Dana Morgan's Music Store, 534 Bryant, Palo Alto, CA

Gil Draper asked Dana Morgan Sr. to open a store with him. Dana refused. They had known each other because Dana Sr. had conducted the orchestra that appeared on El Camino Real, with Gil Draper on saxophone.[16]

"My first contact with Dana Morgan Jr. was in 1961, at his dad's cramped, over-packed music/instrument repair shop in downtown Palo Alto CA, That was where my father bought a trumpet for me from a rather 'greaser' looking dude. That store for sure triggered the aspirations of many local youths to peruse a life in 'music'. Over the next few years, Dana's image change from that slick-back ducktail to longer and longer hair. In 1964, he sold me my first electric guitar and later 'loaned' me his Gibson Thunderbird Bass and Atlas amp for my first 'band gig'. I do remember that a LOUD band rehearsed at the smallish shop all the time and 'after-hours' and that his Hawg was in the ally carport always. My friends and I were in and out of the shop all the time; drooling-over guitars, amps and such; watching odd-looking people flowing through the narrow hall leading back to the lesson rooms; always a constant din of wind and string instruments. As the '60's closed and as a few of us turned into some sort of 'hipsters', Dana was less and less a presence at the shop. Into the '70's, some of my friends now 'taught' new youths in the shop's lesson rooms....Dana would be seen now and again on this ever louder Hog on the streets of Palo Alto, Redwood City, La Honda, and the roads up and over to the Coast."(

"Dana Morgan was my next door neighbor in Menlo Park growing up. The front of his house was hung with musical instruments in the same way others would have had hanging plants."[18]

Jerry rehearsed here in
1962
"Garcia bought a banjo from fifteen year old drummer Bill Kreutzmann's father at the Dana Morgan Music Store, and was soon working at the store himself."[7]

Summer 1963
Jerry would hitchhike from Mountain View to work at Dana Morgan's.
"I remember so vividly taking guitar lessons with my friend David Simons at the Dana Morgan Music store in downtown on Ramona in the mid-sixties. Our teacher, Jerry Garcia. He would teach us our lesson for the day then spend a few minutes playing for us. Man he was good."[11]

1963
"I had many talks with Jerry, he was a friend. Our friendship started when I was sixteen and took guitar lessons from a family friend's son, Jerry, at Dana Morgan Music Store, Palo Alto, Ca. Of course, it helped to be a person with the same last name of Garcia, he always referred to me there after as his little "cousin." It was a cultural mixing bowl Palo Alto at the time. My father and uncle Bob played flugel horn with Jerry's dad in the Lyons Club Band."[14]

12/31/63
In the Michael Wanger/Frost Amphitheater 6/8/69 Grateful Dead Documentary release, Bob Weir says: On New Year's Eve in the back of Dana Morgan's Music store, no one was interested in getting guitar lessons. Myself & a friend of mine dropped by and sat and rapped and decided we had enough talent amongst us, or questionable talent amongst us, to start a jug band. The jug band got rolling very shortly thereafter. I of course played hyperventilated jug & washtub bass.
"I was on unemployment by that time.  My job with the magazine had dried up.  I fell into a routine of picking up my bi-weekly unemployment check and drifting down to Morgan’s and playing with Jerry if he wasn’t teaching. He demonstrated some pretty adept finger style playing of his own.  His influences were people like Earl Scruggs (who plays fabulous
guitar as well as his trademark banjo playing).  He played some Kirk McGee rags, he played some Doc Watson finger style. But it wasn’t all showoff.  We usually just played together for the pure joy of playing and swapping licks. Many times there would be other musicians there that would join in and we’d jam."[3]

4/14/64 Unknown Student
Banjo lesson
Jerry plays seven unnamed tunes before Rawhide and Stoney Creek.
"I took five string banjo lessons from Jerry Garcia for $3.00 a half hour at Dana Morgan."(17] This was recorded by the student.

1964 Student Margaret Bell
"Jerry Garcia worked at Dana Morgan's Music Store in the mid-60's...I took lesson's from him, at first...then baby-sat for his daughter, Heather, while the band (the Warlock's) practiced...then started hanging out on Sundays at Dana Morgan's to watch the Warlock's practice...this was when Dana was the bass player. They'd send me for lemonade and donut's to (I want to call it-) Brewer's--- Does anyone remember Brewers? Or am I getting the name wrong?"[10]

"I was a guitar student of Jerry's at Dana Morgan Music Studio at age twelve, (1962) during the summer, right before his band went from the jug band to the Warlocks."[13]

12/31/64 Warlocks
Jerry plays an early 1960's Guild Starfire III guitar.[9]
Rehearsal
Jerry Garcia At Dana Morgan Music
When I was about 15 or 16 I lived in Palo Alto. There was a great music store called Dana Morgan Music. I think it was around 1965. (ed. note: It was 1962)
There was a twenty year old guy working there named Jerry Garcia. He used to teach guitar and work at the counter. He had long unruly hair. He wanted a Beatle hairstyle but it was too frizzy. He was definitely a beatnik.We got to be friends. Many days I would go in on a hot afternoon and spend time playing guitar with him and talking about music. We talked about his general idea about creating automatic pop music by having songs with a form but a place within them to have long extended jams. This was not done in popular music at the time so it was a new idea. It was done in jazz and blues but not pop. He would also sit me down and make me play E-D-A over and over until I would get restless and take off. He loved to jam. He was developing his style right in front of me. About that time there was a guy who would just sit on the couch there and play E-D-A all the time. I always thought that they should play together in a group. His name was Bob Weir.[1]

Jerry Cracks The Code
Sunday, December 6th, 2009
Jerry Garcia saw something in the Rolling Stones. He really related to them. You might say he modeled his early style after them. I remember one day I was hanging out at Dana Morgan Music in the back. I knew Dana Morgan and the instrument repair guy Fred. I knew the whole family, really.
Jerry Garcia had a teaching alcove underneath the stairs leading up to a storage room. He was intently studying the guitar solo of  Heart Of Stone when suddenly he shouted “I got it!” to no one in particular. He came running out of the alcove with his Guild guitar in one hand over his head. He he had cracked the code of what Keith Richards was doing in his solo which was a series of run together triplets.
If you listen to Jerry’s early solos with the Grateful Dead you would hear that exact form where he runs together triplets forever!![1]
"And Jerry even had a couple of gigs through Stanford University where it was him and some – Troy Weidenheimer, who already played electric, because electric wasn't out of the question. Not at all. It was to the world, the media and everything. But... rock and roll is where I started in music actually. And Troy Weidenheimer was a working electric guitar player. We used to just admire him and sit there and watch him play. I later played a couple of gigs - I played bass with Troy Weidenheimer. So, there's all this thinking about yeah, go electric. I’m still working with The Pine Valley Boys, but Eric [Thompson] comes by one time to Gilman Street and says, “Hey, they're practicing down at Dana Morgan's Music Store right now.” It was about this time of day [late afternoon]. I said, “Yeah? Let's go over.” So we walked over there, and there they are in the window and you know, and Garcia's going, to Weir, “No, no, no, not like that you goony child!” I thought, oh man.
David Gans: Jerry was being mean to Bob?
Dennis Nelson: We thought that's awful hard to take. I don't know if I could stand that, man.
David Gans: Being yelled at by Jerry?
Dennis Nelson: Because we would be in the same position."[5]

1965 Warlocks
Jerry plays an early 1960's Guild Starfire III guitar.[9]
"Dana supplied all the instruments for the very first configuration of the Warlocks, as they called themselves when they first started. Dana actually attempted to play bass, but was inadequate to the task, and after a couple of gigs in Magoo's Pizza in Menlo Park, they decided that Dana wasn't quite up for it."[8]
"I saw Jerry every Tuesday night at 7:00pm for my guitar lessons at Dana Morgan Music in Palo Alto."[15]

Dana Morgan's Music Store, Palo Alto, CA
1.)^Shapiro, Mike, Jerry Cracks The Code, Beat Blog, http://www.beatrecords.com/blog/?p=18
2.)^Troy, Sandy, "Captain Trips," pg. 59-60.
3.)^Van Maastricht, Norm, Reflections On The Garcia, pg. 7.
4.)^Wanger, Mike, Bob Weir's high school classmate.
5.)^Nelson, David, David Gans Interview
6.)^Uncle Buck, comments, 2008-04-08, General Discussion, http://www.rukind.com/forum/viewtopic.php?f=311&t=3895
7.)^Schenk, David, and Silberman, Steve, Skeleton Key, pg. 101.
8.)^Dawson, John, Brown, Toni, NRPS Interview, Volume #18, Issue #3, June 1991, Relix, http://www.kippel.com/archives/journalism/files/18-3-newriders.html
9.)^Wright, Tom, Garcia musical instrument historian, 2014-03-02, email to author.
10.)^Bell, Margaret, comments, 2008-02-17, http://www.paloaltoonline.com/square/index.php?i=3&t=551#add_comments
11.)^Duncan, Jerry, comments, 2013-09-11, Do You Remember Old Palo Alto, https://www.facebook.com/groups/50420096145/
12.)^Steele, Bill, comments, Do You Remember Old Menlo Park, https://www.facebook.com/groups/280701541973554/
13.)^D'Anna, Jo, comments, 2014-05-09, https://www.facebook.com/groups/280701541973554/
14.)^Henderson, Judith, 2015-02-09, email to author.
15.)^Takahashi, Ned, 2015-03-06, email to author.
16.)^Draper, Gil, 2015-04-01, telephone interview with author.
17.)^Unknown student.
18.)^Esselstein, Lisa, 2015-06-28, Grateful Dead Tour Veterans 1980's, facebook.com

David McQueen's (David X) other house, Waverly at Channing, East Palo Alto, CA

Also see David McQueen's (David X) other house, Ramona Street, Palo Alto, CA.

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

David McQueen's (David X) other house, Ramona Street, Palo Alto, CA

One night in St. Michael's Alley in Palo Alto I met Pigpen. He turned a friend and I on to a frequent jam session at the house of a "David X" in East Palo Alto. We'd go and give Pigpen a ride since he didn't have a car. (Andy Z.)

"We had an old house on Ramona Street in downtown Palo Alto — there was a one-block area in that part of Palo Alto where a few blacks lived; one block. Ron used to work at the gas station on the corner between the house we lived in and the mom and pop store where we bought our wine. Ron accosted me one day on one of my frequent wine runs: here was this young white kid with bad skin and he still had his baby fat, but he talked like a 60-year-old black blues man. 'Hey man, you the cat that's been havin' all them parties?' he said. 'I want to come over!' When I asked how old he was, he said, 'Damn that — I play guitar and harmonica,' except he called it a 'harp' just like a young brother." David McQueen(1)


Jerry always had a guitar with him wherever he went", McQueen continues,"One day, after doing a yard job, we were on the way back to my house in east Palo Alto. It was summer, kids were out playing in the streets, and Jerry was playing guitar and we were singing as we walked. I looked behind us at one point and there was a whole group of little black kids following us and dancing....When we stopped they were all over Jerry: Play some more! Play some more! Jerry loved it. (1)



Jerry lived and rehearsed here in
1965





1.)^Jackson, Blair, Garcia, An American Life, pg 3, 42

S.S. Bay Belle/S.S. Duchess, New York Harbor/Battery Park, New York, NY

Capacity 2400

Harlan & Hollingsworth Corp. of Wilmington, Delaware built the as the 202-foot "City of Wilmington" for the Wilson Line in 1910 with triple expansion engines. It was berthed at Pier 5 on Pratt Street, Baltimore in it's early days. It used to sail to Betterton, where there was an amusement park.

Totally rebuilt and modernized as the S.S. Bay Belle in 1941 for Chesapeake Bay service.(2)
Known as "the largest marine ballroom afloat.

1952

1954

1958

Early 60's

matchbook

She passed from Wilson Line in the mid-1960s to various operators in New York City for excursion service to Rockaway Beach and up the Hudson and into Long Island Sound to New England.

Docked at Bear Mountain, Hudson Highlands of Orange County, just north of the New York metropolitan area

Receiving a new paint job at least, the vessel moved to the "Sound Line" at some point.

Cruising the Hudson

The Jackie Curtis revue was one of the support acts for the Manhattan Transfer when they performed on the S.S. Bay Belle on July 27, 1973. (The other support act was another Warhol star, Eric Emerson.)(1)

Later known as the S.S. Duchess, the ex-Wilson Liner "City of Wilmington", is now laid up at Brooklyn Navy Yard in New York City.(2)

Here she is seen laid up in the Brooklyn Navy Yard in 1983, photo courtesy of World Ship Port Of N.Y. Branch

Jerry performed on this vessel on
9/5/73 Merl Saunders (private Hell's Angels party and first time the guitar Wolf was played, Wolf's first appearance with the Grateful Dead was at the Nassau Coliseum on September 7th.) (The ship was called S.S. Bay Belle at this time.)
There was a movie made of this adventure called Hell's Angels Forever. It's a semi-documentary directed by Richard Chase, Leon Gast, Kevin Keating, and Lee Maden, about the Hell's Angels.
 Lee Madden (I) (1926–2009) Director | Writer | Producer
Writer/director/producer Lee Madden was born in 1926 in Brooklyn, New York City. Madden's debut film was the enjoyable biker crime caper heist yarn "Hell's Angels '69;" this movie featured various members of the real Oakland Hell's Angels led by then president Sonny Barger and was the sole motion picture the motorcycle club directly participated in. Lee's other films include the equally entertaining biker outing "Angel Unchained," the creepy horror opus "The Night God Screamed," and the fun drive-in exploitation romp "The Manhandlers." Moreover, Madden also directed episodes of the TV series "The Most Deadly Game," "Bearcats!," "Cade's County," and "The New Perry Mason." His company Lee Madden Associates was a major supplier of industrial movies and TV commercials for primarily automobile companies. Lee's son David is the executive vice president of programming at Fox Television Studios. Madden died at age 82 of complications from pneumonia on April 9, 2009 in Camarillo, California.(6)

Kevin Keating's directing debut was "Hell's Angels Forever" in the 1970's.  He shot footage of Muhammad Ali for director Leon Gast in Gast's 1996 Ali documentary "When We Were Kings".  Mr. Keating was the cinematographer on two of Barbara Kopple's films ("Harlan County, U.S.A." and American Dream".) Giuliani Time was just released.(4)

Leon Gast - Filmmaker
Producer, director, editor and writer of Smash His Camera, the Award winning flm about paparazzi extraordinaire Ron Galella. When We Were Kings, the Academy Award® winning documentary of the 1974 heavyweight championship bout in Zaire between champion George Foreman and underdog challenger Muhammad Ali. Other film credits include 1 Love, Hell's Angels Forever, The Grateful Dead Movie and Celia Cruz: Quantanamera.(5)

 Bo Diddley and Elephant's Memory (John and Yoko's backup band) also performed. The soundtrack includes music by Jerry Garcia, Willie Nelson, Bo Diddley, Johnny Paycheck, Elephant's Memory and Bob Dylan.

9/15/76 JGB (private Hell's Angels party benefit for Sandy Alexander Legal Fund) (The ship was rebuilt and renamed S.S. Duchess)
"Loading at Battery Park". "
After her second attempt to dock at the pier, we boarded. She had a glass covered engine room allowing you to see the inner workings of the hard pounding steam engine. This, put together with the band's rockin' rhythm and you can imagine the venue."(3)
"When we hit the wake from another boat Jerry started bending his notes to go with the rockin.
Thanks to all for remembering this show. Up the Hudson to GW Bridge, down then up East River under Brooklyn Bridge."(7)

1.)^http://www.warholstars.org/warhol/warhol1/andy/warhol/can/candy24.htmlanother
2.)^NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM, 1979-04-20, U.S. Department of the Interior
3.)^the wheel, 2011-10-03, http://www.rukind.com/forum/viewtopic.php?f=346&t=5726&sid=0aaa9b2386e59383276239d6770bf6c8&start=15
4.)^http://www.popcornreel.com/htm/Keating.htm
5.)^http://www.woodstockfilmfestival.com/advisory.htm
6.)^http://www.imdb.com/name/nm0534613/
7.)^Bill460, comments, 2011-03-04, http://www.rukind.com/forum/viewtopic.php?t=5726

Daniel Garcia's parents house, San Francisco, CA

The exact address is unknown.

In 2012 Daniel Garcia is a successful dentist in the Bay Area.(2)


Jerry rehearsed here in
Late 1950's Daniel Garcia (Jerry's cousin)
"Jerry & Daniel would also practice at Dan's mom & dad's place."(1)






1.)^Jackson, Blair, Garcia, An American Life, pg. 24.
2.)^http://www.manta.com/c/mtkfd3w/daniel-l-garcia-dds

Dupont Gym, Massachusetts Institute Of Technology, 120 Massachusetts Ave., Cambridge, MA

Originally built as a State Armory, but was later acquired by MIT and converted to a gymnasium in an early example of "adaptive re-use" on the MIT campus.
Opened in 1959, the building is named for David Flett DuPont, an M.I.T. student of Metalurgy, who contributed a million dollars toward the improvement of athletic facilities, whose bequest also facilitated the building of twelve outdoor tennis courts.
In 2012 it's known as the DuPont Athletic Center.

Jerry performed here on
5/7/70 with New Riders Of The Purple Sage and Grateful Dead

Dunsmuir House, 2960 Peralta Oaks Court, Oakland, CA

Dunsmuir House was built by Alexander Dunsmuir, who came to the Bay Area in 1878. The son of Robert Dunsmuir, a wealthy coal baron from Victoria, British Columbia, Alexander oversaw the family business in San Francisco.


After Robert Dunsmuir died in 1889--never having lived in the castle on his 28-acre property overlooking Victoria--his sons James and Alex were stunned to learn they had inherited nothing. They had worked for their father for two decades on the promise that one day the business would be theirs. It took seven years of wrangling with their mother before they could gain separate control of the family's California operations; then another three years before they could purchase the Wellington colliery. With that purchase, Alex Dunsmuir was finally ready to defy his mother's wishes and marry his live-in companion for 20 years, Josephine Wallace. He died on their honeymoon in New York in 1900. More dissension arose. With Alex Dunsmuir's brother James in control of his estate, at a time when James Dunsmuir was also Premier of British Columbia, Alex Dunsmuir's mother and Edna Hopper, daughter of John Wallace, became legalistic allies when they filed a lawsuit to gain shares of the Alex Dunsmuir estate. The rift between James Dunsmuir and his mother lasted until he relented and made an unexpected appearance at her burial in 1908, at which time he broke down and wept.


When Alexander purchased the large estate in the rolling East Bay foothills, the land featured fruit orchards, farms and vestiges of the Spanish rancho days. The elegant mansion was built as a wedding gift for his beloved Josephine, a divorced woman, in December 1899. A central character in the family saga is the dowager widow Joan Dunsmuir "whose wrath and disapproval her son so feared" that Alex Dunsmuir only found the courage to marry Josephine Wallace 40 days prior to his own death. Tragically, Alexander became ill and died while in New York on their honeymoon.

Seems suspicious to me!

Is this booze?

One of the earliest and most successful brandings of a line of cosmetics would use the name and image of actress Edna Wallace Hopper.

Edna Wallace was born in San Francisco, California to Waller and Josephine Wallace. She was likely born on January 17, 1872, but throughout her life she steadfastly refused to reveal her age. She said that no one could verify it because her birth records had been destroyed in the 1906 San Francisco earthquake.

Acting was in her blood, well, sort of – her father was head night usher at the California Theater. Even if her father didn’t act in the theater there was sufficient drama at home to make an impression on young Edna.

Edna’s dad was also employed as a barkeep, and it was in that capacity that he met Alexander Dunsmuir in about 1879. Dunsmuir was the son of a wealth Scots coal baron in Victoria, B.C. He’d been sent to run the family’s business office in San Francisco, but he much preferred a glass of whiskey. And who can blame him?

Waller eventually moved his wealthy drinking buddy into the family home as a boarder. That wasn’t a very smart move. On one side of the coin was hard working Waller, on the other side was the enormously wealthy Alex. Could anyone have been shocked by the outcome when Edna’s mother fell in love with Alex, and the Wallace’s divorced? Waller was left with Edna and her brother, but after a while Josephine missed her kids. When Waller was offered a settlement in exchange for custody of the kids, he accepted.

Alex and Josephine may have been in love, but Alex’s mother had a vice-like grip on the purse strings and she wasn’t about to accept “that woman” as her daughter-in-law. She was so adamant about her disapproval that she even threatened to disinherit Alex.

Rather than annoy Alex’s mother by forcing the issue, the lovers quietly set up housekeeping (pretty risqué for the time) and waited for the inevitable – the woman couldn’t live forever, right? In 1898 Alex and his brother James finally gained control of the family business.

Alex took $350k (approximately $9 million in current dollars) of his share of the family fortune and built Josephine a fine home near San Leandro, California. He deeded the house to Josephine.

With no further family hurdles to overcome, Alex and Josephine were married. On their much-delayed wedding day Alex made out a will leaving everything but the San Leandro home to his brother James. The couple was married on December 21, 1899 at a hotel in San Pablo, California and honeymooned in New York City – where just one month later, while still on their honeymoon, Alex died. His years of hard drinking had taken their toll. Josephine returned alone to her new home where she resided until her death in 1901.



In 1904 Edna filed suit hoping to crack the will and walk away with about $1M. Even with the evidence of Alex’s drinking, the judge determined that he’d been of sound mind when he willed everything (but the house) to his brother James.

Floradora Girls

By the time of her mother’s death Edna had already starred in her most famous role, Lady Holyrood in the popular London stage play FLORADORA. Though not playing one of the renowned Florodora Sextettes, she shared in some of the wild adulation of male admirers who mobbed the backstage door after every performance.

Edna took fewer acting roles in the 1910s, but her career took off in a surprising new direction in the 1920s. She was one of the earliest stage actors to have a facelift – she even had the operation filmed! She would make personal appearance tours over the next eight years showing the film and giving beauty tips.

Edna’s beauty advice appeared often during the 1920s in newspapers like the Los Angeles Times.

Edna’s tours and timeless good looks captured the attention Claude C. Hopkins, and advertising man who worked for American Home Products. The cosmetics line was a success and was still be advertised in the 1940s, although by that time only Edna’s name was being used.

Hopper separated from her second husband and he died in the 1930s. She went on to become the only woman of the thirty-six member board of L. F. Rothschild & Co. She traveled daily by subway to her office to handle investments until shortly before her death in New York City from complications of pneumonia on December 14, 1959. The news reports of her death gave her age as anywhere from the mid-80s to 95.

In 1906, the estate was purchased by I.W. Hellman Jr. who worked for Wells Fargo Bank in San Francisco, as a summer home for his family. They dubbed their estate Oakvale Park. By 1913 the mansion was remodeled to accommodate the growing Hellman family and their acquisition from European travels.

 The Hellmans enjoyed the estate together for fourteen years until Mr. Hellman died in 1920. Mrs. Hellman kept the estate, where her children and grandchildren came for long summer days, until the late 1950's. During the Hellman era the landscaping at the northern end of the estate was developed, and the swimming pool and Dinkelspiel House were added to the estate.

The estate was purchased by the City of Oakland in the early 1960s with the intent of using the grounds and mansion as a conference center. A non-profit organization was formed in 1971 to preserve and restore the estate for the public benefit. For many years, the non-profit group and the City jointly operated the estate until 2010 where the City of Oakland became the sole proprietor.

The Dunsmuir Hellman mansion has been designated a National Historic Site by the United States Department of the Interior and both the mansion and the Carriage House have been designated Historic Landmarks by the City of Oakland.

ARCHITECTURE

The Dunsmuir mansion, designed by San Francisco architect, J. Eugene Freeman, is an example of Neoclassical-Revival architecture popular in the late 1800's. The 37-room mansion features a Tiffany-style dome, wood paneled public rooms, 10 fireplaces and inlaid parquet floors within its 16,224 square feet. Servants quarters in the house are designed to accommodate 12 live-in staff.

GROUNDS
Golden Gate Park's landscape architect, John McLaren, is said to have assisted the Hellmans in designing the Dunsmuir gardens. A wide variety of trees, including Camperdown Elms, Bunya-Bunya and Hornbeam, still grace the estate's gardens and expansive meadows. In addition, the Hellman estate contained a golf course, formal croquet court, tennis court, swimming pool with Mission-style bathhouse, glass conservatory with grotto, an elaborate aviary, formal garden maze, and Japanese garden. (http://www.dunsmuir-hellman.com/history.html)


Jerry performed here on
8/18/85 John Kahn (acoustic)



BOOKS:
From Coalmine to Castle: the Story of the Dunsmuirs of Vancouver Island (New York: Pageant Press, 1955)

Alex Dunsmuir's dilemma (Victoria: Sunnylane, 1964)

My Borrowed Life (Sydney: Gray's Publishing, 1962)

Courage to Change the Things We Can (New York: Pageant Press, 1960)

Dome, C.W. Post University, Greenvale, NY

Original sign in 1954

C. W. Post visited the Battle Creek Sanitarium operated by John Harvey Kellogg for his failing health. There, he was inspired to start his own cereal company based on the products used at the sanitarium.
A pioneer in the manufacture and mass marketing of breakfast cereals and other consumer products, Charles William Post (1854-1914) attempted to use his wealth to affect various aspects of early 20th-century American life.

Brand names become an important part of the American way of eating: 1912 Advertisement for Post Toasties breakfast cereal, from American Magazine.

The year was 1955 and about 200 freshman and transfer students decided to take the educational gamble of a lifetime. They enrolled in a brand new college that was not accredited, had no traditions and provided classroom learning in former horse stables and root cellars.

Described by one student as "something out of an F. Scott Fitzgerald novel," the C.W. Post Campus of Long Island University resembled anything but a college. With a stately mansion, rolling green lawns, and formal gardens, the 177-acre campus was the former Gold Coast estate of one of the world's richest women, the late Marjorie Merriweather Post, heiress to the Post Cereal Company fortune and daughter of its founder, Charles William Post.

Marjorie Merriweather Post

There were no funds to build permanent buildings so classes were held in Mrs. Post's magnificent 59-room Tudor mansion and in an adjacent guest house. Classrooms were actually bedrooms and servants' quarters, some still equipped with fireplaces and bathroom sinks with gold plated faucets. Students also made do with classrooms that were former root cellars and horse stables, as well as a parking lot that the first students called a mudhole.

The Dome was built in 1970.
Between 2:00 and 3:00 am on Saturday, January 21, 1978, the center dome suddenly caved in under mounds of snow and ice. Fourteen thousand students were away on Christmas vacation. No one was hurt. (1)(2)

Jerry performed here on
11/18/74 Jerry Garcia Band
9/16/76 Jerry Garcia Band

12/6/77 Jerry Garcia Band
Forty six days after Jerry perfomed here the Dome collapsed.




1.)^Levy,Matthys and Salvadori,Mario,Why Buildings Fall Down,pg.45.
2.)^http://failures.wikispaces.com/C.+W.+Post+College+Auditorium+Collapse
3.)^"Obituary: C.W. Post," American Industries, vol. 14, no. 11 (June 1914), pg. 43.
4.)^"POST: The Town". CCA: Post History

Devore Field, Southwestern University, 900 Otay Lakes Rd., Chula Vista, CA

The venue was a small dusty college athletics field with low bleachers on the side. Just a low stage and the PA gear.

The "On The Border" t-shirts being hawked had a skeleton Pancho Villa with six-shooters.



Jerry performed here on
9/15/85 Grateful Dead
"Sunday was sunny and warm and the "Twilight Zone" sound check could be heard from Shakedown Street."(5)
The grass was cush, the scene was relaxed, the venue was cool, the vibe was casual, and the band played under the sun. (1)
Was there on sunny 84 degree day. Show started at 1 pm. We sat on the ten yd line of this
5,000 seat stadium and the Dead were on the goal line. I swear they served beer there. The best experience I ever had at a show, outdoors(2)
"Bill Graham in attendance on stage."(3)
"The place was relatively empty, the grass on the field was like the cushiest carpet ever, the scene was totally cool. Think cop cars playing Hendrix tunes over their car PA kind of cool. I mean it just had a vibe that I never really saw again. The show itself was pulled out of the sky for the last night of that tour, and I really think they worked it for all it was worth."(4)


 Jerry performed here on
8/2/92 Jerry Garcia Band





1.)^upstate head, comments, 2008-09-15, http://archive.org/details/gd85-09-15.aud.zelner.13600.sbeok.shnf
2.)^ucsd 88', comments, 2008-04-05, http://archive.org/details/gd85-09-15.aud.zelner.13600.sbeok.shnf
3.)^AlanSheckter, comments, 2007-10-27, http://www.dead.net/show/september-15-1985
4.)^Upstate NY, comments, 2008-01-17, http://www.dead.net/show/september-15-1985
5.)^dead2ns, comments, 2008-08-08, http://www.dead.net/show/september-15-1985

Desert Sky Pavilion, 2121 N. 83rd Ave., Phoenix, AZ

Ashley Furniture HomeStore Pavilion[1] (previously known as Blockbuster Desert Sky Pavilion and Cricket Wireless Pavilion) is an amphitheater located in Phoenix, Arizona USA, which seats 8,000, under a pavilion roof and an additional 12,000, on a spacious hillside behind the main stands. It was originally known as Desert Sky Pavilion and opened in November 1990 (Billy Joel was the venue's inaugural performer).

Seating capacity 20000.

Jerry performed here on 5/19/94 with JGB. After about an hour set break an announcement was made that Jerry had the flu and could not get his strength back. Subsequently, the second set was cancelled.

...and with The Grateful Dead
3/4/94
3/5/94
3/6/94

Del Mar Theatre, 1124 Pacific Ave., Santa Cruz, CA

Capacity 1300

Opened on August 14, 1936, the Del Mar Theatre has served the college town of Santa Cruz, California for almost 65 years.

On the bill was a Mickey Mouse cartoon called The Alpine Climber, a Paramount newsreel featuring Jesse Owens' triumph at the Berlin Olympics and the world premiere of the Warner Brothers' film China Clipper. (Friends of the Del Mar) Art Deco architecture. Back then the main theater seated 950 and the balcony 350.
The plaque on the building says:
"Booming theatre business in Santa Cruz led the Golden State Theatre chain to replace the 700-seat Unique with the 1,500-seat Del Mar in 1936. The movie palace was a flagship of the chain, with a stage and 25 piece orchestra pit for vaudeville acts and conventions. From his Del Mar Offices Barney Gurnette also managed the New Santa Cruz and Rio theatres. Live Del Mar shows continued into the 1970's with concerts by Lionel Hamption, Duke Ellington, Tom Waits, Emmylou Harris, and the Tubes.

What was this?

When a Chamber of Commerce bid failed to purchase the theatre, United Artists partitioned it into a four-plex in 1978.

1999 plans to convert it to shops and offices were stopped when a coalition was formed to save the theatre in 2001. The city redevelopment aAgecy purchased the theatre, installed an elevator, and made the facility thoroughly accessible for the disabled. Jesse Nickell of Barry Swenson Builder and George Ow Jr. renovated the structure and main auditorium, and the Nickelodeon's Jim Schwwenterley and Chuck Volwiler outfitted it for movies."
Painted over more than 50 years ago, the original mural on the mezzanine of the Del Mar Theatre has been uncovered, and the original stencil pattern and hand painted medallion have been documented.

Built by the Pacific States Amusements and Realty Corporation, the Del Mar was built as a shining example of the theater itself being part of the show. Outside, a wild convergence of decorative styles -- typical of Art Deco -- partied on the face of the building. Vertical cement ribbing soared heavenward toward the water motif moldings (a theme echoed throughout the building) lacing the top of the facade. The suspended canopy marquee dripped with colorful neon animation. Underneath, golden stars and white lights welcomed the public, while the blinking vertical blade above spelled out D-E-L-M-A-R in three colors of neon. The Del Mar marquee became such a part of downtown architecture that in the late 1960's it was declared exempt from the street's sign abatement ordinance.
Inside the lobby, interior designer William Chevalis, who had designed a number of California theatres, dazzled theatregoers right as they entered. The majestic cathedral ceiling, two stories high and embellished with real gold leaf, informed the ticketholder they had left the cares of the everyday world behind.
The water theme could be found everywhere: in the seashell pattern of the carpet, with the nude figures in bas relief bearing urns, and through wave-like patterns in the tiling. Sheaves of wheat and five-pointed stars were other motifs to be found throughout, particularly in the lighting fixtures and decor of the main auditorium.
Hailed as one of the best-equipped theatres in the state, the Del Mar featured state-of-the-art projection and sound systems. The main theater held 950 seats, with additional seating of 350 in the balcony. General admission cost 25 cents; loge seats in the balcony 30 cents. The phone number: 80.
Well into the World War 2 era, the Del Mar was open daily from 2 to 11 pm. Patrons simply showed up at their convenience, and they would be ushered to their seats in the middle of the feature if they so desired. Or they could wait in the nicely-appointed mezzanine lounging area, smoke, and listen for the announcement that the film was about to start.
The ushers and usherettes wore rust-colored uniforms. The ushers wore white gloves and developed a series of hand signals to communicate with the usherettes who would escort people to their seats. At one time there was a blondes-only policy for the usherette position. At least one former usherette recalls pouring peroxide on her hair for the job, much to the dismay of her mother.
Operated by the Golden State Theatres chain, whose management properties also included The Santa Cruz Theatre at the corner of Walnut and The Rio on Soquel at Seabright, the Del Mar was such an attractive theater that a near-identical twin was built in Redding. The Cascade, like the Del Mar, is currently being restored by a non-profit community group.
In the 1940's, admission prices soared to a whopping 35 cents general admission; 40 cents for loges. Children could get in for 10 cents. The DelMarette soda fountain opened next door and stayed open to midnight. The Sentinel reported soldiers dancing on the countertops to the sounds of the diner's jukebox until closing time.
With the 1950's came several disasters that affected the movies in general and the Del Mar in particular. First came television. The novelty of this newfangled stay-at-home entertainment severely affected box office numbers nationwide.
In 1955, Santa Cruz suffered from a terrible flood. Water from the San Lorenzo rose to the tops of parking meters along Pacific Ave. The damage to the Santa Cruz Theatre was so severe the theatre closed for good. It is now memorialized by a historic plaque on the Walnut Avenue wall of the East-West shop. The downstairs auditorium and lobby of the Del Mar were flooded. The theatre was closed for several weeks for clean-up and carpet replacement.
In spite of the challenges, The Del Mar rallied and survived. A concessions stand was added to generate additional income. In the late 1960s, the bucolic Pacific Garden Mall was constructed along Pacific Avenue. With wide, park-like sidewalks, the main street of downtown became more friendly to foot traffic than to cars. The Del Mar demolished its original free-standing box office; surrounded by so much sidewalk, the ticketsellers seemed adrift in a sea of concrete.
In the 1970s, the Del Mar was purchased by United Artists. The original redwood doors were replaced by modern glass and chrome. Thin, bile-green veneer tile was applied to the exterior of the building, replacing the original ceramic tiles. Inside, the building was left to deteriorate. No upgrades were made to the theater's heating or plumbing. Tears in the seats and carpets were band-aided with utility tape. The Del Mar became a second-run house specializing in minor movies, slasher films and horror flicks. The once-elegant mezzanine was closed off to public and used as office space, the balconies closed for insurance purposes.
Live concerts helped keep the theater alive in the 1970's. Duke Ellington played there in 1972, The Tubes annually.
In 1978, the Del Mar was chopped into a fourplex. Matilda the story of a boxing kangaroo, was the last film to play at the still-intact Del Mar. Fewer than 10 tickets had been sold the entire week. Walls went up at the site of the old balcony railings. The grand chandelier was removed then it disappeared, rumored to reappear in the home of some UA executive.
The Del Mar was spared major damage during the 1989 Loma Prieta earthquake, though the theater did shut down for a year for remodeling and clean-up work. Unfortunately, much of downtown Santa Cruz suffered. So many old structures were destroyed that Pacific Avenue lost its status as a National Historic Downtown. Thus, the Del Mar lost its protection under the National Trust. The Del Mar's future looked bleak when the operators, Star Cinema of Pasadena, suddenly closed the theatre without warning on November 4, 1999.
For a time, the future of historic theatre was in doubt. Rumors abounded that it would be turned into shops or offices.
In 2000, efforts to save and restore the Del Mar Theatre began to succeed. The City of Santa Cruz Re-Development Agency purchased the building and leased it to a joint-venture between developer George Ow and Barry Swenson Builders. A local, independent movie theatre company, the Nickelodeon, sub-leased the Del Mar. All these parties contributed to the renovation and upgrades needed in order to run the Del Mar again as a movie theatre.
In March 2001, the Del Mar opened again to movie-goers, exhibiting independent movies. (1)

After years of struggling through dollar nights and intermittent attendance, the Del Mar was sold in 1999 and closed.

After an extensive renovation and restoration, the Del Mar reopened in February of 2002.



Jerry performed here on
10/8/75 early and late shows Jerry Garcia Band

2/26/76 early and late shows Jerry Garcia band
8/19/76 Jerry Garcia Band
"...the opening act was booed so bad, the girl had a nervous break down right on stage- they had to carry her off the stage."(2)


1.)^http://www.friendsofthedelmar.com/
2.)^Dougie, It's Only Rock n' Roll 2002, IORR.org

David Lettermen Studio (Ed Sullivan Theter, 54th St. and Brooadway, New York, NY

Capacity 1200
Opened first as The Hammerstein in 1927, it became The Manhattan in 1931, The Billy Rose Music Hall in 1934 and taken over by CBS Radio in 1936.
In 1963 it became The Ed Sullivan Theatre to produce his TV Variety show.
This is site of the first U.S. Beatles performance.
The 13-story, brown brick and terra cotta office building[3] with a ground-floor theater was designed by architect Herbert J. Krapp.[1] It was built by Arthur Hammerstein between 1925 and 1927,[1] and was named Hammerstein's Theater after his father, Oscar Hammerstein I.The original neo-Gothic interior contained pointed-arch stained-glass windows with scenes from the elder Hammerstein's operas; during a 1993 renovation, these windows were removed and stored by CBS in an arrangement with the New York City Landmarks Preservation Commission.[3] Its first production was the three-hour musical Golden Dawn, the second male lead of which was Cary Grant, then still using his birth name, Archie Leach.[3] Arthur Hammerstein went bankrupt in 1931, and lost ownership of the building.[3]
It later went by the name Manhattan Theater, Billy Rose's Music Hall, and the Manhattan once again. In the 1930's, it became a nightclub. After CBS obtained a long-term lease on the property, the radio network began broadcasting from there in 1936, moving in broadcast facilities it had leased at NBC Studios in Radio City.[3] Architect Williams Lescaze renovated the interior, keeping nearly all of the Krapp design but covering many walls with smooth white panels, his work earning praise from the magazine Architectural Forum.[3] The debut broadcast was the Major Bowes Amateur Hour.[3] The theater had various names during the network's tenancy, including Radio Theater #3 and the CBS Radio Playhouse. It was converted for television in 1950, when it became CBS-TV Studio 50.
Newspaper columnist and impresario Ed Sullivan, who had started hosting his variety show Toast of the Town, soon renamed The Ed Sullivan Show, from the Maxine Elliott Theatre (CBS Studio 51) on West 39th Street in 1948, moved to Studio 50 a few years later. The theater was renamed for Sullivan at the beginning of the 1967-68 season, though it is still TV Studio 50 in CBS' numerical list of New York television facilities.[4]
In the 1960's, Studio 50 was one of CBS' busiest stages not only for Sullivan's program but also for The Honeymooners and The Merv Griffin Show,[5] as well as several game shows. In 1965, Studio 50 was converted to color, and the first color episode of The Ed Sullivan Show originated from the theater on October 31, 1965. (The program originated from CBS Television City in color for the previous six weeks while the color equipment was installed.

The Ed Sullivan Theater was also the first home for The $10,000 Pyramid, with its huge end-game board set at the rear of the stage, in 1973. Other short-lived game shows produced at the Ed included Musical Chairs with singer Adam Wade (1975), Shoot For The Stars with Geoff Edwards (1977) (which was an NBC show), and Pass the Buck with Bill Cullen (1978).
The CBS lease on the building expired in 1981[5] and, now a Reeves Entertainment teletape facility, it hosted the sitcom Kate & Allie, which ran from 1984 to 1989 (as it happened, on CBS). In 1990 David Niles/1125 Productions signed onto the lease, with the theater to house his HDTV studio and new Broadway show Dreamtime. During Dreamtime's successful run, [1] CBS bought the building from Winthrop Financial Associates of Boston. Niles was given four weeks to vacate. Due to the economics of moving the show and the lack of a comparable available Broadway theater, Dreamtime closed. The quick sale and vacancy of the building earned the realtor the Henry Hart Rice Achievement Award[7] for the Most Ingenious Deal of the Year for 1993.[8]
David Letterman moved from NBC to here. (See NBC Studios, New York, NY)
The new show debuted on August 30, 1993 and was taped at the historic Ed Sullivan Theater, where Ed Sullivan broadcast his eponymous variety series from 1948 to 1971. For Letterman's arrival, CBS spent $8 million in renovations.[9]
Near the beginning of the first Letterman show in the fall of 1993, a quick reference was made to Sullivan's legacy, by splicing together several short clips of Sullivan introducing various acts, including, presumably, the singing group The Lettermen. This resulted in a fake clip of Sullivan saying, "And now, here on our stage... David... Letterman!" Letterman also joked that his crew opened an old closet in the theater which contained a 45-year old woman screaming, "Ringo!"
It's been known as David Letterman TV Studio since 2004.

Jerry performed here on
9/15/93 David Grisman
Jerry plays an Alvarez Yairi DY99 acoustic guitar and sings Freight Train and Jenny Jenkins.

"I was sitting right in front of them for this with my old college roommate. During the break they played "As Tears Go By"."[12]

10/23/93 David Grisman (Laye Night with David Letterman)
Jerry sings Friend Of The Devil.




Ed Sullivan Theater (David Lettermen Studio), New York, NY
1. ^White, Norval & Willensky, Elliot; AIA Guide to New York City, 4th Edition; New York Chapter, American Institute of Architects; Crown Publishers/Random House. 2000. ISBN 0-8129-31069-8; ISBN 0-8129-3107-6. p.266.
2. ^ The History of the Ed Sullivan Theater at EdSullivan.com
3. ^Gray, Christopher. "Streetscapes | Ed Sullivan Theater: If the Soundproofed Walls Could Talk", The New York Times, December 23, 2009
4. ^ Ross Reports
5. ^ a b McFadden, Robert D. "A Building With a History, From Bootleggers to Beatles" The New York Times, February 22, 1993]
6. ^ TV.com listing for September 19, 1965 episode of the Ed Sullivan Show.
7. ^ "Ed Sullivan Theater Is Deal of the Year", Real Estate Weekly, April 20, 1994
8. ^ Gerard, Eric R. "Deal-of-the-year: how it got done", Real Estate Weekly, May 11, 1994. Opening of article, via encyclopedia.com
9.)^Mark Albright (March 31, 1995). "Letterman's Neighbor's Discover Spotlight's Chilly Side". St. Petersburg Times.
10.)^http://www.youtube.com/watch?v=58HSRyNH5iA
12.)^Michael Poirier, comments, 2013-02, http://www.youtube.com/watch?v=J7r7COld_Bc