Friday, September 30, 2011

Civic Auditorium (Bill Graham Civic), 99 Grove St., San Francisco, CA

Before the Civic

Built in 1882, Mechanics’ Pavilion was a large barn-like structure that stood in Civic Center at Grove and Larkin. This building was the largest in San Francisco. The Pavilion was one square block (62,480 square feet of usable floor space) located where the current Bill Graham Civic Auditorium now stands. Annual events were very elaborate. They included parades, aerobatic feats, skate and bicycle races, and even floats. The first carnival was held in 1893 and attracted over 2,000 people.

With a seating capacity of nearly 11,000, the building was originally set up for concerts, political conventions, circuses, and religious assemblies, but within a few years, was best known for holding major prizefights. John L. Sullivan became the first of several world champions to appear there, staging a number of exhibition bouts in 1884, and returning in 1886 to knockout Paddy Ryan in three rounds.
Mechanics’ Pavilion’s most controversial fight took place on December 2, 1896, when Bob Fitzsimmons faced Tom Sharkey in a major heavyweight contest. Both competitors were dissatisfied with the list of possible referees, and the job ended up being handed to famed lawman Wyatt Earp.
Frontier lawman Wyatt Earp, legendary for his role in the archetypal Western gunfight, "Shoot-out at the O.K. Corral", is called upon this afternoon to officiate at a $10,000 heavyweight championship boxing match. As he strolls into San Francisco's Mechanics Pavilion to start work, police confiscate the ex-U.S. Marshall's six-shooter.

"Sailor" Tom Sharkey is the underdog against Australian heavyweight Bob Fitzsimmons, "the Freckled Wonder". Sure enough, Fitzsimmons knocks Sharkey cold in the eighth -- but referee Wyatt Earp calls a foul and awards the decision to Sharkey, lying unconscious on the canvas! Needless to say, outrage burns in the hearts of 15,000 men present (and the whole city) that the fight had been fixed!
The case went before a judge, and though Wyatt was -- if not specifically exonerated, at least not found guilty of fraud -- he was convicted in the court of public opinion.
But what on earth was Wyatt Earp doing in San Francisco standing in a boxing ring in the first place?
Well, it's all because of Josephine Marcus, a nice Jewish girl from San Francisco who'd run off with a traveling Gilbert & Sullivan theater troupe at the age of 18. Passing through Tombstone, Arizona, she'd met the tall, good-lookin' deputy U.S. Marshall there, and fell in love.
Josephine Marcus
Josephine Marcus
After the much-mythologized OK Corral gunfight (you remember, the Earps, Doc Holliday, the Clanton brothers) Wyatt Earp and Josie left Tombstone and wandered all around the West, settling down wherever a boomtown cropped up -- investing in mines, racing horses, running saloons and gambling parlors -- and south of the border, Wyatt had begun trading on his rough and ready lawman image by officiating at Mexican boxing matches. Sometime in the late 1890's, the Earps wound up living with Josie's parents back in San Francisco -- and there you have it.
We may never know exactly how Wyatt got mixed in the Sharkey-Fitzsimmons boxing boondoggle, or what his involvement truly was -- but in the aftermath of the scandal, the Earps left San Francisco, eventually settling down in Los Angeles. Wyatt wouldn't return to the Bay Area until his death in 1929, when his ashes were buried in Colma, in his wife Josie's family plot.
With a sellout crowd looking on, Fitzsimmons appeared the victor after sending Sharkey to the canvas in the eighth round, but was as surprised as anyone when Earp declared Sharkey the winner due to a foul. Whether Earp’s actions were sincere, or part of a betting coupe, has never been determined.

In 1901, the State of New York temporarily banned professional prizefights, making San Francisco the epicenter of boxing for the next several years. James Jeffries, the heavyweight champion of that time, defended his title four times in the San Francisco, three of those bouts taking place at Mechanics’ Pavilion.
The only known film footage of a Mechanics' Pavilion fight is the November 15, 1901 heavyweight title fight between champion James Jeffries and Gus Ruhlin, Jeffries winning in five rounds...only a few minutes of film has survived.
Jeffries’ match with Jim Corbett, on August 14, 1903, became the most financially successful fight in San Francisco history up to that time, as 10,600 patrons paid over $60,000 to watch Jeffries defeat “Gentleman Jim” in ten rounds.
Jack Johnson fought at the pavilion in 1904, knocking out Sam McVey in 20 rounds!

Mechanics’ Pavilion was San Francisco’s first major indoor arena. Once considered the “Madison Square Garden of the West,” the pavilion became one of many casualties of the great earthquake, but not before having one last fling with notoriety.
It was 5:12 am on April 18, 1906 when San Francisco was hit with a 7.9 magnitude earthquake. Although Mechanics’ Pavilion survived the impact, nearby Central Emergency Hospital was not as lucky, much of it turning to instant rubble. By 5:30 am, patients from the hospital, along with people injured in the quake were brought into the arena, whose doors had been forced open. By mid-morning, Mechanics’ Pavilion had become both hospital and morgue, as beds from neighboring hotels were being brought in by the hour.

Unfortunately, by 1 pm, flames from the Hayes Valley fire reached the roof of Mechanics’ Pavilion, and chief surgeon Dr Charles Miller ordered the building evacuated. Within hours, Mechanics’ Pavilion was gone. (Brian Daley,sfcabletvexaminer2010-04-20)

Here's some info from a 1906 account from the The Call Chronicle Examiner, beginning after Dr. Millar ordered all patients removed.
"Every sort of vehicle was pressed into service and the dead and injured removed. The wounded were taken to Golden Gate Park, for there was no other haven of refuge not in the danger zone, and laid upon the grass. Many were taken into nearby houses by kind-hearted people and cared for. At the Harbor Hospital fully 100 injured persons had been treated up to 10 o'clock in the morning. Upon receipt of the news of the disaster torpedo boats and tugs loaded with navy and army doctors, nurses and sailors, were dispatched from the Mare Island Navy Yard and Goat Island and rendered great aid..."

Today's Civic Auditorium was built on the same site in 1915 in a majestic Beaux Arts style, and hosted the 1920 Democratic National Convention.
1915 New City Hall and Civic Center

S.F. Symphony Orchestra, Civic Auditorium, San Francisco, CA

Franklin D. Roosevelt, the Republican nominee, gave a speech at the Civic Auditorium on September 24, 1932.(2)
On October 19, 1957, Chuck Berry, Laverne Baker, Frankie Lyman and the Teenagers, and Paul Anka appeared on the same bill.
It was the former home of the Golden State Warriors, of the NBA, from 1964-1966.

The Bammies were held here for several years in the 90's.
November 22, 1997,  a room with day-glo sculptures and fluorescent lights where Ken Kesey and his buds did odd word games and made "music" on a wide variety of instruments.
One end was the Ken Kesey room, which was completely decked out in complete psychadelia, from slide shows, light shows, paintings, etc. covering all the walls. It was so cool. A very small floor stage was set up in the middle of the room, where Ken Kesey and his Merry Pranksters were just hanging out and talking about a bunch of weird stuff. It was very cool in there, everybody was smoking tons of weed, and I saw a lot of great pipes and bongs. The security didn't give a shit, and I think it was the closest I'll ever get to the 60's/ Woodstock. Ken Kesey was trying to answer some questions, but it was fucked up so he didn't get to answer very many. He said the best thing he's ever done is made his "Further" school bus, which was parked outside. It is the raddest thing, for those who've never seen it. There were a few old-school hippies, deadheads, etc. This one deadhead in his 40's was totally on acid, and he had one of those 39 cent plastic microphones with springs in it where you talk and it echoes back to you. Anyways, this guy was trippin so hard he thought everyone could hear him, and he wouldn't leave the stage and let Ken tell his story, so Ken just left and went back stage and said he would come out later. It was a very intimate environment, with about a foot-tall stage unseparated from the audience.

Same night, same place, November 22, 1997, Jane's took the stage after a trippy intro by the Merry Pranksters and a video of JFK's assasination.
The auditorium boasts state-of-the-art theatrical equipment and a concert-quality sound system.
Now the site of the Bill Graham Civic Auditorium, the 62,000 square foot block has continued its role as a San Francisco major entertainment spot, now totaling almost 130 years.

Jerry performed here on
Grateful Dead
Promoter Bill Graham Presents.
This show was canceled.

6/15/75 Merl Saunders
Benefit for the Community Affairs Broadcast Foundation
Benefit for Friends of Inmates and Deputies[14]
The Energy Crisis with Jerry Garcia, Merl Saunders and Sweet Meat, Van Morrison, Dr. Hook and the Medicine Show, Larry Coryell, Chi Coltrane, Barefoot Jerry, Brother Mouse Band, Hoodoo Rhythm Devils, Soundhole, Brotherly Love, Pegasus, Caesar's Band, Lyons & Clark also performed.[3]

3/2/83 Bob Weir
Bammies Awards.
Jerry plays an acoustic guitar.
KFOG FM broadcast.

12/27/83 Grateful Dead
I:Cold Rain And Snow;C C Rider;They Love Each Other;Beat It On Down The Line; Althea;Cassidy;West L.A. Fadeaway;Hell In A Bucket>Might As Well
II:Scarlet Begonias>Fire On The Mountain;Samson And Delilah;He'sGone>Drums>Space>Throwing Stones>Black Peter>Sugar Magnolia
Encore:U.S. Blues
Promoter Bill Graham Presents.
Jerry plays the guitar Tiger.[19]
"These were the days. Jerry high as a kite, shirt and beard black with soot from smoking Persian out of tin foil. Same t-shirt and corduroys all tour, stinking to high hell. Bobby in a pink Lacoste shirt. Phil drunk off Heinekins. Fuck yeah."[7]

12/28/83 Grateful Dead
I:Feel Like A Stranger;Dire Wolf;Mama Tried>Mexicali Blues ;Loser;New Minglewood Blues;Bird Song
II:China Cat Sunflower>I Know You Rider;Playing In The Band>Drums>Space>The Wheel>The Other One>Stella Blue>Around And Around;Johnny B. Goode
Encore:It's All Over Now, Baby Blue
Promoter Bill Graham Presents.
Jerry plays the guitar Tiger.[20]

12/30/83 Grateful Dead
I:Bertha>Greatest Story Ever Told;Friend Of The Devil;Me And My Uncle>Big River; Ramble On Rose;Little Red Rooster;Brown Eyed Women;Looks Like Rain>Deal
II:Shakedown Street;Man Smart (Woman Smarter);Lady With A Fan>Space >Drums>Space>Truckin'>Wharf Rat>Good Lovin'
Encore:Keep Your Day Job

12/31/83 Grateful Dead
I:Jack Straw;Peggy-O;New Minglewood Blues;Candyman;My Brother Esau;Tennessee Jed;Hell In A Bucket>Don't Ease Me In
II:Sugar Magnolia>Touch Of Grey;Estimated Prophet>Eyes Of The World>Drums>Space>Throwing Stones>Not Fade Away;Brokedown Palace
III:Big Boss Man>Iko Iko;In The Midnight Hour;Goodnight Irene
The Band with Maria Muldaur, Mike Henderson opened.
Promoter Bill Graham Presents.
Rick Danko and Maria Muldaur sit in for the encores.[16]
Jerry plays the guitar Tiger.[22]
KFOG FM broadcast. and nationally broadcasted.
Maria Muldaur, Rick Danko and John Cippolina sit in for the third set.
"The Band was playing a set before the Dead came on and during the last song or two, Jerry was off stage right boogying like crazy. I'd never seen him dance before - obviously he was very much into The Band."[4]

This was the night Steve Parish family was killed just before the show.
During Iko, Mickey is standing and letting someone else sit and play at his set.

"Bill Graham pops out of this globe (huge mirrored ball) with a diaper on!"[5]

"I was there too, headed out a couple days later to Heavenly Valley for some skiing. The lift attendant, seeing the SYF sticker we placed on the rental car, said that Jerry was there on January 1, headed right up the lift."(6)

""I was there, saw a friend get kicked out for smoke bombs. He is an attorney now. He snuck right back in. On the way out they gave sack breakfasts. Oranges, juice, and I forgot what else."[8]

"Bill Graham’s annual New Years entrance was suitable theatrical (Father Time atop a spinning world globe, casting handfuls of roses to the huddled masses below), and was preceded by cryptic Orwellian thoughts and New Years greetings from band members and production staff via the huge video screens which the band Journey provided the Dead. Hundreds of balloons dropped and fireworks erupted as the Dead swung into their customary Sugar Magnolia.[13]

12/28/84 Grateful Dead
I:Touch Of Grey;Greatest Story Ever Told;Dire Wolf;Tons Of Steel;Down In The Bottom>I Ain't Superstitious;Dupree's Diamond Blues;Me And My Uncle>Mexicali Blues;West L.A. Fadeaway>Might As Well
II:China Cat Sunflower>I Know You Rider;Looks Like Rain;He's Gone>Spoonful>Space>Drums> Space>The Other One>Wharf Rat>Sugar Magnolia
Encore:Day Tripper
Promoter Bill Graham Presents.
Jerry plays the guitar Tiger.[21]
Steve Parish's wife, unborn child and daughter were killed in a car crash the night before this performance.
"Late that morning I drove into town to start setting up for the show. We’d been to a holiday party at a friend’s house in Woodacre the previous evening, and Lorraine had mistakenly left her purse behind. She said she was going to drive there to retrieve the purse in the afternoon, and then call me to discuss the possibility of joining me at the show.
I checked in a few hours later, just as Lorriane was getting ready to leave. She was running late and hadn’t yet picked up her purse. I told her I’d see her when I got home. I told her to drive carefully.
When I walked through the front door shortly after midnight, I was immediately struck by the stillness of our house. It was never that quiet, not even when Lorraine and Jennifer were sleeping. I checked the bedrooms. Both empty. I paced the floor a few minutes, wonder where they might be. I tried not to jump to conclusions, tried not to panic. Then I sat down in a chair and waited. This will probably sound strange, but I didn’t call the police, or anyone else for that matter. Something did not feel right. I thought about the dream, and about Lorraine and Jennifer out there on the road somewhere. It didn’t make sense that she would just disappear like this, that she wouldn’t call.
I didn’t sleep at all, just sat there in the living room, staring out the window, waiting for them to come home. Finally, around eight o’ clock, there was a knock at the door, and I opened it to find a dour looking gentleman with hat in hand standing on my front steps.
“Mr. Parish?”
“I’m very sorry.” he said. “I have some bad news.”
My knees buckled. I had trouble breathing.. “They’re dead, aren’t they?”
He lowered his head. “Please…may I come in?”
“Not the baby, too God…not the baby.”
He held me up and walked me into the house. Then we sat down together in the living room as he delivered the kind of news that no one should have to deliver. He was the county coroner, so I’m sure he’d done this sort of thing before, but that made it no less painful. He told me there had been a car accident the previous night,  that Lorraine was apparently driving back home from Woodacre when she failed to negotiate a sharp turn and crashed into a tree. She had died at the scene, along with our unborn child. Jennifer had survived the initial crash but was critically injured. Paramedics had taken her to a nearby hospital and worked furiously to save her life, but it was too late. She died shortly after arriving.
The next thing I knew I was out in the street, crying, running. A neighbor came out and stopped me. She grabbed me by the arms and pulled me close. “I’m so sorry,” she said. “I thought you knew the police were here last night and I told hem you were working in the city. “Why didn’t they come and tell you?”
I had no answer. I had no answer for anything. All I knew was that my world had collapsed, that my entire family had been wiped off the planet with a single breath. Just like that. They were all gone.
I went back into the house and called Lorriane’s parents. We had met once before, when Lorraine and I took Jennifer back East for a visit, but I didn’t know them well. I’d spent most of my time on that trip working with the band, which was playing in New York. It was always work for me. Work, work, work. Work came first. Play came second. Family third. Always. I don’t really remember exactly what I told them. I remember kind of spitting out the grim facts and then handing the phone off to the coroner to let him finish the job as Lorrain’s mom and dad cried on the other end. Then I got a phone call from Peter Barsotti, one of Bill Graham’s lieutenants, who had a question about the show, and I told him what had happened. He made a few phone calls and quickly the word spread. People started coming over. By early afternoon my house was full. Everyone from crew had stopped by to offer their condolences, to do whatever they could, which of course, was nothing. Everyone from the band came, too - everyone except Jerry, who was too disturbed and shaken by the incident to come in person. He could be that way: socially awkward to the point of embarrassment.
I forget who made the suggestion, but it was quickly determined that the Grateful Dead should cancel its shows for the new few days. But I said, no, that would serve no purpose. Again, I know it sounds crazy, but I felt the only way I could survive that experience was to get back to work, to be with the band and the crew, making music, doing the things I loved. It was distraction therapy, I know, but I had no alternative. I’d lost two children and a wife. I wasn’t thinking clearly. I knew only that I couldn’t just sit there and cry. Nothing made sense. Nothing except the music.
So we did the show that night, and the night after that, and the night after that. And it was remarkable experience, the way the guys in the band and the guys in the crew all rallied around me and hugged me and propped me up and told me how much they loved me. I should also say that Billy Crowe, along with Mickey Hart, insisted on going to the corner’s office to identify the body so I wouldn’t have to do it. They didn’t think I could handle that sort of trauma, and maybe they were right. I don’t know. Several people from the band stayed with me, making sure I was all right. Phil Lesh and his wife, Jill, were immensely giving and thoughtful. They were just starting their lives together, and their love was so strong and pure and clear that it had a palpable effect on me. It made me smile, made me think of the possibilities that life can bring. Bobby Weir stayed with me for days on end, listening to music, talking, just hanging out, the way friends do.
And then there was Jerry…
The first night, when I got to the show, Jerry approached me backstage and gave me a hug. He seemed so sad, so moved by my loss. And then, in a twisted but genuinely loving gesture, he did something that astounded me.
“Hey, man,” he said, his eyes brimming with tears. “You want some heroin? It’ll kill the pain.”
I thanked him but declined the offer. “If I did anything right now  - one snort, one drink - I’d never stop.”
He nodded and told me again how sorry he was. In that instant I felt more pity for Jerry than I did for myself, because he really was trying to help. He just didn’t know any other way."[24]

12/29/84 Grateful Dead
I:One More Saturday Night;Friend Of The Devil;My Brother Esau;Big Railroad Blues;Cassidy;Althea;Let It Grow
II:Samson And Delilah;Lady With A Fan;Playing In The Band>Drums>Space>Truckin'>Stella Blue;Not Fade Away
Encore:Not Fade Away>Brokedown Palace
Promoter Bill Graham Presents.
Jerry plays the guitar Tiger.[23]
"Not Fade Away is real strong and there is never a time when the audience is alone! It just melds into Brokedown Palace without a true break."[9]

12/31/84 Grateful Dead
I:Shakedown Street;New Minglewood Blues;Peggy-O;Jack Straw>Bird Song;Hell In A Bucket>Don't Ease Me In
II:Sugar Magnolia>Scarlet Begonias>Fire On The Mountain;Man Smart (Woman Smarter)>Drums>Space>The Wheel>Throwing Stones>Turn On Your Lovelight
III:Gimme Some Lovin'>Uncle John's Band;Around And Around >It's All Over Now, Baby Blue
Promoter Bill Graham Presents.
FM broadcast
"Bill Graham takes the stage aboard a lighting bolt. The usual three-set year ender goes out over a nationwide radio hookup. Supporting acts include the a cappella group The Bobs."[17]

"I too was at this show however i was one of the lucky ones who got in for free. I was told to be at certain door rite before midnight. We were there and the door opened just we were told. As far the show goes yes good show however a little short for new years. They played fast and mean and the night was over as fast it started."[10]

"I was at this show. After Parish's loss the show was played with a huge wreath by the stage. The 3rd set and particularly this version of Baby Blue are excellent.
Jerry's normally emotional voice took on added feeling in some of the lines from Baby Blue. I thought at the time he was singing it for Steve."[11]

"And you really hear Garcia's pain in the jam between Scarlet and Fire. The tone of the guitar is amazing going thru many different sounds from scary, angry, sad, happy, high and the emotion in Jer's vocals still give me chills."[12]

1/28/87 Grateful Dead
I:Shakedown Street;Get Back;Peggy-O;Walkin' Blues;It Must Have Been The Roses;It's All Over Now;Row Jimmy;My Brother Esau;Bird Song;Jack Straw
II:When Push Comes To Shove>Samson And Delilah;Black Muddy River;He's Gone>Spoonful>Drums>Space>Eyes Of The World>Black Peter>Around And Around>Sugar Magnolia
Encore:U.S. Blues
Promoter Bill Graham Presents.
The day Bob's dog, Otis, died.
Dan Healy sings The Beatles Get Back.

3/12/88 Bob Weir, John Fogerty, Huey Lewis, Johnny Colla, Brent Mydland, Merl Saunders
Good Morning Little Schoolgirl, Turn On Your Lovelight, Long Tall Sally
Bammies Awards
Bay Area Musician of the Year  - Jerry accepts, "Don't ever do this to me again".
Bob Weir and John Cutler accept the award for In The Dark.[15]
Jerry plays the guitar Tiger.
"Upon receiving his Best Guitarist award, Jerry said, “I don’t think of music as being a competition. I didn’t enter a contest to win this. This is for Deadheads everywhere and my partners, The Grateful Dead.” Among the evening’s musical highlights was a rendition of “Touch of Grey” in an orchestral arrangement, performed by Dick Bright (musical director of the Fairmont Hotel) and his Sounds of Delight. They also played “Good Morning Little Schoolgirl,” and “Turn On Your Love Light” with Huey Lewis, then finished with “Long Tall Sally” with Huey Lewis and John Fogerty. The evening ended with the Dead, Huey Lewis and the News, Merl Saunders, John Fogerty, and others onstage for a jam which, in the words of Relix magazine, “will go down in history as one of the great ones."[18]

12/22/90 Jerry Garcia Band
Promoter Bill Graham Presents.
I: How Sweet It Is, Mission In The Rain, That's What Love Will Make You Do, You Never Can Tell, Señor, Throw Out The Lifeline, Let's Spend The Night Together
II: The Way You Do The Things You Do, Lay Down Sally, And It Stoned Me, Tore Up Over You, Waiting For A Miracle, Don't Let Go, Struggling Man, Tangled Up In Blue

San Francisco Civic Auditorium (Bill Graham Civic), San Francisco, CA
1.)^1932-09-24, Spokane Daily Chronicle, pg. 8.
2.)^Daley, Brian, S. F. Cable TV Examiner, 2010-04-20.
4.)^Sylvers, comments, 2008-04-25,
5.)^oldeadhead, comments, 2009-01-09,
6.)^Mike, comments,
7.)^Cavaretta, Nick, comments, 2013-12-3-29,
8.)^August West, comments, 2013-12-12,
9.)^thelegroom, comments, 2008-10-08,
10.)^jjg4762, comments, 2006-04-16,
11.)^gonearethedays, comments, 2004-08-23,
12.)^80's head, comments, 2004-07-16,
13.)^Grushkin, Paul, Relix Magazine, pg. 24, Grateful Dead 1983-1984 New Years.
14.)^MS 332 Ser. 3, Box 1:2, GDR: Show Files: GD Concert Dates-Tour Schedule, Grateful Dead Archives, Special Collections, McHenry Library, UC Santa Cruz, CA.
16.)^Arnold, Corry, The Golden Road, 1986-summer, pg. 32.
17.)^Jackson, Blair; McNally, Dennis; Peters, Stephen; Wills, Chuck, Grateful Dead - The Illustrated Trip, pg. 305.
18.)^Jackson, Blair; McNally, Dennis; Peters, Stephen; Wills, Chuck, Grateful Dead - The Illustrated Trip, pg. 352.
19.)^Music Vault, ‪Grateful Dead - Scarlet Begonias / Fire On The Mountain - 12/27/83 (OFFICIAL)‬,
20.)^Music Vault, ‪Grateful Dead - China Cat Sunflower / I Know You Rider - 12/28/83 - San Francisco, CA (OFFICIAL)‬,
21.)^Voodoonola, ‪Grateful Dead 12-28-84 SF Civic Auditorium SF CA‬,
22.)^Music Vault, ‪Grateful Dead - Full Concert - 12/31/83 - San Francisco Civic Auditorium (OFFICIAL)‬,
23.)^Voodoonola2, Grateful Dead 12-29-84 Civic Center san Francisco CA,
24.)^Parish, Steve, Home Before Daylight, pg. 234.
25.)^The Stanford Daily, Volume 128, Issue 25, 1955-10-28,

Wednesday, September 28, 2011

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.
hopper floradora girls
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.
hopper dont envy me_nov 1923
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.


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.

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. (

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

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.
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,
2.)^ucsd 88', comments, 2008-04-05,
3.)^AlanSheckter, comments, 2007-10-27,
4.)^Upstate NY, comments, 2008-01-17,
5.)^dead2ns, comments, 2008-08-08,

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

Tuesday, September 27, 2011

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)

2.)^Dougie, It's Only Rock n' Roll 2002,

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
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
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. ^ 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
9.)^Mark Albright (March 31, 1995). "Letterman's Neighbor's Discover Spotlight's Chilly Side". St. Petersburg Times.
12.)^Michael Poirier, comments, 2013-02,

Cumberland County Civic Center, 1 Civic Center Square, Portland, ME

Built in 1977, at a cost of $8 million.
Those who pay to sponsor seats at the Civic Center can have their name engraved on their seats or dedicate the seat to someone they know.
The inside consists of one deck rising 24 rows, 14 seats across at its widest, and 30 separated sections around. The arena floor features 34,500 square feet (3,210 m2) of space, making it useful for trade shows and conventions in addition to sports and concerts.

The arena's official name is the George I. Lewis Auditorium at Cumberland County Civic Center. The press box is named for sportscasting legend, the late Frank Fixaris.
ZZ Top was the very first act to play the Civic Center, when it opened on March 3, 1977.

Seating capacity 9000

Jerry performed here on
5/13/79 Grateful Dead
5/11/80 Grateful Dead
6/20/82 Jerry Garcia Band
9/17/82 Grateful Dead
10/18/83 Grateful Dead
3/31/85 Grateful Dead
4/1/85 Grateful Dead
3/27/86 Grateful Dead
3/28/86 Grateful Dead

1.)^Griffin, Mary (April 25, 2002). "Civic Center Opens In 1977 And Has Never Looked Bad". Bangor Daily News.

Crabshaw's Corner, 907 20th Street, Sacramento, CA

Al Skinner bought out the original owners in November, 1973.

Crabshaw’s Corner changed to Oasis Ballroom and then a hair salon. ...
Nakamoto Productions moved it’s commercial audio studios into the same building that once housed Crabshaw Corner. Nakamoto has since moved out.

On Saturday, August 13, 2011, Sacramento’s Rock and Radio Museum celebrated its grand reopening at its new location, 907 20th Street, a space formerly occupied by 20th Street Gallery.(1)

Jerry performed here on

1.)^Left Of The Dial, 2011-08-05,

Cow Palace, 2600 Geneva Ave., Daly City, CA

Capacity 12,953

Completed in 1941. The new arena boasted a concrete and steel roof that covered nearly six acres. The first event to be held in the new arena was the Western Classic Holstein Show in April, 1941. In November of that year, the first Grand National Rodeo was held, featuring a tribute to the late Will Rogers. The show was declared a smash hit.
Two short weeks after the close of the first show, Pearl Harbor was attacked. Rented by the Federal Government for $1.00 per year, for the next five years the huge structure was filled with troops embarking for the war zone. As the war progressed, the pavilion was turned over to the Ordinance Department and converted into a huge repair garage.
The only indoor Stadium with a Cantilever roof.

One story for how the current name came about tells of a newspaper editorial that wondered aloud "Why, when people are starving, should money be spent on a "palace for cows?" Thus, the Cow Palace was born.
During World War II, though, the arena was used for processing soldiers bound for the Pacific Theater.

The Cow Palace (originally known as the California State Livestock Pavilion) is an indoor arena in Daly City, California, situated on the border of Daly City and neighboring San Francisco. The State of California is currently considering negotiations with Daly City. If successful, the site will be razed to make way for condos and a supermarket.

During a 1973 concert by The Who, their drummer Keith Moon, passed out from an overdose of horse tranquilizers and a fan of the band, Scot Halpin, completed the group's set that evening.

In February 1979, Neil Diamond fell onstage and couldn't get up. Less than two days later, he underwent 14 hours of delicate surgery, to remove a nonmalignant tumor, located dangerously close to his spine.

Other Cow Palace highlights include appearances by the Royal Canadian Mounted Police, Liberace, the Billy Graham Crusade (with attendance of 696,525), John F. Kennedy, Evil Knievel, the Beatles, the Rolling Stones, and Elvis Presley.

Jerry performed here on
12/31/73 Allman Brothers
3/23/74 Grateful Dead
The March 23, 1974 Grateful Dead concert was not just a landmark in the career of the Grateful Dead but in the history of concert production. This was the show that unveiled arguably the greatest P. A. system of all time, the Dead's fabled "Wall of Sound." 

12/31/76 Grateful Dead

2.)^Arnold, Corry, 2012-12-20,

Monday, September 26, 2011

Convention Hall, 1300 Ocean Avenue, Asbury Park, NJ

Asbury Park Convention Hall

Capacity 3600

In 1916, Asbury Park Mayor Clarence E.F. Hetrick hired famed architectural firm McKim, Mead and White to design a convention center for the block just north of the city's Atlantic Square, between 6th and Sunset Avenues. The firm submitted a plan that called for a 5000-seat venue costing $75,000 to construct. However, city founder James A. Bradley owned the block in question, then home to the aging Asbury Park Auditorium, and refused to sell the plot to the city. After Bradley's death in 1921, departnment store scion Arthur Steinbach purchased the Auditorium property from Bradley's estate, demolished the auditorium, and constructed the Berkeley-Carteret Hotel on the plot.

In 1927, after a mysterious fire destroyed the 5th Avenue Arcade just east of Atlantic Square on the Boardwalk, voters passed a bond referendum to construct a new convention center on the plot. Hetrick commissioned architects Warren and Wetmore, who also designed New York City's Grand Central Terminal. The firm's eventual design called for a 1600-seat theatre to occupy the old 5th Avenue Arcade plot. The theatre was connected to an enclosed arcade that covered the boardwalk. This arcade was connected on the east to a 3200-seat convention center, offering 60,000 square feet (5,600 m2) of exhibition space. This portion, which would be christened "Convention Hall", extended 215 feet (66 m) over the beach and the waterline, and was supported by steel encased concrete pilings. From the time of its construction until a seawall construction project in the 1970s, visitors to the hall could look directly over the Atlantic Ocean from the hall's easternmost outer walkway.[3] Heat was provided in colder months by a system of underground pipes connected to a city-owned steam plant, located at the southernmost end of the Boardwalk.
Angels over the vestibule in Convention Hall.

Detail of vestibule stairway.
The first official convention held at Convention Hall was the annual meeting of the New York Friars' Club on July 5, 1930.[9
In 1934, 251 of the liner Morro Castle's 558 passengers and crew were dead or unaccounted. Note Convention Hall on left.
The Morro Castle was built for the Ward Line by the Newport News Shipbuilding and Drydock Co. at a cost of $4.35 million. Constructed between July 1929 and March 1930, it was the ultimate in luxury, speed and safety. At 508 feet in length and 70 feet in width, the liner's five decks accommodated a maximum of 530 passengers and its 220-man crew.
Its 16 suites were posh and the 142 cabins were just slightly off that mark. The liner's formal rooms were - to the middle class people that made up the vast percentage of its passengers - designed and furnished with jaw-dropping elegance.
A Renaissance theme dominated one room, Louis XVI another. Rich wood paneling was used throughout, and ceilings overhead were painted with elaborate murals.
Sparkling gold fixtures cast light in a dining room furnished with plush upholstered chairs and linen-draped tables. Food and beverages - abundant and of the highest quality - were served by waiters in starched white coats.
Young, attractive entertainment directors supervised shipboard activities, and an orchestra provided music for dancing.
Because of the competition among cruise ships sailing from New York City, the ticket price for all this luxury in 1934 was as little as $65 per person. But Ward Line's owners could afford to offer low rates. The Morro Castle made most of its profit by carrying cargo and from a federal contract that paid $750,000 for transporting mail to and from Havana, Cuba.
The mail contract brought with it the need for speed, and the ship's architect made sure the Morro Castle could fly, equipping it with two electric engines that could move its bulk through the choppy waters of the Atlantic at 21 knots per hour - almost 24 miles per hour.
In the wake of the Titanic sinking in 1912 and other maritime disasters, the Morro Castle had many safety features, among them a fire detecting system - which unfortunately did not safeguard the ship's public rooms. The ship carried 12 lifeboats and 12 balsa floats with a combined capacity of 816 people. In fact, the Morro Castle was so well-equipped that Marine Engineering magazine considered it the "safest (ship) afloat."
Officially, it was deemed an accident, but many at the time believed it was arson. FBI documents made public in the 1980s now leave little doubt that the fire was deliberately set.
Some historians theorize the Ward Line orchestrated the tragedy to collect insurance money and hired George Rogers, the ship's chief radio operator, to start the blaze. Rogers was capable of such a deed. A psychopath with a criminal record, he was later sent to prison for trying to blow up a Bayonne, N.J. police officer. After his release, he murdered two of his neighbors and was sentenced to life in prison.

Convention Hall 1940 (who are these people?)

On June 30, 1956, a concert by Frankie Lymon & The Teenagers at the Hall ended, prematurely, when a fistfight in the audience erupted into a full scale riot. Three people were stabbed and then-Mayor Roland J. Hines threatened a city-wide ban on rock and roll performances. The ban never came to pass.[9] In the mid-1960s, promoter Moe Septee started booking rock acts at Convention Hall, including some bands who would go on to achieve legendary status.
Between 1965 and 1975, Septee booked Black Sabbath, The Beach Boys, James Brown, The Byrds, Ray Charles, The Dave Clark Five, The Doors, The J. Geils Band, Herman’s Hermits, Janis Joplin, Otis Redding, KISS, The Rolling Stones, The Temptations, Pink Floyd and The Who, among many others.[12]
Early show
Late show

Led Zeppelin played Convention Hall the evening of August 16, 1969, after their manager, Peter Grant, rejected an invitation to Woodstock. Joe Cocker opened for Led Zeppelin that night, before riding up to Bethel, New York for his opening slot on the festival's third and final (scheduled) day.[13]
The hall was also the setting for one of the last few concerts played by the original Lynyrd Skynyrd lineup on July 13, 1977, before their tour plane's fatal crash on October 20, 1977.
Concerts at Convention Hall continued even after Septee's retirement. In the 1980s and 1990s, acts such as The Allman Brothers Band, Judas Priest, Iron Maiden, Blue Öyster Cult, Tool, Ted Nugent, King Crimson, Peter Gabriel, Elvis Costello, The Clash, No Doubt and The Goo Goo Dolls played the hall.[14]
Beginning in the late 1990s Convention Hall gained a strong association with Bruce Springsteen.[2]
He held rehearsals for upcoming tours there (with fans standing outside to get early ideas of what the shows would bring),[2] some ticketed public rehearsal shows, and several December holiday shows in conjunction with The Max Weinberg 7. The large lighted sign on the top of Convention Hall now reads "Greetings from Asbury Park", in reference to Springsteen's 1973 debut album Greetings from Asbury Park, N.J. Convention Hall has fallen into partial disrepair over the years but still retains some of its charms. In particular, it is known for having no heating in the winter (causing the Jersey Squires basketball team to flee) and no air conditioning in the summer.

The place just emits a unique charm from another time, a time when the bustling Jersey Shore scene drew in families from all over the nation. Walking through the hollowed out structure, you can still feel all that energy. One of the most distinctive and majestic landmarks along the New Jersey shore, located on the boardwalk and on the beach in Asbury Park, New Jersey.

Jerry performed here on
7/9/77 Early and late shows  Jerry Garcia Band
7/26/80 Early and late shows Jerry Garcia Band

2.)^Kiniry, Laura (2009). Moon New Jersey (2nd ed.). PublicAffairs. p. 137.
3.)^ "S. Harris Ltd. Crack Gague Monitoring",
9.)^Pike, Helen-Chantal (2005). Asbury Park's Glory Days: The Story of an American Resort. Rutgers University Press, pp 54,75.
12.)^ Golden, Peter "Shore Lore: Music Man" New Jersey Monthly February 2008.
14.)^ Wien, Gary; Rothenberg, Debra L. (2003). Beyond The Palace. Trafford Publishing, pg. 15.

Constitution Hall, 776 D St NW, Washington, DC

 Capacity 3702

Constitution Hall was designed by prominent architect, John Russell Pope, and is a monumental Neoclassical design constructed of Alabama limestone. The building houses the largest auditorium in the District.
Ground was broken for DAR Constitution Hall on June 22, 1928.
The cornerstone was laid by Mrs. Calvin Coolidge on October 30, 1928, using the trowel George Washington used to lay the cornerstone at the Capital in 1793. Every president since Calvin Coolidge has attended events at DAR Constitution Hall.
In 1929, the Daughters of the American Revolution dedicated this building as a memorial to the Constitution.

The first musical event in the hall was on November 2, 1929 and featured Thomas Edison's favorite singer Anna Case, Efrem Zimbalist, Sophie Braslau, and Hans Barth.

Anna Case, American soprano 1929

Anna Case recorded with Thomas Alva Edison, who used her voice extensively in "tone tests" of whether a live audience could tell the difference between the actual singer and a recording. She also made recordings for Diamond Records, RCA Victor, Vitaphone, and Columbia Records.
She sang in the American premiere of Boris Gudonov in 1913 at the Metropolitan Opera.[1] She died on January 7, 1984 in New York City and left her 167.97-carat (33.59 g) Colombian emerald ring and Boucheron necklace to the Smithsonian Institution.[4]

Born in 1893, Zimbalist commenced to play the violin at the age of seven. After playing in his father’s orchestra, he entered the St. Petersburg Conservatory, where he remained for six years under Leopold Auer, the teacher of Mischa Elman and Kathleen Parlow. At the conclusion of his studies he won a prize of 1200 roubles and a gold medal presented by the Russian Government. On this occasion his diploma was endorsed “Incomparable.” Zimbalist made his American début in Boston, October 27, 1911 (The Etude, june 1912)

Sophie was a contralto prominent (the deepest female classical singing voice) in United States opera, starting with her debut in New York's Metropolitan Opera in 1913 when she was just 21 years of age.  Braslau was soon touring widely and frequently in the United States and Canada and, in the 1920s, Europe, using a repertoire which included works in English, French, German, Italian, Russian, and Yiddish.[1]
 She retired from her full-time opera career in the late 1920s and performed very little as frail health brought her life to an early close. At her funeral Sergei Rachmaninoff was an honorary pallbearer; the eulogy was delivered by Olin Downes, music critic for The New York Times.[2]

 The German-born American pianist, teacher and composer Hans Barth was born on 25 June 1897 in Leipzig. He studied, when still a child, on scholarship at the Leipzig Conservatory with Carl Reinecke. In 1907 he was taken to the USA and in 1908 he made his New York recital debut. In 1912 he became a naturalized American citizen.
He recorded the piano solo The Flatterer on 11/24/24 in Camden, New Jersey and it can be heard here:

Hans Barth's meeting with Ferruccio Busoni inspired him to experiment with new scales. With George Weitz, he perfected a portable quarter tone piano (1928).
In 1930 he played his own concerto for the quarter tone piano with the Philadelphia Orchestra. Charles Ives wrote music for Barth's concerts. Barth died in Jacksonville, Florida on 9 December 1956.

On August 12, 1932, President Herbert Hoover formally opened his campaign for reelection in the presence of 4,000 of his admirers tonight, with a demand that the regime of "subsidized crime and violence" bred by the Eighteenth Amendment give way to a system of State control of traffic in liquor. (she sun, essray,jf, 8/12/32)

The building was center of a Civil Rights crisis when use of the hall was denied to African American singer Marion Anderson in 1939. Back in the day on April 9th, 1939, African-American singer Marian Anderson, one of the most famous opera singers in the world, performed before 75,000 people on the steps of the Lincoln Memorial. The open-air event was not originally on Anderson’s schedule of appearances, but, instead, was organized after she was denied from singing at Washington D.C.’s Constitution Hall. The singer’s manager, Sol Hurok, had sought to book Anderson at the large venue, as her audience was growing ever larger. The Daughters of the American Revolution, who managed Constitution Hall, found out that Anderson was black, and refused to allow the show to happen. Shock and outrage followed. First Lady Eleanor Roosevelt resigned from the organization and Interior Secretary Harold L. Ickes was persuaded to invite Anderson to perform at the Lincoln Memorial on Easter Sunday. (2010-04-09,subversivehistorian)(

Marion Anderson April 9, 1939

Bell Laboratories gave a demonstration of three-channel stereophonic sound on April 27, 1933, with a live transmission of the Philadelphia Orchestra from Philadelphia to Constitution Hall in Washington, D.C. Leopold Stokowski, normally the orchestra's conductor, was present in Constitution Hall to control the sound mix.

On May 10, 1935, the National Geographic Society welcomed Admiral Byrd and the men of the second Antartic Expedition. Admiral Byrd presented the expedition's accomplishments to the audience of 4000 members of the Society as well as to millions of radio listeners in the United States, Canada and South America. (paine,stuartD.L.,footsteps on the ice:antarctic diaries of stuart d. paine, secondbyrdexpedition)

One of Charlie Chaplin's first public addresses after the release of The Great Dictator was to read it's final speech in Washington DC, the evening before Roosevelt's third inauguration. Scheduled as one of a number of artists to perform at Constitution Hall. Chaplin arrived at Union Station the afternoon of January 19, 1941, to perform that evening. That evening, to a packed audience, Chaplin appeared with Nelson Eddy, Mickey Rooney, Raymond Massey, Ethel Barrymore, and others.
Later that year Chaplin read the speech again at Constitution Hall for a radio hookup.(maland,charles,chaplin and american culture:the evolution of a star image,p.187)

January 7, 1943, Marian Anderson sang at Constitution Hall and segregated seating was not in effect that night-a first for Washington, DC. (slavin,sarah, u.s. women's interest groups:institutional profiles,p.423)
Until the 1950s the Hall had a glass ceiling and a view of the stars.

In March 1956, Elvis Presley performed at the regularly booked Saturday afternoon country and western shows at Washington DC's Constitution Hall.
Elvis' most famous Washington performance was not musical. On the afternoon of December 21, 1970, a beginning-to-bloat Elvis unexpectadly appeared at the White House to offer his services as "Federal Agent At Large". Richard Nixon accepted his gift of a Colt .45 revolver, promised Elvis an honorary DEA badge, and sent him on his way.

Dick and Elvis December 21, 1970

On October 24, 19  , Marian Anderson returned for her Farewell Recital at Constitution Hall. It was an evening not only of musical importance but one also charged with emotional impact. The concluding portion of her performance comprised of several Negro spirituals. (lundstrom,harold,1965-02-18,thedeseretnews,p.21)

 Again, in 1967, citing the singer's strong antiwar stance, the Daughters Of The American Revolution (DAR) refused Joan Baez the permission to play at their Constitution Hall, resonating with their famous denial of the same privilege to Marian Anderson. When news of the refusal recieved sympathetic coverage in the press, Secretary of the Interior Mo Udall gave Baez permission to play an outdoor concert at the base of the Washington Monument, where an estimated 30,000 people came to hear her sing. (telgen,diane and kamp,jim,notable hispanic american women,issue68,p.44)

On January 28, 1968, Otis Redding performed there. (1967-09-16,washington afro-american,p.6)
 Soul singer Otis Redding had acquired his own plane to make touring less hectic, but the twin-engine Beechcraft H18 would prove his fatal undoing. At around 3:30 p.m. on a foggy Sunday afternoon, December 10, 1967, the plane, which encountered a storm en route from Cleveland to a concert in Madison, plunged into the frigid depths of Lake Monona. Redding, 26, and four members of his Bar-Kays band were killed. The musicians were headed to The Factory nightclub, scheduled to perform at 6:30 p.m.
The crash killed six others, everyone on board except for trumpeter Ben Cauley (bassist James Alexander had luckily avoided the flight altogether). On the cusp of achieving pop superstardom, Redding, best known for his hit, “(Sittin’ on) the Dock of the Bay,” recorded just three days earlier and released after his death, was dead. The tune was Otis’ first posthumous release and his biggest-selling single ever, topping both the R&B and pop charts on its way to going gold. Engineers tastefully overdubbed the sound effects, the mournful cries of seagulls, the singer’s lonesome whistling, after Otis’ death.

About 4,500 mourners, including a dazzling array of soul giants such as James Brown, Solomon Burke, and Wilson Pickett, crowded Macon’s City Auditorium for Redding’s funeral, a week later.
On December 3, 1997, forty years later, hundreds of people showed up to the Monona Terrace Community and Convention Center to honor the Georgia-born soul singer and songwriter. They’d never met the man, but they loved his music, and came to express their appreciation of the full impact of Otis Redding as a soul pioneer who inexorably altered the rhythm & blues landscape – and, ultimate, all of pop music- with his gritty, lustrous vocal, sexy, slinky lyrics and unforgettable songs.
Cauley, who hadn’t visited Madison since the crash, received a standing ovation. He told his audience how he’d awakened early that Sunday four decades ago and headed to the Cleveland airport for the trip to Madison. That day, he said, Redding told him he’d just finishing recording the supremely meditative “(Sittin’ On) The Dock of the Bay.” A few hours later, Cauley was flung out of the plane on impact. As he floated in the icy waters of Lake Monona, clinging to a cushion, he watched the rest of the plane’s passengers — including the man he once described as “…a groovy cat, like an older brother” — drowned.
When his short speech was finished, Cauley sang some of the songs that might have been on the bill at The Factory, including a trumpet-laced version of Redding’s “(Sittin’ On) The Dock of the Bay.”
He was born in Dawson, Georgia, approximately 100 miles south of Macon, on Sept. 9, 1941. His family moved into a Macon housing project when Redding was three. He began singing in the choir of the Vineville Baptist Church. Now home to the Georgia Music Hall of Fame, Macon is arguably the vital center of soul. Little Richard, James Brown and Otis Redding – three men who shaped American blues music in from the 1950s to the 1970s and beyond — all launched their careers here. Strangely, although he consistently impacted the R&B charts beginning with the Top Ten appearance of “Mr. Pitiful” in 1965, and he is remembered for producing some of the toughest, sweetest, most enduring soul music ever created, none of Redding’s singles fared better than #21 on the pop Top Forty.
There’s one noteworthy aspect to Redding’s life not often touched upon: No one has anything bad to say about him. No scandals lurking in the closet, no mouth-dropping incidents of rampant egotism to shatter his wholesome image, no shafting of his sidemen on long road jaunts. Just a monstrously talented soul man who enhanced the lives of everyone associated with him but died much too soon.
Heartbreak never sounded good. Or happened so abruptly. (Briam D'Ambrosio)
The day he died

Ray Charles and the Reagans Constitution Hall 1983

Jerry performed here on
11/2/75 Jerry Garcia Band
11/27/83 Jerry Garcia Band
8/8/84 Jerry Garcia Band
11/20/84 John Kahn (acoustic)
1/24/86 John Kahn (acoustic)

1.)^Maland,Charles, Chaplin and American Culture: The Evolution of a Star Image, pg. 187.
2.)^Slavin,Sarah, U.S. Women's Interest Groups:Institutional Profiles,pg.423.
3.)^Subversive Historian, 2010-04-09,
4.)^Paine, Stuart D.L., Footsteps On The Ice: Antarctic Diaries of Stuart D. Paine, Second Byrd Expedition.
5.)^Lundstrom,Harold, 1965-02-18, The Deseret News,pg.21.
6.)^Telgen,Diane and Kamp, Jim, Notable Hispanic American Women, Issue68, pg.44.
7.)^Washington Afro-american, 1967-09-16,pg.6.
8.)^Arsenault, Raymond, The Sound Of Freedom.