 1443 01:07:09,286 --> 01:07:13,029 And at that point, Jim was done. 1444 01:07:13,377 --> 01:07:15,379 He would not put up with that. 1445 01:07:15,466 --> 01:07:17,642 And he found out, you know, in the end, 1446 01:07:17,729 --> 01:07:19,731 they don't give a fuck who you are. 1447 01:07:19,818 --> 01:07:22,299 If you're in sports, if you're Georgie Best, 1448 01:07:22,386 --> 01:07:24,344 if you're Joe Montana, 1449 01:07:24,431 --> 01:07:26,216 at a certain point, it doesn't matter. 1450 01:07:26,303 --> 01:07:28,348 You go down, they drag you off, bring in the next one. 1451 01:07:28,435 --> 01:07:30,394 [dreamy music] 1452 01:07:30,481 --> 01:07:33,049 [Margetts] December 1st, 1981. 1453 01:07:33,136 --> 01:07:35,268 Just another winter day. 1454 01:07:35,355 --> 01:07:37,531 He arises and makes a cup of Sellaby's coffee 1455 01:07:37,618 --> 01:07:40,012 for Rebecca his wife of 8 years. 1456 01:07:40,360 --> 01:07:42,232 A successful bank executive, 1457 01:07:42,319 --> 01:07:44,669 she prepares for yet another business trip. 1458 01:07:45,148 --> 01:07:47,367 She mentions needing a lift back from the airport 1459 01:07:47,454 --> 01:07:48,890 around 7 that night. 1460 01:07:51,197 --> 01:07:52,981 Quote, "I still can't believe how smooth she was" 1461 01:07:53,069 --> 01:07:55,071 he says, shaking his dark head slowly. 1462 01:07:55,158 --> 01:07:57,638 "I was watching the news, and she hadn't called yet. 1463 01:07:57,725 --> 01:07:59,858 It was a little after 7, 1464 01:07:59,945 --> 01:08:02,078 and I remember thinking the plane must have been late. 1465 01:08:02,165 --> 01:08:05,342 Just then the phone rang, and I thought it was her. 1466 01:08:05,951 --> 01:08:08,388 I answered, 'Hello darling, I missed you.' 1467 01:08:08,475 --> 01:08:10,695 And it was Western Union. 1468 01:08:10,782 --> 01:08:13,524 There was a note in the left-hand dresser drawer. 1469 01:08:13,611 --> 01:08:17,484 Rebecca had run away taking close to 20 grand with her." 1470 01:08:20,270 --> 01:08:22,272 [Parrilli] Jimmy told me a story about how [laughs] 1471 01:08:22,359 --> 01:08:25,188 he had put her in a closet and nailed the door shut 1472 01:08:25,275 --> 01:08:26,667 so she couldn't get out. 1473 01:08:27,625 --> 01:08:28,756 He was so angry. 1474 01:08:30,367 --> 01:08:32,020 And I'm not quite sure how she did get out, 1475 01:08:32,108 --> 01:08:33,370 but I think it was shortly thereafter that she left, 1476 01:08:33,457 --> 01:08:34,675 and left permanently. 1477 01:08:41,291 --> 01:08:43,249 [Margetts] He was not to hear from her 1478 01:08:43,336 --> 01:08:45,904 or know if she was alive for more than a year. 1479 01:08:45,991 --> 01:08:48,820 Eventually papers notifying him 1480 01:08:48,907 --> 01:08:50,996 their marriage had been dissolved arrived from Minneapolis. 1481 01:08:51,083 --> 01:08:52,737 "I thought I was going to go crazy. 1482 01:08:52,824 --> 01:08:55,305 I loved that girl so much. 1483 01:08:55,392 --> 01:08:57,002 She took a piece of me with her. 1484 01:08:59,352 --> 01:09:01,093 She helped me and I wasn't there when she needed me. 1485 01:09:01,485 --> 01:09:03,748 I was inconsiderate and stupid. 1486 01:09:03,835 --> 01:09:06,577 I used drugs, I was an asshole. 1487 01:09:06,664 --> 01:09:09,145 And I fucked her life up and mine." 1488 01:09:10,450 --> 01:09:13,149 The words tumble out one upon the next 1489 01:09:13,236 --> 01:09:16,456 in an attempt to purge himself of the hurt. 1490 01:09:16,804 --> 01:09:18,719 After Rebecca left 1491 01:09:18,806 --> 01:09:20,068 he began to slide deeper and deeper 1492 01:09:20,156 --> 01:09:21,592 into a prison of despair, 1493 01:09:21,679 --> 01:09:24,769 self-pity and self-indulgence. 1494 01:09:31,471 --> 01:09:33,778 And of course I learned in media ethics class 1495 01:09:33,865 --> 01:09:35,649 that you're not supposed to sleep with your-- 1496 01:09:35,736 --> 01:09:37,738 you know, you're not supposed this Jim. 1497 01:09:37,825 --> 01:09:39,479 And he was like no, no, it's fine, don't worry, don't worry. 1498 01:09:41,568 --> 01:09:42,874 He would figure out which photos to use, 1499 01:09:42,961 --> 01:09:44,832 what was gonna be the cover. 1500 01:09:44,919 --> 01:09:46,530 I mean, it was getting pretty close 1501 01:09:46,617 --> 01:09:47,966 and then Jim pulls the Jim card. 1502 01:09:48,053 --> 01:09:49,402 He wanted me to do something. 1503 01:09:49,489 --> 01:09:51,056 He wanted me to go somewhere. 1504 01:09:51,883 --> 01:09:53,841 And he's like you know what? 1505 01:09:53,928 --> 01:09:56,235 You better do this or I'm not gonna let you use those photos. 1506 01:09:56,496 --> 01:09:58,150 And he-- he mistimed it. 1507 01:10:00,239 --> 01:10:01,501 I just told him to-- I got very Sicilian. 1508 01:10:01,588 --> 01:10:03,460 You know and I was just like 1509 01:10:03,547 --> 01:10:05,201 you and the fucking horse you rode in on. 1510 01:10:05,288 --> 01:10:09,292 No way and I'm not publishing that article ever. 1511 01:10:10,075 --> 01:10:12,295 No matter how much you beg me. 1512 01:10:12,382 --> 01:10:14,514 And he begged me his whole life. 1513 01:10:15,776 --> 01:10:17,735 It's more than 25 years since the first meeting 1514 01:10:17,822 --> 01:10:19,998 and that first critical lesson. 1515 01:10:20,085 --> 01:10:22,087 But there were many, many more. 1516 01:10:22,479 --> 01:10:24,263 Listen to your instincts. 1517 01:10:24,350 --> 01:10:26,047 Be true to yourself. 1518 01:10:26,134 --> 01:10:27,527 Don't bullshit. 1519 01:10:27,614 --> 01:10:29,312 Keep it simple. 1520 01:10:29,399 --> 01:10:30,748 Know your equipment. 1521 01:10:30,835 --> 01:10:33,098 Respect your subject's trust. 1522 01:10:33,185 --> 01:10:34,752 Get closer. 1523 01:10:35,318 --> 01:10:36,319 Protect your work. 1524 01:10:36,406 --> 01:10:39,757 No matter what. [click] 1525 01:10:41,715 --> 01:10:43,891 You know if you talk about Jim Marshall 1526 01:10:43,978 --> 01:10:46,111 you've gotta talk about copyright. 1527 01:10:46,938 --> 01:10:48,809 You know people talk about Jim and his guns. 1528 01:10:48,896 --> 01:10:50,550 I think he'd have shot a couple of people 1529 01:10:50,637 --> 01:10:52,335 if he had the chance, 1530 01:10:52,422 --> 01:10:53,901 as far as just being stupid 1531 01:10:53,988 --> 01:10:55,599 about protecting their copyright. 1532 01:10:55,686 --> 01:10:57,775 Or rather not protecting their copyright. 1533 01:10:58,906 --> 01:11:01,169 One of the things that he and I talked about 1534 01:11:01,257 --> 01:11:03,781 was the fact that actually the whole copyright system 1535 01:11:03,868 --> 01:11:05,739 needs to be revised. 1536 01:11:05,826 --> 01:11:08,176 Because it's woefully inadequate. 1537 01:11:08,264 --> 01:11:11,223 You know, a lot of stuff is falling into public domain 1538 01:11:11,310 --> 01:11:12,529 that shouldn't have. 1539 01:11:12,964 --> 01:11:15,227 Because what's happening is now 1540 01:11:15,314 --> 01:11:17,838 they are targeting the photographers. 1541 01:11:17,925 --> 01:11:20,014 They're targeting their copyright 1542 01:11:20,101 --> 01:11:22,887 to check out the validity of it. 1543 01:11:22,974 --> 01:11:24,845 And that is troubling. 1544 01:11:24,932 --> 01:11:26,325 You know and Marshall, he got paid. 1545 01:11:26,978 --> 01:11:29,067 You know and in his later years 1546 01:11:29,154 --> 01:11:31,025 you know he stopped running after them young bands. 1547 01:11:31,112 --> 01:11:33,724 But his work then protected him. 1548 01:11:33,811 --> 01:11:36,944 I could go make a very comfortable living 1549 01:11:37,031 --> 01:11:38,685 never having to pick up a camera again. 1550 01:11:38,772 --> 01:11:40,426 Just on my files. 1551 01:11:40,513 --> 01:11:42,080 'Cause I never did a buyout. 1552 01:11:42,167 --> 01:11:43,603 I've never done work for hire. 1553 01:11:43,690 --> 01:11:45,562 I own everything I shot. 1554 01:11:45,649 --> 01:11:49,043 So you know I've been good to my pictures. 1555 01:11:49,130 --> 01:11:50,828 Now they're being good to me. 1556 01:11:52,873 --> 01:11:54,658 I took a continuing education of the bar class 1557 01:11:54,745 --> 01:11:56,399 about copyright infringement. 1558 01:11:56,486 --> 01:11:58,618 And he was one of the speakers. 1559 01:11:58,705 --> 01:12:00,794 And he was very emotional about it. 1560 01:12:01,229 --> 01:12:03,884 But what he was talking about 1561 01:12:03,971 --> 01:12:07,671 is the sanctity of a person's work, 1562 01:12:07,758 --> 01:12:10,326 and how it cannot be stolen from him. 1563 01:12:11,457 --> 01:12:14,939 I called the FBI in on it, on the bootlegger trip, 1564 01:12:15,592 --> 01:12:17,811 'cause they were selling bootlegged Johnny Cash, 1565 01:12:17,898 --> 01:12:19,900 Bob Dylan album with my picture on it. 1566 01:12:20,510 --> 01:12:22,860 Someone bought the album for me. 1567 01:12:22,947 --> 01:12:24,122 I wanted to double check. 1568 01:12:24,209 --> 01:12:26,385 I called Rather Ripped 1569 01:12:26,472 --> 01:12:27,734 and said I'd like to find out where you got it. 1570 01:12:27,821 --> 01:12:29,301 They told me [bleep] off, 1571 01:12:29,388 --> 01:12:31,608 we don't have to tell you [bleep]. 1572 01:12:31,695 --> 01:12:32,783 And I said you're telling that to the wrong person. 1573 01:12:32,870 --> 01:12:34,350 I called the FBI, 1574 01:12:34,437 --> 01:12:35,786 I went down and made a formal report. 1575 01:12:35,873 --> 01:12:37,527 And Rather Ripped got busted. 1576 01:12:38,005 --> 01:12:39,790 They're gonna be [bleep] smart asses, 1577 01:12:39,877 --> 01:12:41,139 hey [bleep] with me, 1578 01:12:41,226 --> 01:12:43,141 I went after them legally. 1579 01:12:43,228 --> 01:12:45,273 And I'll do it again to anybody at any time, 1580 01:12:45,361 --> 01:12:48,451 anywhere that uses my pictures without my permission. 1581 01:12:48,538 --> 01:12:50,931 [clicks and whirs] 1582 01:12:51,018 --> 01:12:52,890 [Zagaris] Most of the people out there, 1583 01:12:52,977 --> 01:12:55,371 if you weren't paying attention, would rip you off. 1584 01:12:55,893 --> 01:12:58,722 And I remember the first time he was telling me that 1585 01:12:59,200 --> 01:13:01,377 I was going, really? 1586 01:13:01,464 --> 01:13:02,813 "Say, mother fucker, they rip off the musicians, 1587 01:13:02,900 --> 01:13:04,815 why the fuck wouldn't they rip us off?" 1588 01:13:04,902 --> 01:13:07,644 He said, "You know we're at the bottom of the fucking rung. 1589 01:13:07,731 --> 01:13:09,167 We're nothing to them." 1590 01:13:09,254 --> 01:13:10,777 He said, "You can't take any shit from them 1591 01:13:10,864 --> 01:13:12,475 and this is why I've got a fucking gun." 1592 01:13:13,214 --> 01:13:15,478 [Marshall] I don't have any guns now. 1593 01:13:15,565 --> 01:13:17,567 I'm not supposed to have any. I don't have any guns. 1594 01:13:17,654 --> 01:13:20,091 What's a gun? I used to have guns. Haha. 1595 01:13:20,178 --> 01:13:22,920 [interviewer] You got in trouble with guns before? 1596 01:13:23,007 --> 01:13:24,008 [Marshall] I have been in trouble with guns before, yes. 1597 01:13:24,095 --> 01:13:26,445 But that is not for print. 1598 01:13:26,532 --> 01:13:27,054 Because you will be in trouble with guns if you print it. 1599 01:13:27,141 --> 01:13:27,968 [laughs] 1600 01:13:29,274 --> 01:13:35,411 [menacing beat] [police sirens] 1601 01:13:36,499 --> 01:13:41,765 [police radio chatter] 1602 01:13:42,200 --> 01:13:44,463 [Margetts] And it happened in 1983. 1603 01:13:44,550 --> 01:13:47,335 Rebecca had been gone more than a year without word. 1604 01:13:47,423 --> 01:13:50,382 Marshall pulled up in their huge Union Street apartment. 1605 01:13:50,469 --> 01:13:52,515 On a March evening before St Patrick's Day, 1606 01:13:52,602 --> 01:13:55,169 the building's silent alarm was tripped. 1607 01:13:55,256 --> 01:13:57,607 He went out with a 45 automatic. 1608 01:13:57,694 --> 01:13:59,347 Cocked, locked and ready to go. 1609 01:13:59,435 --> 01:14:01,567 [gun clicks] 1610 01:14:01,654 --> 01:14:03,569 Descending the stairs he came upon two more neighbors. 1611 01:14:03,656 --> 01:14:05,528 They phoned the police, 1612 01:14:05,615 --> 01:14:06,877 charging that Marshall at one point 1613 01:14:06,964 --> 01:14:09,053 crouched in a shooting stance 1614 01:14:09,140 --> 01:14:10,707 and told them he would blow their brains out. 1615 01:14:10,794 --> 01:14:12,491 [sirens] 1616 01:14:12,578 --> 01:14:14,537 Police confiscated a small arsenal 1617 01:14:14,624 --> 01:14:16,190 from Marshall's apartment. 1618 01:14:16,277 --> 01:14:18,454 Shotgun, rifle, 14 handguns, 1619 01:14:18,541 --> 01:14:21,848 and dozens of rounds of various types of ammunition. 1620 01:14:22,327 --> 01:14:24,198 The gun charge was a little bit of an issue. 1621 01:14:24,634 --> 01:14:27,245 But Ray talked his boss, Mike Hennessey, 1622 01:14:27,332 --> 01:14:29,377 into sitting down with Jim. 1623 01:14:29,465 --> 01:14:30,901 Jim came in 1624 01:14:30,988 --> 01:14:32,555 and Mike kind of 1625 01:14:33,207 --> 01:14:35,340 looked at him and thought 1626 01:14:35,427 --> 01:14:39,039 this guy's gonna get beaten to pieces in jail. 1627 01:14:39,126 --> 01:14:41,912 He's going to annoy everybody. 1628 01:14:41,999 --> 01:14:45,916 So Jim was sentenced to one year in Work Furlough. 1629 01:14:46,743 --> 01:14:49,267 But by every account 1630 01:14:50,094 --> 01:14:52,400 he was a complete pain in the neck. 1631 01:14:52,792 --> 01:14:55,578 He was always trying to co-op the deputies 1632 01:14:55,665 --> 01:14:57,449 by offering them signed photographs 1633 01:14:57,536 --> 01:14:59,451 of their favorite rock musicians. 1634 01:14:59,538 --> 01:15:02,541 People had to be reminded over and over again, 1635 01:15:02,628 --> 01:15:04,369 accept nothing. 1636 01:15:06,110 --> 01:15:08,678 He made it. He finished his year. 1637 01:15:08,765 --> 01:15:10,636 Hennessey had told him, 1638 01:15:10,723 --> 01:15:13,378 "You cannot violate a single rule 1639 01:15:13,465 --> 01:15:15,815 or I'm putting you in jail." 1640 01:15:15,902 --> 01:15:18,252 And he was forever grateful. 1641 01:15:21,038 --> 01:15:23,127 [Margetts] "His mother's still alive, 1642 01:15:23,214 --> 01:15:24,389 but Marshall doesn't speak with her anymore. 1643 01:15:26,609 --> 01:15:28,088 I have more than 80 first and second cousins, 1644 01:15:28,175 --> 01:15:30,308 aunts and uncles in the Bay area. 1645 01:15:30,395 --> 01:15:33,877 When I got arrested, not one member of my own family 1646 01:15:33,964 --> 01:15:36,140 came to help me or even called. 1647 01:15:36,227 --> 01:15:38,142 Not even my mother. 1648 01:15:38,229 --> 01:15:40,274 I know I only have one mother 1649 01:15:40,361 --> 01:15:42,450 and it might haunt me the rest of my life. 1650 01:15:42,538 --> 01:15:44,583 It's something I have to resolve in my mind. 1651 01:15:45,715 --> 01:15:47,238 I haven't yet." 1652 01:15:48,413 --> 01:15:50,023 You know, there's a long period of time 1653 01:15:50,110 --> 01:15:52,286 Jim really didn't do any photographs. 1654 01:15:52,373 --> 01:15:54,462 He really was just selling catalog 1655 01:15:54,550 --> 01:15:56,726 and not shooting things at all. 1656 01:15:57,204 --> 01:16:00,164 And, and I know that a lot of that was drugs. 1657 01:16:00,251 --> 01:16:02,340 But I also think that it was also 1658 01:16:02,427 --> 01:16:06,344 he was tired of having to be Jim Marshall. 1659 01:16:06,431 --> 01:16:09,913 It was hard work because it was exacting. 1660 01:16:10,000 --> 01:16:11,697 It was demanding. 1661 01:16:11,784 --> 01:16:14,047 And the excellence had to be there. 1662 01:16:14,700 --> 01:16:17,355 [Allman] You go from being this kind of superhero 1663 01:16:17,442 --> 01:16:19,313 that's constantly doing the work. 1664 01:16:19,400 --> 01:16:21,838 And drugs are everywhere and it's available 1665 01:16:21,925 --> 01:16:24,623 and it's just one big party all the time. 1666 01:16:24,710 --> 01:16:26,582 And then you're alone. 1667 01:16:26,669 --> 01:16:27,887 And you've got all this down time. 1668 01:16:30,020 --> 01:16:33,066 And there's just a huge period that is just blank. 1669 01:16:33,763 --> 01:16:36,026 And I think that happened to a lot of them. 1670 01:16:36,113 --> 01:16:37,680 It's not that he didn't have the talent, 1671 01:16:37,767 --> 01:16:41,727 it's that he was lost in processing his own demons. 1672 01:16:41,814 --> 01:16:45,078 [somber piano] 1673 01:16:45,992 --> 01:16:50,170 [Block] I was a young executive in the music business, 1674 01:16:50,257 --> 01:16:51,781 and Jim showed up in my office, 1675 01:16:51,868 --> 01:16:54,522 and he sat down across the desk. 1676 01:16:56,133 --> 01:16:58,048 And before he said a word 1677 01:16:58,135 --> 01:16:59,527 he pulled out just a gigantic knife 1678 01:16:59,615 --> 01:17:01,138 and he slammed it on the table and said, 1679 01:17:01,225 --> 01:17:03,357 "You're never gonna fuck with me." 1680 01:17:03,444 --> 01:17:08,145 I was both terrified and amused I think at the same time. 1681 01:17:08,232 --> 01:17:09,712 And I just said, "Jim, 1682 01:17:09,799 --> 01:17:11,148 why would you think I'd fuck with you?" 1683 01:17:11,235 --> 01:17:12,497 And he explained that 1684 01:17:12,584 --> 01:17:14,238 everybody's always fucked with him. 1685 01:17:14,325 --> 01:17:15,892 Every label guy's always fucked with him. 1686 01:17:15,979 --> 01:17:17,458 And I said, "Well look, 1687 01:17:17,545 --> 01:17:18,764 give me the opportunity to prove to you 1688 01:17:18,851 --> 01:17:20,374 that I'm not that label guy. 1689 01:17:20,461 --> 01:17:22,507 And I'll try to do that." 1690 01:17:22,594 --> 01:17:24,727 And that was the beginning of a relationship 1691 01:17:24,814 --> 01:17:28,208 that lasted until the day he died. 1692 01:17:29,557 --> 01:17:31,255 [Ken Valente] I have a picture here 1693 01:17:31,342 --> 01:17:33,736 that Jim who lived up the street from my plumbing shop, 1694 01:17:33,823 --> 01:17:37,130 I had just taken over from my dad and my uncle. 1695 01:17:37,609 --> 01:17:39,698 So Jim came by one day with the camera. 1696 01:17:39,785 --> 01:17:41,961 We were all standing there, it was after work. 1697 01:17:42,048 --> 01:17:45,182 I can't even remember him shooting the picture. 1698 01:17:45,269 --> 01:17:46,966 We're yakking. 1699 01:17:47,053 --> 01:17:48,315 He goes just front of that truck. 1700 01:17:48,402 --> 01:17:50,448 Me, my cousin, my brother 1701 01:17:50,535 --> 01:17:51,884 and two other brothers that worked for me. 1702 01:17:53,843 --> 01:17:55,366 It was not in your face. It was not staged. 1703 01:17:55,453 --> 01:17:59,152 He just presented me with this in 1982, '83 1704 01:17:59,239 --> 01:18:01,677 and he said, "Ken I want you to have this." 1705 01:18:03,243 --> 01:18:05,419 [Block] He was one of the most thoughtful people 1706 01:18:05,506 --> 01:18:07,291 I think I've ever met. 1707 01:18:07,378 --> 01:18:09,641 He was coming to town and he called me 1708 01:18:09,728 --> 01:18:11,643 and he said, "I wanna make a picture of your family." 1709 01:18:11,730 --> 01:18:14,124 And I said, "No Jim, thank you, you really don't have to." 1710 01:18:14,211 --> 01:18:16,517 "No, I'm doing it. Where do you live? 1711 01:18:16,604 --> 01:18:18,302 I'll be there on Saturday. 1712 01:18:18,389 --> 01:18:20,826 Be there Saturday at 10 o'clock." 1713 01:18:20,913 --> 01:18:23,437 Sure enough, he showed up at 10 o'clock 1714 01:18:23,524 --> 01:18:25,788 and he marched us out to the park 1715 01:18:25,875 --> 01:18:28,051 and he captured us 1716 01:18:28,138 --> 01:18:31,228 right outside of our apartment in Riverside Park 1717 01:18:31,576 --> 01:18:35,798 that for me is an absolute forever, forever moment 1718 01:18:35,885 --> 01:18:38,452 that I am so grateful for. 1719 01:18:40,585 --> 01:18:42,108 [Davis] He didn't have a lot of friends. 1720 01:18:42,195 --> 01:18:43,501 He didn't have a lot of work. 1721 01:18:43,588 --> 01:18:45,068 People weren't calling him. 1722 01:18:47,331 --> 01:18:50,160 So he had to really do what he could to survive. 1723 01:18:50,900 --> 01:18:53,206 He photographed a lot for Fantasy Records, 1724 01:18:53,293 --> 01:18:55,078 which was in Berkeley. 1725 01:18:55,165 --> 01:18:57,428 So he did some of his one hit wonders. 1726 01:18:57,515 --> 01:18:59,909 Eye of the Tiger, Survivor [laughs] 1727 01:18:59,996 --> 01:19:03,042 which is a total shock to anybody who knew Jim. 1728 01:19:03,782 --> 01:19:07,655 And he started pulling himself out of the mess he had made. 1729 01:19:08,091 --> 01:19:11,442 And I think he really wanted to redeem himself. 1730 01:19:14,488 --> 01:19:16,447 [Margetts] John McDermott, 1731 01:19:16,534 --> 01:19:18,666 who shoots regularly for Time Magazine, 1732 01:19:18,754 --> 01:19:20,581 has known Marshall casually for about 7 years. 1733 01:19:20,668 --> 01:19:22,670 He respects him as a photographer, 1734 01:19:22,758 --> 01:19:24,368 but is brutally candid in his assessment 1735 01:19:24,455 --> 01:19:26,370 of Jim Marshall, the man. 1736 01:19:26,457 --> 01:19:28,328 "The people who are close to him 1737 01:19:28,415 --> 01:19:30,809 hope that this is the time he gets serious. 1738 01:19:30,896 --> 01:19:33,464 Straightens his act out, gets more in control of his life, 1739 01:19:33,551 --> 01:19:36,032 uses his talents, gifts and intelligence 1740 01:19:36,119 --> 01:19:39,775 and doesn't act so much on some of the baser instincts." 1741 01:19:40,471 --> 01:19:42,299 What happened was a catharsis, he says, 1742 01:19:42,386 --> 01:19:44,040 trying not to pick at his hands, 1743 01:19:44,127 --> 01:19:46,912 a nervous habit he finds almost impossible to break. 1744 01:19:47,565 --> 01:19:48,914 "It washed the slate clean 1745 01:19:49,001 --> 01:19:50,698 and I feel ready to make a fresh start. 1746 01:19:50,786 --> 01:19:52,831 There's still a lot of pictures I wanna take 1747 01:19:52,918 --> 01:19:55,703 and what I do I think I do as well as anybody. 1748 01:19:55,791 --> 01:19:58,097 I've seen the mountain and been to the top, 1749 01:19:58,924 --> 01:20:00,883 I was sliding down, down the last few years, 1750 01:20:00,970 --> 01:20:03,407 but I can get to the top again and I will." 1751 01:20:05,235 --> 01:20:08,238 [sobs] 1752 01:20:08,325 --> 01:20:10,806 "I wanna see Jim take better care of himself", 1753 01:20:12,024 --> 01:20:13,112 McDermott stresses, 1754 01:20:13,199 --> 01:20:15,027 "because to tell you the truth 1755 01:20:15,114 --> 01:20:17,290 it breaks my heart to see someone hurt themselves 1756 01:20:17,377 --> 01:20:19,336 the way Jim has hurt himself." 1757 01:20:25,516 --> 01:20:27,779 "He needs to start loving himself more." 1758 01:20:32,828 --> 01:20:35,134 "He's got a lot of bridges to mend. 1759 01:20:36,570 --> 01:20:39,182 He's gotta eat a little bit of crow. 1760 01:20:40,009 --> 01:20:43,316 He's gotta start making friends for himself." 1761 01:20:44,665 --> 01:20:46,885 [sniffs] 1762 01:20:47,973 --> 01:20:50,715 "I think it's fair to say this is Jim's last shot." 1763 01:20:51,716 --> 01:20:54,850 [paper rattles] [somber piano] 1764 01:20:55,763 --> 01:20:58,810 [sobs] 1765 01:21:02,205 --> 01:21:05,425 [exhales] 1766 01:21:06,949 --> 01:21:08,646 I haven't read that-- 1767 01:21:08,994 --> 01:21:10,387 [sniffs] 1768 01:21:11,040 --> 01:21:12,258 In a long while. 1769 01:21:14,870 --> 01:21:15,871 [Marshall] You know I couldn't ask for a better life. 1770 01:21:17,307 --> 01:21:19,396 I've been my own worst enemy. 1771 01:21:19,483 --> 01:21:21,224 You know, I'm never, never gonna be one to say they did it to me. 1772 01:21:21,311 --> 01:21:23,226 Whatever I did, I did myself. 1773 01:21:23,313 --> 01:21:24,749 I'm very good at that. 1774 01:21:25,315 --> 01:21:26,577 Uh... 1775 01:21:28,144 --> 01:21:29,493 [Hirst] The last time I saw him, 1776 01:21:29,580 --> 01:21:31,669 he took me to lunch. 1777 01:21:31,756 --> 01:21:36,587 And at that time I think it was about a year before he died. 1778 01:21:37,501 --> 01:21:39,938 And he looked very different to me. 1779 01:21:40,025 --> 01:21:42,245 And he told me then that he had 1780 01:21:42,332 --> 01:21:44,029 stopped using drugs. 1781 01:21:44,116 --> 01:21:46,553 That Amelia had told him 1782 01:21:46,640 --> 01:21:49,034 if he didn't stop she was leaving him. 1783 01:21:49,121 --> 01:21:53,430 And he could not let that happen. 1784 01:21:53,517 --> 01:21:55,693 And I am so glad 1785 01:21:55,780 --> 01:21:59,262 that I got to see him that way 1786 01:21:59,349 --> 01:22:01,438 at least once. 1787 01:22:03,527 --> 01:22:05,007 It's really a shame 1788 01:22:05,616 --> 01:22:07,400 Jim died when he did 1789 01:22:07,487 --> 01:22:11,013 because he was really starting to see 1790 01:22:11,100 --> 01:22:13,102 that people loved his work. 1791 01:22:13,189 --> 01:22:15,800 He was really starting to get recognized. 1792 01:22:15,887 --> 01:22:19,586 And so he was just starting to really get that. 1793 01:22:19,673 --> 01:22:22,938 And see that. Then he died. 1794 01:22:26,419 --> 01:22:28,378 [Davis] I have an image of this 1795 01:22:28,465 --> 01:22:31,685 very complex, incredible friend 1796 01:22:31,772 --> 01:22:33,470 who was a photographer, 1797 01:22:33,557 --> 01:22:35,037 but he was also my friend. 1798 01:22:35,124 --> 01:22:36,908 He really was my friend. 1799 01:22:36,995 --> 01:22:39,693 [melancholic music] 1800 01:22:39,780 --> 01:22:42,479 [Talamon] He was-- 1801 01:22:43,306 --> 01:22:45,351 he was another kind of cat. 1802 01:22:46,135 --> 01:22:49,965 Alright, and, and, and I, 1803 01:22:50,922 --> 01:22:52,445 I miss him. 1804 01:22:55,927 --> 01:22:57,711 [Block] I remember thinking 1805 01:22:58,147 --> 01:23:01,367 that we'd lost one of the great characters 1806 01:23:01,454 --> 01:23:03,413 who has ever been. 1807 01:23:03,674 --> 01:23:05,502 And almost as quickly as I thought that, 1808 01:23:05,589 --> 01:23:07,852 I thought, you know and-- 1809 01:23:09,158 --> 01:23:12,683 I don't know why this is, but we're not replacing them. 1810 01:23:13,771 --> 01:23:15,642 And um, 1811 01:23:16,600 --> 01:23:19,777 it just compounded the sadness for me. 1812 01:23:20,473 --> 01:23:22,519 Jim pushed every boundary 1813 01:23:22,606 --> 01:23:26,262 and I think that's where a lot of... 1814 01:23:26,697 --> 01:23:29,482 his genius and greatness occurred, 1815 01:23:29,569 --> 01:23:31,441 was out there at the edges. 1816 01:23:32,007 --> 01:23:34,052 And I just, you know I think that 1817 01:23:34,139 --> 01:23:36,272 that doesn't really exist as much anymore, 1818 01:23:36,359 --> 01:23:38,491 for lots and lots of reasons. 1819 01:23:39,318 --> 01:23:40,885 You know, the one thing I say 1820 01:23:40,972 --> 01:23:42,278 to young photographers now is pay attention. 1821 01:23:42,365 --> 01:23:43,627 You know you gotta earn it. 1822 01:23:43,714 --> 01:23:45,281 You gotta work for it. 1823 01:23:45,368 --> 01:23:46,717 Jim earned it. 1824 01:23:47,239 --> 01:23:48,980 Jim worked for it. 1825 01:23:49,546 --> 01:23:51,635 His pictures are immortal 1826 01:23:51,722 --> 01:23:53,506 and the beauty of what he did 1827 01:23:53,593 --> 01:23:56,988 is it's obviously living way past his life 1828 01:23:57,075 --> 01:23:59,643 and as a true artist, be it a painter 1829 01:23:59,730 --> 01:24:01,384 or a photographer, 1830 01:24:02,080 --> 01:24:06,911 you have a clear legacy of that time. 1831 01:24:07,520 --> 01:24:09,609 And his pictures 1832 01:24:09,914 --> 01:24:11,394 stand out 1833 01:24:13,352 --> 01:24:15,615 in terms of their subject matter, 1834 01:24:15,702 --> 01:24:18,662 not necessarily about their lighting or composition. 1835 01:24:18,749 --> 01:24:21,056 That was secondary to him. 1836 01:24:21,882 --> 01:24:23,710 He loved passion. He loved-- 1837 01:24:23,797 --> 01:24:25,669 He loved feelings of emotion, 1838 01:24:25,756 --> 01:24:28,106 and his pictures are really 1839 01:24:28,585 --> 01:24:31,327 a personification of, 1840 01:24:31,414 --> 01:24:34,721 of the incredible depth of feeling 1841 01:24:34,808 --> 01:24:37,072 that musicians had. 1842 01:24:37,463 --> 01:24:40,597 [music continues] 1843 01:24:42,816 --> 01:24:45,080 [Marshall] I left behind a body of work 1844 01:24:45,602 --> 01:24:47,865 that I think is second to none. 1845 01:24:48,257 --> 01:24:50,911 I think there's a lot of people that have 1846 01:24:50,998 --> 01:24:53,523 done maybe better, but uh, 1847 01:24:54,350 --> 01:24:56,265 but I think I captured 1848 01:24:56,352 --> 01:24:58,528 the essence of each musician I photographed, 1849 01:24:58,615 --> 01:25:00,704 or tried to. 1850 01:25:00,791 --> 01:25:03,010 [Rosenheim] I can tell you this, 1851 01:25:03,098 --> 01:25:06,492 that what I get pleasure out of thinking about what 1852 01:25:06,579 --> 01:25:08,973 any individual artist has achieved, 1853 01:25:09,060 --> 01:25:11,497 and how I would rank their achievement 1854 01:25:11,584 --> 01:25:13,456 is not based on one picture. 1855 01:25:13,804 --> 01:25:15,632 It is based on a lifetime. 1856 01:25:18,330 --> 01:25:20,376 [Margetts] When asked if he knew at the time he recorded them 1857 01:25:20,463 --> 01:25:22,900 how powerfully lasting his images would be, 1858 01:25:22,987 --> 01:25:25,207 Jim laughs slightly and then pauses 1859 01:25:25,294 --> 01:25:27,078 as if looking at the last two decades 1860 01:25:27,165 --> 01:25:29,167 and the hundreds of thousands of frames 1861 01:25:29,254 --> 01:25:31,082 that have slipped past his view finder. 1862 01:25:31,169 --> 01:25:33,780 "No, I didn't know they would be so lasting. 1863 01:25:34,172 --> 01:25:37,175 I never realized how important those days were. 1864 01:25:37,262 --> 01:25:39,264 I have been at some of 1865 01:25:39,351 --> 01:25:40,526 the greatest events in musical history, 1866 01:25:40,613 --> 01:25:42,441 and it's because of my cameras. 1867 01:25:42,528 --> 01:25:45,183 And the trust people had in what I did with them. 1868 01:25:45,270 --> 01:25:46,663 I'm proud of that. 1869 01:25:47,316 --> 01:25:48,708 I've been lucky. 1870 01:25:49,231 --> 01:25:50,580 And good." 1871 01:25:53,844 --> 01:25:56,847 [Zagaris] Everything in life, 1872 01:25:56,934 --> 01:26:00,807 it's bits and pieces, even the most incredible love affair. 1873 01:26:01,634 --> 01:26:04,550 It only burns white hot for a while. 1874 01:26:05,116 --> 01:26:07,249 We probably didn't even realize it at the time, 1875 01:26:07,336 --> 01:26:09,599 that we were going through an incredible period 1876 01:26:09,686 --> 01:26:11,296 in our youth. 1877 01:26:11,383 --> 01:26:13,298 And the world has been fortunate 1878 01:26:13,385 --> 01:26:15,257 that for people like Jim, 1879 01:26:15,344 --> 01:26:17,737 he was able to hold up a mirror 1880 01:26:18,521 --> 01:26:22,786 and at least on film, document 1881 01:26:23,221 --> 01:26:25,005 some of his experiences. 1882 01:26:25,397 --> 01:26:26,572 To share. 1883 01:26:26,659 --> 01:26:28,748 And those experiences, 1884 01:26:28,835 --> 01:26:30,272 I mean the best stuff was behind the scenes. 1885 01:26:30,359 --> 01:26:32,056 The back stage. 1886 01:26:32,143 --> 01:26:34,363 It's places most people never go. 1887 01:26:34,450 --> 01:26:35,755 They only dream about going. 1888 01:26:35,842 --> 01:26:39,063 [music builds] [crowds roar] 1889 01:26:40,151 --> 01:26:41,805 [Marshall] I climbed up the rafters 1890 01:26:41,892 --> 01:26:43,459 about a hundred feet in the air. 1891 01:26:45,461 --> 01:26:46,810 I was on a little bit of acid, coke. 1892 01:26:46,897 --> 01:26:48,899 I'm up there and I'm, 1893 01:26:48,986 --> 01:26:51,554 "whoa, looks cool with the red filter." 1894 01:26:51,641 --> 01:26:55,079 And I was so stoned I didn't know how to rewind 'em. 1895 01:26:55,819 --> 01:26:57,386 I didn't even stay for the whole thing. 1896 01:26:57,473 --> 01:26:59,170 [thunder] 1897 01:26:59,257 --> 01:27:01,216 I didn't see Jimi. 1898 01:27:01,303 --> 01:27:02,956 I didn't see Crosby, Stills, and Nash. 1899 01:27:03,043 --> 01:27:04,958 I'd been there for 4 days, 1900 01:27:05,481 --> 01:27:07,396 drugs didn't work anymore. 1901 01:27:07,657 --> 01:27:10,050 Chemicals didn't work anymore. 1902 01:27:10,137 --> 01:27:11,226 It was nuts. 1903 01:27:13,619 --> 01:27:15,317 [reporter] Marshall has been at many great rock events. 1904 01:27:15,404 --> 01:27:17,101 He recalls what it was like to be 1905 01:27:17,188 --> 01:27:18,407 at yet another ripe place, Woodstock. 1906 01:27:19,103 --> 01:27:20,626 [Marshall] Nobody 1907 01:27:21,627 --> 01:27:23,194 could have conceived 1908 01:27:23,281 --> 01:27:25,196 that it would have been what it was. 1909 01:27:25,283 --> 01:27:28,025 I mean, I had a motel 30 miles away. 1910 01:27:28,112 --> 01:27:30,114 I never saw the room and it was paid for up front. 1911 01:27:30,201 --> 01:27:31,724 I ended up what little sleep I got 1912 01:27:31,811 --> 01:27:33,117 was in a Ford, a rented Ford 1913 01:27:33,204 --> 01:27:34,945 that ended up smelling like 1914 01:27:35,032 --> 01:27:36,773 a gymnasium when I was done with it. 1915 01:27:36,860 --> 01:27:38,296 It was about 50 yards from the stage. 1916 01:27:39,428 --> 01:27:42,169 I mean, the scope, the feeling, 1917 01:27:42,257 --> 01:27:44,346 the camaraderie, everything about that place 1918 01:27:44,433 --> 01:27:46,783 he only bummer was that, that idiot, was it Abbie Hoffman 1919 01:27:46,870 --> 01:27:48,524 or one of those morons that got up on the stage 1920 01:27:48,611 --> 01:27:50,700 when The Who were on there 1921 01:27:50,787 --> 01:27:52,745 and Peter Townsend knocked him off the stage? 1922 01:27:52,832 --> 01:27:54,269 That was the only bummer at the whole festival. 1923 01:27:54,965 --> 01:27:56,836 It was rock and roll, man. 1924 01:27:56,923 --> 01:27:58,577 It was rock and roll. 1925 01:27:58,664 --> 01:28:03,278 ["Soul Sacrifice" by Santana, live at Woodstock] 1926 01:28:32,916 --> 01:28:34,744 [interviewer] I think we're inundated 1927 01:28:34,831 --> 01:28:36,833 with mediocre images constantly. 1928 01:28:36,920 --> 01:28:38,748 [Marshall] Yeah. We see so many pictures, 1929 01:28:38,835 --> 01:28:41,707 and the bulk of the public 1930 01:28:41,794 --> 01:28:43,622 thinks it's easy, 1931 01:28:43,709 --> 01:28:44,754 that they're not worth very much. 1932 01:28:44,841 --> 01:28:46,930 They forget... 1933 01:28:47,017 --> 01:28:50,542 They forget that to take that picture took me years. 1934 01:28:51,108 --> 01:28:53,980 I mean, I've expended half my life 1935 01:28:54,067 --> 01:28:56,113 taking photographs. 1936 01:28:57,027 --> 01:28:59,072 People don't seem to understand that. 1937 01:28:59,159 --> 01:29:00,596 They think they can go out and buy a [bleep] camera 1938 01:29:00,683 --> 01:29:01,988 and take the same picture. 1939 01:29:02,075 --> 01:29:03,207 Well, no they can't. 1940 01:29:05,296 --> 01:29:06,341 And you take what you want out of that. 1941 01:29:06,428 --> 01:29:07,298 Now turn that fucking thing off. 1942 01:29:07,385 --> 01:29:10,083 [music continues] 1943 01:29:14,436 --> 01:29:17,743 [tape rattles] 1944 01:29:27,666 --> 01:29:34,847 [crowd roars] 1945 01:29:38,111 --> 01:29:45,162 ["Somebody To Love" by Jefferson Airplane] 1946 01:30:21,851 --> 01:30:24,593 ♪ When the truth is found ♪ 1947 01:30:24,680 --> 01:30:27,117 ♪ When the truth is found ♪ 1948 01:30:27,204 --> 01:30:28,858 ♪ To be lies ♪ 1949 01:30:28,945 --> 01:30:31,208 ♪ And all joy ♪ 1950 01:30:31,295 --> 01:30:34,864 ♪ And all the joy Within you dies ♪ 1951 01:30:34,951 --> 01:30:37,649 ♪ Don't you want Somebody to love ♪ 1952 01:30:37,736 --> 01:30:41,044 ♪ Don't you need Somebody to love ♪ 1953 01:30:41,131 --> 01:30:44,569 ♪ Wouldn't you love Somebody to love ♪ 1954 01:30:44,656 --> 01:30:48,007 ♪ You better find Somebody to love ♪ 1955 01:30:48,094 --> 01:30:50,967 ♪ Love, love ♪ 1956 01:30:57,234 --> 01:31:00,542 ♪ When the garden flowers, ♪ 1957 01:31:00,629 --> 01:31:03,719 ♪ When the garden flowers, Baby are dead, ♪ 1958 01:31:03,806 --> 01:31:05,982 ♪ And your mind, ♪ 1959 01:31:06,069 --> 01:31:09,420 ♪ your mind is so full of red ♪ 1960 01:31:09,507 --> 01:31:12,554 ♪ Don't you want Somebody to love ♪ 1961 01:31:12,641 --> 01:31:15,731 ♪ Don't you need Somebody to love ♪ 1962 01:31:15,818 --> 01:31:19,256 ♪ Wouldn't you love Somebody to love ♪ 1963 01:31:19,343 --> 01:31:22,825 ♪ You better find Somebody to love ♪ 1964 01:31:22,912 --> 01:31:26,481 ♪ Your eyes ♪ 1965 01:31:27,133 --> 01:31:30,441 ♪ Your eyes ♪ 1966 01:31:30,528 --> 01:31:33,879 ♪ Oh ♪