1
00:00:01,639 --> 00:00:04,600
Speaker 1: I'm also kind of afraid of your answer, but I'm

2
00:00:04,640 --> 00:00:06,800
Speaker 1: just going to ask you the question because I love

3
00:00:06,880 --> 00:00:08,160
Speaker 1: you unconditionally.

4
00:00:08,720 --> 00:00:12,200
Speaker 2: How do you feel about like hippies?

5
00:00:14,080 --> 00:00:17,880
Speaker 3: Well, if it isn't my good friend the loaded ask a.

6
00:00:17,920 --> 00:00:21,200
Speaker 2: Question, I swear it's not loaded at all.

7
00:00:21,320 --> 00:00:24,440
Speaker 1: I mean, like when you were growing up, like what

8
00:00:24,640 --> 00:00:27,840
Speaker 1: was your perception of hippies? And I asked that because like,

9
00:00:27,920 --> 00:00:35,040
Speaker 1: as Latinos, that is a very like Americana word, especially

10
00:00:35,080 --> 00:00:38,320
Speaker 1: growing up, like I didn't know, No, my deals weren't hippies.

11
00:00:38,320 --> 00:00:39,560
Speaker 2: My mom wasn't a hippie.

12
00:00:39,800 --> 00:00:41,319
Speaker 3: I was going to say the same thing, like.

13
00:00:41,320 --> 00:00:46,080
Speaker 1: Hustlers yes, hard workers yes, but like what we think

14
00:00:46,120 --> 00:00:50,159
Speaker 1: of as like kind of like a nineteen seventies would

15
00:00:50,240 --> 00:00:54,520
Speaker 1: stock attending, peace love, flower power, hippie.

16
00:00:54,640 --> 00:00:55,440
Speaker 2: Right, That's what I mean.

17
00:00:55,880 --> 00:00:59,160
Speaker 3: You know I had seen hippies, I guess when I

18
00:00:59,320 --> 00:01:01,960
Speaker 3: was more in high school because things from the sixties

19
00:01:02,000 --> 00:01:05,400
Speaker 3: and seventies, the hippies. I mean it was my family

20
00:01:05,440 --> 00:01:07,160
Speaker 3: that were kind of dressed like solos.

21
00:01:07,200 --> 00:01:08,000
Speaker 2: Oh.

22
00:01:08,240 --> 00:01:12,000
Speaker 3: They were like like like my grandpa was like like

23
00:01:12,040 --> 00:01:15,800
Speaker 3: a zoot shooter, so he was more like gangster looking

24
00:01:16,120 --> 00:01:19,360
Speaker 3: more like a cholo with like the gray and black

25
00:01:19,600 --> 00:01:23,000
Speaker 3: stripe cholo shirt than like hippie. So I mean I

26
00:01:23,040 --> 00:01:26,160
Speaker 3: remember probably hippie as being maybe in middle school.

27
00:01:26,280 --> 00:01:26,480
Speaker 2: Yeah.

28
00:01:26,520 --> 00:01:30,000
Speaker 1: I think for me, the association with hippies came from

29
00:01:30,000 --> 00:01:33,000
Speaker 1: my mom and my dad because my parents are on

30
00:01:33,040 --> 00:01:34,000
Speaker 1: the younger side.

31
00:01:34,200 --> 00:01:35,040
Speaker 2: They had me super young.

32
00:01:35,080 --> 00:01:37,679
Speaker 1: They had me at like twenty and so my parents

33
00:01:37,680 --> 00:01:40,399
Speaker 1: were like disco queens, right.

34
00:01:40,400 --> 00:01:42,640
Speaker 2: Like they they weren't hippies.

35
00:01:42,680 --> 00:01:47,119
Speaker 1: They were like living love de loca in like the discotheca.

36
00:01:47,080 --> 00:01:50,560
Speaker 2: Not like at Woods peace and love not peace.

37
00:01:50,680 --> 00:01:53,200
Speaker 1: I mean, yes, they're peaceful and they're loving, but they

38
00:01:53,240 --> 00:01:56,360
Speaker 1: were not like peace love, flower power, like a lot

39
00:01:56,400 --> 00:01:58,760
Speaker 1: of pot kind of people Like that's just not there.

40
00:01:59,000 --> 00:02:02,400
Speaker 1: So my association with hippies was exactly that, right, It

41
00:02:02,480 --> 00:02:04,360
Speaker 1: was that very much kind of like what you saw

42
00:02:04,400 --> 00:02:07,680
Speaker 1: in like documentaries or in the movies, very like almost

43
00:02:07,760 --> 00:02:10,280
Speaker 1: famous is like the definition of hippie for me, right,

44
00:02:10,639 --> 00:02:13,519
Speaker 1: Like that's what she was. Okay, So now that we're

45
00:02:13,560 --> 00:02:16,399
Speaker 1: kind of like in this era, do you catch where

46
00:02:16,400 --> 00:02:17,079
Speaker 1: I'm going with this?

47
00:02:17,480 --> 00:02:20,880
Speaker 3: Mm hmm kind of okay. So now that you've brought

48
00:02:20,919 --> 00:02:24,600
Speaker 3: me into the Volkswagen Van, where are you actually trying

49
00:02:24,600 --> 00:02:25,320
Speaker 3: to take us here?

50
00:02:25,720 --> 00:02:29,120
Speaker 1: I am taking you on a road trip from southwestern

51
00:02:29,160 --> 00:02:34,560
Speaker 1: Mexico up across the border to San Francisco and far

52
00:02:35,000 --> 00:02:38,800
Speaker 1: far beyond to follow the life of none other than

53
00:02:39,280 --> 00:02:41,440
Speaker 1: Carlos Santana.

54
00:02:42,800 --> 00:02:44,399
Speaker 3: Dang Leana.

55
00:02:44,520 --> 00:02:49,440
Speaker 1: That transition was smooth, just like the ocean under the moon.

56
00:02:50,320 --> 00:02:51,800
Speaker 3: Okay, okay, let's keep it moving.

57
00:02:51,880 --> 00:02:54,400
Speaker 1: Okay, I didn't do his lyrics justice at all. Delete

58
00:02:54,400 --> 00:02:57,160
Speaker 1: that part please, all right. So here's the thing. Carlos

59
00:02:57,200 --> 00:03:01,080
Speaker 1: Santana's life and career is the very definite of a

60
00:03:01,160 --> 00:03:05,000
Speaker 1: sixties seventies rock star, from.

61
00:03:04,800 --> 00:03:08,639
Speaker 3: His chance performance at a certain generation defining music festival,

62
00:03:08,960 --> 00:03:11,799
Speaker 3: to the blown up egos that quickly blew up.

63
00:03:11,760 --> 00:03:15,720
Speaker 1: His band, to the stints with guru's failed comebacks, and

64
00:03:15,919 --> 00:03:18,840
Speaker 1: a later in life renaissance that introduced him to a

65
00:03:18,880 --> 00:03:20,040
Speaker 1: new generation.

66
00:03:20,080 --> 00:03:24,840
Speaker 3: As a guitarist. Santana's iconic sound sent him soaring until

67
00:03:24,880 --> 00:03:28,080
Speaker 3: the pressures of fame and the music industry sent him tumbling,

68
00:03:28,440 --> 00:03:31,519
Speaker 3: but his spiritual yearning sent him on a constant search

69
00:03:31,760 --> 00:03:32,000
Speaker 3: for me.

70
00:03:32,720 --> 00:03:35,920
Speaker 1: He's an artist who follows his heart, leading to some

71
00:03:36,080 --> 00:03:38,240
Speaker 1: very unforgettable places.

72
00:03:38,080 --> 00:03:41,600
Speaker 3: And along the way, he fused Latin sounds in rhythms

73
00:03:41,640 --> 00:03:46,320
Speaker 3: with rock music of his day the man opened doors, Hanny.

74
00:03:46,280 --> 00:03:49,840
Speaker 1: Yeah, he even opened doors to the spirit realm.

75
00:03:49,880 --> 00:03:51,600
Speaker 3: Sorry what I said?

76
00:03:52,040 --> 00:03:52,680
Speaker 2: What I said.

77
00:03:53,400 --> 00:03:56,160
Speaker 1: We'll get there, Patience, Joseph, patience.

78
00:03:55,960 --> 00:03:59,360
Speaker 3: This spirit grewstes looks a little too.

79
00:03:59,080 --> 00:04:01,680
Speaker 2: Good on you, I know, right, thank you?

80
00:04:02,080 --> 00:04:04,920
Speaker 1: All right, you guys, Let's get into the fantastic journey

81
00:04:05,200 --> 00:04:06,720
Speaker 1: of Carlos Santana.

82
00:04:09,760 --> 00:04:12,800
Speaker 2: I'm your host Lilianavoscaz.

83
00:04:11,920 --> 00:04:16,280
Speaker 3: And I'm Joseph Carrio and this is Becoming an Icon.

84
00:04:16,720 --> 00:04:19,240
Speaker 1: A weekly podcast where we give you the rundown on

85
00:04:19,240 --> 00:04:23,560
Speaker 1: how today's most famous LATINV stars have shaped pop culture.

86
00:04:23,480 --> 00:04:24,840
Speaker 3: And given the world some.

87
00:04:24,920 --> 00:04:28,440
Speaker 2: Extra level Sit back and get comfortable.

88
00:04:28,279 --> 00:04:32,239
Speaker 3: Because we are going in the only way we know how,

89
00:04:32,480 --> 00:04:34,919
Speaker 3: with buenass.

90
00:04:34,040 --> 00:04:38,520
Speaker 2: Him, Buenasriesas, and a lot of opinions.

91
00:04:38,040 --> 00:04:41,240
Speaker 1: As we relive their greatest achievements on our journey to

92
00:04:41,320 --> 00:04:54,560
Speaker 1: find out what makes them so iconic. Carlos Santana was

93
00:04:54,600 --> 00:04:57,520
Speaker 1: born on July twentieth, nineteen forty seven.

94
00:04:57,920 --> 00:05:02,720
Speaker 3: Mm hmmm, hold on, let me see. As a cancering son,

95
00:05:03,000 --> 00:05:06,960
Speaker 3: Santana is a sensitive person, easily influenced by his environment

96
00:05:07,240 --> 00:05:12,040
Speaker 3: and protective of his feelings. As a Leo Moon, He's generous, warm,

97
00:05:12,080 --> 00:05:14,800
Speaker 3: hearted and loyal to those he loves, a friends for

98
00:05:14,920 --> 00:05:17,120
Speaker 3: life to those who win his trust.

99
00:05:17,480 --> 00:05:21,240
Speaker 1: His birthplace of Atlanta Nevado, in the state of Jalisco, Mexico,

100
00:05:21,520 --> 00:05:24,720
Speaker 1: is a small city with under one hundred thousand citizens.

101
00:05:25,000 --> 00:05:26,679
Speaker 2: Humble, hot and dry.

102
00:05:27,160 --> 00:05:28,039
Speaker 3: Sounds like Alpaca.

103
00:05:28,279 --> 00:05:28,800
Speaker 2: It does.

104
00:05:29,120 --> 00:05:33,160
Speaker 3: It's the birthplace of Gasmito Castillo, a Mexican revolutionary from

105
00:05:33,160 --> 00:05:36,200
Speaker 3: whom the nearby city of Gazmito gets its name, as

106
00:05:36,240 --> 00:05:38,919
Speaker 3: well as revolutionary general Paulino Navaki.

107
00:05:39,320 --> 00:05:42,760
Speaker 1: It's also home to composer Ermo Hernandez, winner of the

108
00:05:42,839 --> 00:05:47,800
Speaker 1: nineteen fifty three Premio Jalisco, and the poet Rogaciano Arias.

109
00:05:48,120 --> 00:05:51,880
Speaker 3: And that's about all there is to say about outline. Really,

110
00:05:52,080 --> 00:05:55,800
Speaker 3: it's a small robote city and it's here where Carlo

111
00:05:55,880 --> 00:05:58,400
Speaker 3: Santana grew up with six siblings.

112
00:05:59,040 --> 00:06:01,800
Speaker 1: As the middle child, Carlos says he often got away

113
00:06:01,839 --> 00:06:04,960
Speaker 1: with things that other kids didn't. In a Rolling Stone

114
00:06:04,960 --> 00:06:08,360
Speaker 1: interview conducted in two thousand, Carlos surmises that it may

115
00:06:08,400 --> 00:06:10,800
Speaker 1: have been because his father knew his son would be

116
00:06:10,839 --> 00:06:11,480
Speaker 1: a musician.

117
00:06:12,320 --> 00:06:16,080
Speaker 3: Carlos's father, Jose Santana, was a Mariacci violinist.

118
00:06:17,160 --> 00:06:19,840
Speaker 1: Carlos would say that his first memory of him was

119
00:06:19,960 --> 00:06:22,680
Speaker 1: quote watching him play music and watching what it did

120
00:06:22,720 --> 00:06:25,520
Speaker 1: to people. He was the darling of our town. I

121
00:06:25,800 --> 00:06:27,760
Speaker 1: wanted that that charisma that.

122
00:06:27,800 --> 00:06:31,440
Speaker 3: He had, so would teach his son to play the violin,

123
00:06:31,600 --> 00:06:34,599
Speaker 3: who would also tell him stories. Carlos's favorites were the

124
00:06:34,640 --> 00:06:38,200
Speaker 3: stories about tigers. These stories, Carlos says, taught him how

125
00:06:38,200 --> 00:06:39,960
Speaker 3: to create tension as a musician.

126
00:06:41,120 --> 00:06:44,040
Speaker 1: But Carlos would miss jose when he was away playing music,

127
00:06:44,320 --> 00:06:46,279
Speaker 1: remembering his hugs on the way he smelled.

128
00:06:46,680 --> 00:06:49,120
Speaker 2: In his words, your dad becomes your first god.

129
00:06:49,680 --> 00:06:52,279
Speaker 3: He also recalls the rhythm of his mother, flos Fina

130
00:06:52,320 --> 00:06:55,960
Speaker 3: scolding him, which inspired him of his early guitar solos.

131
00:06:56,480 --> 00:07:00,479
Speaker 1: Note to future teenage Sandi buddy, First of you shouldn't

132
00:07:00,480 --> 00:07:01,400
Speaker 1: be listening to this podcast.

133
00:07:01,400 --> 00:07:03,799
Speaker 2: You're too little, but you're welcome.

134
00:07:04,720 --> 00:07:07,599
Speaker 3: While learning the violin gave carlos a strong set of

135
00:07:07,680 --> 00:07:11,520
Speaker 3: musical fundamentals. He quote hated the way it smelled, the

136
00:07:11,560 --> 00:07:15,000
Speaker 3: way it sounded, and the way it looked. Three strikes.

137
00:07:15,680 --> 00:07:18,000
Speaker 2: I feel like those are your three strikes on any guy.

138
00:07:18,400 --> 00:07:22,240
Speaker 1: No, Well, if Joseph does not like the way you

139
00:07:22,280 --> 00:07:26,239
Speaker 1: smell or the way you sound, like you're out listen.

140
00:07:26,400 --> 00:07:28,040
Speaker 3: I was just quoting Santana.

141
00:07:28,120 --> 00:07:30,560
Speaker 1: Okay, okay, sorry, I thought those were just your dating

142
00:07:30,600 --> 00:07:31,160
Speaker 1: deal breakers.

143
00:07:31,280 --> 00:07:34,040
Speaker 3: Okay, you know perfectly well that's my three strikes, okay.

144
00:07:34,680 --> 00:07:35,040
Speaker 2: All right.

145
00:07:35,120 --> 00:07:38,080
Speaker 1: Well, Luckily for Carlos Santana, he wouldn't stick with the

146
00:07:38,160 --> 00:07:42,120
Speaker 1: violin for very long. He would discover the guitar as

147
00:07:42,160 --> 00:07:45,440
Speaker 1: well as the music of Richie Vallins, best known for

148
00:07:45,560 --> 00:07:47,560
Speaker 1: his nineteen fifty eight hit but.

149
00:07:47,640 --> 00:07:49,840
Speaker 3: La La La la Bamba?

150
00:07:50,320 --> 00:07:53,679
Speaker 2: Did you just ab li? Did you just go? Butta

151
00:07:53,800 --> 00:07:54,960
Speaker 2: but alma?

152
00:07:55,240 --> 00:07:57,240
Speaker 3: My parents would be very, very sad.

153
00:07:58,200 --> 00:07:59,480
Speaker 2: I'm sad for them.

154
00:08:00,240 --> 00:08:05,480
Speaker 1: A Mexican American guitarist from California's San Fernando Valley, Valence

155
00:08:05,520 --> 00:08:07,800
Speaker 1: had scored a hit on both sides of the border,

156
00:08:08,160 --> 00:08:11,360
Speaker 1: taking a folk song from Vera Cruz, Mexico and injecting

157
00:08:11,400 --> 00:08:13,680
Speaker 1: it with a rock and roll rhythm.

158
00:08:13,280 --> 00:08:15,960
Speaker 3: An approach that Carlo Centena himself would use to great

159
00:08:16,000 --> 00:08:17,880
Speaker 3: success early in his recording career.

160
00:08:18,320 --> 00:08:22,000
Speaker 1: Richie Vallens was an early pioneer in Chicano rock music

161
00:08:22,280 --> 00:08:25,960
Speaker 1: aka the term we used to describe Mexican and Mexican

162
00:08:26,000 --> 00:08:28,600
Speaker 1: American rock artists in the fifties and sixties.

163
00:08:29,000 --> 00:08:32,959
Speaker 3: Chicano rocks roots run through border towns where cultures clashed

164
00:08:33,240 --> 00:08:33,880
Speaker 3: and mixed.

165
00:08:34,400 --> 00:08:38,040
Speaker 1: Remember back in our Celia Cruz episode, we talked about

166
00:08:38,160 --> 00:08:42,360
Speaker 1: radio's power as a star making vehicle. Well, radio also

167
00:08:42,400 --> 00:08:45,080
Speaker 1: brought new sounds to new audiences, and in border towns,

168
00:08:45,320 --> 00:08:48,720
Speaker 1: radio often turned Mexicans onto the sounds of American blues,

169
00:08:49,080 --> 00:08:51,520
Speaker 1: R and B and of course rock and roll.

170
00:08:52,559 --> 00:08:57,200
Speaker 3: Well, wait, isn't Carlo Santana's hometown like far as Hell

171
00:08:57,320 --> 00:08:57,960
Speaker 3: from the border?

172
00:08:58,760 --> 00:09:01,240
Speaker 1: Yes, I wouldn't call it a ordered down, But when

173
00:09:01,240 --> 00:09:03,680
Speaker 1: Carlos was seven years old, his family packed up and

174
00:09:03,720 --> 00:09:08,600
Speaker 1: moved to the Juana in Baja California, Mexico, which as

175
00:09:08,679 --> 00:09:11,320
Speaker 1: far back as the fifties has been a hotspot for

176
00:09:11,360 --> 00:09:15,920
Speaker 1: tourists from across the border aka San Diegans and especially

177
00:09:16,040 --> 00:09:20,560
Speaker 1: military men stationed in any number of Southern California's military bases.

178
00:09:21,160 --> 00:09:24,120
Speaker 3: As a tourist town, Tijuana was where the money was

179
00:09:24,160 --> 00:09:26,679
Speaker 3: for musicians like Carlos's father, and.

180
00:09:26,640 --> 00:09:28,880
Speaker 1: Apart from shining shoes and selling gum on the street,

181
00:09:29,120 --> 00:09:31,400
Speaker 1: Carlos would play music along with his dad to earn

182
00:09:31,440 --> 00:09:32,440
Speaker 1: money for his family.

183
00:09:32,800 --> 00:09:35,560
Speaker 3: This line of work would bring Jose and Carlos to

184
00:09:35,600 --> 00:09:37,720
Speaker 3: the seedier corners of Tijuana.

185
00:09:37,880 --> 00:09:41,800
Speaker 1: Uh yeah, Dijuana was a completely different world from Autlan

186
00:09:42,160 --> 00:09:45,200
Speaker 1: in Outland. Carlos had played the violin in church.

187
00:09:46,200 --> 00:09:50,120
Speaker 3: In Tijuana, his father brought him to play music in brothels.

188
00:09:50,440 --> 00:09:55,559
Speaker 3: Carlos describes these spaces as having no floor, just dirked tables,

189
00:09:55,640 --> 00:09:58,360
Speaker 3: black some cigarettes because there were no ash trays.

190
00:09:58,520 --> 00:09:58,920
Speaker 2: Damn.

191
00:09:59,360 --> 00:10:02,000
Speaker 1: Carlos was a exposed to a lot during his time

192
00:10:02,000 --> 00:10:04,880
Speaker 1: in Tijuana, some of which he would spend his whole

193
00:10:05,040 --> 00:10:06,880
Speaker 1: life recovering from.

194
00:10:07,679 --> 00:10:10,240
Speaker 3: Eventually it would all be too much for him.

195
00:10:10,760 --> 00:10:13,680
Speaker 1: At fourteen years old, Carlos was playing another ceed joined

196
00:10:13,679 --> 00:10:14,240
Speaker 1: with his dad.

197
00:10:14,440 --> 00:10:15,440
Speaker 2: Sick to his stomach.

198
00:10:15,760 --> 00:10:18,400
Speaker 1: He took a stand and told his father he didn't

199
00:10:18,480 --> 00:10:21,040
Speaker 1: want to play at places like this anymore.

200
00:10:21,760 --> 00:10:24,280
Speaker 3: It was the first time he had ever tuk back

201
00:10:24,280 --> 00:10:27,800
Speaker 3: to his father his quote unquote first God. His father

202
00:10:27,880 --> 00:10:30,080
Speaker 3: told him he was just like his mother and told

203
00:10:30,160 --> 00:10:31,040
Speaker 3: him to leave.

204
00:10:31,240 --> 00:10:32,200
Speaker 2: And Carlos did.

205
00:10:32,600 --> 00:10:35,240
Speaker 1: Going his own way, he would find a nightly gig

206
00:10:35,360 --> 00:10:37,839
Speaker 1: playing a local strip club from four in the afternoon

207
00:10:37,960 --> 00:10:40,120
Speaker 1: till six in the morning. I mean it's an upgrade,

208
00:10:40,120 --> 00:10:42,040
Speaker 1: but like not a big upgrade.

209
00:10:42,200 --> 00:10:44,920
Speaker 3: No really really, He worked there for two or three

210
00:10:45,000 --> 00:10:46,960
Speaker 3: years and gave the money to his mother.

211
00:10:47,040 --> 00:10:50,319
Speaker 1: And, noting her son's passion for playing the guitar, Carlos's

212
00:10:50,320 --> 00:10:52,160
Speaker 1: mom decided to take him to see a local band

213
00:10:52,240 --> 00:10:52,680
Speaker 1: at a bar.

214
00:10:53,280 --> 00:10:56,120
Speaker 3: So many cool moms this season. Celia's mom support her

215
00:10:56,240 --> 00:10:59,960
Speaker 3: night club ambitions. Selena's mom supports her. Looks now, here's

216
00:11:00,000 --> 00:11:03,400
Speaker 3: Antenna's mom taking her kid to see a cool band.

217
00:11:03,520 --> 00:11:05,880
Speaker 2: I'm telling you it is the mom's.

218
00:11:05,720 --> 00:11:07,880
Speaker 1: You're going to be a cool mom. I'm sorry going

219
00:11:08,760 --> 00:11:14,400
Speaker 1: you are present tense now. That band that he went

220
00:11:14,440 --> 00:11:16,800
Speaker 1: to see was the one as a very first rock

221
00:11:16,880 --> 00:11:20,319
Speaker 1: and roll group, Los Tiyas, led by the young man

222
00:11:20,320 --> 00:11:25,560
Speaker 1: who would become Carlos's guitar teacher and musical mentor, Javier Battis.

223
00:11:26,520 --> 00:11:28,960
Speaker 3: But These would eventually come to be known as the

224
00:11:29,040 --> 00:11:32,440
Speaker 3: father of Mexican rock music, not because he would blow

225
00:11:32,520 --> 00:11:35,360
Speaker 3: up the charts or tour across the world, but because

226
00:11:35,360 --> 00:11:39,720
Speaker 3: he would teach hundreds of aspiring roquatos to shred, including

227
00:11:39,960 --> 00:11:40,720
Speaker 3: Carlos Nan.

228
00:11:41,200 --> 00:11:43,360
Speaker 2: But at this point in his career, But These was

229
00:11:43,480 --> 00:11:44,120
Speaker 2: just a kid.

230
00:11:43,960 --> 00:11:46,840
Speaker 1: With a band that played locally and every so often

231
00:11:46,880 --> 00:11:49,480
Speaker 1: would cross the border to San Diego for battle of

232
00:11:49,559 --> 00:11:53,680
Speaker 1: the bands. Remember how he talked about the importance of

233
00:11:54,160 --> 00:11:58,040
Speaker 1: radio well yours earlier, But these had stumbled across the

234
00:11:58,080 --> 00:12:01,040
Speaker 1: station x E a h one when his mother had

235
00:12:01,080 --> 00:12:02,839
Speaker 1: asked him to shut off the radio one night.

236
00:12:03,480 --> 00:12:06,320
Speaker 3: Just before his hand reached the volume nob he heard

237
00:12:06,320 --> 00:12:10,400
Speaker 3: the opening licks of the station's blues block, and his

238
00:12:10,600 --> 00:12:12,240
Speaker 3: life forever.

239
00:12:12,160 --> 00:12:15,200
Speaker 1: Changed that night at the bar, but these and Carlos

240
00:12:15,200 --> 00:12:19,240
Speaker 1: Santana became fast friends. Carlos started taking lessons from Buthis,

241
00:12:19,280 --> 00:12:23,240
Speaker 1: who taught him everything he knew and eventually invited Carlos

242
00:12:23,320 --> 00:12:25,640
Speaker 1: to join the DIA's band as a bassist.

243
00:12:26,800 --> 00:12:30,400
Speaker 3: Decades later, Santana would say abouttis, he looked like little

244
00:12:30,440 --> 00:12:33,640
Speaker 3: Richard and played guitar like BB King. There were a

245
00:12:33,679 --> 00:12:36,720
Speaker 3: lot of guitar slingers from Tijuana with that sound. But

246
00:12:36,760 --> 00:12:38,600
Speaker 3: when I heard him, I knew I would be a

247
00:12:38,679 --> 00:12:40,640
Speaker 3: musician for the rest of my life.

248
00:12:41,120 --> 00:12:43,520
Speaker 2: Hearing this quote without being told who said it.

249
00:12:43,640 --> 00:12:46,199
Speaker 1: But these would laugh and exclaim, that's my little brother,

250
00:12:46,400 --> 00:12:47,439
Speaker 1: that's Carlos.

251
00:12:47,880 --> 00:12:49,640
Speaker 3: Even though they are time together in the band was

252
00:12:49,679 --> 00:12:53,280
Speaker 3: short lived. Carlos had found a lifelong friend and a

253
00:12:53,320 --> 00:12:55,000
Speaker 3: new confident musical direction.

254
00:12:55,720 --> 00:12:58,920
Speaker 1: Javiet Bethi's would move to Mexico City and keep spreading

255
00:12:58,920 --> 00:13:01,640
Speaker 1: the gospel of rock, while Carlos and his family would

256
00:13:01,640 --> 00:13:04,160
Speaker 1: move again, this time to San Francisco.

257
00:13:04,520 --> 00:13:08,520
Speaker 3: And though Carlos was understandably upset at yet another upheople,

258
00:13:08,840 --> 00:13:11,320
Speaker 3: it was in San Francisco that he would meet several

259
00:13:11,360 --> 00:13:16,920
Speaker 3: more idols and mentors and discover his own sound. So basically,

260
00:13:17,080 --> 00:13:21,680
Speaker 3: if it wasn't for Javier Abatis, we wouldn't have Carlos.

261
00:13:21,200 --> 00:13:25,560
Speaker 1: Santana exactly, which I think is why so many of

262
00:13:25,600 --> 00:13:30,200
Speaker 1: our icons have mentors, and even just people that aren't icons,

263
00:13:30,200 --> 00:13:33,160
Speaker 1: like mentors, I think are a really important part of

264
00:13:33,240 --> 00:13:35,679
Speaker 1: how we develop professionally and personally.

265
00:13:35,720 --> 00:13:37,160
Speaker 3: Do you have a mentor or do you have a

266
00:13:37,160 --> 00:13:38,079
Speaker 3: mentor from your past?

267
00:13:39,120 --> 00:13:42,120
Speaker 1: That is a great question, and the answer is yes

268
00:13:42,600 --> 00:13:45,360
Speaker 1: for sure. I mean, I think I have many mentors,

269
00:13:45,760 --> 00:13:48,840
Speaker 1: But the one that really comes to mind right off

270
00:13:48,920 --> 00:13:52,640
Speaker 1: the top of my head is probably the person responsible

271
00:13:52,679 --> 00:13:54,640
Speaker 1: for like getting me on the Today Show. And that

272
00:13:54,880 --> 00:13:57,920
Speaker 1: was my old executive producer at a show called New

273
00:13:58,000 --> 00:14:02,040
Speaker 1: York Live. And her name is Amy Rosenbloom, and she

274
00:14:02,280 --> 00:14:05,640
Speaker 1: literally grabbed me by the hand, walked me across the

275
00:14:05,679 --> 00:14:09,520
Speaker 1: plaza into the Today Show offices to one of their

276
00:14:09,559 --> 00:14:12,360
Speaker 1: seniors and said, you need to put this girl on

277
00:14:12,400 --> 00:14:12,839
Speaker 1: your show.

278
00:14:13,160 --> 00:14:13,640
Speaker 3: Wow.

279
00:14:13,800 --> 00:14:16,040
Speaker 2: Actually, it's funny. I never call her my mentor.

280
00:14:16,520 --> 00:14:18,560
Speaker 1: I always she always said that she was my rabbi

281
00:14:19,360 --> 00:14:21,120
Speaker 1: because like she was my lead, you know what I mean.

282
00:14:21,240 --> 00:14:23,680
Speaker 1: Like she was like, rabbis do so much more. And

283
00:14:23,720 --> 00:14:25,320
Speaker 1: she was like, I'm so much more than a mentor.

284
00:14:25,360 --> 00:14:26,160
Speaker 1: I'm like your rabbi.

285
00:14:26,400 --> 00:14:27,040
Speaker 3: I love that.

286
00:14:27,520 --> 00:14:28,920
Speaker 2: I know what about.

287
00:14:28,640 --> 00:14:31,240
Speaker 3: You I have. I have different mentors. I mean, one

288
00:14:31,240 --> 00:14:34,320
Speaker 3: of you are a mentor to me because I mean

289
00:14:34,800 --> 00:14:36,680
Speaker 3: I look up to you so much. You have reinvented

290
00:14:36,720 --> 00:14:39,680
Speaker 3: yourself so many times. I mean you have worked the

291
00:14:39,720 --> 00:14:42,520
Speaker 3: Oscars and have Emmy's and all of this really cool stuff.

292
00:14:42,520 --> 00:14:46,320
Speaker 3: You have up and moved and have a kid, and

293
00:14:46,440 --> 00:14:49,240
Speaker 3: I mean, honestly, you are a mentor. And I don't

294
00:14:49,280 --> 00:14:50,880
Speaker 3: think ours is going to run its course because it's

295
00:14:50,880 --> 00:14:53,680
Speaker 3: gonna last forever. But I do remember having to saving

296
00:14:53,720 --> 00:14:55,600
Speaker 3: goodbye to one of my mentors. I've worked with a

297
00:14:55,640 --> 00:14:57,920
Speaker 3: makeup artist named Pat McGrath for.

298
00:14:57,680 --> 00:15:01,520
Speaker 2: A while the past, m Agrath, Yeah.

299
00:15:01,280 --> 00:15:03,880
Speaker 3: And I would do the backstage shows with her, And

300
00:15:04,560 --> 00:15:08,280
Speaker 3: I remember working my last show and just being like

301
00:15:08,400 --> 00:15:10,120
Speaker 3: this is it, Like I don't want to I don't

302
00:15:10,120 --> 00:15:11,520
Speaker 3: want to go to Paris. I don't want to do this.

303
00:15:12,080 --> 00:15:15,400
Speaker 3: And I remember her she had a feeling I was leaving,

304
00:15:15,400 --> 00:15:17,800
Speaker 3: and I remember we gave each other a hug and

305
00:15:17,880 --> 00:15:20,560
Speaker 3: she looked at me and she goes Joseph the biggest

306
00:15:20,600 --> 00:15:24,120
Speaker 3: Stars go with me to Paris. And I never spoke

307
00:15:24,160 --> 00:15:27,600
Speaker 3: to her again, not bad, not nothing. Yes, that was

308
00:15:27,600 --> 00:15:30,200
Speaker 3: our last interaction. And I learned so much, Like I

309
00:15:30,240 --> 00:15:33,640
Speaker 3: became this like skin guru, like if you wanted covers

310
00:15:33,720 --> 00:15:36,960
Speaker 3: or you wanted something with like the most beautiful, flawless skin,

311
00:15:37,040 --> 00:15:39,600
Speaker 3: it's like And I learned so much from being backstage

312
00:15:39,600 --> 00:15:39,880
Speaker 3: with her.

313
00:15:39,880 --> 00:15:44,360
Speaker 1: And I think any good mentor mentee relationship eventually runs

314
00:15:44,360 --> 00:15:47,480
Speaker 1: its course because you learn what you need to learn

315
00:15:47,520 --> 00:15:50,720
Speaker 1: from them, right, And I always think it's interesting when

316
00:15:50,800 --> 00:15:54,000
Speaker 1: like the mentee then is able to become a mentor

317
00:15:54,240 --> 00:15:57,359
Speaker 1: to somebody else. And I think that's the natural progression

318
00:15:57,520 --> 00:16:00,320
Speaker 1: of those relationships, Like they teach you what they can

319
00:16:00,360 --> 00:16:03,720
Speaker 1: teach you, and then you find another mentor because ultimately,

320
00:16:03,760 --> 00:16:06,880
Speaker 1: like you should be having many mentors in your professional

321
00:16:06,960 --> 00:16:09,600
Speaker 1: career that kind of touch on different aspects in different

322
00:16:09,640 --> 00:16:11,680
Speaker 1: phases of where you are in your career at the time.

323
00:16:11,720 --> 00:16:14,120
Speaker 1: But yeah, for sure, I really believe in the power

324
00:16:14,120 --> 00:16:18,280
Speaker 1: of having a mentor, and the mentee becomes the mentor.

325
00:16:18,520 --> 00:16:31,000
Speaker 1: M Carlos Santana had left the Wana with a budding superpower.

326
00:16:31,320 --> 00:16:34,200
Speaker 1: His guitar playing have you Bet These had shown him

327
00:16:34,240 --> 00:16:37,720
Speaker 1: everything he knew, But Carlos Santana had yet to discover

328
00:16:37,840 --> 00:16:38,880
Speaker 1: his signature sound.

329
00:16:39,560 --> 00:16:42,280
Speaker 3: He would discover that sound during his early years in

330
00:16:42,320 --> 00:16:45,200
Speaker 3: the city he would come to call home San Francisco.

331
00:16:46,440 --> 00:16:50,320
Speaker 1: Now today, many people think of San Francisco as like

332
00:16:50,760 --> 00:16:53,880
Speaker 1: tech central, right, It's like where all of like the

333
00:16:53,920 --> 00:16:56,480
Speaker 1: apps that you use every day on your phone were invented.

334
00:16:56,520 --> 00:16:59,880
Speaker 1: You think of Silicon Valley. But for generations, it's reputation

335
00:17:00,280 --> 00:17:01,680
Speaker 1: was more the.

336
00:17:01,720 --> 00:17:06,960
Speaker 3: Grateful Dead, Harvey Milk, anti war protests, civil rights protests,

337
00:17:07,280 --> 00:17:10,159
Speaker 3: environmental protests, hippies, the summer of love.

338
00:17:11,240 --> 00:17:14,639
Speaker 1: Writing for sf Gate, David Koran called San Francisco in

339
00:17:14,640 --> 00:17:18,360
Speaker 1: the nineteen sixties ground zero for those looking to tune in,

340
00:17:18,720 --> 00:17:22,120
Speaker 1: turn on, drop out. In other words, it was the

341
00:17:22,160 --> 00:17:26,600
Speaker 1: epicenter for the counterculture that we associate with the nineteen sixties.

342
00:17:26,680 --> 00:17:29,440
Speaker 3: And it was in the epicenter of the San Francisco

343
00:17:29,520 --> 00:17:33,359
Speaker 3: Latino community, the Mission District, where Carlos and his family

344
00:17:33,400 --> 00:17:34,480
Speaker 3: found themselves living.

345
00:17:34,960 --> 00:17:37,920
Speaker 1: Carlos reluctantly enrolled in the local middle school, where he

346
00:17:37,920 --> 00:17:40,480
Speaker 1: would learn English and find it difficult to connect with

347
00:17:40,560 --> 00:17:41,400
Speaker 1: kids around him.

348
00:17:41,760 --> 00:17:44,159
Speaker 3: Well. Carlos liked to talk to older folks about the

349
00:17:44,200 --> 00:17:47,679
Speaker 3: Blues Master as he worshiped. He says, his teenage peers

350
00:17:47,680 --> 00:17:51,159
Speaker 3: would talk about quote, playing hooky and stealing cars and

351
00:17:51,200 --> 00:17:53,920
Speaker 3: doing some pimple beach boys stuff that didn't make any

352
00:17:53,960 --> 00:17:54,720
Speaker 3: sense to him.

353
00:17:55,160 --> 00:17:57,679
Speaker 1: But he stayed focused on the musical dream he had

354
00:17:57,760 --> 00:18:01,560
Speaker 1: nurtured in Tijuana. Upon graduating high school, he decided not

355
00:18:01,680 --> 00:18:05,040
Speaker 1: to go to college, instead taking a job washing dishes

356
00:18:05,040 --> 00:18:08,040
Speaker 1: for a restaurant to save up money for a Gibson.

357
00:18:08,320 --> 00:18:12,040
Speaker 3: Les Paul Junior think of the hours he spent at

358
00:18:12,080 --> 00:18:15,920
Speaker 3: that scene, scrubbing dishes and imagining himself playing like all

359
00:18:15,960 --> 00:18:17,159
Speaker 3: of his favorites on the radio.

360
00:18:17,600 --> 00:18:18,600
Speaker 2: I know right.

361
00:18:18,760 --> 00:18:21,680
Speaker 1: And after scrimping and saving and dreaming, and night after

362
00:18:21,840 --> 00:18:27,680
Speaker 1: night of dry, pruney fingers over that dishwasher, he finally

363
00:18:27,800 --> 00:18:29,719
Speaker 1: buys his dream guitar.

364
00:18:30,000 --> 00:18:32,840
Speaker 2: Yes, And then his brother's friend comes to his house.

365
00:18:33,359 --> 00:18:34,240
Speaker 2: And sits on it.

366
00:18:34,680 --> 00:18:40,879
Speaker 1: No, I know, right, I mean enough, I hate that, like, oh, you.

367
00:18:40,960 --> 00:18:41,840
Speaker 2: Work so hard.

368
00:18:42,600 --> 00:18:47,480
Speaker 3: Understandably, Carlos and his brother fought for weeks, but ultimately

369
00:18:47,520 --> 00:18:51,199
Speaker 3: his brother bought him a replacement and an amplifier.

370
00:18:51,560 --> 00:18:53,719
Speaker 2: I have a feeling Mom had something to do with

371
00:18:53,720 --> 00:18:54,120
Speaker 2: that move.

372
00:18:55,200 --> 00:18:58,320
Speaker 3: You better teach Fante to be nice like that. Hi?

373
00:18:58,720 --> 00:19:01,080
Speaker 2: Is this the non parent giving the parent advice?

374
00:19:02,720 --> 00:19:07,040
Speaker 1: Anyway, Carlos continued washing dishes and bussing tables. Then one

375
00:19:07,119 --> 00:19:10,160
Speaker 1: night a particular group of customers walked into the restaurant.

376
00:19:10,520 --> 00:19:14,879
Speaker 1: But it wasn't just any group, it was The Grateful Dead.

377
00:19:15,560 --> 00:19:19,200
Speaker 3: There Carlos was in his dirty apron and his hapuni

378
00:19:19,400 --> 00:19:24,040
Speaker 3: it definitely guitar callis fingers, bussing tables. He thought to himself,

379
00:19:24,240 --> 00:19:27,040
Speaker 3: if they can be musicians, I can be a musician.

380
00:19:27,600 --> 00:19:30,200
Speaker 1: Cut to Carlo's quitting, pushing past the front door of

381
00:19:30,240 --> 00:19:33,119
Speaker 1: the restaurant, bawling up his apron and tossing it in

382
00:19:33,200 --> 00:19:36,040
Speaker 1: the trash.

383
00:19:34,760 --> 00:19:36,680
Speaker 3: With the Grateful Dead playing on the soundtrack.

384
00:19:36,800 --> 00:19:39,520
Speaker 1: Totally, I feel like I only know one Grateful Dead song,

385
00:19:39,680 --> 00:19:40,920
Speaker 1: and I can't think of it right now.

386
00:19:42,280 --> 00:19:45,120
Speaker 3: Anyway, We're not doing a bit as he tells it,

387
00:19:45,280 --> 00:19:48,560
Speaker 3: Carlos really did quit his job that night. From then on,

388
00:19:48,760 --> 00:20:02,200
Speaker 3: he threw himself into San Francisco's music scene.

389
00:20:03,160 --> 00:20:06,480
Speaker 1: Carlos started busking in hate Ashbury, the neighborhood that would

390
00:20:06,480 --> 00:20:09,680
Speaker 1: soon become associated with the Summer of Love. He would

391
00:20:09,680 --> 00:20:12,600
Speaker 1: play covers of popular songs and collect money in a half.

392
00:20:12,840 --> 00:20:16,440
Speaker 3: His hall is modest enough for wine and pizza. Outside

393
00:20:16,440 --> 00:20:18,800
Speaker 3: of busking, he would spend his time at a now

394
00:20:18,960 --> 00:20:22,320
Speaker 3: historic music venue, the Fillmore. And it's here where he

395
00:20:22,400 --> 00:20:24,960
Speaker 3: finds a musical community and meets his future band.

396
00:20:25,040 --> 00:20:28,520
Speaker 1: Meets at the Fillmore, he gets to see his heroes

397
00:20:28,600 --> 00:20:32,840
Speaker 1: on stage, Baby King, A Grateful Dead, Miles Davis, Jimmy Hendricks,

398
00:20:32,880 --> 00:20:36,960
Speaker 1: the Doors, Jesus Christ, even British bands like Pink Floyd

399
00:20:37,040 --> 00:20:37,880
Speaker 1: and the Who.

400
00:20:38,240 --> 00:20:40,920
Speaker 3: Listen, it was a groovy scene. Man.

401
00:20:45,240 --> 00:20:46,720
Speaker 2: I think you're just reading the script.

402
00:20:46,920 --> 00:20:49,240
Speaker 3: I am just reading the script, okay, but I wanted

403
00:20:49,280 --> 00:20:50,720
Speaker 3: to do it very seventies.

404
00:20:50,880 --> 00:20:53,080
Speaker 1: All right, well, it's really good. It was a great effort.

405
00:20:53,080 --> 00:20:56,679
Speaker 1: I allawed you, but listen. It's true. The Filmore is

406
00:20:56,880 --> 00:20:59,920
Speaker 1: a big deal. Andy Warhol put up an installation there.

407
00:21:00,080 --> 00:21:00,399
Speaker 3: Hunter S.

408
00:21:00,480 --> 00:21:03,280
Speaker 1: Thompson references it in fear and loathing in Las Vegas,

409
00:21:03,560 --> 00:21:07,040
Speaker 1: and more than just seeing them on stage, Carlos was

410
00:21:07,080 --> 00:21:10,119
Speaker 1: bumping elbows with heroes like BB King.

411
00:21:11,160 --> 00:21:15,880
Speaker 3: Then, through a stroke of luck, Carlos Santana's schoolboy dreams

412
00:21:15,880 --> 00:21:19,160
Speaker 3: of going on stage at the film Wore finally became

413
00:21:19,359 --> 00:21:20,000
Speaker 3: a reality.

414
00:21:20,920 --> 00:21:23,960
Speaker 1: Blues musician Paul Butterfield was scheduled to perform a de

415
00:21:24,080 --> 00:21:27,880
Speaker 1: matinee with his band. But Butterfield, according to Santana's telling

416
00:21:27,920 --> 00:21:30,960
Speaker 1: of the story, was too stoned to play.

417
00:21:31,840 --> 00:21:35,760
Speaker 3: Been there, Done that? But that is some sixties shit

418
00:21:35,880 --> 00:21:37,040
Speaker 3: for a real If.

419
00:21:36,920 --> 00:21:40,359
Speaker 1: You told me this was taken from the screenplay of

420
00:21:40,560 --> 00:21:44,359
Speaker 1: Almost Famous, I would one thousand percent believe it.

421
00:21:44,520 --> 00:21:46,199
Speaker 2: Right, Okay, So here's what happened.

422
00:21:46,440 --> 00:21:49,760
Speaker 1: The owner of the Filmore, Bill Graham, cobbles together this

423
00:21:49,880 --> 00:21:53,400
Speaker 1: like ad hoc band. He contacts the Filmore's heavy hitting

424
00:21:53,440 --> 00:21:56,960
Speaker 1: regulars like the Dead and Jefferson Airplane, desperate to fill

425
00:21:57,000 --> 00:22:01,080
Speaker 1: the slot, and somebody just recommends Carlos. By the way,

426
00:22:01,359 --> 00:22:04,040
Speaker 1: the power of someone mentioning your name when you are

427
00:22:04,040 --> 00:22:06,359
Speaker 1: not in the.

428
00:22:05,880 --> 00:22:09,640
Speaker 3: Root totally true. And this is the moment Carlos has

429
00:22:09,760 --> 00:22:15,120
Speaker 3: been waiting for. The crowd is stunned by his plane.

430
00:22:14,920 --> 00:22:17,199
Speaker 1: And so is Bill Graham, who would go on to

431
00:22:17,240 --> 00:22:20,400
Speaker 1: become the manager for the band that would bear Santana's name.

432
00:22:21,000 --> 00:22:24,280
Speaker 3: Carlos formed the Santana Blues Band along with four fellow

433
00:22:24,320 --> 00:22:29,040
Speaker 3: Street musicians, bassist David Brown, drummer Marcus Malone, and singer

434
00:22:29,280 --> 00:22:30,800
Speaker 3: organist Greg Rawley.

435
00:22:31,200 --> 00:22:35,760
Speaker 1: Now, are you like Carlos in the sense that were

436
00:22:35,760 --> 00:22:38,920
Speaker 1: you working a quote unquote day.

437
00:22:38,840 --> 00:22:41,359
Speaker 2: Job to make sure that you could still do your

438
00:22:41,400 --> 00:22:42,040
Speaker 2: side hustle.

439
00:22:42,520 --> 00:22:46,520
Speaker 3: You know, I didn't know my day job was my

440
00:22:46,640 --> 00:22:51,760
Speaker 3: side hustle because I didn't know until a light switch

441
00:22:51,880 --> 00:22:56,360
Speaker 3: turned on that I could really be a makeup artist,

442
00:22:56,680 --> 00:22:59,600
Speaker 3: see like I could really do it, or like I

443
00:22:59,600 --> 00:23:03,800
Speaker 3: could really be a facialist and like not like feel

444
00:23:03,840 --> 00:23:07,680
Speaker 3: like it's work. It's like where I am making a difference. Yeah.

445
00:23:07,800 --> 00:23:11,200
Speaker 1: What I love about our icons is they are so

446
00:23:11,200 --> 00:23:13,399
Speaker 1: solid in their conviction that like they are going to

447
00:23:13,440 --> 00:23:16,000
Speaker 1: be famous musicians. Like there wasn't a backup plan, There

448
00:23:16,000 --> 00:23:18,240
Speaker 1: wasn't a plan B. They weren't like you know what

449
00:23:18,680 --> 00:23:21,080
Speaker 1: I'm gonna you know, like I'm gonna be a dentist

450
00:23:21,320 --> 00:23:23,400
Speaker 1: if this doesn't work, if this music thing doesn't work

451
00:23:23,400 --> 00:23:26,000
Speaker 1: out for me. Carlos Santana will be doctor Santana, Like

452
00:23:27,080 --> 00:23:28,120
Speaker 1: that wasn't happening.

453
00:23:28,160 --> 00:23:31,600
Speaker 2: He was like, I will be a musician.

454
00:23:32,240 --> 00:23:35,320
Speaker 1: And obviously it's a little bit of like right place,

455
00:23:35,720 --> 00:23:39,280
Speaker 1: right time, because he was at the center of it all.

456
00:23:39,800 --> 00:23:42,000
Speaker 1: And listen, we can't travel back in time to the

457
00:23:42,000 --> 00:23:44,440
Speaker 1: Filmore in the nineteen sixties, as much as we all

458
00:23:44,440 --> 00:23:48,080
Speaker 1: want to, but those early days of the Santana Blues

459
00:23:48,119 --> 00:23:51,399
Speaker 1: Band were captured over four nights of live recordings in

460
00:23:51,520 --> 00:23:52,760
Speaker 1: nineteen sixty eight.

461
00:23:53,200 --> 00:23:55,560
Speaker 2: In case you do want to travel back.

462
00:23:56,640 --> 00:23:59,200
Speaker 3: And I just might, I might take some advice from

463
00:23:59,240 --> 00:24:02,399
Speaker 3: the Stoner of Top. But anyways, in Live at the

464
00:24:02,440 --> 00:24:05,400
Speaker 3: Fillmore nineteen sixty eight, you can hear the blues rock

465
00:24:05,480 --> 00:24:08,800
Speaker 3: sound that dominated the venue and which the Santana Blues

466
00:24:08,840 --> 00:24:11,920
Speaker 3: Band cut its teeth on. But you can also hear

467
00:24:11,960 --> 00:24:14,479
Speaker 3: the beginnings of the Santana sound.

468
00:24:14,920 --> 00:24:17,879
Speaker 1: The very first track, Jingo, would be the first single

469
00:24:18,000 --> 00:24:21,560
Speaker 1: off the group's debut album. The song's heartbeat is its

470
00:24:21,800 --> 00:24:26,320
Speaker 1: conga drum, over which Santana's guitar soars in an intro solo.

471
00:24:26,760 --> 00:24:29,680
Speaker 1: Then later in the song there's a rhythm section breakdown.

472
00:24:30,119 --> 00:24:33,840
Speaker 1: Everything goes silent, but the bass the Kunga and the Shaker.

473
00:24:34,200 --> 00:24:37,720
Speaker 3: Carlos Sentthana brought Latin rhythms to the hippies and rockers

474
00:24:37,760 --> 00:24:40,160
Speaker 3: of the film Moore, and would soon do the same

475
00:24:40,240 --> 00:24:43,240
Speaker 3: for young listeners all across the country, just like his

476
00:24:43,359 --> 00:24:46,600
Speaker 3: childhood idol Richie Allens brought La Bomba to the masses

477
00:24:46,600 --> 00:24:48,000
Speaker 3: in the fifties.

478
00:24:47,840 --> 00:24:52,840
Speaker 1: The Santana Blues Band quickly became simply Santana, and Carlos's

479
00:24:52,920 --> 00:24:53,520
Speaker 1: name was.

480
00:24:53,480 --> 00:24:55,680
Speaker 2: About to become known to millions.

481
00:24:57,720 --> 00:25:01,320
Speaker 1: Next time on Becoming an Icon Santana and as Rockstar, Dreams,

482
00:25:01,800 --> 00:25:10,920
Speaker 1: Nightmares and Realities. Becoming an Icon is presented by Sonoo

483
00:25:11,080 --> 00:25:15,320
Speaker 1: and Iheart's Michael Duda podcast network. Listen to Becoming an

484
00:25:15,520 --> 00:25:19,680
Speaker 1: Icon on the iHeartRadio app, Apple podcast, or wherever you

485
00:25:19,800 --> 00:25:20,840
Speaker 1: get your podcasts.