Jim Marshall

The term wouldn't be in common usage for decades, but San Quentin expresses something remarkably close to today's prison abolitionism.

At the same show, photographer Jim Marshall asked Cash to take a commemorative photo for the warden.

His response was the upright finger that's

on all those shirts and that adorns the thumbnail

I rather hang my own personal work up on the wall.

That means more to me unless someone traded me a print like Jim Marshall and Jim Marshall wanted some of my prints.

So I gave him some of my prints and he in turn gave me one of his prints or two of his prints.

Or when I photograph with Douglas Kirkland and he described an image that he wanted with his wife.

While we're there, some other heroic photographers for you.

Well, Eisenstadt, Alfred Eisenstadt, Elliot Erwitt, Jim Marshall.

I can't single out one because then the others would be like,

why did you go with one of the most beloved artists? people ever on your show tell me tell me i could tell me

Um, and I don't know, do you...

Uh, Jim Marshall, is that a name that rings a bell?

Oh, yeah.

Yeah.

And so he, uh, he did their first record cover, and then they were playing up in San Francisco, so they asked Bobby to come up and do some in-concert pictures.

And, uh, so Bobby's there early, some shots in the dressing room and blah, blah, blah, and then he goes out in front and, and sets himself up for the show.

And Jim Marshall comes along.

He says, "You're standing in my spot." And Bobby says, "Fuck off, man.

It killed me.

There was a photographer who I was enamored with.

I still have.

I have a lot of her prints named Mary Ellen Mark.

And Mary Ellen Mark... was a brilliant photographer, and she would go to Mexico and have a workshop.

And I just, in my schedule, never had time.

And then I was signed up for her, a workshop, and she died like a few months before.

Oh my gosh, that sounds great.