Coffee Gallery, 1353 Grant Avenue, San Francisco, California

Coffee Gallery
1353 Grant Avenue
San Francisco, California
37° 47' N / 122° 24' W

Capacity unknown
This spot was a bohemian hangout, always extremely seedy, and always popular. Originally called Miss Smith's Tea Room, the club then offered Beat entertainment. On weekends you'd hear Pony Poindexter or Bev Kelly, and on weeknights poets. In it's heyday, the Coffee Gallery was full of romantic visionaries, spaced-out poets, and boozing locals.[5]
Bop saxophonist Pony Poindexter ran the house combo in the late fifties, and the joint hosted a benefit one night in 1960 to raise money for a sprinkler system in a nearby club, The Cellar. The six hour jam session featured everything from Jimmy Rushing belting the blues to Duke Ellington reciting poetry.

On October 15, 1965, The Great Society performed at the opening of the Coffee Gallery. Band members included Darby, Jerry and Grace Slick. San Francisco State College Vietnam Day Committee Teach-In. Country Joe and the Fish entertained.
Although an occasional out of towner passed thru the club-comedians Lord Buckley and Hugh Romney (Wavy Gravy) played here-it was the North Beach music hopefuls who commanded the stage most of the time. The owner was Leo Riegler.[5]
Long before her days with a rock band, Janis Joplin sang country blues, one of thousands of young unknown folkies to play at the Coffee Gallery over the years.[1]
The club changed it's name to Lost and Found when Led Zeppelin's Robert Plant and band wandered in on an off night from touring and soon took over the bandstand from the everyday blues band that was booked for the evening, delivering a rocking blues jam, much to the astonishment of the dozen or so customers watching.[1]
John Cippolina, with Thunder and Lightning, performed here on November 3, 1979.[2]
In 2012 it's still called Lost and Found Saloon.

Jerry performed here in
1961 Alan Trist Robert Hunter
"When they had a working car, they often would go up to San Francisco to wander around North Beach and soak up what was left of the Beat scenes at places like City Lights Books and the Coffee Gallery.(7)

1963 Sara Ruppenthal, Marshall Leicester, Suzy Wood
“At least one of these gigs was as an a cappella quartet."[3]

8/63 Wildwood Boys (David Nelson, Ken Frankel)(4)
Jerry plays a nickel plated Weyman 5 string banjo known as "John".
Robert Hunter does not perform.
"I know Jerry used to play at the Coffee Gallery when David Meltzer was hosting Monday night hootenannies."[6]




Coffee Gallery, San Francisco, CA
1.)^Selvin, Joel, San Francisco, the Musical History Tour, pg. 33, 34.
2.)^http://www.johncipollina.com/audio.html
3.)^Katz, Sara, 2015-01-26, email to author.
4.)^Grushkin, Paul, Grateful Dead:The Official Book Of The Deadheads, pg. 194.
5.)^Morgan, Bill, The Beat Generation in San Francisco: A Literary Tour, pg. 49, http://books.google.com/books?id=TvLu3q4SEgoC&pg=PA27&lpg=PA27&dq=garibaldi+hall,+san+francisco&source=bl&ots=mIQm_85VJq&sig=l8kAB6ah0aV4Qaq7C2CXCtsJT3w&hl=en&sa=X&ei=KLWEVMWZG4zaoAT_x4LwDg&ved=0CCsQ6AEwAg#v=onepage&q=garibaldi%20hall%2C%20san%20francisco&f=false
6.)^Garrett, City Lights Bookstore, 2015-04-30, email to author.
7.)^Jackson, Blair, Garcia: An American Life, pg.36.

Rainbow Music Hall, East Evans Avenue and South Monaco Parkway, Denver, Colorado

Capacity 1300

Several years after Ebbetts Field ended its glorious run in 1976, concert promoters Barry Fey and Chuck Morris were looking for a new, bigger room. They finally decided on a location at Monaco and Evans in Southeast Denver and named their new 1,300-seat venue the Rainbow Music Hall.
The Rainbow started life as a three- screen movie theater; Barry Fey, the promoter, tore down the walls between the screens to make one large and oddly shaped concert venue where no seat was more than 70 feet from the stage.

Jerry Jeff Walker opened the place on January 26, 1979.

The hall was the site of shows by some of the music world's brightest lights, and $2 shows helped start the careers of bands including U2, The Police, Devo, and Pat Benatar. "Most of those $2 shows were amazing shows. These bands were out working the streets. They were playing to the fans," Rainbow manager Dave McKay said.

A who's who of rock 'n' roll, including more than a dozen Rock and Roll Hall of Fame members, passed through the 1,400-seat building in 10 years and more than 1,000 concerts. Warren Zevon was the final show in November 1988. In between it hosted Miles Davis, Robin Williams, Talking Heads, Cheap Trick and hundreds more. In October 1981 the Rolling Stones came very close to playing a secret show there, to the point where banners and tickets were printed. Bob Dylan played three shows at the Rainbow in 1980 on his first tour after converting to Christianity, an era when he was playing only his new Christian songs and no classics. Fey recalled a concertgoer calling out mid-set: "Hey Bob - Jesus likes the hits, too!"
"It was a very small, tight, packed place," said Kevin Oxley, who worked security at the Rainbow in the '80s. "It was really a classic place, just one big party atmosphere. By 7 o'clock in the morning people would be lining up around the building, partying and having a great time." Stars such as Stevie Nicks hung out after her show and signed autographs for fans, and Fey was an ubiquitous presence, Oxley said. "It was one of Barry Fey's little gems. He was always there, every night." Chuck Morris, now Denver's most prominent concert promoter, opened the place with Fey and booked 173 shows the first year alone. He remembered seeing U2 in 1981 and immediately calling their high-powered booking agent in New York. One April, the place held 29 shows in 30 days. Catering was usually a King Soopers deli tray.

KCUV-FM (102.3) broadcasts vintage recordings from  the Rainbow Music Hall at 8 p.m. Sundays.

There was a room for bands or special guests near the front entrance that was closed to the public.  It had a one-way glass mirror with a view of the crowd.(4)

Standing three feet away from Dylan as he pointed an accusing finger at Allen Ginsburg in the audience and said “don’t be fooled by false idols” during his “Saved” tour was one of many unforgettable experiences there.

Music Hall Staff:
Entertainment Cordinator- Chuck Morris
Hall Manager- David McKay
Production Coordinator- Bill Alldredge
Assistant Production Manager- Mark Burns
Stage Manager- Warren Rider
Maintenance- Bob Ferbracht
Music Hall Graphics-Chuck Parsons

Barry Fey, owner of The Rainbow Music Hall

Here are only some of the Rainbow Music Hall artists: Jack Bruce • Graham Parker & the Rumour • Split Enz • Rick Derringer • Joe Jackson • Prince • The Clash • Stevie Ray Vaughan • The Police • Barry Manilow • Miles Davis • U2 • Tom Petty & the Heartbreakers • John Cougar Mellencamp • Eurythmics • Robin Williams • Bob Dylan • The Pretenders • B.B. King • Willie Nelson • Pat Benatar • Blondie • Talking Heads • Nick Lowe • Devo • Warren Zevon • Roxy Music • The Cure • Def Leppard • The Fixx • Hall & Oates • The Ramones • Motorhead • Journey • Andy Kaufman • Judas Priest • Los Lobos • Stevie Nicks • Head East • Lou Reed • Iggy Pop • Robert Gordon • Gentle Giant • Amazing Rhythm Aces • Stryper • .38 Special • Cheech & Chong • Elvin Bishop • Al Jarreau • Nitty Gritty Dirt Band • John Prine • The Chieftains • English Beat • Grandmaster Flash & the Furious Five • Laurie Anderson • The Blasters • Dave Edmunds • Bobby Womack • Boomtown Rats • Leo Kottke • Black Flag • Midnight Oil • The Alarm • Sinead O'Connor • Rick Springfield • Howard Jones • The Cult • R.E.M. • Weather Report • Jaco Pastorius • Oingo Boingo • Freddie Hubbard • Stanley Clarke • Til Tuesday • X • Black Flag • Ronnie Montrose • New Order • Psychedelic Furs • John McLaughlin • Jean Luc Ponty • Al DiMeola • Robert Cray • Jerry Garcia • George Benson • Larry Carlton • George Carlin • The Knack • Ozark Mountain Daredevils • Metallica • Bonnie Raitt • The Band • J. Geils Band • Stephan Grappelli • David Bromberg • Lou Reed • Steppenwolf • Bon Jovi • Modern English • The Alarm • Jefferson Starship • Leon Russell • English Beat • Hot Tuna • The Hooters • Maynard Ferguson • Icehouse • Arlo Guthrie • Ray Charles • Circle Jerks • The Church • Echo & The Bunnymen • Jeff Lorber Fusion • Dickie Betts • Ozzy Osbourne • AC/DC • Poco • Third World • Taj Mahal • Little Feat • Asleep At The Wheel • and much, much more!

The End
In April of 2009 Rick Shaw and Craig Keyzer noticed that the historic Rainbow Music Hall sign, which was supposedly protected, had been taken down. Hoping that it had only been disassembled and taken away for storage, Rick and Craig hopped the fence behind the vacant building on April 18th. The sign had been completely and utterly destroyed, a crumpled pile of twisted metal and plastic fragments.

Taking a hacksaw, they were able to save the word “Hall” from the base plate of the sign (it had holes drilled for installing lightbulbs behind the yellow plastic letters) and only one complete yellow letter “L”. They also collected as many broken yellow sign fragments as they could.(2)

Jim Messina solo and Herbie Hancock and Chic Corea together. Both were in the 1980-81timeframe.
Jimmy Messina had just released "Oasis" and it again showcased his great song-writing skills. I remember the concert was during a driving snowstorm, and the weather was so bad, Messina said that Richie Furray (former Poco bandmate) couldn't get down the mountain to come to the show.
Hancock and Corea played two grand pianos, sometimes solo, sometimes simultaniously. But always captivating jazz! They later released an album from this tour.(1)

"We had Black Flag at the Rainbow Music Hall. Their roadies had a band and their lead singer took his clothes off on stage. I went out and said, "I'm very sorry. You will never see that on the Rainbow stage again."(6)

Read more: Barry Fey looks back - The Denver Post http://www.denverpost.com/ci_4595412#ixzz1sPTp7OIz
Read The Denver Post's Terms of Use of its content: http://www.denverpost.com/termsofuse

"Andy Kaufman was absolutely hysterical. The Rainbow got a limo for him to drive around all night to unnamed places. "He used it till 6 in the morning. I never asked the limo driver where he took him, but I heard it was some interesting places."(5)

Miles Davis performed here with John Scofield.(3)

Photo by Kim Allen

The Rainbow closed in 1988 with Warren Zevon.

The sign stayed while a drugstore occupied the site. Walgreens wanted to keep the sign outside it's new store so the original Rainbow Music Hall sign stood at the building for twenty years after it closed.

Photo by Ken Papaleo

Jerry performed here on
4/11/79 early and late shows Reconstruction
4/12/79 early and late shows Reconstruction
4/13/79 Reconstruction

7/14/79 Reconstruction
This show was canceled. Jerry had oral surgery.

11/19/81 Jerry Garcia Band
The only three set JGB performance.

5/20/83 Jerry Garcia Band
5/21/83 Jerry Garcia Band
5/23/85 early and late shows Acoustic w/ John Kahn






1.)^Ike77, http://twistedspork.blogspot.com/2009/07/rainbow-music-hall.html
2.)^Rainbow Music Hall, Spork, 2009-07-18, http://twistedspork.blogspot.com/2009/07/rainbow-music-hall.html
3.)^Solomom, Jon, 2009-06-04, Rainbow Music Hall now officially only a memory, http://blogs.westword.com/backbeat/2009/06/rainbow_music_hall_now_officia.php
4.)^Allen, Kim, 2009, http://denverphotoarchives.com/blog/2009/august.html
5.)^Brown, Mark, Rainbow Music Hall about to take its last bow,
2008-03-11, Rocky Mountain News, brownm@RockyMountainNews.com
6.)^Kreck, Dick, Barry Fey Looks Back, 2006-11-05, Denver Post, http://www.denverpost.com/ci_4595412

The Ballroom, Manhattan Center, 311 W. 34th and 8th, New York, NY

Capacity 1200

The Manhattan Center building was built in 1906, originally as the Manhattan Opera House by Oscar Hammerstein I. The architects were J.B. McElfatrick & Son. Opened on December 3, 1906.

1906

It's located at 311 West 34th Street in Midtown Manhattan, houses Manhattan Center Studios (home to two recording studios), its Grand Ballroom, and the Hammerstein Ballroom, one of New York City's most renowned performance venues.
The root cause for the construction centered around boldly rivaling the established Metropolitan Opera by featuring cheaper seat costs for the ordinary New Yorker. Rapidly, it became the alternative venue for many great operas and celebrated singers to make their debut.

In 1910, after the Metropolitan Opera could no longer withstand competition, offered Hammerstein $1.2 million to cease producing opera for a course of 10 years. He accepted the offer and experimented with various acts preceding the decision to sell the building.

In March 1911, it was opened as a "combination" house by the Shubert brothers featuring vaudeville shows during the week and concerts on Sunday nights at much more affordable prices.

In 1922, the Manhattan Opera House was purchased by the Ancient Accepted Scottish Rite of Free Masonry, who built a new building fasçade and The Grand Ballroom on the seventh floor.

In 1926, Warner Brothers chose to set up the Vitaphone sound-on-disc system in The Grand Ballroom to capture the 107-piece New York Philharmonic orchestra for the film Don Juan which marked the release of the inaugural commercial film featuring a recorded musical soundtrack.

In 1940, the name of the building altered to the Manhattan Center helping to attract a variety of different types of events.

In 1976, the building was purchased by its current owner, the Unification Church for $3,000,000.^{[1] and becme a warehouse.}

In 1986, Manhattan Center Studios was formed to develop the center into a venue with the capability of holding multimedia festivities. MCS expanded the audio recording facilities when Studio 4 was opened in 1993. Studio 7 was rebuilt in 1996 to become a state-of-the-art control room capable of servicing all types of recordings and live events in the Ballrooms.

The Manhattan Center became a hot spot for "big band" dances as well as trade shows, union meetings and other social functions.
Among the diverse events held here throughout the decades that followed were radio broadcasts, recordings and performances by the likes of Paul Robeson, Judy Garland, Harry Belafonte, Perry Como, Leonard Bernstein, David Bowie, Grateful Dead, Bob Marley. In the early 1990s, wrestling show WWE Monday Night Raw broadcast from the Grand Ballroom a record 28 times.

Jerry performed here on
4/4/71 NRPS and Grateful Dead(2)
4/5/71 NRPS and Grateful Dead
4/6/71 NRPS and Grateful Dead

8/15/71 NRPS and Grateful Dead






































1.)^Biermans, J. 1986, The Odyssey of New Religious Movements, Persecution, Struggle, Legitimation: A Case Study of the Unification Church Lewiston, New York and Queenston, Ontario: The Edwin Melton Press
2.)^http://www.nrpsmusic.com/music/1971.html

Charger Gymnasium, 300 Boston Post Road, University Of New Haven, New Haven, CT

The University of New Haven was founded in 1920 as the New Haven YMCA Junior College, a division of Northeastern University; it became New Haven College in 1926.^[1]
The Gymnasium wasn't built until the 1960's.
Located on UNH's North Campus, directly across Boston Post Road from the main UNH campus, Charger Gymnasium has long been the game site for the UNH men's and women's basketball and volleyball teams. It houses locker rooms for all of the Chargers' varsity athletic programs, as well as the athletic administration offices, the sports medicine room, equipment room and the Tony Sparano Training Center.

The building has hosted numerous NCAA Regional competitions throughout the years, as well as the Special Olympics, UNH Convocations, a number of musical concerts, and camps & clinics for the surrounding community, among other events.


Jerry performed here on
2/16/80 Jerry Garcia Band




1.)^http://www.newhavenchargers.com/sports/2010/2/22/gen_chargergym.aspx?id=51

Portland Meadows, 1001 N. Schmeer Road, Portland, OR

Capacity 4450

Built by William P. Kyne, who also built Bay Meadows Racetrack in San Mateo, California, the facility opened on September 14, 1946.
Opening with over 10,000 people in attendance, Portland Meadows made history as the first thoroughbred track in the nation to offer night time racing. This was made possible by use of a lighting system designed by General Electric which has been said has enough power "to light a four-lane superhighway from Portland to Salem, a distance of 40 miles."[2]

Located in Portland, Oregon conveniently off of Interstate 5, Portland Meadows offers the heart pounding and pulsating action of live Thoroughbred Horse Racing.
The grounds are in Hayden Meadows near the Columbia River and are 16 feet (4.9 m) above sea-level.[1]

In 1948, the track was closed due to the Vanport Flood. This flood destroyed the town of Vanport City, Oregon, and resulted in roughly $250,000 worth of damage to the track.

On April 25, 1970 a fire burnt the grandstand to the ground. Fortunately the blaze took no lives, human or equine, but it did end the meet.
In 1971, the facilities was rebuilt and track reopened to a record crowd of 12,635. [3]

Thirty one years later, in 2001, Magna Entertainment acquired the racing license for Portland Meadows. Prior to the 2001-2002 meet, the racing surface was completely renovated. The Clubhouse level and Turf Club Restaurant were also refurbished and a new simulcast center was opened on the mainline level.
In 2003, Portland Meadows undergoes a series of improvements including the construction of a children's play area, upgrades in the paddock, gallons upon gallons of new paint throughout the building, new fencing and the inclusion of a grass apron. Among additional changes of significance are the live race days and an increase in handle. Since dropping Sunday racing and adding Monday matinees, there's been an increase of over 100 new simulcast outlets taking the Portland Meadows signal. [4]

Owned by The Stronach Group since July 3, 2011 and previously owned by MI Developments Inc. (MID) 2001.


Jerry performed here on
8/8/93 Jerry Garcia Band
5/28/95 Grateful Dead
5/29/95 Grateful Dead

1.)^"Portland Meadows". Geographic Names Information System, U.S. Geological Survey. 1980-11-28
2.)^Portland Meadows Web Site, Track History
3.)^Portland Meadows Web Site, Track History
4.)^Portland Meadows Web Site, Magna Ownership

Cadillac Hotel, 380 Eddy Street, San Francisco, CA

In a history by Herbert Asbury, the coining of “tenderloin” is ascribed to the New York Police Department’s Captain Alexander Williams, who in 1879 was reportedly transferred to the 29th Precinct that had jurisdiction over an area called Satan’s Circus. When asked by a friend why he seemed so pleased about his transfer, Williams alluded to extortion payments made to police by the area’s shady and illicit businesses, saying,
"I’ve had nothing but chuck steak for a long time, and now I’m going to get a little of the tenderloin."
While the story of its origin is anecdotal, the euphemism was well-chosen and from New York the term’s usage spread across the country to San Francisco; both Chicago and Los Angeles, for example, had their own Tenderloins.(4)

The historic Cadillac Hotel was the first non-profit “Single-Residence Occupancy” (SRO) hotel West of the Mississippi.  It provides supportive housing for approximately 160 tenants and is an official San Francisco landmark.  Built the year after the 1906 earthquake, the Cadillac was home to wealthy visitors in the first part of the 20th century.  The hotel even had its own furrier.
It was briefly owned in the 1960's by GAP founder Don Fisher who removed some of its historic detail.
 In 1977, the Cadillac was bought by the non-profit Reality House West, led by Leroy and Kathy Looper.  Together, The Loopers remained actively involved in the day-to-day operations of the hotel until Mr. Looper's death in September, 2011.  Kathy Looper remains executive director of the hotel's Board of Directors.  For over three decades the Cadillac has provided affordable housing and support services for thousands of low-income single adults who would otherwise have no place to go.
The original Grand Ballroom was leased for many years by Newman’s Gym, a legendary training facility for boxers.  Muhammed Ali and Mayor Willie Brown are said to have worked out there. When its owner, Don Stewart passed away in 1995, the Loopers leased the space to a federal Head Start program (administered by SFSU) which promotes school readiness and provides health and social services for children up to three years old.  This is in keeping with the Looper's efforts over many years, to maintain the residential character of the Tenderloin.  There is not enough space here to describe the Looper’s life of giving.
Leroy Looper, a gentle giant and innovator, was known as “The Father of the Tenderloin”.  He and his wife, Kathy, have dedicated their lives to letting people who are down on their luck — know that someone cares about them. Since 1907, the Cadillac Hotel has been known as "The House of Welcome".
The Patricia Walkup Memorial Piano is at home in the lobby of the Cadillac Hotel — and is one of the great pianos in the City. A fully-restored 1884 Steinway Model D Concert Grand Piano, it was donated to the hotel in memory of Patricia Walkup, a San Francisco activist and former volunteer at the Cadillac.  The lustre of the Indian Rosewood case is a work of art.  The old-growth spruce soundboard is the piano's original.  The instrument is meticulously maintained on a regular basis.
    The Cadillac Hotel is an unlikely place for this magificent instrument.  But then that is the whole idea.  Music has the power to transform and uplift people — no matter what their station in life.(3)

Historic San Francisco Landmark # 176.(3)
Hotel with 170 rooms and ninety-one baths in two-, three-, and four-room suites.
Architects: Meyer and O’Brien. 1907. dining room converted to boxing gym in 1924.
Owner: Andrew A. Louderback, poultry, game, and distilling (1907), Reality House West (1977) A spacious lobby with a red marble fireplace, a mezzanine-level gallery, and grand stairways to a former dining room together indicate that the Cadillac was designed to attract tourists as well as permanent residents.(4)






Jerry rehearsed here in
Summer 1961.
"Jerry lived with John "The Cool" Winter in this hotel on O'Farrell Street (wrong street), which was just down from I.Magnin's", Barbara Meir says. "So I'd walk those five blocks from Magnin's down to the hotel to see him. It's hard to say what they were doing . I think they had a little benzedrine  and they were kind of racing around the city. I remember being with them and we'd rave around. We'd go to parties or drive over to KPFA in Berkeley. Little impromptu gigs and parties would turn up."(1)

"He stayed for a while with John "the Cool" Winter at the Cadillac Hotel, in the seedy Tenderloin District, living largely on potatoes and carrots they stole from the produce market on the Embarcadero."(5)

"Later, in the summer of 1962, in Palo Alto, John "the Cool" Winter would introduce Phil Lesh to Jerry Garcia." (2)







1.)^Jackson, Blair, Garcia, An American Life, pg 41
2.)^McNally, Dennis, A Long Strange Trip, pg. 38, 39.
3.)^http://www.cadillachotel.org/
4.)^http://upfromthedeep.com/uptown-tenderloin/
5.)^McNally, Dennis, A Long Strange Trip, pg. 34, http://books.google.com/books?id=sWCRWJnTTF8C&pg=PA30&lpg=PA30&dq=norm+%22pogo%22+fontaine&source=bl&ots=lLFJsUVMPm&sig=FqvZvbs75rnMhO99EEiRHc-dvio&hl=en&sa=X&ei=wlNaUIWBBaS6yAGbloGAAQ&ved=0CCQQ6AEwAQ#v=onepage&q=norm%20%22pogo%22%20fontaine&f=false

Homer's Warehouse, 79 Homer Avenue, Palo Alto, CA

"It was an old industrial warehouse, built near the railroad, probably out of use for years before it was taken over as a music venue. It was on Homer Lane (a continuation of Homer Lane that runs near professorville, but on the other side of the tracks, the east side of the tracks - thus the name "Homer's Warehouse". I remember seeing Sons of Champlin play there. I played there with a band once or twice myself." (1)

"Will you please help me out here... what was Homer Warehouse? I used to go to a warehouse for music... I think near Town and Country Shopping Center and the tracks... where my 'boyfriend' of the time played. Geeze, I can't remember the time frame, but since I moved to France in 1970, it must have been in the late 60's. "(2)

This is where the Palo Alto Clinic is now. (3)

Andrew Bernstein was like a younger brother to the GD folks during their time in Palo Alto in the early 60's, took banjo lessons from Garcia and all that. He also ran Homer’s Warehouse during the early 70's, and he is writing a book that includes a chapter on the venue.(5)




Jerry performed here on
3/4/73 Old And In The Way
5/4/73 Merl Saunders
5/5/73 Merl Saunders
5/18/73 Old And In The Way
7/24/73 Old And In The Way
10/3/73 Old And In The Way(6)




1.)^S., Eric, 2010-01-14, http://www.paloaltoonline.com/square/index.php?i=3&t=551#add_comments
2.)^ BaaRaaRaa, 2010-01-13, http://www.paloaltoonline.com/square/index.php?i=3&t=551#add_comments
3.)^ Stillwell, Becky, 2008-02-06, http://www.paloaltoonline.com/square/index.php?i=3&t=551#add_comments
4.)^Arnold, Corry, 2012-02-23, http://lostlivedead.blogspot.com/2012/02/david-nelson-and-new-delhi-river-band.html
5.)^Jerry Garcia's Middle Finger, 2012-04-22, http://jgmf.blogspot.com/
6.)^http://thejerrysite.com/shows/show/901

Aunt Lena's House, San Francisco, CA

Jerry performed here in
Late 1950s Daniel Garcia (cousin)
"Jerry & Daniel would also practice at Aunt Lena's house in San Francisco during
a family reunion."(1)

Thanksgiving 1958 or 1959 Daniel Garcia (cousin)
Jerry entertains his relatives. At the family reunion at Aunt Lena's house, Daniel joins Jerry and they play "Donna" by Richie Valens. During this period Daniel and Jerry wrote a few simple love songs together. Daniel still has the lyrics and fingering writings. One song they co-wrote was, "Fly Trap". Others they played were: "Church Bells May Ring", Whispering Bells, and Everly Brothers songs.(1)






1.)^Jackson, Blair, Garcia;An American Life, pg. 24.

Andre's, Broadway, San Francisco, CA

"Luis Gasca had a residency at a Broadway club called Andre's, and all the musicians hung out there, particularly the Santana band. Jerry Garcia definitely hung out there, but whether just a few times or often is unclear. In any case, there was a big after hours jam scene with heavy players at Andre's."(1)





1.)^Corry342, comments, 2010-01-01, http://jgmf.blogspot.com/2009/12/garcias-unidentified-guests.html

War Memorial Gym, 2335 Golden Gate Avenue, University of San Francisco, San Francisco, CA

 Capacity 5300



The college moved to its present site on the south slope of Lone Mountain in 1927. The college was built on the site of the former Odd Fellows, Mount Olivet and Masonic Cemeteries. In 1913, the city enacted a law prohibiting more burials in the City and County of San Francisco. The remains were transferred to Colma, California.

To celebrate its diamond jubilee in 1930, St. Ignatius College changed its name to the University of San Francisco. According to USF history professor Father John B. Mc Gloin, S.J., the change from college to university was sought by long-time San Francisco Mayor James Rolph Jr.. at the time, running for Governor of California.

Prior to 1958, the USF basketball team had no permanent home. During the 1955 and 1956 NCAA championship seasons, Phil Woolpert's teams had to practice and play home games at either nearby Kezar Pavilion in Golden Gate Park or the gym at neighboring St. Ignatius High School. The aftermath of USF's back-to-back national championships spurred a fund-raising effort that ultimately made building an on-campus venue possible and in 1958, War Memorial Gym opened its doors.

A male-only school for most of its history, USF became fully coeducational in 1964.

Originally serving all of USF's athletic needs, War Memorial Gym also briefly hosted the San Francisco Warriors during the 1966-1967 season. Upon the arrival of women's sports on campus, War Memorial Gym also became the home of the women's basketball and volleyball teams.

Though the gym missed the Russell and Jones era by three years, it was the home of the great Dons teams of the late 1970's led by Bill Cartwright, Phil Smith and Quintin Dailey (though some high-profile matches were held at the Cow Palace or the Oakland Arena).

War Memorial Gym was also the site of CBS's first national college basketball broadcast, a 1982 match-up between USF and the University of Georgia.

In 1989, with the construction of the Koret Health and Recreation Center, War Memorial became exclusively an athletic venue, though training facilities continue to be housed in the Moran Center beneath the gym.
Dedicated to the USF dead of World War II, the Korean War and the Vietnam War, War Memorial Gym currently seats 5,300 spectators.  Plaques in the lobby display the names of more than 100 students, alumni, and faculty who died fighting those wars.(1) Above the court can be seen banners commemorating USF's national and conference championships in basketball, including titles won by the women's basketball team in their old conference, the Northern California Athletic Conference. Players' retired numbers can also be found, including banners for Pete Newell and Phil Woolpert. The gym's foyer houses a mini-hall of fame, displaying trophies and memorabilia from USF's athletic history.(2)

In 2008 and 2009, USF made upgrades to the gym. The old floor, which was the original installation, was replaced, along with the bleacher seating in the upper level. The old baskets were replaced with stand-alone versions, and new banners were installed.



Jerry performed here on
10/31/74 Merl Saunders






1.)^https://www.usfca.edu/virtualtour/war_memorial_gym/
2.)^Norris, Ryan, No Frills on the Hilltop, http://www.stadiumjourney.com/stadiums/war-memorial-gym-s829/

Jerry's Mom's vacation house, Austin Creek, Cazadero, CA

Exact address in unknown.

Up on "Austin Creek" is the vacation home Jerry's Mom bought in Cazadero, CA.


Jerry rehearsed here in
Winter 1958  Daniel Garcia
"Up on "Austin Creek", (about 60 miles north of San Francisco), near the "Russian River" town of Cazadero; Daniel & Jerry played guitar for hours in the family room of the vacation home Jerry's mom bought.(2)

"Tiff Garcia, Jerry's brother, said that the house was "rustic but modern". "It had a nice big living room, a lot of windows; it was in a really pretty area."(1)


Cousin Daniel Garcia recalls, "We used to go up to Cazadero and sit in the family room and smoke Bull Durham cigarettes and play our guitars for hours. Hours and hours until my fingers literally bled. We'd play Chuck Berry, Bill Haley, everything".(1)




1.)^Jackson, Blair, Garcia: An American Life, pg. 23.
2.)^Allan, Alex,  Robert Greenfield's "Dark Star: An Oral Biography of Jerry Garcia, pg. 36, 63-64
3.)^Scully, Rock,  Living With The Dead, pg. 70.

Suzy Wood's parents lot behind the main house, Debbie Lane, Belmont, CA

After Boar's Head gatherings, Suzy Wood, Carlmont High Class of 1960, often hosted parties at her parent's large, lovely home on Debbie Lane, on a hill above the College of Notre Dame in nearby Belmont. "The way the house was setup, there was an extra lot behind the house, sort of secluded by fences and bushes, and we go hang out back there and pass hats and collect change and somebody would go off and buy gallons of wine, Wood says."That was a place that summer where there was a lot of partying, for as long as anybody could stand to lie around drinking wine. I don't remember Jerry being into drinking particularly."
"My father was very intrigued by him", she continues. "Even though Jerry was a dropout, because of the kind of intelligence and charm and insight that he had, he always seemed more like a leader than a bad guy. My Dad thought he was a wonderful person but he'd say, "Why doesn't he do something with his life?"(1)

"Yeah, we would play at the Boar’s Head and then, afterwards there would, of course, be a “cast party.” It’d be over at somebody’s house; you’d go over there, everybody’d bring their instruments and we’d play all night and just fool around and all that kind of stuff..."(2)






Jerry played here in
??/??/61




1.)^Jackson, Blair, Garcia: An American Life, pg. 40
2.)^Nelson, David, KBOO Community Radio, Interview With David Nelson
2009-05,

City Lights Books, 261 Columbus Avenue at Broadway, San Francisco, CA

City Lights is a landmark independent bookstore and publisher that specializes in world literature, the arts, and progressive politics.

The site was a tiny storefront in the triangular Artigues Building located at 261 Columbus Avenue, near the intersection of Broadway in North Beach. Built on the ruins of a previous building destroyed in the fire following the 1906 earthquake, the building was designed by Oliver Everett in 1907 and named for its owners.

City Lights originally shared the building with a number of other shops. It gradually gained more space whenever one of the other shops became vacant, and eventually occupied the entire building.
 

Founded in 1953 by poet Lawrence Ferlinghetti and Peter D. Martin, City Lights is one of the few truly great independent bookstores in the United States, a place where booklovers from across the country and around the world come to browse, read, and just soak in the ambiance of alternative culture's only "Literary Landmark." Although it has been more than fifty years since tour buses with passengers eager to sight "beatniks" began pulling up in front of City Lights, the Beats' legacy of anti-authoritarian politics and insurgent thinking continues to be a strong influence in the store, most evident in the selection of titles.

The nation's first all-paperback bookstore, City Lights has expanded several times over the years; we now offer three floors of both new-release hardcovers and quality paperbacks from all of the major publishing houses, along with an impressive range of titles from smaller, harder-to-find, specialty publishers. The store features an extensive and in-depth selection of poetry, fiction, translations, politics, history, philosophy, music, spirituality, and more, with a staff whose special book interests in many fields contribute to the hand-picked quality of what you see on the shelves.

The City Lights masthead says A Literary Meetingplace since 1953, and this concept includes publishing books as well as selling them. In 1955, Ferlinghetti launched City Lights Publishers with the now-famous Pocket Poets Series; since then the press has gone on to publish a wide range of titles, both poetry and prose, fiction and nonfiction, international and local authors. Today, City Lights has well over two hundred titles in print, with a dozen new titles being published each year. The press is known and respected for its commitment to innovative and progressive ideas, and its resistance to forces of conservatism and censorship. All City Lights Publications that are currently available are proudly featured in the bookstore and on this website as well.

With this bookstore-publisher combination, "it is as if," says Ferlinghetti, "the public were being invited, in person and in books, to participate in that 'great conversation' between authors of all ages, ancient and modern." City Lights has become world-famous, but it has retained an intimate, casual, anarchic charm. It's a completely unique San Francisco experience, and a must for anyone who appreciates good books.

Both the store and the publishers became widely known following the obscenity trial of Ferlinghetti for publishing Allen Ginsberg's influential poem Howl and Other Poems (City Lights, 1956).  In 2001, City Lights was made an official historic landmark. City Lights is located at the nexus of North Beach and Chinatown in San Francisco.

In 1953, as Ferlinghetti was walking past the Artigues Building, he encountered Martin out front hanging up a sign that announced a "Pocket Book Shop." He introduced himself as a contributor to Martin's magazine City Lights, and told him he had always wanted a bookstore. Before long he and Martin agreed to a partnership. Each man invested $500.

Ferlinghetti in front of his shop

Soon after they opened they hired Shig Murao as a clerk. Murao worked without pay for the first few weeks, but eventually became manager of the store and was a key element in creating the unique feel of City Lights.^[1] In 1955, Martin sold his share of the business to Ferlinghetti for $1000, and moved to New York and started New Yorker Bookstore, which specialized in cinema.

In 1971, Ferlinghetti persuaded Nancy Peters - who was working at the Library of Congress - to join in a project with him, after which she began full-time work at City Lights.^[2] She said:

When I joined City Lights in 1971, and started working with Lawrence, it was clear that it had been very much a center of protest, for people with revolutionary ideas and people who wanted to change society. And when I first began working at the little editorial office up on Filbert and Grant, people that Lawrence had known through the whole decade of the '60s were dropping in all the time, like Paul Krassner, Tim Leary, people who were working with underground presses and trying to provide an alternative to mainstream media. This was a period of persecution, and FBI infiltration of those presses.^[3]

In 1984, the business was in a financial crisis and Peters became a co-owner of it.^[2] Ferlinghetti credits her for the subsequent survival and growing success of the business.^[4] In 1999, with Ferlinghetti, she bought the building they worked in.^[5]

In 2001, the San Francisco Board of Supervisors made City Lights an official historic landmark - the first time this had been granted to a business, rather than a building - citing the organization for "playing a seminal role in the literary and cultural development of San Francisco and the nation." It recognized the bookstore as "a landmark that attracts thousands of book lovers from all over the world because of its strong ambiance of alternative culture and arts", and it acknowledged City Lights Publishers for its "significant contribution to major developments in post-World War II literature."

On the wall at City Lights

The building itself, with its clerestory windows and small mezzanine balcony, also qualified as a city landmark because of its "distinctive characteristics typical of small commercial buildings constructed following the 1906 earthquake and fire." The landmark designation mandates the preservation of certain external features of the building and its immediate surroundings. Peters commented (referring to the effect of dotcom and computer firms), "The old San Francisco is under attack to the point where it's disappearing."^[6]

By 2003, the store had 15 employees.^[7] Peters estimated that the year's profits would be only "maybe a thousand dollars."^[8]

In 2007, after 23 years as executive director, she stepped down from the post, which was filled by Elaine Katzenberger; Peters remained on the board of directors.^[4] Peters said of her work at City Lights:

When I started working here we were in the middle of the Vietnam War, and now it's Iraq. This place has been a beacon, a place of learning and enlightenment.^[4]

As of 2008, City Lights is a general bookstore, specializing in fiction and poetry, cultural studies, world history, and politics. It offers three floors of new-release hardcovers and paperbacks from all major publishers, as well as a large selection of titles from smaller, independent publishers. City Lights is a member of the American Booksellers Association.

Jerry performed here in
??/??/61 Robert Hunter, Alan Trist
"When they had a working car, they often would go up to San Francisco to wander around North Beach and soak up what was left of the Beat scenes at places like City Lights Books and the Coffee Gallery."(11)





1.)^Hubler, Shawn, "City Lights Illuminates the Past," Los Angeles Times, 5/27/03
2.)^Morgan, Bill, http://www.citylights.com/bookstore/?fa=books_tour
3.)^And The Beat Goes On, 2003-06-09, http://www.sfgate.com/entertainment/article/AND-THE-BEAT-GOES-ON-City-Lights-and-the-2611121.php
4.)^Lynell, George (2007), "City Lights Books", Los Angeles Times, 22 April 2007.
5.)^"City Lights: 50 candles", Chicago Sun-Times on findarticles.com, 22 June 2003.
6.)^ David, Simon (2001), "'Beat city' fights dotcom gold rush", Daily Telegraph, 19 June 2001
7.)^Lara, Adair (2003), "Literary Light", San Francisco Chronicle, 5 June 2003.
8.)^Hubler, Shawn (2003), "At 50, City Lights illuminates the past", Oakland Tribune/Los Angeles Times on findarticles.com, 15 June 2003.
9.)^Ferlinghetti, L & Morgan, B "The Beat Generation in San Francisco: A Literary Tour" City Lights Books, 2003
10.)^González, Ray (2003) "Tracing the public surface", The Bloomsbury Review, Vol. 23, #2, 2003.
11.)^Jackson, Blair, Garcia: An American Life, pg. 36.

Non Commissioned Officer's (NCO) Club, 1550 Minnesota Avenue, Tyndall Air Force Base, Panama City, FL 32403

Jerry performed here in
1964 Sandy Rothman
"Jerry and I also drove down to Florida to visit Berkeley mandolinist Scott Hambly (another highly original and accomplished instrumentalist like Jerry, and a one-gig replacement for David Nelson in the Black Mountain Boys) while he was stationed at Panama City's Tyndall Air Force Base. I listened to the two of them picking as we played an impromptu show that Scott had arranged at the NCO club and thought that it would be hard to find two city-based bluegrass musicians better matched for sheer profusion of notes and ornamentation. A flock of notes flew with the airplanes over the warm Florida sands that night."(1)




1.)^Rothman, Sandy, Jerry Garcia's Musical Roots:The Banjo Years - Part 3, http://www.thebestofwebsite.com/Bands/Jerry_Garcia/Misc/Rothman/3_Jerrys_Banjo_Years.htm

Newell 23-002 Dam, Lake Lompico, Lompico, CA

Near the summer house at a nearby Dam, Lompico, CA
Lake Lompico is a Reservoir in Santa Cruz County, California. It has an elevation of 276 meters, or 906 feet(2) 

Known as Newell 23-002 Dam: Water Storage Dam near Lompico.(3)

The nearest places to Lake Lompico are Van Allen Ridge (1500 feet east), Lompico (2000 feet northwest), Zayante (1 mile south), Eagle Dell Peak (1 mile west), and Loch Lomond (1½ miles northwest).



Jerry rehearsed here in
Late 1950s
"Also in "Lampico"Jerry & Daniel would practice their guitars at a nearby dam."(1)




1.)^Jackson, Blair, Garcia: An American Life, pg. 24
2.)^http://www.lat-long.com/Latitude-Longitude-1872791-California-Lake_Lompico.html
3.)^http://www.mbendi.com/a_sndmsg/facility.asp?I=1330758

Pritchard Gym, S.U.N.Y. 1 Center Drive, Stony Brook, NY

Capacity 2000

The Pritchard Gym is one of the original buildings built on campus in 1969 when the campus moved to Stony Brook from its Oyster Bay location. William E. Pritchard died in 1982.

The gymnasium is 20,000 square feet and has 3 regulation basketball courts that can be divided by a moveable wall into 2 separate rooms. The smaller part of the gym is equipped with drop down batting tunnels used by the baseball and softball teams during the winter months and inclement weather. The gym is primarily used now for physical education classes, recreation and team practices.(1)

In the summer of 2008, the gym underwent a $1.5 million renovation to upgrade the seating, add a new scoreboard and refinish the hardwood floor.

    •    Stony Brook Sports Complex: The main Complex in which most of the sports activities take place.
    •    Stony Brook University Arena: Currently under extensive renovation, the 4,000 seat arena will again serve as the home of the Men’s and Women’s basketball for the 2012-2013 season. It is located in the west end of the Stony Brook Sport Complex.[3]
    •    Pritchard Gymnasium: Built in the early 1960’s, the 1,700 gymnasium is located within the larger Stony Brook Sports Complex and is the temporary home of the Seawolves Men’s and Women’s Basketball and the volleyball team.[4]
    •    Dubin Family Athletic Performance Center: The performance center began construction in mid 2011. An 8,000-square-foot (740 m2) facility completed in late May 2012. The facility will be named after the Dubin Family who donated over $4.3 million for the construction of the project, the largest athletic donation in the SUNY system.[10]
    •    Stony Brook Swimming Pool: Home to the Stony Brook Seawolves Men's and Women's swimming team. Located within the larger Stony Brook Sports Complex. Bleacher seating for 250 spectators. 25 yard length pool. Renovations scheduled for the 2012-13 athletic season. Swimming programs on hiatus until completion


Jerry performed here on
5/4/68 Grateful Dead
10/30/70 early and late shows New Riders Of The Purple Sage and Grateful Dead
10/31/70 early and late shows New Riders Of The Purple Sage and Grateful Dead
12/9/77 Jerry Garcia Band
2/24/80 Jerry Garcia Band
12/4/83 Jerry Garcia Band





1.)^http://www.goseawolves.org/facilities/ston-10-pritchard.html
2.)^Stony Brook University Plans Historic Reunion, 2012-03-07, http://commcgi.cc.stonybrook.edu/am2/publish/General_University_News_2/Stony_Brook_University_Plans_Historic_Reunion_for_1961-1981_Alumni.shtml
3.)^Stony Brook University Arena on GoSeawolves.org
4.)^Pritchard Gym on GoSeawolves.org
5.)^Dubin Family Athletic Performance Center on GoSeawolves.org
6.)^http://umaryland.worldcat.org/identities/np-pritchard,%20william%20e
7.)^Hoover, Mildred Brooke, Kyle, Douglas E., Historic Spots In California, pg. 602, books.google.com/books?id=AYMPR6xAj50C&pg=PA602&lpg=PA602&dq=william+e.+pritchard,+1982&source=bl&ots=8RQcN1rdx9&sig=_dsglUKx2gGheBmENv8NQpacWpE&hl=en&sa=X&ei=DGULUICdM86J2AXArf39Dw&ved=0CEoQ6AEwADgK

Sullivan Stadium (Foxboro Stadium), 1 Patriot Place, Foxborough, MA

Capacity 55,000

In 1971, Schaeffer Stadium was constructed for a little more than $6 million. The name has changed (twice), but for the past 29 seasons the "home" venue has remained the same.

William H. "Billy" Sullivan, to ensure the long-term viability of pro football in New England, established one of the nation's first naming-rights agreements in 1970 when he persuaded Schaefer Brewing Co. to put its name on the facility. The price: a whopping $150,000.

Foxboro Stadium (originally Schaefer Stadium, formerly Sullivan Stadium, commonly Foxborough Stadium) was an outdoor stadium, located in Foxborough, Massachusetts. Although the official spelling of the town's name is "Foxborough", the shorter spelling was used for the stadium.[3]
The site was selected when the owners of Bay State Raceway donated the land, midway between Boston and Providence, Rhode Island. Ground was broken in September 1970, and it was built in less than 11 months at an announced cost of $4,000,000, (later determined to be about $7.1 million, or $37.5 million in 2007 dollars) a bargain price, even at the time, for a major sports stadium. This was because the Patriots received no funding from the Commonwealth of Massachusetts or the town of Foxborough. Because of this, and also the era in which it was designed and built, it had very few amenities — the type that became commonplace at football stadiums in the 1990s — such as individual seating, "club seats", luxury suites, and deluxe locker rooms for the teams.
During Kiam's ownership of the Patriots, ESPN anchor Chris Berman humorously referred to the facility as "Shaver Stadium", lampooning Kiam's ownership of Remington Razors.
When this agreement expired in 1983, Anheuser-Busch took over the rights, but instead of putting the name of one of its brands of beer on the stadium, agreed to name it Sullivan Stadium in honor of the Sullivan family, majority owners of the Patriots. After the family sold their majority interest in the team to Victor Kiam, the stadium was officially renamed "Foxboro Stadium."

By the late 1990s Foxboro Stadium had become functionally obsolete by modern NFL standards. The facility was built cheaply as a "bare bones" stadium and had very few modern amenities. It also lacked luxury boxes, a major source of revenue for other teams in the league, and most patrons had to sit on backless aluminum benches as only a small fraction of the stadium had actual seats (painted blue, red, and white near the 50-yard line). With a capacity of just over 60,000, it was one of the smallest stadiums in the NFL.
After 31 NFL seasons, Foxboro Stadium was demolished in January 2002, after the conclusion of the 2001 season (in which the Patriots won their first Super Bowl). The last game played in the stadium—"The Tuck Rule Game"—was played in a snow storm; a Patriots win against the Oakland Raiders, which famously featured an overturned fumble call based on the tuck rule in the final minutes. The stadium's former site became the parking lots of its successor, Gillette Stadium, before being developed into the open-air shopping center Patriot Place.


Jerry performed here on
7/4/87 Grateful Dead Bob Dylan (Sullivan Stadium)
7/2/89 Los Lobos Grateful Dead (Sullivan Stadium)
7/14/90 Grateful Dead (Foxboro Stadium)




3.)^http://www.patriots.com/search/index.cfm?ac=searchdetail&pid=3109&pcid=41

Music Mountain, Avon Lodge, South Fallsburg, NY

1944 Avon Lodge

Music Mountain was located at the Avon Lodge in Woodridge. The Village of Woodridge is in the Town of Fallsburg. Raphael Kasofsky and Meyer Arkin were owners of the popular Avon Lodge a mile outside of Woodridge. Arkin's 156 acre Avon Lodge was where Sid Caesar first performed in public. As a member of the hotel's kitchen staff in the 1940s, Sid and others put on socially aware plays and skits in the hotel theater, including works by Clifford Odets.

Music Mountain was founded by Jacques Gordon, founder and first violinist of the Gordon String Quartet, with the primary mission of education through the performance of the chamber music literature, specifically, the music for the string quartet.

Jaques Gordon

In 1930 Mr. Gordon established summer residence in Falls Village, New York. The Gordon Musical Association, established that same year, maintained a summer school of music called Music Mountain, where many students gathered to study repertory and chamber music and to hear performances by the Gordon String Quartet.(4) Mr. Gordon is buried behind Gordon Hall, on the property.

Don Appel moved his troupe to the Avon Lodge in the summer of 1942 from Kutsher's Country Club in Monticello.(3)

The concrete bandshell remains although quite decrepit...there is the Navasink River in front of property.(1)

Nicholas Gordon, was the son of the founder and president of Music Mountain in 1981. The publicisct was Donald Kobler.(5)

The Allman Brothers played here on August 22, 1981.
The Beach Boys performed here on September 4, 1981.

Music Mountain is the nation’s oldest and most distinguished continuing summer chamber music festival. It moved to Falls Village , CT sometime after 1982.

The property is for sale.



Jerry performed here on
6/16/82 Jerry Garcia Band




1.)^Miller, Scott, Scottshredder@gmail.com
2.)^Grine Felder, http://www.columbia.edu/~lnp3/mydocs/culture/Grine_Felder.htm
3.)^Caesar, Sid, Caesar's Hours:My Life in Comedy, pg 34
4.)^Watanabe, Ruth, The Gordon Collection of String Music, vol.7, winter 1952, no. 2
5.)^Daytona Beach Morning Journal, 81-05-21, Old Group Dropped Abruptly, pg 17a

Sweetwater, 153 Throckmorton Ave., Mill Valley, CA

The Sweetwater is the legendary Mill Valley music club which for over 30 years had been the premier live music location in the North Bay.

The bar is lit with a dim, orange lighting scheme. And it was filled choc-o-bloc with chairs and tables.

Live musical performances by the likes of Bonnie Raitt, Elvis Costello, The String Cheese Incident, John Lee Hooker, Carlos Santana, plus many others [1]. There were typically at least 4 to 5 musical acts booked per week making it a popular local hangout.[1) The Sweetwater also featured an open mike night on Mondays that had occasionally featured surprise performances by well-known artists such as Gregg Allman, Train and others.
The band Hot Tuna recorded two live albums at Sweetwater in the early 1990's[3]featuring guest performances by local figures such as Bob Weir and Wavy Gravy.
BBC Television shot a documentary at the club featuring John Lee Hooker, Bonnie Raitt and Ry Cooder.
In 2004, the establishment faced eviction by landlords who needed to raise the rent to more than what the owners claimed they could pay.Through donations the bar was saved and its lease was renewed when the owners of the building generously offered new terms. It was not however disputed that the new rent was fair and the owners of the Sweetwater entered into a month to month lease.[1)
In September 2007 Sweetwater closed because the landlord of the building found it necessary to renovate the somewhat run-down property and declined to offer the club terms for a new lease after the renovation's anticipated completion.[3] The owners of the building were also the long time owners of a very popular Italian restaurant next door that had been established in the 1960's. A spokesman for the family that owned the building and restaurant said at the time that the building would undergo long-overdue repairs and maintenance and that the new Sweetwater owners knew about renovation plans since their lease had expired two years previously. "We've been in this community for 45 years," he said. "If we wanted to throw the Sweetwater out, we would have done it a long time ago."(2)

In 2012 it's located in the Masonic Hall at 19 Corte Madera Avenue in Mill Valley, the Sweetwater Music Hall offers food, drinks, and a broad spectrum of live music and entertainment


Jerry performed here on
4/24/89 Elvis Costello
12/17/90 David Grisman





1.)^Selvin, Joel, Sour note at Sweetwater prompts outpouring of support, http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/03/18/DDGM35LTCQ1.DTL#ixzz1veamIAne, 2004-03-18
2.)^Selvin, Joel, Longtime club Sweetwater set to close Sept. 1, http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/08/08/DDEGREBHN.DTL#ixzz1vebKjmDG, 2007-08-09, http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/08/09/DDEGREBHN.DTL

Lodge, Lompico, CA

The community of Lompico was founded in 1927. The community consisted mostly of cabin homes for summer residents.
With the 1960's came the hippies and also came the community's two most famous residents. Jerry Garcia and Janis Joplin. Jerry's grandparents lived here, and he was a common visitor. Janis once inhabited an old lodge on the Islandia property.


It's unknown which lodge this event took place at.



Jerry performed here in
Late 1950's Daniel & Tiff Garcia
"Near the summer house at a lodge in "Lompico" in the wooded part of Northern Santa Cruz County; Daniel, Jerry & Tiff (Jerry's brother) play. They play some Wilbur Harrison tunes up on the lodge dance floor. Jerry & Daniel on guitar and Tiff thinks he was beating on a cymbal & a box by ear and copying records. On other occasions it would be the "Garcia Brothers" with Jerry & Daniel on guitar & Tiff on bass sometimes.(1)

The Santa Cruz Sentinel ran the following headline: "Jerry Garcia's finger rests in county folklore." When Garcia was 4 years old and staying with his grandparents in Lompico, his brother accidentally chopped off most of Jerry's right middle finger with an ax. A few months later his father was swept away by a river in Northern California.(2)





1.)^Jackson, Blair, Garcia: An American Life, pg. 23.
2.)^ O'Sullivan Art, Metro Santa Cruz, 2005-08-3-10,

Music Hall, 270 Tremont Street, Boston, MA

1928 postcard

 Capacity-3600

Architect Clarence H. Blackall
French Rennaisance

In a 1918 Boston street directory, the site of the Wang Theater (Music Hall)., between the Wilbur Theater and Hollis St., was occupied by the New Richword Hotel.(Ron Salter-cinema treasures)

Built in 1925, the theater was originally intended to be named Capitol rather than Metropolitan. The building combines a 14-story Renaissance Revival office building of granite and cast stone, with an auditorium seating 4225 people. The interior is characterized by a series of vestibules and lobbies, highly decorated in marble, bronze, ornate gilding, and painted friezes.
According to Donald C. King's new book The Theatres of Boston: A Stage and Screen History, the Metropolitan opened on October 17, 1925, with 4407 seats. 

Photo courtesy of Noah Kern

Photo courtesy of Noah Kern

The interior, modeled after Garnier's Paris Opera and decorated in the Louis XIV style, was appropriately advertised as "the public castle" with "a thousand and one wonders" including the grand lobby with four tiers of prominades, spacious lounges, marble doorways, rose jasper pillers, tow 1800-lb. gold plated chandeliers, bronze details by the Gorham Company, and $10,000 in gems decorating the central mural painting by Edmund Philo Kellog.(1)

Photo courtesy of Noah Kern

The Metropolitan opened on October 17, 1925, with 4407 seats.(2)

The Metropolitan presented a first-run film, symphony orchestra overture and ballet, followed by vaudeville. It booked famous stars like Amos and Andy, Kate Smith, and Rudy Vallee, whose acts were not completely absorbed by the house's vastness and grandeur. Such huge auditoriums hastened the demise of vaudeville, whose very intimacy had been its greatest attraction.

'American Theatres of Today' Vol 1 (published in 1927) credits the following as architects of the Metropolitan Theatre;- Blackall, Clapp & Whittemore; C. Howard Crane, Kenneth Franzheim, George Nelson Meserve, Associated architects.(KenRoe-cinema treasures)

1929 photo courtesy of George Mann

The initial developer of the Metropolitan was Boston movie mogul Nathan Gordon. The cost was over $8,000,000. The theater employed a corps de ballet, a 100-voice chorus, and a 55-piece orchestra.

There was a 3100-pipe 4/26 Wurlitzer organ.

In October 1973, the instrument was not in playing condition. The Metropolitan Theater had been booking rock concerts, and at least at one of those concerts, some overly energetic fans broke into the Solo Chamber, walked through and crushed much of the Orchestral Oboe, Kinura, Krumet, and Solo Strings. Gerry Duffy and the late Dr. Gordon Potter to remove, crate, and have it shipped to Portland in December, 1974.  The four manual console from the Boston Metropolitan Theatre ended up as part of the Oriental Wurkitzer in the Portland Organ Grinder, a restaurant. It's since closed and the organ was sold and then parted out.(14) The console went to Garrett Shanklin of Groton, MA (30 miles west of Boston) for use in his 4/34 Conference Center installation. The 32 foot Diaphones went to Organ Stop Pizza in Mesa, AZ. (4) Bummer.

1973 damage

 They had forced open some shutter blades and promptly plopped their stoned-asses in the middle of the chest, grooving to some gawd-awful rock band.  The English Post Horn was also missing—but its 16’ octave was still there. The Brass Trumpet had been replaced with a Gottfried French Trumpet. Gerry Duffy and the late Dr. Gordon Potter removed, crated, and had it shipped to Portland in December, 1974.(14)

Along with the stage shows, the musicians and dancers presented tableaux, ballet, and operatic moments. Admission cost 35 to 75 cents. To amuse people waiting to be seated, there were musicians playing in the Grand Lobby, paintings by area artists hung on the walls, and ping pong and billiards downstairs. After the show, couples danced in the Grand Lounge, and in 1932 a small Art Deco restaurant called the Platinum Salon opened in the lounge area.

1930

Resident producer John Murray Anderson arranged his own stage shows.
A seating board and cadre of 40 well-mannered, costumed ushers made sure that no seat remained empty long.
There was a screening room in the Met with some 90 seats in it for showing new movies to "the trade". It was located upstairs somewhere at the front of the house. The space is still there, but the mini-cinema is long gone.(7)

In February 1938, the Metropolitan dropped its stage shows. 

By the 1940's costs were mounting and big name headliners became increasingly necessary to draw crowds. The Big Bands, including Duke Ellington, the Dorsey Brothers, Benny Goodman, and Gene Krupa, played here. Bob Hope, Al Jolson, and Dorothy Lamour performed at war bond drives. After world War II attendance declined due to the impact of TV. Stage shows were abandoned for a while, but after the Boston Opera House was destroyed in the late 1950's, the theatre became attractive to large touring productions.

The Film Daily Yearbook 1941 gives a seating capacity of 4,330, by 1950 it was listed as 4,100 seats in the F.D.Y.(Ken Roe-cinema treasures)

1947

1959

The attendance record at the Metropolitan was broken in the early fifties when Dean Martin & Jerry Lewis were booked live on stage for a week. The shows were continuous every day and featured Les Brown & his Orchestra, Helen O'Connell and Gene Sheldon. The crowds were almost uncontrollable. There is a secret door leading from the dressing rooms directly into the downstairs Mens' Lounge. This is how Martin & Lewis escaped the mobs at the Stage Door. They simply mingled with the patrons walking out of the Lounge and out into the street.(Chet Dowling-cinema treasures)

According to an unpublished draft manuscript by Douglas Shand-Tucci entitled The Puritan Muse (available in the Fine Arts room of the Boston Public Library), the last show as the Metropolitan was on May 31, 1962.

Over the years it moved from the M&P chain to ATC to New England Theaters, and finally to Sack.(Ron Newman-cinema treasures)

The Metropolitan was acquired by the Ben Sack chain and reopened on July 13, 1962 as the Music Hall with "Boys Night Out" with James Garner and Kim Novak. Brad Roberts-cinema treasures)

During Sack's operation, the Music Hall presented occasional road stage productions, opera, and ballet, as well as movies.(Ron Newman-cinematreasures)
The theatre hosted such groups as the Bolshoi Ballet, the Boston Ballet, and the Metropolitan Opera. However, stage depth and production facilities were inadequate, and many touring shows were forced to bypass the Boston audience.
At that time in 1962 Sack was bringing nostalgia back to the theater, had installed huge bright red velvet curtains, and the movies were preceded by 'Louie Wier at the Mighty Wurlitzer'-the huge pipe organ rose on an elevator from the pit, an ancient Louie played things like the 'Skaters Waltz' with a spotlight on him, then sank back into the pit. All that heaven camp in 1962. He used to have Italian tenors occasionally perform between films also.

Ben Sack guaranteed 20th Century Fox $200,000 to obtain "Cleopatra" for the Music Hall, a fortune of money in those days. In advertising the film, a big deal was made over the fact that all seats were in the orchestra; but Sack and his manager A. Alan Friedberg - who later ousted Sack from his own company - notoriously sold "strip tickets" in the balcony on weekends when demand was high. These tickets were very unlikely reported in the ticket manifest that went to Fox, helping Sack get a quicker return on his "guarantee."(Bill Liberman-cinema treasures)

The world premiere of "Torn Curtain" which Hitchcock scheduled for 9AM on a Wednesday morning, to cut a 50 layer cake for his 50th film (not surprisingly, Newman and Andrews did not attend). (Brad Roberts-cinema treasures)

By the late 60's rock concerts started up there and it was a perfect venue to see great rock acts before the era of stadium rock. Some of the great concerts  there were Jefferson Airplane (a few times), Neil Young (an all acoustic set in 1970), Joni Mitchell, The Moody Blues, Linda Ronstadt and more.(Brad Roberts-cinematreasures)

In 1974 the Boston Redevelopment Authority identified the Music Hall as a theatre with potential to serve the city and suggested to the owners, the New England Medical Center Hospital, that a non-profit group by established to lease and renovate the facility. Metroplitan Center, Inc. was incorporated in 1976.
The Boston Globe and Herald archives, I see that the theatre officially changed over from Sack Theatres' Music Hall to the Metropolitan Center on July 7, 1980.(Ron Newman-cinema treasures)

In 1983 the roof was seriously damaged, and the theatre was about to be demolished. A plea went out to the community to save the theatre, and Dr. An Wang of computer fame answered the plea with a gift of $4,000,000. The theatre was renamed in his honor. The(Ron Newman-cinema treasures)

For the record, it's probably worth clarifying that the Music Hall was renamed The Metropolitan Center in the 1970's, then (as noted in a previous post) renamed The Wang Center following Dr. Wang's donation in the mid-1980s. (7)

And on February 22, 1991 (a Friday night) it squeezed in a special showing of Ben-Hur with Charlton Heston sitting in the audience. he stayed for the entire film, although the 70mm print was a blown up, cropped version of the original Cinemascope film.(Dan Petitpas.cinematreasures)
A shame that the Wang isn't viable as a film house, because it is far from ideal as a venue for live theater. While the large seating capacity---more than twice the size of a typical Broadway house---means a high gross potential, the acoustics and sightlines are mediocre and charging near-Broadway prices for the rear orchestra and mezzanine makes little sense due to the considerable distance from the stage (bring binoculars).(7)

The Wang Theatre (formerly the Metropolitan Theatre), along with the Shubert Theatre, the two theatres operated by the non-profit Wang Center for the Performing Arts has been converted into a grandiose performing arts center that, until spring of 2005, delighted movie audiences with ocasional showings of classic films.

Conrad Schmitt Studios restored the elegant decoration, gilded moldings, murals, scagliola and marbleized surfaces of the Renaissance Revival and Baroque style theatre, which is one of the largest historic theatres in New England. Prior to the restoration, layers of dirt and darkened varnish muted the splendor of the original finishes. Entire murals were missing. Other pieces clung to the ceiling.
An investigation of the original colors and finishes was conducted by CSS as a guide for the restoration work. To commence the project, years of accumulated dirt was lifted from the surface of the four-story lobby, followed by the application of paint, gold and aluminum leaf and tinted varnishes. The newly restored lobby then served as a large-scale visual sample to encourage donations for the restoration of the entire theatre. Two teams of artists and decorators worked around the clock to complete the restoration of the 3,600-seat main house in just 18 weeks.
A theater whose beauty is really the 'big' thing, the Wang Theatre has state-of-the-art sound technology along with beautiful decorations and gold plated figures. It also features a large stage, with the auditorium containing a 1,500 seat balcony, a mezzanine, and 20 box seats along its edge.

There were, and still are, two brass-doored elevators to take people up to the top of the balcony. They were the old kind that required an elevator operator.

It is still possible to go from the lobby to back stage by way of a passageway in the basement which leads from the lounges at the lower level to the basement under the stage.(4)

Irregularly-shaped Renaissance Revival "palazzo skyscraper" with symetrical, 11-bay Tremont facade. Two-story colonnade of engaged fluted Greek Ionic columns at level 2-3. Shaft of building organized by rising piers, recessed spandrals and paired metal window units, with ornament concentrated at level 4 and 5. Building terminated by two-story colonnade of engaged Corinthian pilasters at level 12 and 13, plus denti cornice and roof cresting of palmettes and theatre masks.

The Music Hall/Metropolitan is highly significant as the largest theatre in Boston history and one of the largest in the country, as the best example of the sumptuous "movie palace" of the roaring twenties and as the last of Clarence Blackall's 14 Boston theatres.

The theatre reputedly cost 8.5 million, seats 4200-4400, and is housed in a large office building, first to be constructed in Boston under a new height limit of 14 stories.

The Orpheum and the old Music Hall are four blocks apart.(15)

Jerry performed here on
4/7/71 New Riders Of The Purple Sage and Grateful Dead
4/8/71 New Riders Of The Purple Sage(3) and Grateful Dead
12/1/71 Grateful Dead
12/2/71 Grateful Dead
9/15/72 Grateful Dead
9/16/72 Grateful Dead
11/30/73 Grateful Dead
12/1/73 Grateful Dead
12/2/73 Grateful Dead
6/9/76 Grateful Dead
6/10/76 Grateful Dead
6/11/76 Grateful Dead
6/12/76 Grateful Dead
3/14/78 Jerry Garcia Band
11/13/78 Grateful Dead
11/14/78 Grateful Dead(2)





1.)^Boston Theatre District: A Walking Tour", Boston Preservation Alliance, 1993.
2.)^http://www.deadlists.com/default.asp
3.)^http://www.nrpsmusic.com/music/1971.html
4.)^Salter, Ron, 2011-11-08, http://cinematreasures.org/theaters/29
5.)^Andy, comments, http://cinematreasures.org/theaters/29
6.)^Newman, Ron, comments, 2008-09-26, http://cinematreasures.org/comments?page=2&theater_id=29
7.)^EricH, comments, 2005-01-04, http://cinematreasures.org/comments?page=5&theater_id=29
8.)^danpepitas, comments, 2008-08-28, http://cinematreasures.org/comments?page=2&theater_id=29
9.)^Borisbadenov, comments, 2004-12-25, http://cinematreasures.org/comments?page=6&theater_id=29
10.^KenRoe, comments, 2004-11-02, http://cinematreasures.org/comments?page=6&theater_id=29
11.)^BraqdRoberts, comments, 2002-05-13, http://cinematreasures.org/comments?page=6&theater_id=29
12.)^bliberman, comments, 2008-09-22, http://cinematreasures.org/comments?page=2&theater_id=29
13.)^King, Donald, The Theatres of Boston: A Stage and Screen History
14.)^Hedberg, David, Theater Organ, American Theatre Organ Society, Inc.
15.)^Keenan, Walter, Garcia historian.